SIXXMANN Issue 20

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NAME:

A-L CALISTE AGE

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LOCATION:

New Orleans LA

Name three things you can’t live without?

I was inspired at an early age to start writing my own lyrics, I had to be around 11 years old, I would watch my older brothers have freestyle cypher regularly. They also turned me on to rappers like Tupac and Nas who inspired me even more. I come from a family of music, and with musical legends Jean Knight in my family; it isn’t hard to see how I found my love and passion for music.

God, family, and music! Without god, family, and music I’d probably be lost in life , dead , or in jail just another product of my environment . It’s the three most important things that I have, the three things that bring me the most happiness and enjoyment , and the three things I can’t live without.

Growing up, did you always have so much personality? Were you one of the popular kids?

List 2 of your most viewed YouTube videos and their links:

In school I was considered as what we all know as the class clown. Which made me sort of popular among my peers, but in a way I only did it for the attention. Which brings us to my personality; I was always a more outgoing person than not and still is today. Making people laugh and enjoy themselves helps me enjoy myself, it’s just who I am.

What or who inspired you to start making your music?

ANDALE https://youtu.be/fpoxpzKcy0Y ONLY GOD KNO https://youtu.be/q1ZIFRiNdwM

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What social media platform would you say gives you the most viewership?

The main media platform I use is: Instagram: (@al_caliste ) mainly because it’s easier to use than most media platform for me. The Other platforms I use are twitter: (@a_l_themonster) and facebook(@alcalisteofficial) also stay tuned for new music and updates on www. Alcaliste.com You make doing what you do look easy but what people don’t understand is there’s a lot of hard work that goes into making creative content.

Explain your creative process.

It’s all about momentum. If you’re practicing every day and that’s what you love to do, it creates ambition. I like to get to the studio and start working soon as I get there, because it’s a way to create a tendency to push harder and go the extra mile. I’m thinking about ideas all the time. Having conversations and observing people give me hints and ideas to create new music. I almost never write on my phone . I’d rather keep a pad and pencil next to me at all times. That way, if a line or a rhyme , or even a subject for a song or concept come to me, I know there is nothing for me to do but start writing. My idea of writing is writing something that capture the listeners emotion. Whatever Im feeling is what I want the audience to feel. It’s a very simple process, but The main thing is to have an active and open mind all the time.

the hardest part have yet to come. Which means I have to be prepared and ready .

What is your ultimate career goal?

My ultimate goal is to be successful.

It takes a lot of hard work dedication and also self motivation. if your career in what ever it may be is something you’re passionate about, and love to do What steps did you take in getting to the point then over all success isn’t optional. No matter what your at now? level of success you reach, success is something that WE ALL STRIVE FOR !

Everything that I have going on right now I worked my ass off for it. Success is never handed to you, you have to put in the work and make it happen. in order to make any plan work you have to be committed to getting it done. Which takes a lot of time, patience, and dedication. You have to be willing to sacrifice and be open to new ideas. the most important is to have confidence and trust in your work. Be true to yourself. The thing is I still have a lot of hard work that need to be done, and

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Performance Contracts

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by Maria La France with support from Brett Trout, Attorney. PowerGig.com, August 2001. Updated by David Nevue April 2010.

his article discusses performance contracts for single performances, commonly called a “BOOKING AGREEMENT” or “ENGAGEMENT CONTRACT”.

It never hurts to review and improve even a contract you’ve been using for years. Intellectual property attorney Brett Trout contributes some great wisdom and provides even-handed contracts that opt for clarity rather than bargaining strength on either the Buyer or Seller’s side. “The goal is to lay out the deal so everyone is on the same page. The more fair a contract is, the more likely everyone will agree to sign it.”

Brett shares.

In some situations, a “handshake” or verbal agreement is quite acceptable--it’s legal, but difficult to enforce. But people who think they don’t need contracts must either have a well known reputation if you’re the talentbuyer, or you really trust the people you’ve been working with. But times change and mis-communications happen, and a contract protects both parties. Of course, the more money is involved, the more the need for a contract. “If you handle performances like a

hobby, then you don’t need a contract, but if you want to treat them like a business, you need one,” Brett advises. If you’re haven’t used contracts before, it can be intimidating to ask someone to sign it, but the other party will actually respect your professionalism by doing so, and the worst that can happen is they won’t.

There is no perfect contract for any situation, and there are too many clauses to touch on in this article. A common practice is to make a brief standard contract, and attach a rider for specific situations. Here’s some important considerations: DATE, TIME, COMPENSATION, AND SIGNATURE BY BOTH PARTIES In some cases, this is all you need!

DEFINITION OF PERFORMANCE. Both parties should know what is expected for a “performance.”

Provide a clear yet concise description of the nature of the performance, including minimum length, set breaks, and anything else unique to the performance (1-3 sentences is fine).

LOCATION, DATE AND TIME This seems like a no-brainer,

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but we’ve heard horror stories about performers showing up on the wrong day, two performers booked for the same time, enough said. Length of performance can be described here or in the definition.

COMPENSATION. It should be clear whether a fixed amount (guarantee), a percent of door or revenue, or both. Include when payment will be made, to who, how, and any deposits. Be very clear here as to payment method and who specifically receives it. For example, if the deposit goes to the agent, and the remainder to the performer, it should be in the contract. If payment is based on percent of door, both parties should have the right to be present in the box office and access to box office records or gross receipts.

Recording, reproduction, transmission, photography.

This is usually the artist’s right to grant specific permission, but press and publicity is a good thing. Flexibility is key.

It is common for the Buyer to have the right to use the Performer’s name and likeness in advertisements and promotion, so its good to make sure the Buyer has appropriate promo materials.

RIGHT TO SELL MERCHANDISE ON PREMISES For smaller venues and engagements, this right is usually the performer’s, because its a large part of the performer’s compensation. But for larger venues, they may have

specific terms for merchandise, gigs usually cover most but they may also have their own everything, and public venue people to sell it. gigs and benefits are a little less gratuitous. Guest lists, passes, Meals, transportation, lodging. dressing rooms, and other This completely depends on hospitalities vary. the performance type and gig type. Corporate and College SOUND AND PRODUCTION

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It should be clarified who provides sound and how. It’s too often that a performance is ruined by improper sound production, so its good to allow the performer to designate a representative to control sound equipment.

PERMITS, LICENSES, AND TAXES. It is customary for these to be covered by the Buyer.

ACTS OF GOD. These events, such as weather or illness are intended to protect both parties.

usually goes to the party with deeper pockets. Brett observes, “a small performer is probably not going to get sued, but a performer with 6-7 CDs and plenty of merchandise sales will.” A venue or large promoter on the other hand is an easy target for a lawsuit. But its smart for performers to either have permission or the necessary licenses when performing copyrighted material.

CANCELLATION There are a number of ways this is handled, and again, it depends on the gig. Usually if there is enough notice, neither party is penalized. But again, it helps to be clear.

SPECIFIC REQUIREMENTS/ RESTRICTIONS FOR PERFORMER Eating, attire, language.

Depending on the gig, there may be certain requirements of the Performer or the Buyer depending on the gig, such as thanking a sponsor, announcing the performer, attire or language at corporate or private gigs, etc., etc.

ROYALTIES AND LICENSING Responsibility for this clause

AGENT TERMS Often the agent is the Seller, and

the agent may draw a separate contract with the performer. Or the contract is between the Performer and the Buyer, and in that case, the agent’s compensation should be clarified in this contract, along with any obligations of the agent.

INSURANCE & SECURITY Personal liability insurance and property insurance are usually the responsibility of the Buyer.

Although not often in the contract, the performer should insure their own equipment.

There are numerous other clauses, but the above are the most common.

Brett recommends that you look at a variety of contracts and decide which clauses apply to your situations.

This article is not the same as legal advice. Please consult your lawyer regarding your particular needs.

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lthough being a rapper wasn’t on his list of things to do, Sixx Mann has taken the role on and going all the way to the top. Captivating his audience with his infectious tone and phenomenal way with words it’s no wonder this life chose him. The New Orleans native has managed to work with artists such as Webbie, Lil

Flip, Yo Gotti, Magnolia Chop and legendary producer SMK just to name a few. He’s no stranger to the game, he’s very much seasoned.

Like everyone with a calling, there were a few occasional bumps along the way but quitting is never an option. Sixx Mann has accomplished things many artists are still trying to

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do such as touring, business endeavors and performing in front of thousands of screaming fans proving hard work for something he believes is never questionable.

A business savage, raw and unapologetic, humble and motivated, he’s making his mark on this industry whether we like it or not. Sixx sat down with us

once again to discuss signing with T-pain and Nappy Boy Entertainment, his thoughts on the lack of artist support in New Orleans and bounce music gaining international attention.

Shive Mag: Nah, I’ve heard you chant “Sixx Couty Couty” before, what does that mean?

Sixx Mann: In New Orleans we have wards you come from and the projects have courts. So when I’m on a song or a feature I’m letting who ever about to hear the song know I’m coming and respect this message imma bless u with.

Shive Mag: You’ve been putting in a lot work since featuring in our last issue; Name a few things you’ve gotten into.

Sixx Mann: So much has happened. I inked a deal with Nappy Boy Entertainment, released new music, collaborated on a campaign with PETA and starting a foundation called We R for the youth and elders.

Shive Mag: Speaking of new music, you recently released your Numbers mixtape, why did you name it that?

Sixx Mann: Life is based around numbers. Everything we do just about involves a number so that’s how I feel about my product. It’s something you need in your life. So that’s why I named it Numb3rs.

Shive Mag: Signing with Nappy Boy, How did that happen?

Sixx Mann: I’ve known him for a very long time. A good friend of mines Young Cash introduced me to him. We just always stayed in contact and when the time was finally right we partnered up and I joined with his Nappy Boy label.

Shive Mag: With being signed

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to the label, do you have control of what you put out?

Sixx Mann: Full control. That’s the thing I respect about Pain, he trust my moves and that’s why it more a partnership. He’s helping me brand myself and make sure my Lambo movement is represented right. Lambo Lyfe is my company.

Shive Mag: What is Peta and explain the campaign you have with them?

Sixx Mann: PETA is an animal organization rights they are against killing them to make clothes out of them PETA is very very big in America.

Shive Mag: How did you get hooked up with them?

Sixx Mann: My business consultant Ken Levy introduced us and it went from there.

Shive Mag: What obstacles did you face with starting your career?

Sixx man: Just about everyone u can think of from being black

balled, losing family and friends, lied on, going to prison, no support from people u think want to see u win. Even with all that I didn’t break and I kept pushing. I can’t lie it’s paying off now but there’s more work ahead but I try to stay humble and surround myself with positive people.

Shive Mag: With everything that’s involved with being an artist, such as picking the right music, promotion, wardrobe, photographer, graphics etc, What do you think emerging artist struggle with the most?

Sixx Mann: Everything you just mentioned lol. They don’t understand how important investing into you really is. You

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have to paint your own picture some times before people that can help notice what you doing.

Your brand determines how big your bag will be. Look at the artists with one nice song and they’re getting 20k or 25k a show. It’s not because that song is that hot. It’s because they’ve built a brand that people will pay to see. The average going price for an artist with 1 nice song is bout 7k to 15k that’s what you get as a new artist coming out without branding.

Shive Mag: Many artist feel like, New Orleans doesn’t support their own. What do you think?

Sixx Mann: To be honest that’s how the world is. Only cities like

Memphis, Miami and Atlanta understand the game. They know how to find a way to put their personal problems aside and play their own music and that’s why the world follows.

If we work with each other on that level we would have a major impact. New Orleans is loved all over, from the prisons to the corporate world. If you not really working the DJ’s or radio shouldn’t reward you. It’s no way a dj in the city shouldn’t have a song featuring myself, Jay Jones, Young Greatness or Seighty on it. We all have real machines behind us that can open the door for other talent we have in the city.

Shive Mag: What would you do to change it?

Sixx Mann: To be honest, just keep doing what I do and that’s keep it 100 and keep it pushing.

We have a long way to go as a whole. I work with anybody who really out here with a movement because that’s what it’s about.

Shive Mag: Why so you think alot of the emerging artist

don’t make it big?

Sixx Mann: It’s really not about how great the music is. I think they focus more on being in the studio instead of out in the streets networking finding that person or persons that can give them a outlet and platform.

Once you have a cool song that can make some noise get you a hungry team and everybody has a role to play. I don’t think they really understand that part. The crazy thing is, you can have all that and still not pop because at the end of the day this still all a gamble. You just got to have as many things in your favor.

Timing also plays a big part and I’m just keeping it all the way funky with you right now.

Shive Mag: Bounce has been around in New Orleans for centuries why do you think it took International stars like Beyonce and Drake for it to gain recognition?

Sixx Mann: The bounce thing is crazy. But those names you just mentioned study the game.

They know New Orleans has that sound just like I said earlier

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our city mean something to the world because of our rich culture. The difference is Drake and B have those outlets and platforms I was talking about and a hell of a team to capitalize on where we lack and they not wrong for doing it because this is a business. Now we have some great artist that do bounce, shout out to my bounce artists in the city but they no better than us. They just have a better deck of cards to play with; you know better opportunity around them that’s all.

Shive Mag: What are you working on now?

Sixx Mann: I have a new song called Audi featuring T-Pain we just focusing on getting this record out everywhere and trying to make it a number one urban song in the country.

You can download it now everywhere it’s a must have I promise you.

For more info on Sixx Mann and my music follow me on IG & twitter @sixxmann and listen to my music on Spotify or iTunes.

When did you start your career I started my career in 04 but I started getting notice around 09.

Can you compare your style to anyone in the game right now?

My sound is like nobody out right now,that’s the great thing I’m in my own lane and that’s a big part of having success in this business.

What would you consider to be your recognizable track?

My recognizable song is Snatch Dat Wall Off it’s starting to get good buzz but my follow up should take me to another level.

At this point, what’s going on with you? any deals?

I’m just working very hard taking advantage of the opportunities that I have worked for. I’m one of the newest members of TPain NappyBoy Label. I’m about to release my highly anticipated mixtape called Numb3rs. I’m also working on the NappyBoy project with TPain and the other members on the label and we setting up some tour dates.

What steps did you take in getting to the point your at now?

Steps I took getting to where I’m at now: Every day I get up and make it my business to network and build with people to put myself in a better position even if I feel like nothing might not happen I still look into it.

Who would be your ideal artist to work with? My ideal artist to work with: anybody that’s putting in work grinding and bout there business.

What is your ultimate career goal? My career goals: to build my brand up to a level where I can take care of my family and help other people achieve there dreams.

For more info on me and my music follow me on IG & twitter @sixxmann and listen to my music on Spotify or iTunes.

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RELEASING YOUR OWN RECORD: A Legal Checklist

by Bart Day - Entertainment Attorney, September 2002

Legal Ease For artists who are releasing their own record for the first time, without the involvement or assistance of a label, the process can be a little intimidating. It can be easy to miss some key legal details in the process.

Here, therefore, is a very basic checklist of issues to be considered when releasing a record.

Bear in mind, though, that your own particular circumstances may dictate that you take certain steps that are different from, or in addition to, the various steps mentioned below. Also, it has been necessary to greatly oversimplify some of the issues discussed below due to space limitations.

1) Agreement Between Members of Group. If it is a group (as opposed to a solo artist) releasing the record, and if the group has not already formalized its relationship by way of a partnership agreement, incorporation, or limited liability company (“LLC”), there should at least be a clear and simple written agreement among the group members about how the finances of the recording project will be handled. Also, it is always a good idea to deal with the issue of the ownership of the group’s name as early in the group’s career as possible.

2) Investors. If there are investors involved, documents will need to be prepared in order to comply with certain Federal and State securities laws. Be especially careful here.

3) Distribution and Promotion Strategy. Think ahead about how the record will be distributed, advertised, and promoted, and how much money will be needed to effectively market the record.

Sometimes all (or almost all) of the budget for a project is spent on recording and manufacturing costs, and there is little or no money left to effectively advertise or promote the record. This, of course, is not really a legal issue but is such a common (and often fatal) problem that I feel obliged to mention it here.

4) Mechanical Licenses. For any cover songs appearing on the record, you must obtain a mechanical license from the owner of the song (i.e., the song’s publisher), authorizing the song to be recorded and providing for the payment of mechanical royalties. In many cases this license can be obtained from The Harry Fox Agency (212/ 3705330). Allow six to eight weeks for this process.

For songs not licensable through Harry Fox, you must contact the publisher directly.

Usually the easiest way to do so is to obtain the publisher’s contact info from the “song indexing” departments at ASCAP and BMI. 5) Sampling Clearances. If you are including any samples on your record, you need to obtain sample clearances from the publisher of the musical composition being sampled AND, separately, the record label that owns the master being sampled. Do this as early as possible, as there will be some instances in which either the publisher or label will not be willing to issue a license, or the licensing fee which they require

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may not be affordable.

Also, some duplicators will require you to sign a form stating that either you have not used any samples, or that if you have done so, you have obtained all necessary clearances. If there is any obvious sampling done, the duplicator may require you to show them the clearance documentation.

6) “Work for Hire” Agreements. For any session people, engineers, etc. whom you are hiring, it is wise to have them sign a short and simple “work for hire” agreement, to preclude any possible future claims by them that they are owed royalties or that they have ownership rights in the masters.

Do this BEFORE you go into the studio.

7) Producer Agreement. If you are using an outside producer, there needs to be a producer agreement signed, defining (among other things) how the various costs of the recording sessions will be handled, what advances (if any) will be paid to the producer, and what producer royalties will be paid to the producer. Just as in the case of the Work for Hire agreements mentioned above, do this BEFORE you go into the studio.

8) Production Credits. Make sure that the production credits listed in the liner notes--for session people, producers, and others--conform to any

contractual requirements.

For example, the producer agreement will often be very specific about how the producer’s credits are to be listed. For musicians performing on the record who are signed to a label, they will normally need to be credited as appearing

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“Courtesy Of” their label.

9) Liability Releases/ Permission Forms. You need to consider the possible necessity of getting a liability release or permission form signed in any of the following scenarios: (a) If a photograph and/or artistic

image of an individual outside the group is included in the artwork; (b) If any of the artwork which you are going to use is owned by any third party; or (c) If any logos or trademarks owned by third parties appear in your artwork. There can be some tricky legal issues in this area, so be very careful here.

10) Copyright Notices for Songs. Be sure that the liner notes contain the correct copyright notices for all of the songs on the record, i.e., both for your original songs and any cover songs that you are using. Information about copyright notices can be obtained here. Also, make sure that the song credits correctly state for each song the name of the song’s publisher and the publisher’s performing rights society (i.e., ASCAP, BMI, etc.).

A NON-LEGAL SIDENOTE: At the same time you are working on the artwork and the copyright notices, etc., doublecheck to make sure that your artwork meets all technical specs of whoever will be printing the artwork. Also, if you will be distributing the record through a record distributor, make sure that your artwork conforms to the distributor’s specs.

11) Copyrighting Your Original Material.

Certain copyright applications need to be filed promptly for your recordings and for your own original songs. Use “Form SR” for copyrighting the masters of the songs, “Form PA” for each of your original songs on the record, and “Form VA” for the artwork (if you own the artwork and want to copyright it). You can download the copyright application forms from the Copyright Office’s website.

In some instances, it is possible to file an SR form to cover both the musical composition and your particular recording of that musical composition.

The instructions for Form SR discuss when and how you can do this.

12) Registering Your Original Songs with BMI/ ASCAP. Assuming that the record contains one or more songs that you have written, and assuming

that you are affiliated with ASCAP or BMI, or are in the course of becoming affiliated, you will need to file “title registration” forms for each of your original songs appearing on the record. This will enable your rights society (i.e., ASCAP or BMI) to monitor any airplay of your material.

13) Trademark Notices/Registrations. Be very sure that you have the legal right to use the group name and label name which you have chosen, and consider the advantages of filing trademark applications for those names. Also, make sure that your liner notes contain a proper trademark notice for the name of your group, and (if applicable) the name of your label. Information about trademark notices can be obtained at the U.S. Patent and Trademark Office web site.

14) Obtaining A Bar Code. For information about bar codes, visit the Uniform Code Council website, or call the Uniform Code Council at (937) 4353870 (Dayton, Ohio). Also, many CD duplicators will, as part of their service and at no additional charge, provide you with a bar code for your record. Ask about this when getting quotes from duplicators. Also, for the reason mentioned in the next paragraph below, you may want to make sure that any bar code you obtain from a duplicator will identify your particular record, and not someone else’s record.

15) Registering with SoundScan. If you anticipate significant sales and want to come to the attention of record labels, it’s a good idea to register your record with SoundScan, a private company. SoundScan compiles record sales data based on the scanning of bar codes from sales at retail stores and then sells that information to its subscribers, which include all of the major record companies.You can obtain a SoundScan application form from DiscMakers.

If you plan on submitting a SoundScan application, be sure that you obtain a bar code specifically for your own record. If, instead, you “borrow” someone else’s barcode (or the duplicator’s general barcode), your sales will be credited to

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them and not to you.

costs and/or delay the release date.

CONCLUSION Hopefully, the above checklist will help to reduce, at least slightly, some of the stress and strain of putting out your own records. The key, of course, is to think ahead as much as possible.

Some of the steps mentioned above, such as obtaining sampling clearances and mechanical licenses, can take some time and a lack of planning can unnecessarily increase your

Also, make sure that you have all of your “ducks in a row” before you schedule any record release event. It’s not an enjoyable experience to be locked into a record release date, only to find out at the last minute that you aren’t going to be receiving your CDs from the duplicator by the time of the event or that there are legal or technical problems with either the CD or the CD artwork.

By thinking ahead, the odds are much better that your record release will proceed smoothly and that, after the record release, you will be able to spend your time and budget effectively promoting the record, rather than having to spend time doing repair damage.

Good luck!

This article is not the same as legal advice. Please consult your lawyer regarding your particular needs.

J Lyric – “Dear Mr. West” The single is available for download and streaming on all digital platforms.

Follow J Lyric on social media: Twitter @JASONLYRIC Instagram @jlyric504_

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Planning Your Radio Promotion Campaign Working With the Press

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he commercial radio industry couldn’t be less friendly to the independent musician.

However, that doesn’t mean there isn’t some significant radio airplay available to you if you know what you’re doing.

Outlined below is a plan to consider if you have the three important ingredients necessary for working your record to radio.

• The money to fund the campaign • The time to spend working all the stations consistently • A product that is ready for national airplay Forget About Commercial Radio Airplay When it comes to commercial radio, the chances of getting significant national airplay for your independent record are next to none. We live in an era when a small group of powerful media conglomerates own and control the most important radio stations in the land. Unless you are connected to a major label, or are independently wealthy, the costs of promoting your

songs nationally to commercial radio have spiraled out of sight.

There are, however, lots of mix shows and specialty shows on commercial stations that may offer limited airplay, and at least will get you some awareness in the markets across the country. There will be a lot of work involved in finding these stations yourself, city by city, and music format by music format.

I suggest you subscribe to or get a copy of the annual CMJ Directory.

If you have money to invest in radio promotion it’s possible to hire an independent promoter who may be able to open some doors to these shows for you.

Be prepared to spend several hundred dollars a week for their services.

Important rule about securing ANY airplay: If you have NOT made your music available in stores (either through traditional distributors or distribution into online stores like iTunes or Amazon.com) then FORGET about investing the time and

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money trying to get airplay.

What’s the point? If a station plays your recording and people like your music - but can’t find it in their favorite store online then they can’t buy your music.

So get your distribution in place first!

A more realistic approach for airplay is to consider the options available on the noncommercial side of the FM dial. (88.1 FM to 91.9 FM) With the combination of college radio stations, community stations, and even some of the larger National Public Radio affiliated stations, your chances of getting your record played are much better.

Also, don’t forget those thousands of Internet radio stations that stream millions of songs a day. Google the phrase “Internet radio stations list,” and you will be amazed how many stations on the web play independent music of every imaginable type. Finding the most appropriate online Internet radio stations for your music can be a time-consuming process, but if you start by browsing the radio broadcast directories at

Live365.com and Shoutcast. com , you’ll get a quick start.

Many of these Internet stations play alternative acts. There are also channels on Satellite radio (XM/Sirius) that you can do some research into. If you own a Blackberry or an iPhone, there are several free apps that will give you access to these web broadcasters.

Below you will find an outline based on how Major and the better Independent record labels plan for their radio promotions. Seeing what they do might help you organize your thoughts for your own radio promotion campaign.

You need to prepare: • A database of commercial and non-commercial and Internet stations that realistically may play your music.

• The timeline you’ll use to put the promotional material together (setting your deadlines).

Your radio promotion plan may be distributed to any helpers, volunteers or employees you may have for your own label, or any independent promotion people you may hire. This plan will be their introduction to your or your artist, and is the plan they will base their work on Design a detailed overview of your radio promotion plan.

Consider all marketing and

promotional ideas listed below.

Propose what you think would work best in each of the areas to help market the record to radio. Remember to keep cohesiveness between all areas: Give reasons why your music is appropriate to each station you

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approach. You will need several practical tools/materials to achieve your goals. (Computers, Smartphones, reliable Internet connection, hardware/software, office supplies, etc.)

Address the following

specific topics in your plan: • Background/Goals: Give a brief history of the artist, and describe your goals • Image: Describe/ maintain the artist’s image consistently in all promo materials.

• Radio: What radio format(s) will be targeted? What markets? Which songs? Any station promotions? (Onair concerts?) Hiring any Independent promoters?

• Touring: Describe the time frame for touring, and other promotional events to coordinate while on the road.

Consider specific clubs, halls, fairs, festivals, club/venue promotional tie-ins with radio stations • Social Networking: Mention any Facebook, Twitter or other SN plans • Misc.: Having a record release party? Novelty items? Any other clever ideas?

• Explain each idea in-depth !

• Publicity: Describe your plans to create a “buzz” in the print media. Any press releases to Design a 12 week plan for the music industry trades? the product and promotional Update any bios, fact sheets, and electronic press materials. tools.

• Sales: Describe Distribution and Retail plans. Any in-store play/ promotions? Other specific sales opportunities?

Mail order, live shows, Internet sales. Any store promotional tie-ins with radio stations?

• Video: Is a video cost effective? What airplay opportunities are there for the video?

• Lay out what needs to be accomplished each week to get the record out.

• Consider the: artwork, mastering, credits, sequencing, printing, pressing, booklets, layout/ design. And be sure to convert your songs for online downloading!

• Include in the timeline when

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to start working on your promotional tools • Design the timeline with deadlines for each element of your project.

Remember that your radio promotion campaign is part of what I refer to as the ‘FourFronts of Music Marketing’, and your plan must connect to all the other Fronts in order to be successful.

Always have distribution and sales plans, as well as publicity, advertising and touring plans coordinated carefully with your airplay campaign. The worst thing that can happen to any song on the radio is that someone hears the song, but can’t find a way to buy it.

Professional record labels always have distribution and sales connections set up before they secure airplay. You should do the same..

Professional record labels always have distribution and sales connections set up before they secure airplay. You should do the same.

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Shive Magazine

PARTY 19th Issue Release

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