With all of the ‘don’t do this’ and ‘don’t do thats’ that we are deluged with daily regarding your career in music, it is easy to become overwhelmed. The truth is that, if you are serious about your music, you most likely do a lot of things right every day. For that you [...]]]> © 2010 Vinny Ribas 

With all of the ‘don’t do this’ and ‘don’t do thats’ that we are deluged with daily regarding your career in music, it is easy to become overwhelmed. The truth is that, if you are serious about your music, you most likely do a lot of things right every day. For that you need to be applauded. Most importantly, YOU need to applaud yourself for the things you do right, no matter how small each step is! Without recognizing the good things you do every day, you can become overburdened with guilt over the things you haven’t gotten to yet! 

Here are some small steps to celebrate. Add your own, based on your personal role: 

1. Adding a new fan to your fanbase
2. Updating your online calendar(s)
3. Making a call to book a gig, regardless of the result
4. Booking a gig
5. Making a good connection with someone from the industry online
6. Attending a music industry networking meeting
7. Reading this magazine and any other educational material
8. Signing up for a workshop or seminar
9. Attending a workshop or seminar
10. Learning a new song
11. Sitting down to write a song (whether you finish one or not)
12. Writing a new song
13. Adding to your ‘song ideas’ list
14. Practicing your instrument
15. Doing your vocal exercises
16. Taking a lesson (voice or instrument)
17. Updating your blog
18. Selling a CD or EP
19. Selling a digital download
20. Writing/sending a newsletter
21. Posting a new song online
22. Making a video (even a home video)
23. Posting a video
24. Setting up a co-writing appointment
25. Rehearsing with the band
26. Co-writing
27. Taking new pictures for your website
28. Posting new pictures online
29. Writing a new set list
30. Changing the strings on your guitar
31. Cleaning your instrument
32. Buying new equipment
33. Learning how to use your equipment better
34. Pitching a song
35. Making a good new contact to add to your personal network
36. Friending people who really like and listen to your music
37. Writing a press release
38. Sending out a press release
39. Putting together a hard-copy promo package
40. Putting an EPK (electronic press kit) together
41. Updating your EPK
42. Communicating with your fans (email, chat, IM etc.)
43. Posting fliers or other announcements about your next gigs
44. Texting your fan base regarding your gig
45. Selling merchandise
46. Adding someone to your street team
47. Recording a song
48. Checking your supply inventory (batteries, CDs, merch, strings etc.)
49. Adding a useful widget to your website or social network
50. Purposely listening to music outside your genre to find new influences 

As you can see, if you have a plan for your career and you are working it, you have a LOT to be happy about. But notice that I don’t suggest that you just pick 10 of these to do. That is because it is easy to fall into the trap of getting complacent doing ‘busy work’, and not doing the things that really move your career forward. Every one of the things on this list that applies to your career is equally as important as the next!

Let’s say you and your band members pooled your money and spent $1,000 on a really cool music video. And low and behold, it went viral on YouTube and was seen by 1,00,000 people in a week! Then David Letterman decided to air it on his show, reaching countless millions more. Now, because of that [...]]]> © 2010 Vinny Ribas

Let’s say you and your band members pooled your money and spent $1,000 on a really cool music video. And low and behold, it went viral on YouTube and was seen by 1,00,000 people in a week! Then David Letterman decided to air it on his show, reaching countless millions more. Now, because of that exposure, 10% of those YouTube viewers (100,000) want to buy your latest CD. And the icing on the cake is that you’ve started getting calls for gigs from all over the country! You’re an overnight sensation! Sounds wonderful, doesn’t it? 

OK, so let’s see how great this really is. Millions of people see your video. That’s awesome publicity, and it only cost you $1,000. Now you have to capitalize on it before the luster wears off. Let’s take a look at what happens from here: 

• You have 500 CDs in your garage that you sell at your gigs. Overnight you need to have 95,500 more, and that costs a lot of money. Where will that come from and who can turn the order around that fast? Or worse yet, you don’t have a CD yet – just the one song you made the video for! If you can’t produce, you’ll soon be nothing but a fluke.
• Your new fans are demanding new videos, and you’re expected to up your game. You can’t disappointment them. This is your real shot. Where will the money come from? Do you have comparable video ideas in place?
• People worldwide are suddenly looking to buy your music. Do you have it on I-Tunes, Amazon and on other music resellers? Does CDBaby have it, and if so, how many copies? Do you have physical distribution so it can be rushed out to stores?
• People everywhere want to visit your website, subscribe to your newsletter, subscribe to your blog etc. Are those all in place? Do they look professional? Are they up to date?
• You’ve got countless new fans! Who’s going to manage the fan base? Do you have a way to capture email addresses and demographic information (gender, zip code, age etc.)?
• Thousands of people want to download your music. Can they do that directly from your website so that you make the most money? If not, are you at least directing them to where they can buy it? Is it available on all of the digital resellers?
• Venues are calling asking for booking dates. They want EPKs. Do you have a professional EPK in place? How about a physical press kit?
• Venues want to lock in dates right now while you are still popular. Do you have a tight band together that is ready to hit the road? Do you have enough similar-style songs to do a complete show or fill a night? Do you have a booking agent to handle all of the calls? If not, who is going to field the calls, schedule the dates, issue the contracts, send out the riders (if you even have one) etc.?
• The first gig opportunity is in 2 weeks. Do you have the vehicle(s) to get to the gig? Do you have top-notch equipment for playing the gig? Are you well-rehearsed?
• The press is calling for interviews. Are you ready? Are you comfortable in an interview setting? Do you know what to say and what not to say? Who is the spokesperson for the act? Do you have a publicist handling the calls and strategizing on the best opportunities to take and the ones to turn down?
• Record labels are calling wanting you to sign with them and offering all kinds of creative deals. Do you have a manager to negotiate on your behalf? How about an experienced entertainment attorney? Have you previously discussed the idea of signing with a label with your band, team and family so you know what you really want? Do you know enough about the business to make the wisest decisions, especially ones that will effect your career in every way and for a long time?
• Radio stations are calling asking for your music. Are you set up to send your music to thousands of stations worldwide, call for follow-up interviews, go on a radio tour etc? 

I could go on and on about other chaotic scenarios that could arise from overnight success. But don’t get me wrong. I am not trying to discourage you from chasing the brass ring. The real point I am trying to make is that it is important to prepare for, plan for and manage your success! All of the challenges that I have brought up are the result of poor planning, or lack of planning altogether. To be stable, your music career should be built on a deliberate sequence of events. That sequence can vary from artist to artist based on his or her desired results. But your plan should always be structured such that each move adds strength, dimension and value to the previous moves, just as if you were building a house. 

The process of determining where you want to go and how you are going to get there is called developing a Business Plan. The process of mapping out each step, when it will be done and who is going to do it is called developing a Strategic Plan. Every wise businessperson develops these when they are planning on opening a business. He or she then reviews and updates the plans every 3-6 months to make sure they are still on track and to make adjustments based on any fluxuating or unforeseen circumstances. No bank or investor will give money to a business without seeing these plans drawn up in detail. Having workable, well-though-out, well-sequenced and financially sound plans is how empires are built. If you want your career to have the impact, stability and financial rewards of a musical empire, shouldn’t you follow their lead and do the same?

These days the music market is more fickle and ever changing than ever. Your fans have an uncountable number of choices regarding the music they want to listen to and ultimately buy. And they themselves are changing. They grow up, take on different roles in life, find new interests etc. As an independent [...]]]> © 2010 Vinny Ribas

These days the music market is more fickle and ever changing than ever. Your fans have an uncountable number of choices regarding the music they want to listen to and ultimately buy. And they themselves are changing. They grow up, take on different roles in life, find new interests etc. As an independent artist, your have three choices. You can do everything in your power to hang on tightly to the fans you have, do nothing and hope to find an entirely new fan base every few years, or do a little bit of both, keeping some fans while picking up a few new ones along the way. All three can have their merits. However, if you pick the ‘do nothing’ or ‘do a little bit’ approaches, you run the risk of one day waking up and having to ask yourself, “Where did all of my fans go?” 

Why does an artist lose seemingly loyal fans? Here are some of the more prevalent reasons, along with ways to either deal with them or prevent them from happening. 

• You’ve stopped communicating with them. Your fans crave attention just as much as you do! If they don’t get it from you, they will find it elsewhere. You might also not be communcating at their level any more. Stay in touch!
• You and your music didn’t evolve as your fans did. Your job is to maintain your brand while sounding current at the same time. It tales skill, but it can be done.
• You failed to deliver what your fans expected from you. This might be because you didn’t really read or gauge them correctly. Knowing your fans and what they like about you is crucial so you can keep delivering that. It might also result from changing in some way more than your fans were ready to accept. Always make crucial changes slowly and deliberately, and give your fans fair warning of what’s around the corner.
• You did something to adversely affect your reputation. This might be something that happened onstage or behind the scenes. It might be something in your personal life that has nothing to do directly with your career. Keep in mind that your fans are watching you at all times.
• You never connected on a personal level. Fans like to feel like hey know you – like you are their friend. If you don’t let them into your life just a little via a newsletter, social network etc., they will go find someone else who really wants to be their friend.
• Your music never really connected on an emotional level, making you easily forgettable. This happens often when you play a lot of cover tunes, or if you just go through the motions. You may be an amazing band, but your fans never really get to know the real you. No matter what kind of music you play, and especially when you record, be sure to make room for your true personality to come through.
• You haven’t improved over the years. This usually results from complacency. You should always challenge yourself to be better than you’ve ever been, both live and on your recordings. You’ll be more satisfied, and your fans will want to keep coming back to see what kind of changes or improvements you’ve made.
• You have been replaced by your competition. Again, this may be a matter of getting too complacent. There will always be a new kid on the block who is trying to buck you. Never rest on your laurels. Fight for your fans with every fiber of your being.
• You fans grew up and their lives changed, but you and your music didn’t keep pace. People get new jobs, get married, have children etc. The things that were important to your fans even a year ago might not me quite as important today. By the same token, things that were trivial or not even thought about back then might be foremost on their minds right now. If you want to keep your fans over a long period of time, you need to know what is relevant in their lives right now.
• You’re still playing the same old music. That works if you have enough hits to fill an evening. Otherwise, very few people will want to hear the same thing over and over again. Keep your sets fresh.
• Something changes in their lives. For example, if your fans are college students, when they graduate they move on to a new life and often relocate to wherever they can find a job. The geographic area you perform in might be facing tough economic challenges. That could result in less people at gigs and less music sales. Be aware of things that affect your fans and find ways to accommodate them, bend with them, or if possible, take advantage of them.
• You’re trying to hard. Sometimes when we feel like things are slipping away from us, we keep making adjustments hoping to reverse the flow. That often means trying to be something that we’re not. You may need to slow down and analyze the situation very closely. Sometimes you can make adjustments naturally. Other times you may find that it would suit you better to find a new audience.
• They simply found someone or something new to focus their attention on. Sometimes, someone else might come along and, for some reason, simply mesmerize and captures the attention of your fans. And sometimes other things just become more of a priority in their lives and take the place of going out to see music (e.g. a local sports team starts doing great so everyone goes to the games instead.). In these situations there is often not much you can do about it, except to keep fighting the good fight. If you’ve built relationships with your fans, they will be yours for life. They will always remember you and the ‘good ties you had’. However, they just might not show it by coming to your gigs or buying your music as much any more. It happens to major superstars, so there’s a good chance it will happen to you. Your choices are to hold on dearly to and cater exclusively to those die-hard fans who are still following you, or to work hard build a brand new audience. 

The bottom line is that if you treat your fans right, and work hard to keep them, they will be yours for a lifetime. If you lose touch or lose relevance to them, they will move on to the next one.

© 2010 Vinny Ribas

 These might be the most liberating words you’ll ever hear as a musician. No matter what kind of music you create, if you do it well enough, there is an audience for you! Not only does an audience exist; it is anxious to find you! That may [...]]]>

© 2010 Vinny Ribas

 These might be the most liberating words you’ll ever hear as a musician. No matter what kind of music you create, if you do it well enough, there is an audience for you! Not only does an audience exist; it is anxious to find you! That may sound a bit overdramatic, but it is completely true. Think about all of the genres of music that exist in the world. Now think about all of the artists who combined 2 or more genres to create a new one. There are no longer limits. The constraints are off because the Internet enables you to find your audience and your audience to find you no matter who and where they are!

Let me give you some examples. You could write and sing nothing but country lullabies and mothers who like country music would buy them. You might even make a living performing at pediatric conventions! You could write and sing songs about your animals, and animal lovers will buy them. You might make your living playing veterinary conventions. You can write and sing songs about shoes and not only would women who love shoes buy them, so might podiatrists. You might write and sing disco songs in Polish, and my bet is that you would find a huge audience both in Poland and in certain parts of the US.

What does this mean to you specifically? It means that you are free to be yourself. You can write and sing what YOU feel, not just what you think your audience feels. You can do what you love and sing about what really matters to you. You can express your ideas, concerns, celebrations and beliefs. You can make a confession, pose a question, start a new train of thought or propose a solution. There are people somewhere in the world who will agree with you and become your fans.

I know what you’re thinking. If this is true, why are there so many talented but broke musicians? I propose that there are 6 primary reasons that either individually or in some combination create this situation: 

1. Many singers and musicians only perform cover tunes, and often copy the original artists. They don’t write their own songs, nor do they develop their own original sound. There is absolutely nothing wrong with this! Original artists need cover artists to introduce their original songs and musical style to a wider audience. However, it is more difficult for a cover band to develop a worldwide following than it is for an artist with original songs and/or styles.
2. Too many artists sit waiting for their audiences to find them, rather than seeking out the most likely markets where their audiences would be. This is a very common challenge. Many artists fail to take charge of their careers and become marketing machines. Today’s artists either need to learn enough about marketing (and business) to do it them themselves, or they need to find or hire someone else to do it for them.
3. Most artists are not original enough. There is only so much room for sound-alike artists before the market becomes saturated. They might write their own songs, but they are so similar to what is or has already been popular that they are quickly overshadowed. Their overall sound may not be unique enough to differentiate them from the pack. They are trying to jump on the current bandwagon instead of working to capture an audience that few others, if any, have captured. Artists need to find and develop their own audience niche.
4. Many artists don’t keep up with and take advantage of technology. Their music is not online. They don’t participate in social networks. I know it is almost impossible to be on top of every new technological advance. However, there are basic steps like these that every artist should take. And of course, every artist is competing with other artists who do their homework and embrace technology to its fullest. This means that if an artist falls behind even just a little, they are instantly at a disadvantage.
5. A large percentage of artists have not developed and improved their talent enough to be competitive. This is an unfortunate circumstance because many artists just don’t realize the level of talent that they are competing with. Others just don’t have the drive to keep getting better. Others simply don’t have the natural talent to build on. That said, there are many artists with marginal talent at best who are very successful. They accomplish that by knowing their strengths and playing up to them while playing down the areas they are weakest in. They may be so-so singers but have developed amazing stage performance, honed their marketing skills, discovered a way to be truly unique and/or advanced their business skills or other abilities. Many surround themselves with more talented singers, musicians or business-minded people who compensate for their own personal weaknesses, enabling them to be successful is spite of their shortcomings.   
6. Many artists treat their careers as hobbies rather than as businesses. This results in several major problems:
   1. Artists who take their careers seriously and take care of business often leave them in the dust.
   2. They get easily lost and/or discouraged because they don’t have goals and an action plan in place.
   3. They don’t study their market, so they either ask for more money than they are worth (resulting in less gigs), or they under-price themselves.
   4. They may get a reputation for being unprofessional, hard to work with, unreliable, selfish, sloppy/unrehearsed and/or even egotistical.

It is up to every artist to insure that business is always taken care of both on stage and off. 

So, if you have some form of marketable talent, you find that blend of genres, messages and influences that is uniquely and honestly you, you define and pursue those demographics that would most likely enjoy and purchase your music, and you treat your music as a business, I am certain that you will find those raving fans who will continue to support you for years to come.

For many an aspiring artist, music sounds like a glamorous way to make a living. And, there is no doubt that it can be. However, before they reach the glamorous stage of their careers, and then from there on, it is a real job requiring hard work to stay at the top of [...]]]> © 2010 Vinny Ribas

For many an aspiring artist, music sounds like a glamorous way to make a living. And, there is no doubt that it can be. However, before they reach the glamorous stage of their careers, and then from there on, it is a real job requiring hard work to stay at the top of their game. Music careers have a lot of high and low points, opportunities and challenges, and definitely up sides and down sides. There is often instability. In other words, it doesn’t matter whether you’re a local act or a top-selling national act; it is a lot of very hard work and definitely hot for someone who is going to treat it like a hobby. The question you need to ask yourself is, “How badly do I want this?”

Here are some of the obstacles that it takes solid determination to overcome:

1. Dealing with creative or ego-driven personalities. These can be major challenges for someone who likes balance, order and organization. Creatives often don’t adhere to strict schedules, have way more ideas than anyone can process, go off on unrelated tangents in the middle of something, and need outlets for their creativity. Ego-driven personalities need the world to revolve around them. Both personality types can be very disruptive. So, if like balance you’re more organized and business-minded, then you might get unbearingly frustrated. There are several solutions to this:
   1. One is to take on the role of the band manager. That means you are in charge of keeping order, planning rehearsals, insuring everyone has proper gig information etc. You should get paid extra for this.
   2. Find other business-minded musicians to work with.
   3. Go into the management side of the business. You’ll still be dealing with artists, but you can choose which ones you want to work with.
2. Playing the same songs over and over every night again can get boring. There are several fixes for this.
   1. Make it more about pleasing and entertaining the audience than it is about you. Every audience is different, so every gig should be different.
   2. Compare it to having a traditional job in which you do the same thing over and over again. Which would you prefer doing?
   3. Learn songs that challenge you. Keep getting better at your instrument)s) and/or vocals and then stretch your boundaries.
   4. Surround yourself with other players who will continuously challenge you.
   5. Write original songs and find venues that will allow you to play them.
   6. Rehearse and learn new songs often to keep your set list fresh. Keep in mind that artists with hits have to plays those songs every night for the rest of their careers!
3. Inability to get booked. Many acts, especially new ones, struggle with getting enough gigs to establish themselves. If this is your challenge:
   1. Insure that the band is as good if not better than the acts that are competing for the same gigs.
   2. Insure that your marketing materials (website, EPK etc,) are complete and stand out from the crowd.
   3. Don’t sit around waiting for the phone to ring. Take the bull by the horns and learn how to book yourself. If possible (or necessary), finds a booking agent who believes in you and will keep your calendar filled for or with you.
   4. Ask someone else who you trust and who is good at sales to be your personal agent and make calls to book you for a percentage of your income.
4. Inability to go to the next level. There can be many reasons for this, and so the solution lies in a deep self-examination. Some of the reasons acts hit roadblocks are:
   1. The act is not as good or tight as it needs to be. Ask for professional critiques on every aspect of your act.
   2. The act doesn’t stand out from the competition in any way. Find a manager or coach that can help you with this.
   3. Someone involved with the act has a difficult personality to deal with. This could be you, someone in the band, someone on your business team etc.
   4. The marketing materials don’t sell the act. Again, have a professional revamp them so they really sell you.
   5. The management team isn’t doing its job. Have very specific expectations of everyone on your team, and replace those that are under-performing.
   6. You’re simply not asking for it. Quite often you have simply priced yourself too low, or just haven’t knocked on the bigger doors.
5. The act breaks up. Obviously, having to start from scratch is not a pleasant situation to be in unless it is your choice. However, if you’ve been building relationships in the business all along, you can easily capitalize on them to launch your new act. For example, if you got to know the entertainment buyers where you played, then it will be easy to call them up to introduce your new act. If they trusted you before, they will trust that your new act will be of the same or higher caliber. Build your Rolodex now so that re-building is not such a daunting task.
6. No big break. So, you never got that big break you were counting on. Is that grounds for throwing away everything that you’ve accomplished to date? Is life without a gold record that unbearable. Is being a well-paid, well-respected, full-time entertainer such a bad thing? It is important to keep your perspective. Of course you want it all – we all do. But you will never have it if you give up. Instead, keep in mind that you may achieve your ultimate success in ways you could never have imagined. You don’t know what lies ahead as a result of your persistence that could give you more satisfaction than that gold record every could have. Just stay the course, continue your pursuits indefinitely and enjoy your life as a performer in the meantime.

There are literally hundreds if not thousands of topics that can go into this category. But the truth is that these same obstacles crop up in every single business on the planet, not just music. Whatever you goal is, if you don’t want it with every fiber of your being, you will never be able to deal with the obstacles that are bound to be in your way. And if you do want it badly enough, mountains will move so you can attain it!

There is no question that have a career as a full time entertainer can put a strain on any and all personal relationships. The keys to resolving this are planning, trust, understanding and compromise.  Here are some examples of the challenges and possible ways to deal with them:

In many ways, being an artist is no different than having any other business. Once you announce to the world that you are ‘open for business’, like it or not you invite scrutiny by fans, the press, entertainment buyers, other artists and everyone else. It is your duty to insure that you are [...]]]> © 2010 Vinny Ribas

In many ways, being an artist is no different than having any other business. Once you announce to the world that you are ‘open for business’, like it or not you invite scrutiny by fans, the press, entertainment buyers, other artists and everyone else. It is your duty to insure that you are seen in the best light at all times, because anything less can seriously and possibly permanently tarnish your brand or even damage your career. The following tips will insure that you develop a stong and positive reputation.

In Public

1. Be dressed and groomed well enough that you won’t be embarrassed to run into or meet anyone who could be influential to your career.
2. Carry professionally designed business cards with you at all times.
3. Have a well-rehearsed description of your act, the audience you appeal to and what you need next. Don’t fumble over your words.
4. Have a firm handshake and make eye contact with the people you meet.
5. Act professionally to everyone.
6. Avoid doing anything that would compromise your chances of developing a new relationship (like being drunk or high).
7. Don’t put anyone down.
8. Smile. Be positive and upbeat. Have an attractive personality.
9. Be real, not phony, and humble, not egotistical.
10. Don’t ignore anyone, especially if you think they are trying to get your attention.

On Stage

1. Start on time.
2. Be well-rehearsed from the first note. Surround yourself with great musicians.
3. Be sure you’ve checked your sound thoroughly and everything is working right.
4. Be sure your voice (or your playing) is warmed up and as close to perfect as it can be.
5. Be a performer from the first step you take on stage, whether you’re in the mood or not.
6. Work the audience right away. Don’t ignore them or they will ignore you.
7. Show the audience the respect they are due by dressing and acting professionally.
8. Give the audience what they came to see and hear, plus more. Never shortchange them! Give them much more than their money’s worth.
9. Invite the audience into your real world through your songs, your banter, stories etc.
10. Stay after the show to meet your new and returning fans.

With Fans

1. After your show, stay to meet every last fan who wants to meet you.
2. Socialize with the audience in between sets.
3. Get to know your repeat fans by name.
4. Mention your fans’ names from stage.
5. Sincerely compliment your fans on something (their appearance, how well they dance etc.)
6. Ask for requests.
7. Buy your better fans a drink, or get them a few free drink tickets.
8. Take a sincere interest in your fans. Ask questions about them. Don’t let the conversation stay focused on you.
9. Dedicate one or more songs to your fans.
10. Show your appreciation often.

Online

1. Have a professional looking website.
2. Be sure your social network sites are professional looking.
3. Take pictures of both new and long-time fans and post them on your website.
4. Be sure your contact information is everywhere and it is clearly visible and readable.
5. Work your social networks by communicating with your fans.
6. Only feature pictures, music, videos etc. that make you look good.
7. Change content often to keep it fresh.
8. Give your fans reasons to come back and visit your sites (contests, giveaways, special announcements etc.) Create anticipation.
9. Never put anyone down. Avoid confrontation unless it is a part of your brand.
10. Presents more facts than hype!

In A Business Setting

1. Dress and conduct yourself professionally.
2. Find something you have in common with the others in the room. However, don’t talk about politics, religion or any other controversial subject unless you really know the people you’re talking to.
3. Bring appropriate team members/advisors whenever possible.
4. Trust your team members’ expert advice.
5. Don’t be a know-it-all. Don’t be afraid to say ‘I don’t know’!
6. Be prepared with business cards, marketing materials etc.
7. Ask questions about the other people present. Show them that it is not just about you.
8. Ask for their business card.
9. Ask when to follow up, then so at the designated time.
10. Be aware of your image and your surroundings. Never put yourself in what could look like an inappropriate or compromising situation.

With An Entertainment Buyer

1. Be prepared with any and all marketing materials you might need, and be sure that everything has your contact information on it.
2. Talk about them, not about you – until they ask.
3. Insure them that you know that your job is to help them reach their goals. Show your concern for their success.
4. Accommodate them if at all possible. Remain flexible.
5. Show your integrity. Be honest.
6. Turn down the gig if you’re not the right act for it. Nobody wins if you’re just bluffing your way through.
7. Price yourself fairly. If necessary, be willing to prove yourself before asking for top money.
8. Offer to help in any way that you can.
9. Follow up. Send personal thank-you cards.
10. Confirm your engagements several weeks ahead of time to avoid any mix-ups. Return or issue contracts promptly.

On The Phone

1. Have a professional sounding message, not a cute or funny one.
2. Make sure that anyone who answers the phone is professional and takes messages.
3. Return phone calls promptly.
4. Keep a running log of your conversations so you know where you left off the last time you spoke.
5. Be sure you have a good phone service so you don’t drop important calls or have static on the line.
6. Be sure you get the name of the person you are talking to.
7. Be sure that you are talking to the right person before you give your entire sales pitch.
8. Think about what you are going to say before you say it.
9. Never say something over the phone that would be better said in person.
10. Keep the conversation brief and to the point unless it is a social call.

At A Conference Or Networking Event

1. Carry business cards.
2. Have demo CDs, DVDs or download cards to give away.
3. Write notes on every business card you receive and keep them all in one place.
4. Dress such that you won’t be embarrassed no matter who you meet.
5. Ask the people you meet about themselves before you talk about yourself.
6. Ask the people you meet what they need and if you can help in any way.
7. Make introductions on the spot if you meet 2 people who should know each other.
8. Introduce yourself to people who seem to be the center of attention. They are the natural leaders and networkers.
9. Introduce yourself to people who are standing or sitting alone. They may not be the big-wigs, but you’ll find that they are often secretaries, aka executive gatekeepers! Or, they just might know people who you should know.
10. Be proactive and aggressive, but not arrogant or pushy.

With The Press

1. Be completely honest. You never want to get caught in a lie, but especially when the whole world can see,  hear or read about!
2. Give credit where credit is due.
3. Be honest, succinct and to the point so that they get the real story
4. Be certain your press releases are in an acceptable format and have all of your contact information on them.
5. Show respect, no matter how small or insignificant you think the publication is. Everything is potentially big if it goes online or is syndicated.
6. If at all possible, give them all the time they need.
7. Be modest amidst their praises. The press loathes arrogance.
8. Know ahead of time what should and shouldn’t be public knowledge. Don’t let anyone trick you into saying something that should not be publicized.
9. Invite the press to your shows, and never make them pay.
10. Thank them for any positive publicity they generate for you.

With Other Artists

1. Publicly recognize their talent
2. Share leads for gigs, team members, agents etc. Work with them in cooperation, not competition, and they will do the same.
3. Be the first to offer to share equipment if you’re on the same bill.
4. Be willing to help them load in or load out if you have the chance. Of course, ask permission first.
5. Invite them to your gigs. Once they see you, they may be willing to open doors for you.
6. Make friends with them. You may also need to work with them sometime, somewhere  down the road. Besides, you can never have too many true friends!
7. Learn their names.
8. Respect them. Treat them as peers, even if they are leagues behind you. Never look down on them. After all, you want those ahead of you to do the same.
9. Offer to coach mentor other artists in an area that you are exceptionally strong in, even if it is just over coffee one afternoon.
10. Be their biggest fans at their gigs. Help them by getting the audience going.

Mike Drudge is the founder of Class Act Entertainment, which represents independent [...]]]> In this video you’ll fnd out what it takes to attract a reputable booking agent, how they work and what they expect. You’ll also learn some tips and tricks on marketing yourself, plus discover what the market is like and what the current trends are right now.    

Mike Drudge is the founder of Class Act Entertainment, which represents independent acts such as The Austin Lounge Lizards, Chip Taylor, Michael Martin Murphey, The Boxcars, The Crowe Brothers, The Whites and many others! 

www.classactentertainment.com  [Content protected for members only]