| Preface to the Second Edition |
|
xvii | |
| Foreword |
|
xix | |
|
|
| Author's Note |
|
xxi | |
| Introduction |
|
1 | (8) |
|
|
|
9 | (22) |
|
What Does Making It Mean? |
|
|
13 | (3) |
|
The Purpose of the Day Job |
|
|
16 | (3) |
|
|
|
19 | (1) |
|
The 26-Year Marathon (The Goals) |
|
|
19 | (4) |
|
|
|
23 | (1) |
|
Why No One Cares About Your Music |
|
|
23 | (4) |
|
|
|
27 | (4) |
|
|
|
31 | (52) |
|
You Thought You Were a Musician |
|
|
32 | (1) |
|
|
|
33 | (1) |
|
|
|
34 | (1) |
|
What's Right and What's Wrong in Music |
|
|
35 | (2) |
|
|
|
37 | (8) |
|
|
|
45 | (1) |
|
|
|
45 | (8) |
|
The Bridge: 11 Things Every Band Agreement Needs to Include |
|
|
53 | (4) |
|
The Bridge: 7 Ways to Find a Manager |
|
|
57 | (2) |
|
|
|
59 | (3) |
|
|
|
62 | (5) |
|
|
|
67 | (1) |
|
|
|
67 | (2) |
|
How to Get a Publishing Deal |
|
|
69 | (1) |
|
|
|
70 | (4) |
|
|
|
74 | (1) |
|
|
|
74 | (1) |
|
|
|
75 | (2) |
|
Why Everything You Thought About Streaming Is Wrong |
|
|
77 | (4) |
|
Fans Aren't Going to Pay for Music Anymore---and That's OK |
|
|
81 | (2) |
|
|
|
83 | (23) |
|
Getting into the Musical Headspace |
|
|
88 | (1) |
|
|
|
89 | (1) |
|
|
|
90 | (2) |
|
|
|
92 | (2) |
|
How You Can Get Anyone in the World to Work on Your Album |
|
|
94 | (1) |
|
Who Do I Need to Get to Do This Thing? How Much Should I Pay Them? What Are the Steps? |
|
|
94 | (1) |
|
|
|
95 | (5) |
|
|
|
100 | (1) |
|
|
|
101 | (4) |
|
|
|
105 | (1) |
|
|
|
106 | (56) |
|
|
|
106 | (9) |
|
|
|
115 | (1) |
|
How to Create a Great-Looking Music Video on a Tiny Budget |
|
|
116 | (8) |
|
|
|
124 | (2) |
|
Should You Release a Single, an EP or an Album? |
|
|
126 | (1) |
|
|
|
127 | (1) |
|
Digital Distribution: How to Get Your Music on Spotify, Apple Music, Amazon and Everywhere Else |
|
|
128 | (2) |
|
The Bridge: 26 Things to Do Before You Release Your Song or Album |
|
|
130 | (4) |
|
|
|
134 | (1) |
|
How to Write Your Band Bio |
|
|
135 | (2) |
|
|
|
137 | (1) |
|
|
|
137 | (1) |
|
The Album Release Timeline |
|
|
138 | (15) |
|
A Few Creative Campaigns to Get Your Juices Flowing |
|
|
153 | (9) |
|
5 Building a Fanbase One Fan at a Time |
|
|
162 | (58) |
|
|
|
162 | (3) |
|
The Pyramid of Investment and the Pyramid of Engagement |
|
|
165 | (2) |
|
|
|
167 | (2) |
|
Are You in the Right City for Your Music? |
|
|
169 | (1) |
|
Los Angeles, New York, London or Nashville? |
|
|
170 | (2) |
|
|
|
172 | (15) |
|
|
|
187 | (4) |
|
|
|
191 | (5) |
|
|
|
196 | (5) |
|
How to Find Who Your Fans Are |
|
|
201 | (1) |
|
The Bridge: How This Artist Grew to 500,000 Spotify Followers Without Playlists |
|
|
201 | (2) |
|
Is Radio Still Important? |
|
|
203 | (2) |
|
Playlists Are the New Radio |
|
|
205 | (4) |
|
|
|
209 | (5) |
|
The Bridge: How I Gained Thousands of Followers to My Spotify Playlist |
|
|
214 | (1) |
|
|
|
214 | (5) |
|
|
|
219 | (1) |
|
|
|
220 | (26) |
|
The Purpose of Performing Live |
|
|
220 | (1) |
|
|
|
221 | (1) |
|
|
|
222 | (1) |
|
|
|
223 | (1) |
|
|
|
224 | (1) |
|
The Bridge: When Greeting Fans, Never Say "Nice to Meet You" |
|
|
225 | (1) |
|
The Bridge: 10 Things You Should Never Say Onstage |
|
|
226 | (2) |
|
|
|
228 | (2) |
|
Does This Mustache Make My A Look Fat? |
|
|
230 | (1) |
|
How to Hire Freelance Musicians |
|
|
231 | (4) |
|
The Bridge: 9 Things Every Musician Needs to Know About the Sound Guy |
|
|
235 | (3) |
|
The Only Way to Prevent Bad Sound |
|
|
238 | (1) |
|
How to Put Together a Local Headlining Show |
|
|
238 | (2) |
|
|
|
240 | (1) |
|
How to Be a Great Opening Act |
|
|
241 | (2) |
|
Playing Live from Your Bedroom |
|
|
243 | (1) |
|
The Bridge: 8 Things You Don't Want to Forget to Do on Show Day |
|
|
243 | (3) |
|
|
|
246 | (59) |
|
How to Be a Star in Your Hometown |
|
|
246 | (5) |
|
The Book Sheets: Picking Your Spots |
|
|
251 | (1) |
|
The Book Sheets: Finding Local Bands |
|
|
252 | (1) |
|
The Bridge: 11 Things Your EPK Needs to Have |
|
|
253 | (5) |
|
The Bridge: The Reason You Never Get an Email Response |
|
|
258 | (1) |
|
What Do You Mean We Don't Get Paid?! |
|
|
259 | (2) |
|
Performance Deals: From the Worst to the Best |
|
|
261 | (7) |
|
What Are Promoters?---And How to Get Opening Slots for Touring Acts |
|
|
268 | (1) |
|
The Bridge: 11 Things to Do Once You Book the Show |
|
|
269 | (2) |
|
How to Double Your Income |
|
|
271 | (6) |
|
Going Rates for Touring Bands Playing Under-500-Cap Rooms |
|
|
277 | (2) |
|
The Bridge: 10 Steps to Sell Out Your Show |
|
|
279 | (2) |
|
The Bridge: 9 Things to Consider When Choosing a Venue |
|
|
281 | (2) |
|
Weddings, Corporate Parties, Proposals, Bar/Bat Mitzvahs and the Weird, Wild, Profitable World of Private Shows |
|
|
283 | (7) |
|
How to Make Over $100 an Hour Street Performing |
|
|
290 | (6) |
|
Festivals Are No Longer Just for Hippies, Man: How to Break into the Festival Circuit |
|
|
296 | (7) |
|
Gig Resources You Need to Know About |
|
|
303 | (2) |
|
|
|
305 | (27) |
|
|
|
305 | (1) |
|
|
|
306 | (1) |
|
How to Book a National Tour |
|
|
307 | (5) |
|
|
|
312 | (1) |
|
|
|
313 | (1) |
|
|
|
313 | (1) |
|
|
|
314 | (2) |
|
|
|
316 | (1) |
|
The Bridge: It's Not a Meet and Greet---It's an Experience |
|
|
317 | (1) |
|
|
|
317 | (1) |
|
|
|
318 | (1) |
|
|
|
318 | (1) |
|
|
|
319 | (1) |
|
|
|
319 | (1) |
|
|
|
319 | (2) |
|
How to Make $500+ per House Concert |
|
|
321 | (6) |
|
|
|
327 | (1) |
|
How to Stay Sane on the Road |
|
|
328 | (1) |
|
The Bridge: 26 Things to Do Before You leave for Tour |
|
|
328 | (4) |
|
9 How to Make Real Money Playing Colleges |
|
|
332 | (24) |
|
What Is the College Market? |
|
|
332 | (1) |
|
|
|
333 | (1) |
|
Music Industry vs. College Industry |
|
|
334 | (1) |
|
Career Building vs. Money Making |
|
|
335 | (2) |
|
|
|
337 | (1) |
|
What Acts Do Best in the College Circuit? |
|
|
338 | (1) |
|
|
|
339 | (1) |
|
|
|
340 | (1) |
|
|
|
341 | (1) |
|
|
|
342 | (3) |
|
Get Ready for the Conference |
|
|
345 | (2) |
|
|
|
347 | (1) |
|
How to Get a College Booking Agent |
|
|
348 | (3) |
|
The Top 10 Music College Booking Agencies |
|
|
351 | (2) |
|
What to Do Once You Have a Show |
|
|
353 | (1) |
|
|
|
354 | (1) |
|
|
|
355 | (1) |
|
10 Sponsorships and Investments |
|
|
356 | (7) |
|
|
|
356 | (2) |
|
|
|
358 | (3) |
|
|
|
361 | (1) |
|
How to Waste an Investment |
|
|
362 | (1) |
|
11 How to Master the Internet |
|
|
363 | (36) |
|
How to Build a Great-Looking Website with No Web Design Experience |
|
|
365 | (1) |
|
What Should Go on Your Website |
|
|
366 | (3) |
|
Places You Need to Be Online |
|
|
369 | (1) |
|
Constant Creators vs. I, Artists |
|
|
370 | (1) |
|
Which Social Platforms to Ignore and Which to Master |
|
|
371 | (1) |
|
|
|
372 | (1) |
|
Followers Are Not Necessarily Fans and Fans Are Not Necessarily Followers |
|
|
373 | (1) |
|
|
|
374 | (1) |
|
|
|
374 | (6) |
|
|
|
380 | (6) |
|
|
|
386 | (1) |
|
How to Get More Likes Without Paying for Them |
|
|
387 | (2) |
|
Finding Your Fans on Facebook (and Instagram) Through Advertising |
|
|
389 | (1) |
|
|
|
390 | (1) |
|
|
|
391 | (2) |
|
Live Streaming: Facebook Live, Instagram Live, Periscope, YouNow, YouTube Live, Stageit, Concert Window, LiveMe, and Twitch |
|
|
393 | (2) |
|
The Music-Streaming Platforms |
|
|
395 | (3) |
|
|
|
398 | (1) |
|
12 The New Asking Economy: The Difference Between Asking and Begging |
|
|
399 | (11) |
|
Crowdfunding vs. Fan Clubs |
|
|
401 | (2) |
|
What Are the Differences Between Kickstarter and Indiegogo? |
|
|
403 | (1) |
|
|
|
404 | (1) |
|
The Bridge: 16 Tips for Running a Successful Crowdfunding Campaign |
|
|
405 | (5) |
|
13 How to Get all the Royalties You Never Knew Existed (and Other Business Things You Need to Know) |
|
|
410 | (20) |
|
Terms You Need to Understand |
|
|
411 | (3) |
|
The Bridge: How to Collect 100% of Your Performance Royalties |
|
|
414 | (5) |
|
How to Sign Up for SoundExchange or Your Country's Neighbouring Rights Organization |
|
|
419 | (2) |
|
|
|
421 | (4) |
|
|
|
425 | (3) |
|
How to Release Cover Songs (Legally) |
|
|
428 | (1) |
|
|
|
428 | (1) |
|
How to Copyright Your Music and Why You Should |
|
|
429 | (1) |
|
Trademarking Your Band Name |
|
|
429 | (1) |
|
14 How to Get Music Placed in Film and Television |
|
|
430 | (11) |
|
|
|
431 | (1) |
|
|
|
432 | (2) |
|
|
|
434 | (1) |
|
|
|
434 | (1) |
|
|
|
434 | (1) |
|
|
|
435 | (1) |
|
|
|
435 | (1) |
|
The Bridge: 8 Things Every Music Supervisor Wants in a Pitch |
|
|
436 | (1) |
|
Sync Licensing Companies and Agents |
|
|
437 | (1) |
|
25 of the Biggest and Most Reputable Sync Licensing Companies Out There |
|
|
438 | (1) |
|
|
|
439 | (1) |
|
What Do "Nonexclusive" and "Exclusive" Mean? |
|
|
440 | (1) |
|
15 Bump Everyone Else Off the Cover |
|
|
441 | (13) |
|
Three Main Kinds of Press/Media Attention |
|
|
443 | (1) |
|
Why You Should Get Local Press |
|
|
443 | (1) |
|
Why You Should Get Trade Press |
|
|
444 | (1) |
|
How to Get National Media and Why You Should |
|
|
444 | (1) |
|
How to Find the Blogs to Contact |
|
|
445 | (1) |
|
|
|
446 | (2) |
|
How to Obtain Local and Trade Press |
|
|
448 | (1) |
|
How to Write a Press Release and Why You Should |
|
|
448 | (5) |
|
|
|
453 | (1) |
|
|
|
454 | (5) |
|
Music Publications You Should Be Reading |
|
|
455 | (1) |
|
My Current Rant About the Music Industry |
|
|
455 | (4) |
| Some Words of Caution (and Other Stuff You Really Need to Read) |
|
459 | (4) |
| Glossary |
|
463 | (10) |
| Acknowledgments |
|
473 | (6) |
| Index |
|
479 | |
