Mellow Marketing

New Music Industry Positions

2012-01-18T03:34:00.000-08:00

Finance Assistant needed for high profile music company. Requirements: Accounting or Finance degree; minimum 1 year experience in Finance; familiarity with Data Faction, financial statements, cash disbursements/ receipts, accounts payable a must. Must be a team player, extremely discreet, trustworthy; have excellent organizational skills and positive/ can-do attitude; must multi-task and/ or work autonomously in a fast paced environment. Common sense a must. Send resume and cover letter to whowantsajob@gmail.com 1/10

Cutting Edge Group, a full service film music company, is looking for interns within the music supervision department. Please email resume and cover letter to intern@cuttingedgegroup.com 1/10

Music Industry Positions!!!

2011-11-08T12:07:00.001-08:00

Jam in the Van Productions is seeking a highly motivated and tech-savvy intern to assist partners and production team. Duties include website work, building a YouTube channel, helping with video shoots and assisting with data entry and correspondence. Headquarters are based out of Venice. Must be proficient with Macs, WordPress and video editing. This is a great opportunity for someone who is interested in the music business. It’s an unpaid internship but lunch will be paid for on work days. Please send resumes to Dave@jaminthevan.com 11/1

Network Music Reality Show seeks a PA to support the Music Department with preparing lyrics and sheet music, making reference CDs, reviewing cue sheets, researching writers/publishers, making runs and other assorted office duties. Candidate needs to be proficient with Macs, Word/Excel, iTunes, internet research and burning CDs. 5 days weeks (days vary / weekends included). Please send resume and cover letter to: musiclicensingjob@gmail.com 10/28

Unpaid Intern: Bulletproof Entertainment, run by one of the top music producers/supervisors in the motion picture and soundtrack industry, is in need of interns to assist with scanning, video editing, reachout, our CD library & iTunes database, record production, computer graphics, as well as some light office duties. Requirements: strong interest in music and film industries and strong proficiency with Mac/Apple software. Email resume and brief letter to apply@bulletproofentertainment.com 10/18

MUSIC INDUSTRY INTERNSHIPS

2011-10-01T05:47:00.000-07:00

Jr Executive Assistant for Senior Exec for high-paced entertainment industry office. Excellent secretarial skills: professional phone manner, strong verbal and written communication skills, attention to detail, common sense. Must be teamplayer, requires minimal supervision, works well under pressure, great attitude, quick learner, thick-skinned, deals well with different personalities. Career assistant wanted - not a job to move up the ladder. 5 years minimum experience required. Email resume: whowantsajob@gmail.com 9/20

Assistant in Music Department position will work closely with the Executive Director, Music as well as with the rest of the Music Team. Responsibilities involve standardassistant duties (word processing, phone calls, scheduling, filing, etc) for director. Duties for the department including but not limited to, coordinating the team both internally and externally with other companies within Shine Group, handling cue sheet preparation, assisting in all facets of music supervision and licensing, and maintaining and cataloging the internal and external music libraries and generally keeping up with the music space in general both creatively and business-wise. Please send cover letter and resume to hr@reveillellc.com 9/16

MAJOR Music Industry Job Openings

2011-08-08T05:03:00.000-07:00

A-list record label and management company in Beverly Hills seeks a bright, motivated intern to help with administrative tasks. Duties include phones, helping with promotional mailings, coordinating travel, organizing information, and other duties as assigned. This is an excellent opportunity to learn the skills you’ll need for starting out in the entertainment industry, and the internship provides a great introduction to how a busy label operates. Previous desk experience preferred but not required. Candidates must be able to receive school credit as the position is unpaid. Looking for someone to start immediately. E-mail cover letter and resume to thecollectiveintern@gmail.com. 7/29

Unpaid Intern: Bulletproof Entertainment, run by one of the top music producers/supervisors in the motion picture and soundtrack industry, is in need of interns to assist with scanning, video editing, reachout, our CD library & iTunes database, record production, computer graphics, as well as some light office duties. Requirements: strong interest in music and film industries and strong proficiency with Mac/Apple software. Email resume and brief letter to apply@bulletproofentertainment.com 7/29

Music Supervisors, Licensing & Going Pro

2011-06-29T16:06:00.000-07:00

After a long hiatus, I am back and very proud to return to the informative world of the music blog scene. Recently, I've been more involved with the film/movie entertainment industry and explored passions I've long held for it since I was a kid. But, I haven't forgotten the music culture and how it was the roots of any success I've seen in the past several months in my new field. So, with new contacts and knowledge gained, I'd like to present you with a new music blog with a fresh point-of-view from a student of the film world.

As an artist, you're goals are simple: You want your voice to be heard and you'd like to make profit from it. Hell, every post in this blog has been aimed at that. From EPKs, to investment strategies, to Film/TV solicitations, that has been the focus of this blog. And all the while, we've maintained the spirit of the indie scene and the free expressionism that I've dreamed of for the music culture which has finally began to dominate and show the light of day, once more. The roots of what inspired the creation of Mellow Marketing. So, today I want to return to expand, or even make a sequel, to that Film/TV Solicit blog from a year ago to explain to you the importance of Music Supervisors:

In the past, we've covered how placing your song on a movie, video game or ad is my most preferred route for an artist. Not only is it gaining you attention and promotion to a potential audience of millions, you're gaining profit for this. Money is sent directly to your publisher. Not a label or investor, but directly to you. This is what the future of music is supposed to be!

So, many of you still follow the blog I last posted on the subject, as you should. Even before we continue, let's make one thing clear: I always recommend hiring a strong agent. I'm going to teach you the tricks of their trade and present to you what they've been doing for quite some time, but the experience, professionalism, accuracy and success rate is something truly worth paying for when you're in this line of work. This is no different from booking gigs, in that there are no room for mistakes or second chances when approaching these people. Presentation is key and talent is a close second, and sometimes it takes a certain type of individual to pull that off for you.

With that said, let's continue: For those who don't know, Music Supervisors exist within every entertainment media. Film, Television, video games, sports, etc. Their goal is to find music for their products that match the tone they're trying to strike for a particular audience. As said in a previous blog, many songs that can be referred to as "old classics" are often more expensive than their marketing budget allows. So, the search for an independent sound that's not only far cheaper, but can establish an individuality for itself and the product to create an original presence that the audience can relate it to.

Therefore, Music Supervisors actually love indie artists, as they provide amazing opportunities for new consumers at a very low cost. This creates a marriage between the artist and said company so strong, that many artists have found themselves funding entire albums or personal promotion tours through the funds they've gained from these successful solicits. Music Supervisors like Kier Liehman(HBO) and Alexandra Patsavas(CW) specifically look for only indie music to push the strengths of the youth and originality to their shows.

IF YOU DO NOT HAVE DISTRIBUTION, A PROFESSIONAL EPK OR PUBLISHING, PLEASE READ THE BLOGS PRIOR TO THIS BEFORE CONTINUING!!!! Without distribution, you don't have a product to sell with your marketing. Without an EPK, you aren't prepared to approach a Music Supervisor at a professional level to discuss the progression of your career. Without publishing, you won't have an avenue to collect the money you've made from either of those successes. If you haven't researched those 3 extremely important things, turn back and crawl before you run.

Now, the first question is the simplest one: "Where do I find a music supervisor?"
There are three ways to find them that are actually pretty simple:
1) Watch TV. No, I'm not being facetious. Seriously, watch TV/movies or play video games and wait for the credits. DVR the end and slow down to find out who the music supervisor is. Once you have the name, do the research(I quite often use LinkedIn.com) and find their contact info.
2). Online Research. To put it simply, Google. Search for companies that do film production/distribution, ad agencies or video game developers. Once there, search on their site or contact them directly regarding who their music supervisors are. Contrary to most people's beliefs, they aren't going to hide the names of those individuals.
3). Follow Productions. This is where picking up that issue of variety or following movie sites on Twitter actually benefit your life. Finding out what movies are set for release within the next few months are currently in production or near post can be a major leg up. They WILL be looking for music to add to their soundtrack and you may have the exact sound that they're searching for.

Next Question: "How Do I Approach Them?"
This where that EPK comes in handy. Your experience, style, strengths and weaknesses are all within that package. And all of those things, even your weaknesses, can play to your advantage. You see, no Music Supervisor ever wants to hear someone say "I'm good at any genre." Nobody in the industry wants a jack-of-all-trades nearly as much as they need someone who just excels at being good at one particular thing more than anyone else.
Just like booking a gig, the best thing you can do is to be honest, be real and set the tone in your favor by giving examples of who your style is similar to and what genre you're a great fit for. When contacting a supervisor, you'll discover that each has their own way of doing business or necessary means for their attention to be gained. Some prefer a strong, visual .PDA format of your EPK to go with your digital audio samples in an e-mail. Some would even prefer if you sent them a physical version of both through "snail mail", in the form of a CD and printed folder of your EPK so they can keep the file on hand.

So, how do you know which style they are? You don't. You have to pass the hurtle of starting a conversation through an e-mail and just asking them as your present yourself in that professional manner we spoke of earlier in the blog. In one swift move, you have to gain their respect and interest to progress further, only to be optioned for the job. But, take every opportunity you can get and be patient. While your song is on file with them, you may be surprised when you find a nice, healthy wad of cash quickly enter your ASCAP one day.

As of now, I will be adding more to this particular blog post daily as I interview several close music supervisors & marketers. I'm never one to show all my cards on the table(I gotta eat!), but here are two sites that I often use & can help in your search to find productions searching for new talent. Happy hunting!:
productionweekly.com
inhollywood.com

New Era Marketing Pt. 1

2010-03-07T21:40:00.001-08:00

This is the first of a multi-part blog spanning a subject I've been asked about frequently in the past month.

It's been a while. But, that's simply due to 2010 having more twists than a montage of every last 5 minutes of an episode of Lost. The time I've been speaking of for the industry is here and all the independent artists are now fully in control. So, not only are the ones who couldn't adapt weeded out, but the ones who can now have succeeded their superiors. The labels are down lower than ever. But, we all now have responsibilities as the "new" types of labels have already emerged: Corporations.

The phrase "I hope I get signed" makes the backstabbers sneer and the honest folk in the industry shake their heads. To be "signed" by a label can pay for the release of your album & marketing, yes. But, you now have lost control of your publishing, creative independence/integrity and are also in-debt. Without publishing, you'll have to wait for your label to cut you a check of the money you've made and hope they are fair to you. And with you being in-debt to the services they've provided, there's good reason to question the outcome of that. And now that you're in their debt, say good bye to creative integrity. You'll have to perform what they want, when they want, how they want it, where they need it and only a certain way. Congratulations! You've been "signed"!

But, as I always try to explain, this in no way means there is no hope. Independent dollar is alive and it is flourishing. Now, for those who are still working on the investment blog I provided months ago, but can't find a place to bring that very professional business proposal you've built from the ground up: Ad Agencies are your next venture into the world of music.

You see, the beauty of this industry is that music is connected to EVERYTHING. Movies, Television, Video Games, Sports, Events, Nightlife, Traveling, Elevators, Shopping Malls, Coffee Shops. You name it. The exposure into any of these other genres can entirely build a career for a single band/artist. "Death Cab For Cutie" was very low-level indie until the cast of "The OC" demanded the producers to play their music on the show. The band "Cage The Elephant" has been struggling for exposure for years, but recently had their music picked up by a video game company, "Gearbox", to be a theme song to their multi-million dollar hit "Borderlands". Now, they are experiencing more overnight success than they could ever ask for. And there's the band "The Heavy", who have been primed for success ever since they built the original concept of having a lead with a spirit like James Brown and a band that could evoke both Rock and Soul. Now, their originality has been recognized thanks to their short Kia Sorento commercial.

The solution into pursuing this is more simple than most people may think: Ad Agencies. Now, I will be perfectly honest, this isn't the solution to everyone. Some music just isn't marketable from a commercial point of view. But, you'd also be shocked as to what music gets picked up. Hell, look at the entire soundtrack listing to Entourage since Episode 1. But, to pursue agencies at this stage would be wise for any artist. Not only would it help you gain exposure, but it would make you part of a multi-million dollar campaign/project. The money you use to that could be pocketed or (preferably) to enhance your career to the next steps.

Now, to pursue ad agencies, I actually suggest either saving money and pursuing hiring one designed towards music, such as the Gary Group. But, when funds are bad, you can take the venture of putting yourself out there to such agencies in an extremely professional manner, to companies like Saatchi & Saatchi, AMV BBDO or one of my favorites, WCRS. When doing this, be sure to show them everything you've learned from my "Building an EPK" blog below:
A) That you have an active and growing fan base.
B) You have commercial to appeal to a massive group of people.
C) What demographics do you get the greatest response from.
Agencies are often searching for new, indie talent that has the ability to speak to their culture while bringing attention to new products.

This was the first of a series I will be continuing. Next edition will help give instructions on how to approach the agencies mentioned and how to stay a step ahead of the competition in the process. Until then, do your research, prepare those EPKs and hopefully you'll be prepared before the next part of class.

How To Make Profit In The Off-Season (Season Closer)

2009-10-18T08:12:00.000-07:00

Welcome all to the final blog of the first season of Mellow Marketing. It's been a really amazing year with wild experiences and I hope I've helped propel many of you to the next steps you need to take along the way. In previous blogs, I've given all of the genuine information you truly need to move into the next phase of your career successfully. Now, it's October, and it's time to stop looking into what you can do for this season and look into building a business plan for next year. And if someone is trying to get you to do distribution and solicitations for right NOW, then they honestly just want your money. (Why would you agree to CMJ[College Radio] during Christmas time, when kids are getting out of school? THINK!)

So, as many of you know, the music industry has a habit of slowing down and taking chill time in America once November is halfway in. All of the labels and reps wait until January to begin work again and everyone takes this time off to either enjoy or collect themselves to make the next year even bigger.

Which one do you think I'm doing?

In this blog, I want to show you all how to put this free time in your music careers to good use. I'm a heavy competitor, but I'm also known for being 3-4 steps ahead. This is an asset we all need and here are some tips for many of you out there who plan to make their first MAJOR push in 2010 or to improve the one you started in the current season:

1. Research(!!!): I Can't Stress This Enough! Research of all types is what every artist needs to do with their work. From researching marketing to see what regions in the world their style would fit best(I have a previous blog about this) to looking into classic, obscure music to gain inspiration to improve their craft. It's so crucial to increase your knowledge as this is the greatest weapon you'll hold in this industry, because you'll discover it'll be the one that'll most often be used against you(usually after it's too late).

Look into my past blogs and see how these ideals for strategies can change the way you perform your entire season. Start looking into what movies you want to drop a solicitation into (Iron Man 2, anyone?). What places are booming with Independent love(*cough*Canada*cough*London*cough)? What conferences would be the best to attend next year(Check out my list in the blog previous to this one) and what are the best ways to market yourself there? If you plan to do live tours, how do you plan to make residuals back and do you have an active Sound Scan working for LIVE performances(which is not easy to get)? Plan it out now and start making friends with people over the holidays. They'll become colleagues next year. Take the time to think outside the box and you will be rewarded handsomely. That's what I do best and why I love this industry.

But, I would like to take a moment to say it's imperative to take the opportunity to look into taking your work international. On an executive end, we see where music is going here in America and that slope doesn't go up. But, the beauty of opportunity and flourishment has continued to become an international phenom even more than it was before. If you're looking for me in the off-season, this is a major hint as to where I'll be. For example, take a look at this: http://www.youtube.com/watch?v=bsSJAUpMBDE&feature=player_embedded

2. Careers: Before anything, let me state what I have to say about every blog I've posted and the reason for this site that you're reading on right now: The Labels Do Not Matter Anymore. Soon enough, they will not exist, at all. The real labels now are corporations and the A & R departments have been replaced with sponsors. THAT is how the music industry works now and we all need to adapt. My entire company has been designed around this theory and achieved success from taking the time to educate and cooperate with how this industry has remolded.

SO, with a new industry comes new business strategy to get what you all still consider "signed". Really, it's just a matter of you finding a sponsor or investor towards your craft and then you handle the rest. The resources are available to EVERYONE. So, you should focus on promoting yourself and networking to FIND these investors. Sometimes, that includes careers in the right places.

What I suggest is to start working in areas related to music or in places you can prove that you are a viable asset. That includes jobs/internships with marketing agencies, talent groups, movie studios or some of the current majors, such as UMG, BMI and The Orchard. The best way to get what you want is to have leverage over something else valuable. What better time to achieve that than the off-season? You may even become an agent like me, which is how I started.

Why don't I mind the competition, you ask? You'll see in 2010..

3. Social Media Marketing: I know mostly indie artists read this, so this is aimed directly at you. Many of you focus solely on these things: Your music, education, trying to book a gig, Twitter/Facebook and making enough to eat next week. I'm here to help put the last two together into something profitable.

You see, Social Media Marketing is a form of marketing that most industries haven't quite grown a strong grasp on, but they ALL want it. What they want is for someone to take social media websites (i.e. Facebook, Myspace, Twitter, LinkedIN, etc.) and to advertise their company through creative means on each. They also want banners on more popular sites while you keep track of CPAs(Click Per Advertisements) and they also pay for that.

This job doesn't require much time, tons of effort and the pay is very, VERY nice. I've even found my services outsourced to several major companies throughout the year and it's always a fun, rewarding experience. Most companies are looking for educated, young individuals who can handle the rapid pace technology takes pop culture. Coincidentally, that makes up most of the music industry.

So, take the time to research this field and you could quite possibly FUND YOURSELF for this new season. Google, ask pros about it, ask me about, etc. Whatever you have to do, look into gaining new career opportunities and options.

Once again, I want to thank you all for an amazing season and I hope to get to know even more of you in 2010. The first year has been a hell of a ride for this company and it's only looking up. It would be my honor and a pleasure to take you on that road with us.

How/Where To Make Your 2010 Season Successful!

2009-09-08T16:36:00.001-07:00

I MAY HAVE TO TAKE THIS BLOG DOWN SOON, SO BE SURE TO SAVE THIS ONE AND LET EVERY ARTIST YOU KNOW TO BE CAREFUL ON THEIR ROAD TO SUCCESS!

Now, if you have been following my blogs, hopefully you are fully prepared and open-minded to all of the responsibilities you must take as both an artist and a business.With the amazing response to the investment blog, I found it more appropriate to tell you the places where it would be best to professionally get your face in front of said investors you don't know of, already.

You see, this is where my plan comes together: Now that you are fully educated, all you need is the money and the network. The list of hot spots in 2010 I name are filled with both. But you need to keep in mind that the strong level of professionalism and marketability that I've demonstrated in the past must all come into play. You're no longer just talking to the A&Rs or the interns trying to get a big sell. These are the people with that check book you want a piece of. And they are not expecting you to come at them like a pro. Let's show them how much you grew up in 2009, huh?

So, before I begin, I know many will argue with me on this but I've been to this place 2 different years to come to this conclusion about it: FUCK "SOUTH BY SOUTHWEST"! You see, there are going to be the conferences where nobody shows up to help you at all. They just want to take your money. And they want you to pay them to play. And they want you to buy certain badges to walk into certain places. And they want you to give them $500 to take the advice (EXACTLY how I've been giving it for free) and come back to them with more money so you can make a deal with them.

Woo-hoo!... So Indie!.... So supportive!... So cutting-edge!...

Fuck that! Take this from someone who was thrown out of his hotel during one of these conferences because he refused to work for labels with this greedy idea of how the industry works. Don't Get Your Money Stolen From You! This is the part of the game that immediately puts me in a rage more than any other(if you can't tell). The thought of artists who need help, giving their money up just to receive guidance, and only have it taken from their hands and swindled so horribly that they have to come to me and simply asked "what happened?" So discouraged, angry, confused, frustrated and even worse... losing faith in their career & dreams.

These are the same people who want me to break down my blog because I give you all the information they sell! These are the same people who can't get deals anymore, so they pull scams on people's dreams to put food on their table. These are the same people who lie that their interns are executive moguls so you'll have to pay more to talk to them. These are the people that this blog was designed to take down! So, if you see one of those fake conferences come to your town, do me a favor and spit in their faces. Tell 'em "Regards from Mellow Brown."

NOW, this is how to be as sneaky as me, play in their own game and gain all of the benefits while attending to some really fun shows, parties and making new friends (after all, that's what music is about, right?):

Midem: The first up is the gold mine. The kingdom. The palace. The mother load.
How come you never heard of this? Because They don't want you to, of course. You see, Midem is so big, that this is where THE LABELS go to get financing. Most labels can't afford to invest in your music, so if they really like your stuff, they fly over to France in January and present it here. This is where they find investors from the major corporations to sponsor or do co-publishing on their clients' art and campaign.

Ever been to a concert and wondered why there were Heineken signs on every exit of the joint? Probably because they signed that deal here.

To get into this place is a battle that even I'm fighting. Some of you even know that as I'm writing this, I have a trip planned to leave the States just to work with a company that wants to open that door for me so I can invite more indie artists in. Look into this soon, because I also want you all to find your way, even if it's before me.
http://www.midem.com/en/Homepage/

Mobile Beat Mag Las Vegas DJ Show 2010 Feb 9th-11th: Now, I won't lie. This conference is pretty new to me. But, there are few people presenting who have been very good colleagues in the past and very honest in their work. Keep posted on my Twitter as I look into this one, but this looks very excellent for DJ's.
http://www.mobilebeat.com/las-vegas-dj-show/

Digital Music Forum(East): I know, I know... There's both an East & West one, but I've only been to the East, as the West is coming up in October. Hopefully, with as much strength as the East carried. Now, if you've been following my blog, I'll be honest... They won't have much else to tell you in terms of facts that I haven't. But, at the time of the conference earlier this year, everyone was focused on internet radio. The one subject I haven't touched on too heavily because I've been exploring solicitation routes with several companies.

So, I would take the time to see if this conference would help YOU and if it's worth the travel. I would also try to either piggyback a distributor or have your music as part of the complimentary discs that will be given to every attendee at the function. Like I said, Think Outside The Box. If you can't afford to get in, who says you have to be there physically?

RAIN Conference Las Vegas: I actually found out about this conference through a very bad man(my colleagues reading this know who I'm speaking of lol). This is one of the most educational and informative of my entire career. Excellent work. It opened my eyes to three different business strategies so huge, that I will have to touch on them on a very much more professional blog on the new website coming in the near future. I definitely have HIGH recommendations for this show and you'll see me there. Very hard to find. Very secretive. But, will introduce you to new strategies involving digital and Internet Radio.

CES: Yes, I know you've heard of it. And yes, it's also good for music. Digital era started here. Net radio. Satellite Radio. MP3 formats. Every year, something new in the music industry shows it's face here. Now, I don't really recommend going, because it won't accomplish anything too major. But, be sure to follow the coverage of this very close and to start your own strategies for the rest of the year from it. But, if you have the funding, attend it and enjoy yourself.

MUSEXPO 2010: I won't lie - I already can't wait. Very Highly Recommend. Bump into the right people here and you have a career. You see, remember the blog about solicitations? This is a great place to get your music placed into movies, video games, etc. The folks here are looking for the next profit to come their way and they want a face & voice to match their particular image. Now, don't let that sentence scare you. There are many A&R's who are interested in many different types. From playing it on a cheesy car commercial with journals or your song chiming on whenever somebody enters The Gap, this is the place to start talking to people about that.
I will personally be attending again for the next, but not sure if it will be for America the next time. But, who knows? It's so much fun there that I don't want to miss anything on either side of the world:
http://www.musexpo.net/09/

Winter Music Conference/Ultra Music Festival: Now, some of you may argue, "Mellow, isn't this just like SXSW?!?!" And I'd say yes! Very much! Except one main difference: Less badge nazis. So, the trick here is to just go to the hotel parties, network with awesome people who are going nuts from the Miami atmosphere and start making moves by having a good time. Fuck a badge. You got all the info you needed w/ one drink, directions to the next secret party (Twitter made this past year ROCK, btw) and the same charming sensibility of a business person that you've developed from these blogs. You may even run into a celebrity or two on South Beach! This past year, I got to have a drink with Cassie Steele. I guess Drake isn't the only student from Degrassi High with an album. The world outside the box is looking pretty nice, huh?

CMJ Music Marathon: Why are you not beating down my door asking to go to the one that is coming up THIS YEAR?!?!?! CMJ. Is. For. INDIES. It's college radio! It's the closest thing to international radio we have here in America! This is where small artists become big artists and still love what they do! This is how they can get booked on the major tours! This is how they get funding. You know what? Just look it up and then tell me why you aren't booked for the '09 one. Lol.

And on a side-note, COME TO COMIC-CON 2010! If you followed my Twitter coverage of the 09 event, you know how much I loved it. There are many people there who are advertising their work, but these are the same people you can get friendly in network with and start talking solicitations for big movies, maybe? Iron Man 2 & Thor, you say? Disney is giving Marvel that budget to spend as much as they want on music now, huh? Lol... Just saying. Opportunities come in the strangest places. At least, that's how my career works.

Plus, in 2010, I will be throwing hotel parties in a few of these events, but the HUGE one will be in Comic Con. I hope I can see as many of you there as possible.

So, this blog is just the very tip of the iceberg to some very huge things coming in 2010. Keep track of my Twitter and get ready for a very amazing year. Because I will also be opening the door for international for many of you by the time the New Year's ball drops, this year. ;)

How To Attract An Investor And Gain Financing!

2009-08-27T17:23:00.000-07:00

Yes, this blog is finally here. The one that so many have been asking for since I started these. Why has it taken so long???: Well, there are people out there who have gone to college, achieved their MBA's in marketing and STILL struggle on this subject. Yes, for a time, I personally believed that achieving this is a talent that some of us are born with and some aren't. It's just like a poker player's ability to read an opponent or the way a magician plans for you to pick up just the right card so that way you fall further into HIS illusion, just to make you give in.

But, I'm willing to put in that effort with the rest to you to treat it as a skill and give you at least a layout of How To Attract An Investor. So fellas, put your business ties on. Ladies, put on the professional skirt. Yeah, that one you use for job interviews. Use extra starch, too. So, LET'S GET IT:

So, how many of you out there play the stock market? If you do, you'll pick up on what I'm getting at immediately. If not, no worries, we'll take this slow. You need to understand this in order to approach this from an investor's P.O.V:

Let's say you have $3K or so as a gift ready to be invested, because your uncle tells you "If you learn how to play those stocks, you'll never go hungry!" So, what is the first thing that comes to mind? "This better be F$&#% profitable!!!"Nobody plays to take a loss. So, the appropriate way to go about this is very simple: RESEARCH! You take the time to look into what businesses are currently successful. Most likely, they don't need you so their shares are very expensive. But, that doesn't make them any less important, you see. The effect that THEY have on the consumer marketplace will effect every other investment you have within their competitive genre.

Let's take the iPhone for example. THE smart phone of the consumer marketplace. When it first hit, everyone thought the world would crack open, besides that one major gripe that harmed it's major sales: The AT&T exclusivity, due to their company being the first to harness a proper 3G network. So, immediately the stocks sky rocketed for the product, but other smart investors approached the situation by seeing the whole battlefield responsively. The Blackberry also existed, who had the power and potential to run circles around the iPhone, but it's major problem was the development of the app store. They couldn't afford the money to pay the developers, so they allowed venture capital investors(that's all of us) to invest in the marketplace. That business battle continues.

An even better example is one I've experienced myself. You see, when I first started E*Trade a year ago, I just recently became tech savvy(the appropriate word is "Technophile", but I just don't want to go there...). So, when looking at investments, I looked at statistics for the video evolution war (around when Blu-Ray won) which lead to the new DVD war. At this point, it was between Blockbuster, Netflix, Redbox & Amazon.com. I researched the history and future goals of each, but I noticed one thing in particular: Netflix had signed exclusively with Microsoft.
At this time, I had already pieced together that this meant Instant Streaming through Xbox Live, putting videos directly into people's TVs without the mail. After that, I looked at the number of people who own an Xbox 360 over PS3 and it wasn't even a competition. This showed the death of the other companies and they presented the technology to me in an amazing proposal that showed the demographics, expected raise in rate of sales, consistency & the increasing profit in my investment. I was sold and to this day, that is the best investment I've ever made and I'm still sticking with it.

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Now, the reason why I say all of this is because now you understand how an investor thinks. Just like the rest of us, they just don't want their money back; They want MORE. And who can blame them? Why would they invest in something not profitable?

So, you have to show them how you ARE profitable for yourself and them. And the way you do that is to build an amazing BUSINESS PROPOSAL.

Now, remember everything I just taught you on how to find stocks? Just apply it here from the opposite angle:
1. A Proper Distribution Strategy: Now, if you were planning on taking the money and using it to tour or to market yourself before you properly got a distribution plan set up, stop reading this and just punch yourself in the face. This is a business, after all. So, go about the process I have mentioned before in other blogs on how to find a distributor who gives you your own publishing. Plus, you need to show in your investment package the exposure to your distribution, the price of your music and your expected income from it. Now, depending on how you're either paying your investor back in interest or by venture capital is why this is so important.
Because, A) If it's interest then you have an investor who gives you full freedom. But, they most likely gave you a specific time/date to pay them back with interest. So, that means make double the money that they gave you and then some to not only make a profit, but to pay off debt. It's not a bad deal at all, with the right distributor. Just make sure you have a proper business plan and the right distributor. I've done this one myself.
Or B), If it's venture capital, then that means that they approached the distributor with you and signed for co-publishing. Now, if your investor demands that this be your main route of investment, then go all out with the distributor! Make your investor buy a package with you, because they'll also be needing your marketing as much as you! So, a package would include Film/Television/Gaming/Radio Solicitations, BDS/Sound Scan reports, Booking Agent fees, etc.

2. Realistic Sales Projections:
Now, never think you're going to tell someone you have "20,000" albums sold and for them to not have Soundscan reports. They can look up your album and tell the rate of sale easily and even know if you're profitable or not. So, take the time to realistically look at the statistical sales of your genre combined with the strength of your marketing. That includes demographics of your listeners(ages, location and culture). Look at the competition you have and how you would reflect upon it. THEN, you will know what a realistic sales number looks like in your future.

3. A Solid Plan For Recouping Investments:
Hopefully, after all I've said, you already have this figured out pretty well. lol. If not, go back to the fourth paragraph and start again.

4. Present A Well Laid-Out Business Plan:
It's far more simple than you think. Show them your business team strategists(managers, agents, publicists, etc.). Hell, even tell your team, because they will be there to help you! These are the people who are going to pay them, technically! lol. Show them(investors) how each of your investments with your business team will profit the investor or their business. If your investing sponsorship is designed more like a sponsorship, show them how often their label will be displayed, where, when and to what demographic. Show them the length of your business plan, the overall goal and where this will place you and your investor within the near future. And obviously, show them exactly why and how you would be a professional success.

Contact me if you're interested in seeing an appropriate Business Proposal template actually given to an investor from myself.

This blog is meant to be the first of two-parts. I will be finishing this very long chapter soon. Contact me if you have any questions or need info.

International: The Most Powerful Step For An Indie Artists

2009-08-10T14:49:00.000-07:00

My work requires me to travel and see many different areas for business. Whether it's for client relations or to present marketing packages to labels or outsourcers, I meet many new people in the process. This includes YOU, indie artists. And over the past month of July, I've heard many of this said about location:

"Chicago is more of a hater-city. It's hard to get a start here."
"It's all about who you know in L.A. Otherwise, they don't care about you."
"They just not about business here in Miami. Yet, they're all about money. They won't give you an opportunity unless you pay them for it. Usually more than what you get back."
"New York is a tough crowd. No label here wants to sign unless you're already big and everyone else just wants to hustle you out of your money."

Any of that sound familiar? Be honest. That's why this blog is meant to give you all what you need next: DIRECTION, IDEAS & HOPE.

I definitely don't disagree with any of that, but I far from agree with it, as well. Every place has their own style and demographic. But, every place has their own route of doing business, as well. It's one of the tragedies of the music industry. Yes, it's a matter of who you know, but fortunately, you know me if you're reading this. lol. And if you're an indie artist, I want to direct you into the safest route possible.

Now, if you've spoken to me, I've most likely told you my top 3 rules:

1. Make yourself your own business. You don't NEED a major label! Labels will not invest in you until you don't need them anymore. It's ironic, but they won't even touch you until thousands of sales have been made on your Sound Scan report. Guaranteed money.

2. Build your own team. There will be a blog in the near future of how to properly do this.

3. Find your target audience.

And that is why we're here today. #3. I want to educate very briefly on this subject, because I actually want you all to take the time to look up YOUR sound and demographics after reading this. Find where you belong.
You see, location really is more important than some of you may realize. But, the scariest thing I've seen happen to many artists is that some of them fail to find their demographic. The thought of there being fans who actually search for a sound like their's and never gain the opportunity to find it? Scary thought.

There are artists here who have MASTERED the art of spoken word/method Hip-Hop. A very difficult genre that I'm sure many of you see fade in & out of view here in the states. Why? Because it's alive and welcome in Canada! On my first trip to Toronto, back when I was still an intern for Universal Music Group with Vyne Entertainment, I heard one phrase that changed my perception on how I did business:
"Hip-Hop didn't die, son. It just went up north."
That same kid who could spit poetry and rhymes in the same breath, who played second-fiddle to autotunes and ringtone rappers? He has healthy radio play in Canada. He has a fan following. His ASCAP is showing signs of revenue from people buying his digital, Film/TV insertions and his bookings have gone up due to a more powerful reseme developing. His originality is appreciated and word has spread back amongst his U.S. peers and even to other nations. Want proof? Look up the background of a certain band called Gym Class Heroes. Fun Fact: If they would've started in the U.S., they would've been labeled a Hip-Hop band.

Another (not-so) secret?: Canadian radio stations aren't bias. You won't hear Soulja Boi and Lady Gaga every ten minutes for the next two months. In America, it's about who pays more to have rotation. The days of people calling in and requesting music to be played more is sadly over here in the U.S.... At least in the mainstream. But, Canada has an agreement with you. They will play your song a certain number of times a day and give the people a choice of what they like more. And quality always wins with that crowd. It's a fair contractual agreement that you win by actually releasing well-made music. A shock. I know. lol.

Another funny story belongs to Dave England, who is today CEO of Vyne Entertainment. When he began his music career with the band NYE, he took it to the legendary Mark Berry of Attack Records/Universal. After he payed for his international solicitations and different forms of distribution, he continued with his band to struggle to get gigs over here on American shores.
One day, he educates himself in his own publishing agreement. How to access it digitally and to make sure it doesn't effect his taxes. Next thing you know, he sees thousands of dollars in his name waiting for him. He's a hit in Germany, Canada, Russia! His song has been inserted into MTV's Made(Episode #26, last I checked) and he has an impressive Sound Scan report for both physical and digital distribution. He became a hit and wasn't even aware of it.

You see, if there's any brand of music coming out of America that makes tons of international revenue, it's Rock. And Rock in the highest quality, purest sense of the word(Red Hot Chili Peppers, Queens of the Stone Age, Aerosmith, etc.). This is also due to it's commercial factor and ability to appeal at more sporting events. Many bands based their inspiration on the American style. And once again, people recognize inspired quality outside of our borders. Look up bands from the U.K., Japan or Australia sometime. It's pretty insane.

Even Metal, the genre that is so far in the ground that their highest grossing album is a cartoon (not even joking. Look up the animated series Metalocalypse) has found major success in places like Switzerland and Germany.

Hell, use the fact that you're an American!!! There's always been a joke amongst us agents and promoters hiring a promoter for a band a month in advance for one live show in Japan. And said band has never been there or even know one location, in Tokyo, they will open to a show that will be so filled to the brim that they will need a celebrity level escort to leave the premises. If only I was joking... lol.
Look it up when you can. Hip-Hop over there is alive and well. That's where all our greats go to stay and enjoy what they do! From Busta Rhymes to Wu Tang to Jurassic 5 to Mos Def on his off-season! It's the hardest thing in the world to pull Pharrell Williams from that place, especially when working with the EXCELLENT lyricists, Teriyaki Boyz. Even Pete Rock collaborates with one of the greats, Nujabes! (I even personally consider him the Asian J-Dilla) And they embrace the art of the culture that has been greatly forgotten. From mastering breakdancing to turn-table scratching at a degree we forgot existed. Even their R&B has a special art to it where you'll wonder why we missed out on the next Mariah Carey(who is also a legend there, possibly even more than here). Look up Utada Hikaru, hear her voice and then question why you haven't heard it before. Even take a look at Germany's style with one of my favorite artists, Brainpower, and translate it to see the depth he laid into his craft over beats you may recognize if you are a comic/anime/video game/sci-fi geek. There's passion that exists more than just here to the point where I'll even say that the best concert I've ever been to was to see Kenna in London.

And Rock? You aren't exactly abandoned there either. Ever sat backstage while tuning your guitar at that old shack of a club down the street and imagined what it would be like to be stampeded like The Beetles? It happens there. Trust me.

I wish I had a reason as to why it does, as there are many theories ranging from the quality of their music to the fact that American defiance is so popular amongst their crowd that it's become it's own phenomenom there. But, I still just embrace the fact that you can walk down the street and see a bright orange sign on a record store that says "REAL AMERICAN MUSIC SOLD HERE" in the same style that you'll see "BEST HOT CORNED BEEF IN TOWN" over here in America.

My point to all of this is that you have no reason to surrender your hope. I have never met someone with something real to say in their music who didn't have an audience. Be that audience is one person or one thousand. You just have to put in that work and effort to find them. Start your own business, get an international deal, hook yourself up on to websites that speak to the audience you're aiming for. Most countries even speak basic English. Take the time to educate yourself, take it one step at a time and NEVER GIVE UP if you feel this is something you really want. I've never heard of someone going only halfway in becoming successful.

If you have any questions, as always, contact me at mellowmarkeing1@gmail.com

Also, I dedicate this blog to my mentor, Mr. Montaine. He was a man who taught me that giving and making friends is far more important than defeating your competition. That it takes time, but doing things right get you where you need to be in the end. That it's not about who you know. It's about who knows you and love you for it. Rest In Peace... And thank you.

How To Get Your Song Inserted Into Film/TV/Movies

2009-07-28T10:35:00.000-07:00

Due to an incredible demand from friends and artists who have been asking me through e-mail, twitter and several other outlets, I will be educating indie artists on all of the tricks and trades they need to succeed in this ever-evolving business. Mellow Marketing's design has always been to help the indie artist succeed and avoid the scams, scares and bad deals of the music industry. Our design has always been to provide the powers and knowledge of a major label, without all the bull and extra cost. If you want to thank me, leave some love to my page, place my logo in one of your corners or(most importantly) RECOMMEND THIS BLOG TO A FRIEND!!! The old heavies of music are over. It's time for the digital era of distribution and radio to take over, so let's do it right this time.

**Also, I will be releasing these educational blogs in a series. This was originally chapter two, but due to both the demand and the urgency that indie artists need to jump on Film/TV, I've posted this first. Stay tuned as I will break down for the next few days all of the stages you need to take next for your career! And be sure to join us on twitter (www.twitter.com/MellowMarketing) for new gig listings, insertion updates and deadlines as they happen around the clock!

Film/Television Insertions Are HUGE For Indie Artists

Why, you ask? Well, the licensing for a song by The Beetles is going to cost FAR more than a song by the latest kid you just heard for the first time on Pandora. Producers are more open to indie music, as 1) indie music is typically cheaper to license, and 2) many producers love to have their egos stroked as the guy who made a band famous. Alicen Schneider spoke about the fact that 75% of the music used by NBC is now independent music.

How Much Can Artists Expect to Get Paid?

There is a wide range in the amount of money artists can expect to get paid from a licensed track, much of which depends on usage. Variables include the length of the use, the thematic placement (is the song in the credits or in the background of a scene?), the budget of the production, if the song is for a one-time use or used as a recurring part of the promo for the production, and more. The more that is requested of the song, the more the song will be worth. It’s important to also note that when a song is used in TV or film, two licenses are needed: a synchronization license from the copyright owner of the music, as well as master recording license from the copyright owner of the sound recording (Keep in mind that if you aren't currently set up with a company to do so, Mellow Marketing will plug you into ASCAP who will make sure the money goes directly into your account!). These are two separate agreements, and typically, artists that control both their master rights as well as their publishing will do “All in” deals that cover both “sides” of the composition. But, you must make sure you have those rights, because it's not that they DON'T pay you, but they will keep the money sitting in their offices until you open an account. We've seen many artists here at MM who never even knew they'd make residuals and we had to dig up the money for them! Most artists can expect to receive anywhere from $1,500 to $15,000 for the master rights alone for one-time placements.

How To Successfully Submit!

Similar to traditional press, blog, or radio outreach, there are specific rules that artists should follow when pitching supervisors. Once you find the name of a specific supervisor that you want to target (the Music Business Registry is a good option for finding contact info), your package should follow these guidelines:

1) Although they take Mp3 files in emails, supervisors still primarily work with full art CDs. They prefer their music in proper jewel cases with a spine that lists the artists name and title. Madonna from Whoopsie Daisy (who has worked on “Smallville,” “One Tree Hill,” “Alias,” and “Felicity,” and others) said that she receives upwards of 150 submissions a week, many of which she files away. Artists have to make it as easy as possible for them to file your music, and find it later.

2) If you are burning a CD, be sure you have added all the track info to the individual songs (particularly artist and song names). If a supervisor burns your music into iTunes, you don’t want to be in their library as “Track 2.”
3) Clearance problems are always an issue. Make the publishing and master info as prominent as possible, especially if you control both. As stated previously, just drop us a message on here as to how to obtain that and we'll give you a hand!

How To Ruin Your Chances For Submission!

1) Be sure you are targeting the right show(Entourage = Hip-Hop/Hard Rock, One Tree Hill = Pop/Emo/Alternative, etc.) Supervisors hate emails that ask: “What are you looking for?” Know your show’s demo, and send them appropriate music. If you're ever wondering what shows are begging for new music or asking for a specific type, follow our Twitter as we post them while they come in.
2) Do Not Call. Supervisors have no time to spend on the phone. Quick email reminders are appropriate. Successful pitches are those that do not expect anything, and do not put too much pressure on the supervisor. Keeping in front of them is great; stalking them is not.
3) Do not ask them for opinions on your music. Supervisors are not A&R reps. Good music will stand out and get placed at some point.

Use Songpluggers

All supervisors have a trusted stable of songpluggers that they can go to in a pinch. Songpluggers (or independent licensing companies, such as myself) have relationships with all the supervisors in LA, know what their taste is in music, and can provide cleared music to them, which they can run with immediately. Indie artists should look into building a relationship with licensing companies that have these direct connections with the supervisors. One licensing company who remains to be my favorite is Trailer Park. (Be sure to check out their latest work with the trailer to Terminator Salvation!) However - do your homework on them. Like any promo area in the industry, there tends to be some false claims and embellishments. For example, I've laid everything as to how I have this info on my bio for this page. This is because I want to run an honest company and make myself eligible for the Better Business Bureau. Not many people do this, so be sure to ask the proper questions!!!(there will be a blog on that in the future, as well)

Music Licensing = Massive Competition

Everything comes at a price. But, the best ones cost hard work and effort;not just money. The labels are keenly aware of the importance of music licensing. Alicen Schneider related a story about Dave Matthews’ label sending Dave himself to play a one-on-one concert for her to showcase some of his new license-friendly music. But the bottom line is that if artists can find fans of their music in the supervisor, (or sometimes even a key actor, as was the now-famous situation with Death Cab for Cutie and their placements in the O.C.), indie bands have as much of a chance as a major label artist (if not more, with the smaller budgets) with success in music licensing.

This completes our first chapter in a series of many new blogs to come to help support all rising artists in this new version of the industry. Here is a preview of a few of the marketing lessons I will be posting on the way, that I hope you and your friends will subscribe to:

* How The Industry Titans Fell And Why You Have The Advantage!

* How to build the perfect EPK(Electronic Press Kit) to get you more gigs!

* Digital Distribution, Internet Radio From OUR Perspective and how to go about it the smart way!

* How to build your perfect business team (Agents, Managers and PR's)!

* Scams, Freuds and Theives! How To Spot The Liars From The Real Thing!

I want to give a thanks to everyone for reading! Mellow Marketing will be back at you shortly! If you have any questions or comments, leave them here in a message and we will reply to you as soon as possible! Be sure to leave us love and recommend us to your friends so we can keep this indie music world alive!

I want to give a big thanks to Mike King of Berklee Music. An amazing foundation dedicated to the music industry! This article was thanks to him, as well as Vyne Entertainment who have provided our clients with major label distribution.

How To Build The Perfect EPK To Get You More Gigs

2009-07-28T10:15:00.000-07:00

This week, I plan to teach you how to make your career lifestyle easier, not only for you, but for your business partners(managers and agents). Next in the series is the lingering question that every artists asks me every day. Even more than how to get distribution: "How do I get more gigs?" Besides the obvious answer of "play better", I always ask them "what's your EPK looking like" and they give me the blankest stare. Please people, let's change that today. lol

What's An EPK?

EPK is the abbreviation for Electronic Press Kit. THIS is what promoters look at to judge the level of quality, professionalism and profitability of your work. It's your reseme to your next act and can make or break your shot at your next performance. Most importantly, it's especially needed if you want to move on to find greater regions outside of the territory that's already local to you.

What Do I Put In My EPK?

1. Bio:
The Band/Artist biography is a tricky thing, because most promoters are only going to glance through this unless their eyes are caught on something immediately. So, be sure to put in the basics with the rest of the info: Age range, Location, Who Inspired You.
That last one is a major factor. Usually, when promoters are looking for a particular sound or style, they already have a chain of reference in their heads. The people who inspire you just may be on that list.

2. Demographics:
This is quite possibly the most important. Know what crowd you are aiming for because the promoter NEEDS to know! Be sure that if you are Hip-hop/Rock blend, to make sure that your EPK represents this well.
Show statistical numbers of the age range you gain the most response from and what musical genres/crowds have been on record to return to your music. If you have any quotations with reliable sources linked to them in relation to fan reactions, add them to your Demographics page. Be sure to let your promoter know what type of artist you are.

3. Past Show Info:
Just like a reseme, use this as a chain of reference. If you've worked past shows and had positive results, be sure to leave your past promoter's number available. Be sure to also let them know the max number of people who were capable of attending the venue(be sure to notice how I worded that). And of course, this where you are going to want to show...

4. Pictures:
There's an art to this like everything else. Yes, everyone can add their head shots or group photos and album covers. Just don't overdo it, because the ones that are obviously going to be getting the most attention are live performance pics. There are a few rules I abide by when I add a picture to the EPK:
A. Does it give a positive vibe of the band?
B. Does it reflect on the quality of the performance?
C. Is there a really great shot of the crowd enjoying themselves?
D. Does it show how large the venue is? If not, is it questionable?

Like I said, remember the rules of demographics.

5. Professionalism
Does this really need to be said at this point? When making the EPK, easy on the slang, the swears and short hand. If you have anything to spice up the EPK, like designs or logo's, put a classy, subtle touch to it, but make sure it's your own. If you have any links to websites or pages, make sure they're 100% presentable. And where ever your music is being distributed(in all honestly, if your music isn't being sold/distributed, you shouldn't even focus on live performances left. You skipped a step), make sure it's in full access for them to see.

This is your career. Let's take it seriously.