Sharing my education in the music industry

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May 29, 2008
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#1
The Eight Reasons Why You Are Not Signed To A Record Deal

After struggling for years to land a record deal for myself and later for the artists I've come to represent, I've made up a list of reasons why I think most artists don't get signed. Although this list first started out with about 20 reasons, I've since narrowed it down based upon my conversations with A&R reps, other band managers, and my own first-hand experiences in this business. Some are entirely independent of each other and some work closely together, but all, in my opinion, are equally important.
See if you agree:


1.) Talent/Skills: Out of all the reasons why you're still not signed to a record deal, this one is the most controversial and subjective and could get me into lots of trouble.
But the truth is the truth so let me rant on, please!

Let's face it, all of us at one time or another have heard a new artist on the radio or MTV and wondered, "Why the hell are they signed and I'm not? They suck!" But when it all comes down to it, more often than not, that artist was signed because they look great and they write/perform memorable, catchy songs that the record label feels will make them lots and lots of cash. It's easy to lash out against artists that have made it before you, but stop and think before you criticize. Are your songs memorable like theirs? Can you write a song that lasts no longer than 3 minutes (remember, the Beatles were masters at the 2-minute pop classic)? Do you really know your instrument? Have you played it longer than 2 years? Are you serious about your craft? Do you know what a hook is? (hint: the hook is the part of the song you can't get out of your head--it's memorable. Rappers are master hook makers. When was the last time you heard a hip hop song on radio without a hook? Never.
See what I mean?)

These kinds of questions are difficult to ask yourself but are important in helping you assess the real reason why you're still not signed to a record deal--even when you've done everything else there is to do to get noticed.


Do this:

Take a songwriting course at your local community college; buy as many "How-To" books as you can; network with other songwriters and partner with them (you'll learn a lot from your fellow songwriters); listen to as much current music as possible and fine-tune your hooks to reflect current musical trends; hire a music 'biz player that will give you valuable A&R feedback (this is a great service that I highly recommend); and most importantly: Play, Practice, Play, Practice....you'll only get better at what you're doing and eventually the right people will take notice. Trust me on this one.


2.) Luck: Yup, it still happens today. Artists still get signed to record deals because of pure Luck (but obviously the talent aspect is already in place for the artist)--being in the right place at the right time. Even with all the hard work you've put into your music, your chances of getting signed are still pretty small and something like Luck, which is totally out of your control (but maybe not--read on), plays a big part in getting noticed. Cruel but true.


But don't give up...here's where I think you can take control of Fate and use it to your advantage. Place yourself in Luck's way. Go to places and events that you know will be magnets for industry contacts and network. Have that super-duper polished, clearly labeled demo (don't forget to put your name and number on the outside of the CD's jewel case and on the CD itself) ready to be passed on to them in case the opportunity arises. Create the opportunity. That's right....create your own opportunity! Do what it takes to get noticed. Re-locate to a major metropolitan area if you have to--this isn't necessary, but don't let anyone fool you, it helps! Go where there are going to be people in a position to check your act out first-hand and sign you. Places like Los Angeles, New York, Nashville, Atlanta, Toronto and London are teaming with A&R scouts and record label executives eager to find the "Next Big Thing." Who knows, you could be that next big thing and chances are better if you go where the action is and create the opportunity for Luck. Be bold, not shy. Be persistent. Do it what it takes to get that A&R scout or manager's attention.


3.) Presentation: This area covers promotional-materials presentation and band image presentation. Both, in my opinion, are just as important and crucial to getting noticed and both are often neglected by unsigned musicians.


I've seen a lot of press-kits in my day. Some good, but most of them bad. I'm still amazed at how many bands feel that presentation shouldn't be too high on their priority lists. They believe that their music will just speak for itself. Big mistake.


Remember the old saying about first impressions? A press kit sent off to some far-away A&R office is as good an introduction to your band as a face-to-face handshake with the rep. If you present yourself in a sloppy, haphazard, you-don't-really-give-a-shit way, then you can bet (depending on just how bad the envelope or package looks) your press kit won't even be opened. Addressing the package to: ATTN: A&R, is another surefire way to get your hard-earned work thrown in the garbage. Spend some money. Buy laser-printer compatible labels and research who you will be sending the package to (it's also a good idea to actually call that person and get permission first to send your press-kit); go to an office supply store and stock up on insulated large envelopes; spend some money on a nice 8"x10" glossy; have someone at your local college's art department design a computer-generated logo for you (crisp black & white line-art is recommended); and here's a BIG TIP: create a logo for your make-believe management company (obviously this one's only for those without formal management representation) and put this on the letterhead of the typewritten note you'll enclose with your press kit. Your cred-factor has just scored major points and you just might get that left foot in the door.


And finally, your Band Image (or your image if it's a solo gig). Whether you want to believe this one or not, it's true that bands with a unique and identifiable look combined with talent and charisma will stand out to A&R reps (and yep, you guessed it, will be more likely to get signed, too). I've just heard a story from a reliable source who says that the ban Sugar Ray initially got their foot in the door at Atlantic Records because someone there had seen a promotional video of theirs and thought they deserved a demo deal just based off of their image.
Now obviously, they've gone on to a much bigger deal that was probably more based on their talent, but it just goes to show you that even today, Image is Everything!

4.) Timing/Trends: I ran into a friend of mine the other day who had just started managing and up-and-coming local guitar virtuoso. My friend believes he can get this artist signed to a major label based off of his abilities and abilities alone. Too bad the artist only plays neo-classical instrumental pieces (you would think this guy was stuck in 1984). I respectfully told my friend not to hold his breath.


I'm going to be blunt about this one. If you're still doing a genre that's considered old and un-trendy and doesn't sell a lot of records these days by industry standards (and especially one that's been the butt of industry jokes) than you can bet that A&R rep won't listen past the first 10 seconds of your demo (in just enough time to hear your 4 octave banshee scream over dive-bombing tremolo guitar antics). That doesn't mean it's out of the question, it just means...well, good luck! (see 2)

Now, I'm not advocating you should "sell-out" to get signed. Country artists please don't start rapping just because you think it will get you signed. What I am saying is that your chances of getting signed will become greater if you pay attention to current musical trends and try to stay one step ahead of them. Wearing spandex pants and spiked hair-weaves and writing songs about "shagging chicks in an elevator" will only get you laughed at today. The same could be true if you still wear flannel and your riffs sound suspiciously Nirvana-ish. And also, avoid putting time-based references and slang in your lyrics--they'll only sound stupid 5 years from now. For example, if you're still sending labels demo tapes/CDs with "fly" and "dope" references in your songs, you should probably go back and re-record them without the slang. Those outdated words are "wack.
"

Also, something as simple as paying attention to current music production trends can score you big points when you send your demo tape out to labels. For example, 20 years ago, the thing to do with recorded rock drums was to make them sound as dull, compressed and dry as possible. Ten years ago, rock drums were dripping in hall-type reverbs and now it's pretty hip to capture that distinctive "ping" of a piccolo snare with just a hint of room reverb. Sometimes by just applying current production techniques to your demo, you can even make that "shagging" tune I mentioned before sound more...well, current. Maybe even a little trendy.


5.) Buzz Factor: How large is your following? How many people have bought your most recent CD? How much press has your music received? How many shows did you play last year? How many people visit your website each day? All of these questions figure into the "Buzz Factor".


Although I mentioned earlier that re-locating to a major market may help you get signed to a record deal, it's not entirely necessary if you create a Buzz in your region. Labels will hear about you in a smaller market (but not too small--see number 8) if you've effectively created a Buzz.


Suppose you play constantly throughout the Midwest and areas outside your local market. Suppose that with each stop and each new city you sell a lot of copies of your new CD, and even better, you build a loyal fan-base in those cities that will continue to come to your shows and buy your new releases with each and every visit you make there. Labels will take note of this fast. They're not stupid. They'll want a piece of that action and if you've created a Buzz like this to tip them off (A&R scouts reside in a number of major markets--and some small ones, too--and they do hear about what's going on locally), they'll start coming to your shows with contracts in hand. Guaranteed.


So, send your CD to local and national press for review and stick the positive reviews in your visually-appealing press kit (see number 3). Book as many shows as you can outside your local market and build a strong fan-base. You'll be surprised at who starts calling you back and who shows up at your gigs.


6.) Representation: A good manager and music attorney is worth his or her weight in gold in this business. Don't let anyone tell you otherwise. Now more than ever it's so important for a band to be represented by someone who is known within the industry and someone who can personally have a demo seriously listened to by a label. Sure, even some majors accept unsolicited tapes every so often, but more times than not, they won't and this is why it's so crucial to establish a relationship with a manager or attorney (or even both concurrently) who can shop your demo to the big boys. There are many ways an unsigned artist can find good representation including business directories like The Music Attorney Registry, The Recording Industry Sourcebook, and the Songwriter's Directory 2003+. Check them out but remember, the best attorneys and managers are picky about who they take on so be prepared, polish that demo and make sure they'll even accept your demo unsolicited! These directories will usually indicate who takes unsolicited tapes and who doesn't.


7.) Drive/Commitment: This one might sound like a "no-brainer" but you'd be surprised at just how many artists aren't willing to fully commit to the challenge of getting signed--but yet, they still bitch about other artists getting record deals before them. You know, the artists they yell at on MTV that "suck.
"

Are you prepared for rejection, hard work, long hours, low wage, minimal recognition, and more rejection? Well, that's what you can expect living the life of an unsigned musician endlessly shopping your music. But don't get me wrong, the rewards are great if you do break through.


But if you're not willing to work hard and make a lot of sacrifices first, don't expect a deal to just fall in your lap later (unless number 2 occurs). Because somewhere down the line, you're going to have to compromise, conform, starve and beg to get your music heard by the right people. It's not easy getting signed and you have to be totally prepared and committed to the struggle in order to make it any easier.


8.) Location: Now I know way back in 2 I said it wasn't entirely necessary to re-locate to a major music market. But remember I also said it definitely helps. And I really do believe that. If you're located in a small town, my strong advice to you is to at least perform often in the nearest major city near you and consider it your "home-base." You're going to sell a hell of a lot more of your CDs, build a much bigger fan-base, and attract much bigger press coverage than the small town you currently call home (you know, the town with one bar/tavern/pub/club that will only spotlight live music of a different genre than what you're doing).


And like I said before, when you create a buzz in a market with enough people around to buy massive quantities of your CD (a figure as low as 5-10,000 units independently sold will start inducing serious label offers), the labels will start showing up at your gigs. Remember, they want to be a part of what's selling...and that could be you!

Much love and good luck in your music career--with or without a record deal.
 
May 29, 2008
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#4
who have you managed that has a REAL music career? no, i'm not hating, this is a serious question. Sell me on why i should buy into your theory.

I take no offense in your question whatsoever, and I would understand if the article was totally wrong in every sense and did not earn one agreeable point of your argument. I'd like to add, it was not my direct editorial.

I am a little bit confused as to your question.(1) I am not sure as to what "you" define as "Real Music Career".(2) I also am not sure how this doesn't sound like "hate" unless there are "Fake Music Careers".

If you haven't already checked out my page, I manage Hugh E MC, and the GorillaPits. Both artists can be statistically reviewed on Soundscan. Both can be found with airplay throughout the nation. Their fan base is also evident in statistical form as well. Both have proven works that can be found in many stores, especially in the bay area. Both have "Real" business entities that function like any other form of commerce in the industry. Music is produced, sold in various markets, carried by various distributors, and digitally represented all over the world.

My intent from the jump was to share this educational aritcle from a "credible" source like Stacy Lefevre, in hopes that I may increase general discussion and possibly help address issues I am familiar with.

The above discussed article is a resource, not a theory as expressed by myself, but a tool for education in this industry. I was unable to include the author of this article but here is the reference :

The Eight Reasons Why You Are Not Signed To A Record Deal (2003 update)
by Stacy Lefevre
Jul 13, 2003, 22:04
©2003 Getsigned.com. ALL RIGHTS RESERVED.

Stacy Lefevre is the author of the controversial and wildly popular article “The Eight Reasons Why You Are Not Signed To A Record Deal” which has been translated in over 10 languages and published in magazines and journals all over the world. LeFevre, a pseudonym for a well-known music industry executive, has managed major label and unsigned recording artists alike in his twenty+ year career and is also an accomplished guitarist and home recording enthusiast. He lives in Los Angeles with his cat Blink and his computer.


I believe if you : 1. Make music 2. It sells in stores like Rasputin's, Amoeba, Amazon, Wal-Mart, iTunes, etc, 3. Your Music has seen national exposure from Radio 4. You receive profits from your Music, Performances, Collaborations, Appearances and ASCAP. 5.You employ a manager, lawyer, accountant and pay taxes on your label, sustain a profitable Business Bank Account; Then that's real. Isn't it?
 
Dec 2, 2006
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#5
right on for not taking offense.

I take no offense in your question whatsoever, and I would understand if the article was totally wrong in every sense and did not earn one agreeable point of your argument. I'd like to add, it was not my direct editorial.

I am a little bit confused as to your question.(1) I am not sure as to what "you" define as "Real Music Career".(2) I also am not sure how this doesn't sound like "hate" unless there are "Fake Music Careers".

If you haven't already checked out my page, I manage Hugh E MC, and the GorillaPits. Both artists can be statistically reviewed on Soundscan. Both can be found with airplay throughout the nation. Their fan base is also evident in statistical form as well. Both have proven works that can be found in many stores, especially in the bay area. Both have "Real" business entities that function like any other form of commerce in the industry. Music is produced, sold in various markets, carried by various distributors, and digitally represented all over the world.

My intent from the jump was to share this educational aritcle from a "credible" source like Stacy Lefevre, in hopes that I may increase general discussion and possibly help address issues I am familiar with.

The above discussed article is a resource, not a theory as expressed by myself, but a tool for education in this industry. I was unable to include the author of this article but here is the reference :

The Eight Reasons Why You Are Not Signed To A Record Deal (2003 update)
by Stacy Lefevre
Jul 13, 2003, 22:04
©2003 Getsigned.com. ALL RIGHTS RESERVED.

Stacy Lefevre is the author of the controversial and wildly popular article “The Eight Reasons Why You Are Not Signed To A Record Deal” which has been translated in over 10 languages and published in magazines and journals all over the world. LeFevre, a pseudonym for a well-known music industry executive, has managed major label and unsigned recording artists alike in his twenty+ year career and is also an accomplished guitarist and home recording enthusiast. He lives in Los Angeles with his cat Blink and his computer.


I believe if you : 1. Make music 2. It sells in stores like Rasputin's, Amoeba, Amazon, Wal-Mart, iTunes, etc, 3. Your Music has seen national exposure from Radio 4. You receive profits from your Music, Performances, Collaborations, Appearances and ASCAP. 5.You employ a manager, lawyer, accountant and pay taxes on your label, sustain a profitable Business Bank Account; Then that's real. Isn't it?
info seems pretty accurate and is great knowledge. i'm skeptical when it comes to actual results, especially bay area artists. what do i consider a real music career? a lucrative one. a career that actually qualifies as an annual income. paying those taxes. technology allows for anybody to be a "rapper". as far as hate and fake music careers. i'm not hating, but tend to be a realist when it comes to actual business. spending 10k on some cd's, posters, flyers, and adds doesn't qualify as a CAREER in my book. it's hard for any business to be successful without any real investment from the begining. Managing artists without any real budget is senseless imo. These artists come a dime a dozen in the bay area. I support labels in the bay area, but it has to be business not a big show. To be honest, imo, i can count on both hands, the artists that can claim a career as an artist in the bay area. i believe the rest are just lying.
 
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#6
info seems pretty accurate and is great knowledge. i'm skeptical when it comes to actual results, especially bay area artists.
I understand your concern and address it this way, there are too many individuals that operate differently in all that they do. Never judge a book by it's cover. Most of the artists you are familiar with, I am also familiar with. I have seen personally many business dealings from the inside POV. It's easy to have skepticism when you compare apples to oranges. Bay Area Artists are still Artists, they still do shows, make music, and have fans all over.

what do i consider a real music career? a lucrative one. a career that actually qualifies as an annual income. paying those taxes. technology allows for anybody to be a "rapper". as far as hate and fake music careers. i'm not hating, but tend to be a realist when it comes to actual business. spending 10k on some cd's, posters, flyers, and adds doesn't qualify as a CAREER in my book.
***Realist : (definition) a person who tends to view or represent things as they really are.*** I believe I am a realist as well according to this definition. The points I made in my reply co-inside with what you have as a "Real Music Career". Keywords are annual income, and taxes. As for "Actual business" again this contradicts the statement. "Real" Music Career instead of Music Career, and "Actual Business" instead of Business. If you spend one dollar and make two back that's business. So really it comes down to how much money is each artist making. This is how I understand you are gaging these Bay Area Artists' careers. If understand it through your reply, "if they aren't shining with jewels, and spending 80K on cars and clothes, you don't validate them as having a 'Real Music Career'." --- If you have 10K to spend on Cd's, posters, flyers and ads <-- !!!!!!ADS FOR YOUR BUSINESS!!!!!**** then you are handling your music career *imo*. Not many people spend 10K on a hobby and expect to do it monthly, quarterly and yearly.



it's hard for any business to be successful without any real investment from the begining. Managing artists without any real budget is senseless imo.
Again, this is your formulated opinion, but every single artist in the history of music had to start from the bottom. I became a manager for the little talented people that need this type of help. I intend to deliver "Business" the Careers of some of the Musicians/Aritsts, who you know and I know need it. A lot of artists, have made good music, which has brought them a "Real Music Career" and they now need help doing the "Actual Business" side of things. Part of being a "Manager" as well, IMO, is generating business for these talents, and capitalizing off it. If they weren't talented they wouldn't have fans, thus they wouldn't have income. Which ultimately leads to them not having any "Real Music Career", "Actual Business", or even a "Manager" in such a case.


These artists come a dime a dozen in the bay area. I support labels in the bay area, but it has to be business not a big show. To be honest, imo, i can count on both hands, the artists that can claim a career as an artist in the bay area. i believe the rest are just lying.
I agree, that there are more artists than cockroaches in the bay. This is another reason for my deciding to do what I do. We should be in complete agreement when I say the only thing we might be lacking here for our artists is the corporate face to represent these artists. And I am trying to be that face. The education to read and revise as well as council on these contracts that we see. The knowledge and know-how to call and visit the major labels, distributors, RADIO STATIONS, magazines, etc, etc. Most Artists need more knowledge, business ethics, as well as a trustworthy source, to be "lucrative" in their "Real Music Careers".
-- I also have this personal opinion to add..... The radio doesn't show us love. The Dj's do, but the stations don't. If you are truly a station rep, I ask that you judge the music, not the likes and dislikes of the artist. "There are only two types of music in the WORLD, good and bad" --- Dizzy Gilespie

I am open to more conversation on this and again am no way offended nor intend to offend anyone. I am really trying to play my position and do what I do.
 
Dec 2, 2006
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#8
you definately are manager material.

I understand your concern and address it this way, there are too many individuals that operate differently in all that they do. Never judge a book by it's cover. Most of the artists you are familiar with, I am also familiar with. I have seen personally many business dealings from the inside POV. It's easy to have skepticism when you compare apples to oranges. Bay Area Artists are still Artists, they still do shows, make music, and have fans all over.



***Realist : (definition) a person who tends to view or represent things as they really are.*** I believe I am a realist as well according to this definition. The points I made in my reply co-inside with what you have as a "Real Music Career". Keywords are annual income, and taxes. As for "Actual business" again this contradicts the statement. "Real" Music Career instead of Music Career, and "Actual Business" instead of Business. If you spend one dollar and make two back that's business. So really it comes down to how much money is each artist making. This is how I understand you are gaging these Bay Area Artists' careers. If understand it through your reply, "if they aren't shining with jewels, and spending 80K on cars and clothes, you don't validate them as having a 'Real Music Career'." --- If you have 10K to spend on Cd's, posters, flyers and ads <-- !!!!!!ADS FOR YOUR BUSINESS!!!!!**** then you are handling your music career *imo*. Not many people spend 10K on a hobby and expect to do it monthly, quarterly and yearly.





Again, this is your formulated opinion, but every single artist in the history of music had to start from the bottom. I became a manager for the little talented people that need this type of help. I intend to deliver "Business" the Careers of some of the Musicians/Aritsts, who you know and I know need it. A lot of artists, have made good music, which has brought them a "Real Music Career" and they now need help doing the "Actual Business" side of things. Part of being a "Manager" as well, IMO, is generating business for these talents, and capitalizing off it. If they weren't talented they wouldn't have fans, thus they wouldn't have income. Which ultimately leads to them not having any "Real Music Career", "Actual Business", or even a "Manager" in such a case.




I agree, that there are more artists than cockroaches in the bay. This is another reason for my deciding to do what I do. We should be in complete agreement when I say the only thing we might be lacking here for our artists is the corporate face to represent these artists. And I am trying to be that face. The education to read and revise as well as council on these contracts that we see. The knowledge and know-how to call and visit the major labels, distributors, RADIO STATIONS, magazines, etc, etc. Most Artists need more knowledge, business ethics, as well as a trustworthy source, to be "lucrative" in their "Real Music Careers".
-- I also have this personal opinion to add..... The radio doesn't show us love. The Dj's do, but the stations don't. If you are truly a station rep, I ask that you judge the music, not the likes and dislikes of the artist. "There are only two types of music in the WORLD, good and bad" --- Dizzy Gilespie

I am open to more conversation on this and again am no way offended nor intend to offend anyone. I am really trying to play my position and do what I do.
no denying that. but we both know it starts with revenue. i wish you guys the best of luck. that is the truth we know to be true. it isn't about jewels and the material aspects, it's about progress.
 
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#11
with the state of rap music as a whole right now I offer artist one plain and simple piece of advice.


Do it for the music, not the money.
exactly, i just got signed locally and will be making a little extra here and there from shows, but im never going past this, cause after this stage comes all the bullshit i dont need
 
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#12
I usually tell artists that you won't need me until you are doing more business than making music....if your buzz, or your music is doing so well that you need someone to do the "business" side so you can work on your craft, then that is when hopefully someone like me will be able to help....
 
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#13
Some New Stuff

How to Approach Booking Agents (2008 Version)

by Jeri Goldstein
Jan 30, 2008, 09:50
ALL RIGHTS RESERVED.


You have reached that point in your career development when adding an agent to your team would be a logical next step. Before you pick up the phone and start calling around, I suggest you do the following three steps.

1. Take inventory and create an overview of your career position to date. This process and information will help you present a clear picture of your career for yourself and assist you in making a more powerful pitch to any agent you are considering.

Taking inventory includes re-evaluating your past two year's growth. I would include a list of all your past performance venues, the fees you actually received, the capacity of the venue and the number of seats you sold. If you haven't been keeping track of this information, it is not too soon to begin. Along with these details, I would also list the merchandise sales you had for each venue. All of this information helps assess your growth from year to year and venue to venue especially when you play a specific venue a number of times during the year. If your numbers increase each time, there is good indication you are building a following. This is exactly the type of information a booking agent wants to know when determining whether they will invest their time and money to add you to their roster. When you present an organized evaluation of your career development to an agent along with your promotional package, you immediately set yourself above most scouting for an agent. This presentation tells the agent that you are mindful of your growth and are organized in the manner in which you conduct your business. These are attractive aspects of an artist's livelihood to any agent.

2. Create a set of career goals, timelines and projections. Most artists are looking for an agent to relieve them of work they dislike doing for themselves-making calls to book gigs. Look for an agent to help you raise the level of your performance dates and increase the number of dates and the performance fees. Set career goals for the types of venues you would like to play and present this to prospective agents. Determine a specific time line in which you would like to have these goals accomplished. Then based on the kind of concrete information you've gathered from your evaluation (step 1 above), you can make some realistic projections about what percentage of increase you foresee in the next two years. For example, based on last year's information, you are able to determine that your bookings, fees and merchandise will increase by 20% during the next year and 20% the year after. When you present an agent with hard numbers they can more effectively evaluate whether or not it is worth their involvement.

3. The final step before making phone calls, is to do some research. It doesn't matter how well organized you are or how talented you are, if you are calling the wrong type of agent, you are wasting your time. There are many different databases or agency listings one can review. You may need to purchase some of these directories, but it will be well worth the expense when you begin calling appropriate agencies for the type of performance you present. Some resources with agency listings are:

* 2008 Indie Venue Bible - 26,000 Clubs + 2,000 Booking Agents that will book your shows
* 2008 The Musician's Atlas
* 2008 Songwriter's Market Directory

* Musical America
* Chamber Music America
* Association of Performing Arts Presenters
* Pollstar


Some agents book specific genres music or styles of performance. When researching agencies, determine if the genre of music or the type of performance is compatible with your own. Check their roster of artists to see if you recognize anyone. There may be some acts for which you might open-when finally speaking with someone at the agency, mention that. Create a list of appropriate agencies and make sure you get the names of one or two or the head of the agency if it is a small company. If you know any acts that are working with a specific agent with whom you might be compatible, ask that act if they would mind sharing some information about their agent. You may get some insider information regarding whether or not it is a good time to make your pitch based on who the agent just signed or if they are looking for new acts to add.

Another method of researching agents is to attend booking and showcasing conferences. Agents often use these conferences to scout for new talent. Seeing acts in live performance help agents get a sense of audience reaction as well as getting a better picture of what they might potentially be selling. The other great benefit to attending booking conferences is that you can walk around the exhibit hall and meet all the agents who are representing their acts. View their booths to see who is on their roster as well as examining how the agency presents their artists with their booth display. You can get a sense of the agents organization and creativity by the manner in which they represent the talent. Stand by and listen to the way they pitch their artists to prospective buyers.

In conclusion, with these three tasks under your belt, you can confidently present yourself to appropriate agencies when you feel you are ready to make a pitch. You will present a much more professional overview of your act with a clear evaluation of your past performance and a realistic projection of your future.

About the Author:

Jeri Goldstein is the author of, How To Be Your Own Booking Agent: A Performing Artist's Guide to A Successful Touring Career. She had been an agent and artist's manager for 20 years. Currently she consults with artists, agents and managers through her consultation program Manager-In-A-Box and presents The Performing Biz, seminars and workshops at conferences, universities, for arts councils and to organizations. Jeri has just release a 3-hour seminar on CD-ROM, Marketing Your Act. The Seminar is set up in 5 modules with information about Marketing, Creating Effective Promotional Materials, How To Access the Media, A Marketing Template and Niche Marketing. No expensive conferences to attend-learn at your convenience to boost your career. Her book, CD-ROM and information about her other programs are available at www.nmtinc.com
 
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www.reverbnation.com
#15

thanks for the link. I am a big fan of Wendy Day, whom I was lucky enough to meet at a B.A.R.S. Summit thrown by Danny Dee. She was on the panel and gave some of the greatest information about music, and it's direction in the future. Some of my blogs come directly from her and I credit Ms. Wendy Day for helping develop my ethic and demeanor as a Manager. I also get a lot of useful info from www.getsigned.com ; I have active and resourceful marketing in place with this site : www.reverbnation.com ; and the siccness is my number one place for finding information that deals directly with the Bay Area.