by Scott James of blog.discmakers.com:

I remember back in the day when I played my first show with my first real band. We were really excited about the whole thing and eager to promote it. This was well before MySpace or Twitter or Facebook and at the time the obvious way to promote was to put up flyers. And put them up we did. We made tons of them. We made some really big ones too. Getting them in very visible or creative places was a source of pride. The theory was that if 0.01% of people who saw the flyer came to the show then we could pack the venue by making sure that 50,000 people saw the flyer.

The attendance at our first few shows was decent, so we continued with the plan. After trying this for a short while though, we just didn’t see any correlation between the flyers we put up and the attendance. The people who came to the shows were friends and their guests or people who had found out about us by word of mouth. We lost our enthusiasm for plastering the town with our propaganda.

This was always kind of a fuzzy topic for me for a long time. It never really clicked for me until I read something by marketing guru Jay Conrad Levinson. He stated that after exhaustive tests experts found that on average it take 9 exposures to a product for someone to make a purchase. Suddenly this started to make a lot more sense for me. It’s something that I guess I knew on some level, but until that moment it was an abstract understanding of something that still frustrated me somewhat.

The truth is that virtually no one will act on your band’s marketing until they’ve had a number of exposures. Higher quality exposures can generate quicker sales, like if someone sees you as the opening act at a live performance, but advertisement requires repetition to work. I’ve seen artists make mistakes in this area at great cost to them.

It’s generally a very bad idea to purchase expensive advertising without the funds to launch a sustained campaign. You can’t spend a bunch of money on a full page add in a magazine and expect to get results, unless you can afford to continue targeting those same people over time.

As a web designer I saw the traffic statistics of a client’s website after an expensive national television commercial. The add was specifically designed to drive traffic to the site. The results of the first add? Well, let’s just say you could buy the same amount of traffic from Google pay-per-click advertising for the cost of a good meal. Ouch.

So what this means for you is that in order to be successful in your marketing you want to be persistent and consistent and promote in ways that you can sustain. Expect that people may have to hear about you from someone, see a flyer, see that their friend added you on Facebook, and then hear about you again before they decide to listen to your music. Then they may become a fan on Facebook, see one of your videos and think to themselves “I really should go see these guys”. Then they may see a post on Facebook and think about going to the show that you’re promoting. They may miss that show, but a month later their friend says something about your next show and they end up going.

That’s just one example of how it might go down, but the point is that it’s a process. You need to generate as many exposures as you can for your target audience and you should expect your marketing to take some time to produce results. If you don’t reach your potential fans enough times then you can be sure that very little will happen. What I wish I would’ve known with my first band was that 0.0% of all people who saw my flyer only once would actually go to a show, but if we had stayed with it and continued using other avenues of promotion as well then we could have gotten much better results in the long run.

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Rufus and Kate +family on the Martha Stewart show Dec 09 2008. Sorry for the poor quality, hopefully someone can post a HD rip.

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Photo set: flickr.com Rufus Wainwright performs Leonard Cohen’s “Hallelujah” in Niagara Square, in front of Buffalo’s City Hall, on July 3, 2004. Recorded with the video mode of a Kodak DX6490 EasyShare camera by my girlfriend. The camera does have a great 10x optical zoom, but she also went and stood very close to the outdoor stage. In fact, at 1:26 you can hear her tell someone else in the crowd (who was complaining that she was standing there so long) “I’m recording,” and at that moment …

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The lyric writing side of songwriting is known to create an enormous number of problems for some folks. No matter how hard they try, they are unable to write a single line that they can be pleased with.
In many cases these very same people make phenomenal advancements in writing music and melodies. However they just can’t seem to figure out how to come up with suitable lyrics to match them.
If you are facing such a situation, there’s probably no need to worry. By taking certain appropriate steps you should be able to overcome lyric writing hurdles and write songs that deliver.
(1) Here are some essential ideas for overcoming these hurdles.
1. Collaboration
If you’re very good at writing melodies but can’t seem to write a single line, one solution might be collaboration. Instead of beating your head against the wall for ideas, find someone who is very good at writing lyrics and work together. You may be surprised at the wonders that can emanate from a combination of his excellence at writing lyrics and your brilliance at writing melodies.
2. Lyric writing tools
Perhaps you may be hoping for some other solution. While you don’t mind the idea of collaboration, you want to allow yourself to get better at writing lyrics, instead of leaving it to someone else.
As far as I’m concerned, the importance of laying hold on good songwriting “tools” should never be underestimated. Educate yourself as much as you can. Make use of songwriting books, programs, courses, software, articles or whatever valuable resources that you have at your disposal.
3. Motivation
You’ve probably heard it said a thousand times … Without motivation, you won’t go very far. This also applies to your lyric writing. While the songwriting “tools” outlined above can help you improve, without adequate motivation failure is inevitable.
(2) Here are a few tips to help you generate lyric writing ideas.
1. Use different lyrics to bring the same message across.
Choose a theme which is known to have made a few hits. What message does this theme bring across? Write different lyrics that bring the same message across. A typical example of this is John Denver’s “I’m Leaving on a Jetplane” and Wyclef Jean’s “Gone till November”. These songs made hits in different eras. Their basic message was similar … Baby, you don’t need to cry because I’ll return.
2. Add a unique twist to a cliche.
Turn on your radio and you will hear cliches being repeated over and over. Using these very same cliches is simply a futile exercise. My suggestion is to add a unique twist to these cliches. This is something I am focusing on more and more.
A typical example of adding a unique twist to a cliche is found in Dianne Warren’s “Unbreak my Heart” made popular by Toni Braxton. The ever popular cliche, “break my heart”, was twisted.
(3) Here are three lyric writing suggestions.
1. Write a song about a particular incident. Your song should tell a story.
2. Write lyrics that have absolutely nothing to do with anything you’ve actually experienced.
3. Get lyric writing ideas from newspapers, magazines, movies, TV and so on.
Overcoming lyric writing hurdles involves a lot of determination, hard work and perseverance on your part. Implement the suggestions presented above and move one step closer to lyric writing success.

Did you find this article useful?  For more useful tips and   hints, points to ponder and keep in mind, techniques, and insights pertaining to Internet Business, do please browse for more information at our websites.
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Mentoring is a connection that is established with a person who is a specialist in their area. The mentor is always more experienced than the mentee. The mentor shares their experiences, and the lessons they have learned. But the relationship benefits both the mentor and the mentee. The mentor benefits from the opportunity to strengthen their leadership skills. The mentee receives career guidance, helpful advice, connection to music contacts and the opportunity to prepare for the next level in the music industry.


Think about it, in almost every aspect of life, you will find mentors, even in independent music. You had one in school, probably in your family, at jobs and in many other events in your life. If you are considering your own mentors and I suggest you should here are some tips to ensure a flourishing relationship:


What to look for in an awesome music industry mentor:


- Amount of proven knowledge in their area of expertise.

- Are they generous and honest with their advice?

- How well are their leadership and communication skills?

- Is the mentor committed to mentoring you in particular?

- Are they capable of getting to know about you and your independent music goals?

- How well are they able to recommend steps for you to take in the music industry?

- Are they able to connect you to contacts in throughout the music industry?


How to choose a mentor:


- Pick someone that you feel you can look up to and truly learn from.

- Choose someone who has a similar career path or interests.

- Find a couple different mentors or choose one that is very versatile.

- Pick someone who is willing to invest time in you and your future.


I cannot stress to you just how valuable a mentor can be in your music industry career. You not only gain all types of music contacts from them, but you use them as a guide for your independent music career. Respect your mentor and their time. Make sure you make good use of the time you spend together. Organize your topics of discussion before you meet or speak so you have a clear and concise idea of what you need to know.


There are many benefits to a music industry mentorship, for both parties. The mentee gains the benefit of someone’s skill to help them pilot their career development. Mentors have the chance to reflect on and add to their careers. Having clear goals and communicating these will ensure that the experience is constructive and beneficial. So, find music contacts that are into mentoring and form a relationship. If nothing else, you may gain knowledge and perspective that you previously did not possess.

Owner of Platinum Millennium publishing, former record label owner & national music industry seminar speaker/panelist. Author/creator of best-selling music biz books, courses, audio products & “How to” resources that helped 1000s. Go to http://www.TheIndustryYellowPages.com for more info on music contacts, music industry & independent music.

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The lyric writing side of songwriting is known to create an enormous number of problems for some folks. No matter how hard they try, they are unable to write a single line that they can be pleased with.

In many cases these very same people make phenomenal advancements in writing music and melodies. However they just can’t seem to figure out how to come up with suitable lyrics to match them.

If you are facing such a situation, there’s probably no need to worry. By taking certain appropriate steps you should be able to overcome lyric writing hurdles and write songs that deliver.

(1) Here are some essential ideas for overcoming these hurdles.

1. Collaboration

If you’re very good at writing melodies but can’t seem to write a single line, one solution might be collaboration. Instead of beating your head against the wall for ideas, find someone who is very good at writing lyrics and work together. You may be surprised at the wonders that can emanate from a combination of his excellence at writing lyrics and your brilliance at writing melodies.

2. Lyric writing tools

Perhaps you may be hoping for some other solution. While you don’t mind the idea of collaboration, you want to allow yourself to get better at writing lyrics, instead of leaving it to someone else.

As far as I’m concerned, the importance of laying hold on good songwriting “tools” should never be underestimated. Educate yourself as much as you can. Make use of songwriting books, programs, courses, software, articles or whatever valuable resources that you have at your disposal.

3. Motivation

You’ve probably heard it said a thousand times … Without motivation, you won’t go very far. This also applies to your lyric writing. While the songwriting “tools” outlined above can help you improve, without adequate motivation failure is inevitable.

(2) Here are a few tips to help you generate lyric writing ideas.

1. Use different lyrics to bring the same message across.

Choose a theme which is known to have made a few hits. What message does this theme bring across? Write different lyrics that bring the same message across. A typical example of this is John Denver’s “I’m Leaving on a Jet plane” and Wycliffe Jean’s “Gone till November”. These songs made hits in different eras. Their basic message was similar … Baby, you don’t need to cry because I’ll return.

2. Add a unique twist to a cliché.

Turn on your radio and you will hear clichés being repeated over and over. Using these very same clichés is simply a futile exercise. My suggestion is to add a unique twist to these clichés. This is something I am focusing on more and more.

A typical example of adding a unique twist to a cliché is found in Dianne Warren’s “Unbreak my Heart” made popular by Toni Braxton. The ever popular cliché, “break my heart”, was twisted.

(3) Here are three lyric writing suggestions.

1. Write a song about a particular incident. Your song should tell a story.

2. Write lyrics that have absolutely nothing to do with anything you’ve actually experienced.

3. Get lyric writing ideas from newspapers, magazines, movies, TV and so on.

Overcoming lyric writing hurdles involves a lot of determination, hard work and perseverance on your part. Implement the suggestions presented above and move one step closer to lyric writing success.

For More Free Resources visit www.allfreereports.com

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There are tons of other jobs in the music industry besides being a musician. It is often found that these jobs are less commonly discussed. Obviously now everyone in the music industry is an artist or performer. Maybe you don’t play but love music and a career in the industry is really what you desire. Or maybe you do play but would rather be a professional. Let’s discuss these other roles and what they involve.


Music contacts in the industry are vital no matter which field you want to explore. Not everyone is an independent artist or someone trying to get signed. Have you ever heard of a music promoter? This job is exactly as it sounds because it involves promoting or publicizing concerts and shows. In this field, one will work will managers, bands, clubs, venues and agents. If marketing, promoting and negotiating are you skills, then this position might be for you.


Music agents or booking agents are another role played in the music industry. These guys work directly with musicians that are signed or involved in independent music. Agents act as liaisons between clubs, venues, promoters and record labels and the artists themselves.


Maybe management is your milieu. If this is the case then a band or artist manager position may be in your future. A manager would send out demos or press kits, book gigs, invites labels to shows, book studio time and budget for the band. Managers are almost always contracted and make a percentage of what the band pulls in.


Does an A&R position interest you? People who love music and want to scout out the next big thing often work in the A& R field. A&R people have a tough and busy job. They have to deal with artist of every level of talent, listen to piles of demo tapes and attend thousands of shows. But, if that sounds like a great time to you, then A&R might be your calling.


The music industry is fast and piping hot. You don’t have to be involved with independent music or searching for a record deal to be considered part of the music industry hopefuls. In addition to the above jobs, there are hundreds of others. Pick a field, do an internship if possible, find out what aspect you love and make tons of music contacts. This is the best way to break into the music industry. But most of all, have fun while doing it and hopefully you will find the career of your dreams.

Owner of Platinum Millennium publishing, former record label owner & national music industry seminar speaker/panelist. Author/creator of best-selling music biz books, courses, audio products & “How to” resources that helped 1000s. Go to http://www.TheIndustryYellowPages.com for more info on music contacts, music industry & independent music.

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Have you ever looked at clouds in the sky with a friend and been completely amazed that they couldn’t see the “turtle” floating by?  I mean, there’s it’s head, there’s it’s shell and that wisp right there is it’s tail.  Right?  But they couldn’t see it.  That’s because every one of us is a unique individual.  There has never been, nor will be, in the history of the world, someone who thinks, feels and perceives the world exactly like you.  Many beginning writers worry that they don’t have anything original to say but the truth is, you have a world inside of you that is uniquely yours and the key to that world is your senses.

Object writing is an exercise that enables you to dig deep into your senses.  It works like this:  Pick an object, at first it must be a real object, something you could touch or hold.  Then write about that object with as many of your senses as you can.  Most of the time when asked to describe something we use just one of our senses: sight.  But the purpose of this exercise is to activate all of our senses.  How does it feel?  Rough? Smooth?  How does it smell?  Does it make any noise?  What would it sound like if it were dropped? What would it taste like?  (I know that seems silly but it’s not).  And to your five senses of touch, taste, sight, sound, and smell I’d like to add two more for you to write with.  Your sense of motion, both inside your body and out, and your sense of emotion.

Let your mind wander.  There is no where you can’t go.  The object is really just a starting point.  Pushing the shovel into the ground the first time as you begin digging into your experiences.


Example

Here’s an example of what I came up with for the word car:

A car comes sighing toward me.  Chipped radiator grill like a broken tooth grin.  Rubber tires grip the road tight.  They have to be able to haul that weight up the hill.  Probably a half- ton of steel and rubber and aluminum and plastic.  Amazing to look at a car engine running, to see all that rubber, iron and steel churning, and to think that tiny explosions are happening several times a second inside that black hunk of engine block.  All those tiny explosions adding up to enough power to send this thing up the hill by my house.  Sucking gas into itself to explode.  Drinking gas to spit exhaust.  The slight aluminum taste of exhaust in the air when a bus passes you.  A trail of bitterness in it’s wake.  Faint waves of grey smoke that choke me, my esophagus closes and I’m forced to cough just to be able to breath again, my eyes water.

How did I go from a car to choking?  Strange.  But that’s the beauty of object writing.  Its 100% you and where you’re particular experiences take you.  Let’s look at the sense information for car.

Sight:  chipped radiator grill,  black hunk of engine block, faint waves of grey smoke

Sound: sighing, churning,

Taste:  aluminum, bitterness

Touch:  (oops, didn’t quite get to that)

Smell: smoke, exhaust

Motion: grip the road tight, haul, churning, explosions, sucking gas, drinking, spit exhaust, choke me, my esophagus closes, cough, my eyes water.

Emotion:  (maybe) choke me

So there it is.  Heavy on the motion because for whatever reason my mind went with the motion of cars.  I completely left out touch which is too bad, there are a lot of textures in a car; the fabric of the seats, the smooth paint etc.  So now it’s your turn to try.  Just one rule:


10 Minutes-No More, No Less

Most people can commit to something for 10 minutes a day.  20 minutes, a half hour, that’s pushing it.  The other benefit of keeping your object writing down to 10 minutes is that an amazing thing happens when you cut yourself off in the middle of an idea.  It’s kind of like when someone turns off the stereo in the middle of a song, that song might play in your head for hours.  The same thing happens with writing.  You will be stuck in your writer’s mind for hours after, just sensing and perceiving, and by all means, write down the fragments that come to you throughout the day.

Every Object Writing should follow this format:

Picture 1


Good luck and many days of inspired writing to you!

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  • How to Overcome the Lyric Writing Hurdles That are Keeping You Behind The lyric writing side of songwriting is known to create an enormous number of problems for some folks. No matter how hard they try, they are unable to write a single line that they can be pleased with. In many cases these very same people make phenomenal advancements in......
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  • How Hot Is Your Car Exhaust And Which Way Does It Point? The following is a guest post from reader Jaimie Scott, who was kind enough to write an article for The Good Human. Thanks Jaimie! Something occurred to me while I was riding my bike today. I bet not many of the design engineers at the major auto makers ride bikes.......
  • Modern Magic I see Carl Jung as having been an excellent scientist, a definite peer to Einstein. Though their focuses were different, their understanding of the minds role in the world was the same. Basically, they were modern wizards, and they weren’t motivated by proving their faith in the materialistic world. They......
  • Psychic Doing: Vision You can also try a vision exercise. What we will look at is self directed vision. If you have a stronger sense, it makes sense to use it and use vision to supplement it if you need more clarity. So with vision...the same exercise as feeling, only different focus. Exercise:......