A-Z Make Money - How To Make Big Money

Bill Gates to Devote Life To Charity; Make Money And You Can, Too

2007-11-27T18:26:00.005-08:00

Bill Gates announced that he will transition out of his day-to-day role at Microsoft by July 2008 in order to spend more time working on the Bill and Melinda Gates Foundation, which focuses on global health and education.

His announcement reminded us of the plethora of graduation speeches that eager students imbibed across the land this spring. As we listened to the meritorious goals heaped on the recent graduates, so they might achieve goals the speaker's generation has found impossible, we could not help but think, why doesn't somebody come out and tell the youthful aspirants what the real challenge is?

Like it or not, today's world, as well as many another age, is conducted by two primary forces: wealth and power, and, other than resort to firearms, power springs from wealth.

So if you want to influence the ways of this outrageously necessitous world, consider the stark truth that all power springs from the opening in a fat wallet. It's called the economic basis of society but, in its current incarnation, in debilitating excess.

When we were recent graduates, we were not aware of such an uncompromising reality and passed up at least two opportunities to make megabucks because we wanted to preserve our mental energy to expend it toward the achievement of our ideals.

Had we been wiser, we would have set aside a few years to stuff our pockets with power and then, like Mr. Gates, have spent the rest of our days placidly pursuing those still-inspiriting ideals.

So we find ourselves, from our own experience, in the unlikely role of advising the most idealistic to enable their altruism by involving themselves, initially, in the activity they undoubtedly are convinced is not the most inviting.

Then, should you be fortunate enough to enable your financial independence, you may, like Mr. Gates, head off into full-time devotion to your undoubtedly meritorious idealisms.

Well, the speech probably would not have been one that would have inspired the administration to invite us back or that the students would have received with endorsement, but the sharp glass on the road through economic necessity is a fact not lightly to be dismissed. Ignore it and you may step on it with painful frequency.

Tom Attea, humorist and creator of NewsLaugh.com, has had six shows produced Off-Broadway and has written comedy for TV. Critics have called his writing ""delightfully funny" and "witty" with "good, genuine laughs."

Make Money Singing

2007-11-27T18:26:00.004-08:00

You've been thinking about it for a while, but you're just not sure how much time, money and emotional expense you want to invest in your singing career. You're sure you've got the talent or you wouldn't even be deliberating the opportunity, but still the question remains. With so many so called "experts" all willing to take your money for some service of some kind, where do you begin to embark upon your singing dream? Certainly if "so and so" can make it in the music business, I certainly should have a chance as well - Or do you?

As a former talent booking agent with the William Morris Agency and jingle singer singing many commercials such as FOX TV, UPN and O'Charley's, I've had the unusual opportunity to visit with many individuals, just like yourself, looking to enter the music industry from one angle or another. Let's take a few minutes to explore some ideas and concepts that might help to further your career.

The first concept to explore is that you should definitely follow your dream of singing if you feel this strongly about it. We'll highlight a few strategies you can embrace to eliminate unneeded spending and to avoid the opportunist that line the internet halls and gateways. For now, just follow your passion of singing and look at authentic methods to get you there - And hopefully by the time you're done reading this you'll have a foundation to start building from.

What do you want to do? Are you looking to get signed as an artist or are you looking to get into the lucrative session singing market singing commercials and backup vocals on a myriad of projects? Because of the broad nature of this article, I will write from a viewpoint of looking to get into commercial singing and session work because both singers can make money and break into their perspective areas of the business, launched from here. For those of you looking at the dream of becoming a solo artist securing the record deal, I will write more future articles for your benefit.
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Let's get a basic game plan in place and expand on it. You need to start setting goals for today, this week, this month, year and five year goals. You need to have an affordable website that will become your business card and you will have a number of pages including home, bio, sample music that will include your reel, pictures, bio and misc/links. A website can be created for next to nothing and doesn't have to cost more then $5 - $10 a month. You will need a demo reel of your singing styles and abilities. You will also have your reel in mp3 format to be able to email to producers, etc. You will need a good record keeping system in place. Figure out what works for you and be consistent. You will need a pager or cell phone which virtually everyone has nowadays.
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Make sure that your goals are realistic - not over aggressive, but challenging enough to keep your career path moving. You might consider sitting down at a coffee shop once a week and looking at and evaluating goals as well as setting up future goals. This doesn't have to be fancy; you may jot these down with a pen, but keep these handy and up to date.

Your website should include a logo and picture of yourself. Don't make the mistake of including cheap looking artwork. Instead, spend a few dollars on a program to help you design artwork layout. We use a $30 program that is fabulous and can't be beat for the price. Spend a few minutes investigating websites, companies that offer hosting with complimentary website building programs and start visualizing a website layout. It must look pro.
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Your demo reel must stand out from the rest. To do this you must create a reel that is without question a knock your socks off, make your socks roll up and down, reel. Your reel must sound like you've already arrived on the scene. Don't be mistaken for the, "My friend has a computer, keyboard and mics," mentality. Your demo reel needs to sound like you've been singing national commercials.
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You will want to include jingles as well as song demos on your reel although if time and money are an issue, then it would be better to stick with a straight jingle demo reel including as many jingles as possible on the reel - This gives you multiple styles to showcase, etc. You will want to stretch your singing styles while maintaining musical integrity. Don't showcase the same musical style over and over - You want as much versatility seen in your demo as possible.

In closing, always remember that content wins. Pro looking and sounding demos reels score more work that multiple half baked reels. Your image on print, media and in person must exude a professional outlook. It is better to be simpler to be more professional, than it is to be sophisticated and not as professional. Understanding these key factors will help drive your career and hopefully land you more session work than you can handle.
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Mr Gauger is a former talent booking agent with the William Morris Agency booking many household name artists and is a jingle singer singing on many commercials from FOX TV, UPN Station ID's, O'Charley's and many others. Mr Gauger can be contacted at http://www.reelmusician.com or tgauger@reelmusician.com or 615-300-5030.

How To Make Money From Songs You Already Made

2007-11-27T18:26:00.003-08:00

Often times as creative individuals we move from project to project never really getting the full potential out of a piece of work. This is especially true with musicians. Jumping from project to project, group to group, even genre to genre. Now all of this is ok and often times necessary to keep you moving successfully through the industry's terrain. However, I'm guessing that there is hidden gold that each and everyone of you have from one of those past projects that may of never made it to your album or didn't quite fit your genre or personal band aesthetic.

These are the songs that you, your label, or producers deemed not good enough or not marketable. So then how are you to cash in on these records if they have been deemed not good enough? My friends, publishing is the answer. Many television shows, movies, video games, etc. are looking for independent records just like yours everyday. With tight budgets and little focus actually being on the music itself, even tracks recorded well on 8 tracks have made there way to the screen. Not only will you increase your revenue, you'll also increase your exposure, as well as added some series bench marks to put on your resume.

So if you've got some old tracks laying around or even some newer ones that you are actively pushing you may want to go the publishing route. There are many groups and organizations that you can join for songwriters that will keep you in the loop of what's being looked for. There is also another less work intensive way of going about finding leads which is a company called Taxi (www.taxi.com). They have thousands of leads given from top companies, producers, labels, publishers, etc. each year for just about any genre you can think of. They are all former A&R people and offer feedback for your submissions to help you along as a songwriter and/or composer. It's $250-300/year to join and I believe $5 per submission to avoid people submitting for every lead. Plus you'll get to attend their annual Road Rally and come face to face with industry executives and top songwriters to get their expertise.
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Publishing may be your ticket into the big leagues just as the many others in the past that have entered through this means. Give it a try, that is unless the idea of extra money for little work sounds bad to you.

Until next time, get out there and manifest your career success!

Each month my newsletter The IndieMusicLounge Newsletter delivers great articles, tips, resources and websites vital to the growth of all independent artists and highlights indie artists you should know about. If you are interested please Sign Up Today! (http://www.groups.yahoo.com/group/Indiemusiclounge)

Also free weekly articles are available at: http://www.blog.myspace.com/brewcity

How To Make Big Money With Your Band

2007-11-27T18:26:00.002-08:00

Being a musician for many years now, all I ever wanted to do was to be able to make a good living by doing what I can't do without, which is performing and writing music. It's a blessing to be on a stage looking out over a big room full of people to share your music with. You'll never experience a feeling like it. Just the satisfaction of knowing that for that moment in time you are completely understood. Its extremely gratifying and addictive.

Over the years, it's become evident to me that I'm not the only one who feels this way. It's only natural to want the band that your in to be a success. I've received letters for years from people just like you wanting to know how to grow their fan base and how to turn their craft into something profitable. Well, you can do these two things at the same time. Right now, I'm putting the finishing touches on a book that actually shows you everything you need to know about how to become a successful band. And it's not just for beginners either, this book should be an essential for any band who wants to quickly become a fan favorite and start making serious money. I will tell you how you can get your hands on a copy of it a little bit later, but first I want to touch on a few things that's in the book.

First, I hate to be the one who has to tell you this, but these days its practically impossible to be a success on the music alone. There are actually a few things that fans take into consideration when deciding to like your band, and all of these things will be explained in the book. I will show you how to get out of the garage and onto a stage. And, yes it does matter where the guitar player, the bass player, the keyboardist(if you have one), the drummer, and the singer is positioned on stage. Or if you have anybody else in your band, such as back up singers and/or a horn section, I will also teach you all of that too, in a chapter called "the successful band formula".

The real important thing to know if your in a band is you need a forever growing following. That's essential for the success of a band. And the only way to know that is as a band, you are a creative entity and a business. I know as the artist that you are, I know the last sentence is a hard one to swallow, and deservingly so, but for the public to like you, they have to be able to take you home with them and think about you. And they do that with products such as c.d.'s, shirts,etc. It is very important to bring band recordings to your shows to sell. If you don't have any other products, you should at least have c.d.'s. It gives you extra income and more importantly, it gives your ever growing audience the opportunity to get familiar with your music.
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Presentation is the key to being well liked at your shows. Your first shows should be all about winning the whole crowd over, and the only way you can do that is very good, well rehearsed presentation. And that's not just rehearsing your music. Presentation is the show as a whole. From the stage show to your backdrop to the table where your products are sold and the people behind the table helping you sell the products. It should be a well oiled, fine tuned machine. All of that will be explained in entirety in the book.

Another point to take into consideration is to not only have a band onstage, but an act. Every member in the band plays a different character. That is also very important and all to often overlooked in a band. To have each member of the band's character relate to everybody. It gives the audience the feeling that they know you and can relate to you. And that draws them in even closer and that's what you want to happen, because it enhances the overall product that your providing to them. And you are the only band around that they can get that from. In the book, I will teach you how to make a character and bring it to life, as well as to develop that character as more time passes.
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If you are serious about having a devout following, you should seriously consider getting this book. Your going to get so much more important information for you to have. And like I said, its not just for a band that's just starting out. Any band that's interested in making good money and giving the audience a really good, memorable, and professional show should have this book. It will show you how to put on a really good show.

If you had a professional manager or agent, this book will teach you everything that they would want you to know. That in itself will attract them to you. Not to mention teach you how to get the major record labels to pay attention to you.
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You could pay hundreds of dollars for this information and it would be worth every penny, but you won't. In fact, you won't pay anywhere near it. For the price of four packs of guitar strings you will get all of the valuable information inside this book. Satisfaction guaranteed. Just write to me to receive more information and how to order: Barry Ford 205 Terry Loop Rd. Cordova, Alabama 35550.
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As always, I hope you found this article both informative and entertaining. And may GOD bless you always, and in always.

Barry Ford runs a website providing information about . You can find it at http://www.guitarsforever.info

Artists STILL Don't Make Money From Record Deals

2007-11-27T18:26:00.001-08:00

Who is the incredible bonehead who said rap artists make a lot of money? Wrong, wrong, wrong, wrong, wrong!! Because the fans expect their favorite artists to be very wealthy, and have an interesting, far above average, glamorous lifestyle, this puts an incredible amount of pressure on the artists to appear wealthy. And it's not just the fans; I can't tell you how many times I've been out with rappers along with people in the industry, and the industry opportunists have expected the artists to pick up the dinner check. I've even seen people have an attitude if the artist doesn't pay for everything. This is small minded and ignorant because the artist is ALWAYS the last to get paid.

Everyone gets their cut first:

· the label (78% to 92% after they recoup most expenses),

· the manager (15% to 20% of all of the artist's entertainment income),

· the lawyer (by the hour or 5%-10% of the deal),

· the accountant (by the hour or 5% of all income), and, of course,

· the IRS (25% to 35% depending on the tax bracket).

Add to this the artists' own payroll responsibilities: fan club, website, security, office and/or studio, etc, and family members he, or she, is expected to support or help financially.

Once an artist releases a record, the pressure is on to portray a successful image to fans, friends, families, and people around the way. People expect the artists to be well dressed, drive an expensive car, live in a very nice house, etc. Think about it. Don't you expect artists "to look like artists?" Would you admire Jay-Z as much if he drove a broken down old 1994 Grand Am instead of that beautiful, brand new, top of the line Bentley?
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Sadly, when an artist gets signed to a record label, especially a rap artist, he or she receives somewhere between 8 and 13 points. What that means is 8% to 13% of the retail sales price (less inane deductions that whittle that small percentage down another few points), after the record label recoups the money it puts out (the advance, the sample clearances, the producer advances, usually half the cost of any videos, any cash outlays for the artists, half of the radio promotion expenses, most of the street promotion expenses, etc.). The artist has to sell an incredible amount of units to make any money back. Here's an example of a relatively fair record deal for a new rap group with some clout in the industry and a terrific negotiating attorney:

ROYALTY RATE: 12%

We're going to assume that there are 3 artists in the group, and that they split everything equally. We're also going to assume that they produce their own tracks themselves, contributing equally, without sampling.

Suggested retail list price (CDs) $12.98

less 15% packaging deduction (usually 20%) =$11.03

gets paid on 85% of records sold ("free goods") =$9.38

So the artists' 12% is equal to about $1.13 per record sold. In most deals, the producer's 3% comes out of that 12%, but for the sake of brevity, in this example the group produced the whole album, buying no tracks from outside producers, which is rare.

Let's assume that they are a hit and their record goes Gold (although it is rare that a first record blows up like this). Let's also assume they were a priority at their record label and that their label understood exactly how to market them (which is also rare). So they went Gold, selling 500,000 units according to SoundScan (and due to the inaccuracies in SoundScan tracking at the rap retail level, 500,000 scanned probably means more like 600,000 actually sold--but they'll only be accounted to for the 500,000 SoundScan verified units instead of what actually has sold).
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GOLD RECORD = 500,000 units sold multiplied by $1.13 = $565,000. Looks like a nice chunk of loot, huh? Watch this: Now the label recoups what they've spent: the cost to make the record, independent promotion, 1/2 the video costs, some tour support, all those limo rides, all those out of town trips for the artists and their friends, etc.

$565,000

-$300,000 recoupable stuff (recording costs, etc)

--------

$265,000

-$100,000 advance

--------

$165,000

Still sounds OK? Watch... Now, half of the $265,000 stays "in reserve" (accounting for returned items from retail stores) for 2 to 4 years depending on the length specified in the recording contract. So the $100,000 advance is actually subtracted from $132,500 (the other $132,500 is in reserves for 2 years). Now, there's also the artist's manager, who is entitled to 20% of all of the entertainment income, which would be 20% of $265,000, or $53,000. Remember, the artist is the last to get paid, so even the manager gets paid before the artist. The attorney is entitled to 10% of the upfront value of the deal, which in this case was $200,000, so the lawyer made $20,000 the day the contract was signed (which the label paid directly), which the artist pays back now out of royalties.
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So the artists are in debt to the label yet their album went Gold, and they are experiencing some pretty good fame and perceived success. Unless they are making money in other areas (shows, mostly) they are completely broke. In two years when the reserves are liquidated, IF they've recouped, they will each receive another $44,166. IF they've recouped. Guess who keeps track of all of this accounting? The label. Most contracts are "cross-collateralized," which means when the artist does not recoup on the first album, the money will be paid back out of the second album. Also, if the money is not recouped on the second album, repayment can come out of the "in reserve" funds from the first album, if the funds have not already been liquidated.
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Even if all the reserves are paid in our example, each artist only actually made 6 cents per unit. The label made and/or recouped about $8 per unit. This example also doesn't include any additional production costs for an outside producer to come in and/or do a re-mix, and you know how often that happens.

So each artist in this group has received a total of about $26,000 (pretty much just the initial advance, less the manager's cut). After legal expenses and costs of new clothing to wear on stage while touring, etc, each artist has made so little before paying taxes (which the artist is responsible for-- remember Kool Moe Dee?). Let's look at the time line now. Let's assume the artists had no jobs when they started this. They spent 4 months putting their demo tape together and getting the tracks just right. They spent another 6 months to a year getting to know who all of the players are in the rap music industry and building a local buzz while shopping their demo. After signing to a label, it took another 8 months to make an album and to get through all of the label's bureaucracy. When the first single dropped, the group went into promotion mode and traveled all over promoting the single at radio, retail, concerts, and publications for free--unless they had a radio hit as their single, in which case they began getting some show money for about half or a third of the dates they performed. This was another six months. The record label decided to push three singles off the album so it was another year before they got back into the studio to make album Number Two. This scenario has been a total of 36 months. Each member of the group made $70,000 for a three year investment of time, which averages out to a little over $23,000 per year. In corporate America, that works out to be $11 per hour (before taxes).
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OK, so it's not totally hopeless. Since we're using the fantasy of a relatively fair deal, let's look at publishing from a relatively fair perspective. There are mechanical royalties and performance royalties to figure in. Mechanical royalties are the payments that Congress stipulates labels must pay based on copyright ownership and publishing ownership. These payments have nothing to do with recouping, but everything to do with who owns the publishing. Publishing is where the money is in the music business.
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Although publishing can be quite cumbersome to understand, the most basic principle is that when an artist puts pen to paper, or makes a beat, the artist owns the publishing. It's that simple. Whoever creates the words or music owns those words or music. Where it gets confusing is all the different ways to get paid on publishing, all the ways to split publishing with other folks, and all the ways artists get screwed out of their publishing. In the 14 years I've been doing this, I have heard so many times, artists say that they don't care about losing a song or two because they can always make a ton more. That's stupidity. It's undervaluing one's ability. That's like saying it's OK to rob me of my cash, because I can go to the ATM machine and get more money. Wrong!! It's never right to rob someone. The "I can make more" defense immediately goes out the window when the creator sees someone else make hundreds of thousands of dollars off a song. Every time!! So why not protect yourself in the door?
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Publishing reminds me of real estate. When you make a song, you are the owner of that property: the landlord. Sometimes you sell off a piece of the land for money (but you NEVER give away your land, right??) and if someone else wants to use your property, or rent it, they have to pay you rent to use it.
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A copyright is proof of ownership of a song, both lyrics and music. If there is a sample in the music, you are automatically giving up part of the song, at the whim of the person who owns the rights to the original song (not necessarily the original artist). In order to "clear the sample," you send your version of the song to the owner of the original composition or whomever owns the publishing (and to the owner of the master, meaning original record label or whomever now owns the master). Then you negotiate two prices with those two owners. Some are set in stone and you get to either agree to their price or to remove the sample. It's not uncommon to spend close to $100,000 in advances and fees due to the sampling on an album. This usually comes out of upfront monies (advance) and the artist bears the burden of paying for it all, even though the record label owns the record.
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Proof of copyright is easy to obtain by registering your song with the copyright office in Washington DC. You can either call them (202.707.9100) and ask for an SR Form (sound recording) or download one from their website (http://www.copyright.gov/forms/formpai.pdf). You fill out the form, listing all of the owners, and mail it back to them with a copy of the song (a cassette is good enough) along with the Copyright fee (around $35 or so). This way, if someone steals your song, or a piece of your song, you can sue them for taking it and recover your legal fees. With the "poor man's copyright" (mailing your tape to yourself in a sealed envelope with your signature across the sealed flap, and then never opening it when it arrives back to you with a postmark proving the date), you can not sue for damages and it's more difficult to prove your case. The copyright fee may seem like a lot of money to some, but it's nothing compared to what a law suit would cost you.
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Performance royalties are money that is paid for the performance of your song. The money is paid based on the percentage of ownership of the song. So if you own 100% of the song, you get the whole check. If you own just the music, which is half the song, then you get half the money. If you own the music with a sample in it that claims half the song, then you get a check for 25%. Ya follow? Performance Rights organizations consist of ASCAP, BMI, and SESAC (which is still quite small). They police the radio stations, clubs, concerts, etc (any place music is played or broadcast), all of whom pay a fee to play the music which the performance rights societies collect and split amongst their members based on the amount of times a record is played. Although the formulas change annually based on play, a Top 10 song played on commercial radio can earn a good chunk of change in the hundreds of thousands of dollars range.
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There is another kind of royalty artists receive when their records sell: mechanical royalties. These are paid based upon a pre-set limit placed by Congress which increases automatically every two years. In 2000 and 2001, it was .0765 cents per song, and in 2002 and 2003, it was .0815 per song. In 2004 and 2005, it went up to .0865 cents, and in 2006 it became .091 cents where it will stay until Congress raises it again.
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Record labels put caps on mechanical royalties at either 10 songs, 11 songs, or 12 songs, no matter how many songs actually appear on the record, and you get what you negotiate for. Also, there's a slimy little clause that restricts payment of mechanicals (because God knows labels don't make enough money as it is) to anywhere between 75% and 85%. This evil deed is called "percentage of statutory rate." Here's the difference those few pennies make as it pertains to an artist's royalty check (I refuse to even consider illustrating the worst bullshit deals such as 10x at 75%) provided they own 100% of the song:
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I based the above chart on the old 1998-1999 rate of .0715 per song, so I could use Fiend (No Limit Records) as an example. His first album came out in April of 1998 when the stat rate set by Congress was at this rate.
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The dollar figure above represents monies due an artist (regardless of recoupment) per album based on ownership of 100% of publishing. So for example, Fiend who was signed to No Limit at the time, (provided he owns 100% of his publishing--I can dream can't I?), if his deal gives him 11x rate at 85% (which I am sure is higher than he got) then on his first album, There's One In Every Family, which came out 4/28/98 and sold 565,977 SoundScan units, No Limit would have paid him (hopefully) $378,369.77. If No Limit owns half of Fiend's publishing, he would receive $189,184.88 provided he wrote all of his own songs (which he did, except the verses by other artists who appeared which lowers the ownership percentage and dollar amount) and provided he made all of his own beats (which he did not; he features outside producers on this album like Beats By The Pound).
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So there you have it, the real deal on how much money an artist makes. You can subtract another 25% to 35% of all income, including show money, (depending on the artist's tax bracket which is determined by how much income was made within any given calendar year) for the IRS who get paid quarterly (hopefully) by the artist's accountant, who gets paid 5% of the total artist's entertainment income for this luxury (that's 5% of the net income, meaning BEFORE taxes). If the average artist releases a record every two years, then this income must last twice as long... I think about this every time I see my favorite artists in their music videos drinking $300 a bottle champagne, or every time I see them drive by in a brand new Benz...
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Rap Coalition
http://www.rapcoalition.org/
http://www.rapcointelpro.com/
http://www.HelpfulAngel.com/

Wendy Day is an authority on the business side of the music industry. She started Rap Coalition, a not-for-profit artist advocacy organization in 1992. She has worked with Eminem, Master P, Cash Money, Twista, David Banner, and many others. She has built many millionaires and has contributed to the success of many stars. Wendy also helps artists set up their own companies and start their own record labels!