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Gibson Songwriting Blog

1) Find ways to get ordinary people who love music, to love your music. We live in a time when everybody and their sister can and does make their own music. That doesn’t mean, however, that your music has what it takes for record labels to invest their money and time developing, promoting, and marketing that music.

Try your music out on “music fans” in the same way you would solicit opinions from A&R Rep. Talent scouts in the music industry are always following tips they hear from their street connections. But remember, your music must truly stand out in some significant, original, dynamic, and creative way. 95% of the independently produced CDs out there contain regurgitated ideas that were ripped off from some other more gifted musicians.

So prove to the industry that ordinary music fans in your city love your music.

You can do this by giving away samples of your music and putting some of your songs on the many internet websites that allow people to download or sample new music. If people love something they let other people know about it. So, you can find out quickly if your music has what it takes to please the public by giving away your music, for a while, until there is a real demand for it. Then continue to give away your music, but in a more controlled or limited way.(Perhaps give away a song or two for a limited time on you website, or through MySpace and/or Facebook.) You will sense when the time has come to control this habit and charge a reasonable fee for access to your music.

2) Play live often and don’t worry ( at first) about getting paid for every gig. You can always tell the difference between a musician who is in it for the money, and a musician who is in it for the music. The dedicated musician can’t not play music every chance they get. Money-focused musicians whine about the fact that they can’t get club gigs that pay anything. If you really think that you can make your living solely as a musician in the first three to four years of your career, you are headed for a breakdown and disappointment. Think about it… almost every legendary, gifted musician who has made a mark on our culture has been a musician who struggled long and hard at their craft, and never gave up. Eat determination for breakfast! Go out there and play on the streets if you have to, play at schools, fairs, festivals, do benefits to help other people and organizations. Offer your services to non-profits, charities, church groups, and any other companies or organizations you can think of. Hang out at clubs, look for jamming possibilities, or start your own jam sessions. Look around your city or town, and you will see many places and venues where musicians can play. As you establish yourself and more and more people show up at your shows, the paid gigs will increase. Remember… play live, and then after you play live, play live again, that’s what musicians are supposed to do.

3) Know your instrument inside-out. One of the curious developments of the late 1970’s was the huge increase in garage bands, punk bands, rappers, and “do-it-your-self-ers”, who just picked up an instrument, or started to sing with some friends, and 6 months later recorded a record and began to play live. Some great music, and new directions in music, came out of that situation. But now, 30 odd years later, the novelty of hearing amateurish thrashings has gotten a bit dull.

Prior to late 70’s, more often than not, the music that is our heritage was made by musicians who, from the time they took up their instrument, worshiped at the feet of some master bluesman, jazz player, folk legend, songwriter, or whatever. The habit of these inspired musicians was an appetite for perfection. A need to be not just “good enough”, but GREAT. Why settle for less? Whatever developing stage you are at, go beyond it, re-commit yourself to your instrument or voice. Take lessons, or better yet, sit yourself down at your CD player and choose a favorite musicians record, and listen closely to what they are playing. then re-play it, and re-play it again. Challenge yourself to go beyond your limitations. Who knows, maybe you will fall into some new territory, wherein you will find yourself, your “sound”, and increase your chance to stand out from all the mediocrity that is your competition.

Believe it or not, record labels love to hear innovative, accessible new sounds. Actually in their heart of hearts, that is what they are really hoping to hear on every new demo, and from every new act they go see at a live venue. You see, in the business of music, when we hear something new, original, and accessible to people, we can then invest in you with more security, believing that if we put our “label brand” on you, with our talents of promotion and marketing coming to the front, then we “have something”, and your music becomes our music, and we work together to broaden you audience appeal. It’s kinda like a partnership… something about “Art and Commerce”… they can work together you know?!

4) Protect your investment… register your songs for proper copyright protection. I never cease to be amazed how few artists are willing to spend $40 to register their songs with the Copyright office. By the way, these folks are often the same folks who complain about not getting paid to perform their unknown music. All I know is that when an inventor comes up with some new product that they think will appeal to a certain type of customer, the first thing they do is file for a patent on their invention. The same reaction to protecting songs should be there for any serious songwriter. If you really intend to work hard and develop your career as a musician who writes your own songs, don’t wait too long to take care of this simple, but essential task. If you really believe in your unique and original music then take the time to learn the basics of copyright protection. From the Internet to the library, there’s an easy way to learn what it takes to file for copyright protection.

5) Design and write your promotional materials so they stand out. The topic of designing and writing effective promotional materials; bios, fact sheets, cover letters, quote sheets, website and blog pages etc. is a lengthy one to say the least. As far as some tips that can help musicians promote their careers, and contribute to their getting any deal offers, is to make the promo materials as compelling, and informative as possible. Take the time to inventory any accomplishments, positive reviews, training and awards, past sales, and live appearance highlights; and organize them into professional written documents that you have saved for you website, MySpace and/or Facebook accounts. Having done that, time also needs to be taken to research who to send the materials to, and to ask each potential recipient what type of information they would like to have sent to them. No “generic” kits should ever be created. let alone sent to any gatekeepers in the music business.

6) Know the labels and music publishers you hope to be signed to. If you were applying for a job with a certain company of corporation, wouldn’t you take some time to ask questions about their stability as a business, their reputation in the industry, and the executives background and experience? The same is true when you are approached by any reliable music industry company. Some musicians get so excited when a certain label approaches them with a recording contract offer, or a publishing company offers to sign them. Being approached for a deal is a compliment and recognition by a label or publisher that a musician’s music is attractive to them. But, to rush ahead without taking the time to learn a few things about them is foolish indeed. Ask… how have they done with your particular genre of music? What specific “points” are they offering you? Who runs the label or publishing company? What is their reputation in the music business? How do you like them as people? These and other questions can be crucial in making an unemotional decision about an arrangement that could make or break your career.

7) Have your own ‘Entertainment Law Attorney’ to represent you. The business of getting signed to any deal in the music business has always had, has now, and will always have, the involvement of entertainment law attorneys. No jokes will be inserted here, because any relationship between a musician, a record label, a publisher, a merchandiser etc. will come down to two attorneys hashing out the contract for the musician and the respective companies involved. It should be pointed out here that when all is said in done with the “courting” process, the musician is never present during the actual negotiations. The musicians attorney and the music company’s attorney meet, talk over the phone, and fax/email or snail mail their offers and counter-offers amongst themselves. This fact serves to remind you that choosing a reputable, ethical, well respected attorney with lots of deal-making experience within the music industry is an absolute necessity for any serious musician who wishes to fight the good fight in the legal arena.

8) Choose a well-connected and respected personal manager. Great artist managers are becoming a thing of the past. Self-management is always a valid option in the developing stages of establishing your career as a musician. Much can be learned by taking on the jobs of securing gigs, getting some publicity, planning tours, dealing with personal issues that arise within the band, and schmoozing with A&R Reps and various other label and publishing personnel. However, there comes a time, usually when the daily tasks of doing the business of being a band takes up too much time, and it is at this time that the services of a good manager can be very useful. I have always felt that if any musician or band has worked hard to establish their career, and achieved a modicum of success, they will have a better chance to “attract” the services of a professional, well-connected and respected manager.

Managers who do this job for a living can only take on clients that generate income. Making money as a personal manager is no easy task, and many upcoming artists forget that if any monenies are to be generated from their music, it can takes years for the flow of that income to be reliably there. So, as a band develops self-management, or gets help from intern/student manager-wannabees, this can help pave the road for professional management.

Over the years I have heard several horror stories about “managers” that approach upcoming acts and say that for X amount of dollars, they can do such and such for the artist. No… this is not the way legit personal managers work. Well-connected and respected personal managers get paid a negotiated fee for their services (get it in writing) for any and all business transactions they are responsible for (15%-25%) over a particular contract period. No musicians should ever pay a fee to a so-called “manager” who will not do any work UNLESS they are paid up front. Flim-Flam men and women still abound in this business… be forewarned.

One of the most important jobs of a manager is to secure recording and publishing contracts for their clients, this is why it is so essential to choose well connected and well respected managers. The music business is a “relationship” business. Who know who, and who can get to know who, and who did what successfully for who… is what this management game is all about. Choose carefully those people who will be representing you in any business dealings.

9) Don’t take advice from anyone unless you know that they know what they are talking about. At the beginning of this article I stated that these 10 tips were just my comments from years of dealing with the business itself and many musicians. Everybody has their own list of Do’s and Don’ts and the only real value they have is that they present you with “opinions” about what to do to get established as a musician.

To be quite candid, the best rules in the music business comes from the experience of building your own career; learning from your own interactions with the gatekeepers at labels, the media, management, and booking companies as to what is right or wrong for you. For every Do or Don’t there is an exception to a so-called “rule”. As I reflect on the advice I sought out and listened-to over the years, the most valid tips came from people who walked the walk, and talked the talk. If you feel that the source you have contacted knows what they are talking about, and has had first hand experience doing what you want to learn about, that is the only feedback that might stand up over time. Choose carefully.

10) Musician…Educate Thyself! If you want a record deal, learn what a record deal is, and learn something about the business of music. Naive or mis-informed musicians are a menace to themselves. Enough already!

Over the decades there have been countless stories of musicians who were ripped off by their record labels and music publishing companies. Why? Exploitation was the name of the game for a long time. Keeping musicians in the dark was standard business practice. However, the past has passed, and today any musicians who sign a record contract (and learns later what he or she signed) have only themselves to blame. Even 20 years ago, it wasn’t that easy to gain access to the inner workings of the music business. (There are more letters in the word business than in the word music.)

Today there are dozens of outstanding books available on every conceivable topic related to the business of music. They can be found in bookstores, libraries, and through the Internet. In addition, there are many schools that now offer 2- 4 year programs on the business of music. Seminars, and workshops are available on a year round basis in most major American cities. Consultants, Attorneys, and Business Organizations are all around and so it is only myth, superstition, stubbornness, and immaturity that stand in the way of any musician making a commitment to educating themselves about the business that exists to exploit their music.

I cannot stress how important I feel this issue is. I am here to tell you, one and all, that you have been told many things about music that you did believe. “Spend money on quality instruments and equipment”… you have done that. “Spend time and money on practicing and rehearsing”, you have done that, for the most part.”Spend time and money finding the best recording studio, producer and engineer you can”… you have done that. “Spend time and money learning all you can about the business of music”… well, no one told you to do that did they?!

It has been said about education that we don’t know anything until someone tells us. If that is true, the fault in “not telling” musicians that they MUST spend some time and money on educating themselves on music business issues is the fault of the businessmen and women who kept their clients uninformed. (Ignorance IS bliss as far as the old guard of music executives are concerned). But, KNOWLEDGE IS BLISS should be the byword for the musician of the new millennium. Please…spend some time and money educating yourselves about the music business, a few hours now, can protect your future forever!

These are the voices that seem to be getting drowned out. In a talk at SF MusicTech Summit this week, Cracker and Camper van Beethoven founder David Lowery argued that near-zero investment and greediness from companies like Apple are making artists worse off than ever before. The well-articulated argument, dubbed “Meet the New Boss, Worse Than the Old Boss,” was also outlined on Facebook ahead of the talk. Here it is, in Lowery’s words.

"We know this empirically. The facts and evidence are in. Let’s start with the best case scenario. Let’s just look at the division of gross revenues and expenses. The scenario where the artist puts out the record themselves on their own label. Okay, the vast majority of sales take place on iTunes and Amazon. How much does the artist get paid? Well if you are independent, you get 61% of gross, because you need either a distributor or an aggregator to get onto iTunes. iTunes itself keeps more than 30% for simply hosting the songs on their servers. They do absolutely nothing else.

"This is why Steve Jobs was a genius. He was not afraid to be greedy. So now an old-style record deal might have netted the artist 20-35% of gross (most reports of artists deals are wrong and low because they don’t include the mechanical royalties). "The old deals weren’t great at first glance, but then if you start digging into it they weren’t as bad as people think. And as I will show you were in most cases a better deal for the artists than the new model. 61% of gross is a lot better than 20-35% of gross until you consider the fact that under the new model the artist is responsible for all aspects of the record’s production, marketing and distribution.

"The artist pays for the recording, the artist pays for all publicity, promotion and advertising. And here is the key thing. The artist absorbs the costs of touring. You know only a handful of artists make a living touring right? Most artists need another job to go back to or they get tour support from the record label.

"In fact under the old model record labels used to pay artists to tour (actually they still do). Once you factor in the Tour Support labels once paid to artists the model is actually shittier to the artist. Unless of course you don’t tour.

"Plus the new model makes the artist absorb ALL THE RISK. The risk of making a recording that doesn’t recoup. The risk of going on tours that don’t increase sales enough and become a loss.

"Now consider iTunes and Amazon who are now the biggest music companies of all. They put up ZERO CAPITAL and ZERO RISK and they get 30% of the gross in return. At least the old record label system shared some of the risk! Wow the old labels were not so evil compared to the new labels.

"Now of course the independent artist can still sell so many albums that the higher percentage of gross 61% overwhelms the higher initial costs. But I bet this is not the case for most of your favorite artists. The increased costs and responsibilities make THE NEW MODEL a worse deal. The artists that do better under the new model are few and far between. That’s why so many artists that seemingly could go independent do not. They still use record labels. Look carefully at your favorite artists latest record. Is it still on a standard record label? A lot of smart well managed bands still on labels. Why? Because the NEW MODEL is actually worse. "But you didn’t even need this whole complex argument to see this right? You’ve already spotted the main problem right?

"In the new model you have these parasitic entities (iTunes, etc.) that take 30% of gross and provide no added value. As screwed up as the old business was there wasn’t this giant parasitic entity sucking out 30% of gross for nothing. This should suggest to any intelligent person that there is something seriously wrong with the NEW MODEL.


By Linda Scott-Reynolds

With so many poetry anthologies,
books, digests and journals that are
currently available, there has
probably never been a better time
for poets and freelance writers to
get published. Poetry has always
been a popular form of writing. It’s
taught in school, it’s helped create a
thriving greeting card industry, and
even influenced pop music. And
there’s a lot of great new poetry
that’s being published today.
If you’d like to publish your poetry,
here are a few tips from the pros to
help get you started:
“If you want to write poetry” says Anne
Beauchamps, “then read poetry. The
more you read, the better you’ll write.
You’ll learn what’s being published
and who’s publishing it. It may sound
obvious, but if you want to publish
your poetry, read a lot of poetry”.
Ariel Northwood reminds us that
“there’s a lot of poetry being published
today. Hundreds of poetry journals
and anthologies come out each
month. To get published, you have to
write unique, original poetry that’s
unlike anything out there, and to find
your niche. If you want to publish your
poetry, your poems have to stand out
and be unique to attract a publisher”.

1) BE TRANSPARENT – No more hiding behind complex royalty calculations. Man up. Be honest. Provide clear and accurate accounting. The digital world makes it easier than ever to do this. This applies to labels, distributors, ASCAP, BMI, SESAC and anyone else you can think of. They can all be transparent if they choose to be. Right now they choose not to be.
2) PAY ON TIME! – No more artificial royalty accounting periods. Returns and co-ops are a thing of the past. Pay out and account on one way no return sales that you have been paid in the same month you get them.
The only reason to hold on to the money is to make bank interest on it. If this is what you are going to do, see #1, BE TRANSPARENT and tell artists you are doing this. 3) NO MORE SUGARCOATING AND HIDING REALITY – Seriously. Stop promising things you know you can’t deliver. Not everyone is going to be a star. Be honest, tell the truth,. Let the musician and artist know the realities of the market so they can have a better understand of what needs to be done to succeed or why things are not going the way they want them to.
4) ACKNOWLEDGE YOU WORK FOR THE ARTIST, NOT THE OTHER WAY AROUND – Without the artist none of us will have jobs. They are the ones with the talent. They create culture and write songs that have an impact on the world. They are allowing us to serve them, not the other way around. This philosophy and culture must permeate everything you do. Turn this industry from one that “exploits” the artist to one that serves the artist.
5) ONLY OFFER SERVICES YOU CAN ACTUALLY DO – No more asking for rights or income from things you can’t contribute towards. If you are a label and want more money from other areas (i.e. merchandise, songwriter income, gig income etc) you actually have to provide a service that does something to earn that right. There are others out there that are specialists in these areas, can you do what they can?
6) UNDERSTAND THE ARTIST NOW HAS CHOICE – Unlike the old days, artists can now succeed without you. Labels have gone from a “must have” to a “might need”. Be clear in what you have to offer and create a fair and equitable deal in exchange for the services you are offering.

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Too often I see artists playing over and over again with diminishing returns. They’ve essentially worn their friends out, and haven’t done the thing that is most essential to the success of any band: shifted the burden of promotion from themselves to their fans. Without doing this, all bands (or products) eventually fail. There is a ceiling quickly hit when the creator of/company behind a song/product does not shift the burden of promotion from themselves to the fans. They can do all the advertising, marketing, promotion their budgets can withstand, and—for some period of time—will see some impact from this. However, bands/businesses don’t ever break through the ceiling in earnest until some group of these initial fans (call them “early adopters”) begin turning their friends on to the band/business. We call this word of mouth. The promise of social media has always been that this word of mouth marketing can be accelerated via technology. Obviously, as is proven by anything that “goes viral,” it can happen. Something “going viral” is just an extreme example of fans sharing and spreading the object of their fan-dom to their friends (via their social networks, typically) at a heightened rate. It’s not possible to manufacture something that goes viral. Viral-ness, by its very nature, is no longer being promoted by the creator of the product/song/etc., and, therefore, the creator is not in control. If we could manufacture viral products at will, we’d do it every time. Additionally, if we could do it, it wouldn’t come as such a surprise (I’m looking at you Double Rainbow) when something explodes virally. Part of the nature of something spreading in a viral manner is that it’s unexpected. This unexpected quality aligns closely with a key element of something going viral: it must be remarkable. Pulling that word apart you get its root: remark. We must always remember, that as is stated in The Cluetrain, “markets are conversations,” and conversations require topics of interest; topics that are remark-able. All of this leads to the concept that at its core, social media succeeds only if: 1. You shift the burden of promotion from the creator/business of the product to the fan. 2. Your product/business/band/service is remarkable; if it’s not, people will not share it. Once this is understood, you can begin articulating strategies that—while not guaranteeing what you do will “go viral”—will increase your odds of being spread by fans. In his still-relevant book, The Tipping Point, Malcolm Gladwell, borrowing from Robin Dunbar, articulates the idea that the maximum number of authentic social relationships any person can maintain is 150. If you look around at the various clubs in your area, you’ll likely find that many of them tend to have a capacity of somewhere around 150 people (could be 200, could be 100, but you get the idea). This is why it’s not surprising that a band who does not shift the burden of promotion from themselves to their fans will have a painful downward trajectory of playing in these 150-capacity clubs for some period of time, until their friends get fatigued and stop coming. To avoid this plight, bands need, what Gladwell terms, “weak ties” to bridge the gap between one social group and into another. “Weak ties” are people that introduce an idea/business/band to an entirely new circle. Consider, for example, that you’ve been on a job hunt for some period of time. You’ve talked to all your friends, and none of them have provided you with any leads. This is because all your friends are within the same circle, and basically share the same information/contact base. One day you board a plane, and strike up a conversation with the stranger sitting next to you. You tell this person that you’re looking for a job in a certain field, and, much to your surprise/delight, this person says something along the lines of, “You know, I have a friend who is working in that industry; I should connect you.” This is the power of the “weak tie.” It introduces you into an entire new community. Using this thinking, bands can strategize to increase their odds of breaking out of their circle of 150. Here’s an example. There is a very fine band by the name of Guster. As they were emerging in the late 90s/early 2000s, they were a student band at Tufts University in Medford, MA. Prior to holiday breaks, they would gather their fans and arm each fan with several copies of their recent releases. They’d give these fans the following mandate: When you return home for the holidays, and you meet up with your hometown friends, who are also returning from college, give them copies of our release to take back with them to their colleges after the holidays. In doing so, Guster was able to utilize “weak ties” to build a network of fans throughout numerous universities. This is, of course, the very definition of social networking—long before either the term or the internet architecture (i.e. Myspace, Facebook, Twitter, etc.) were invented. This method worked for Guster not just because they shifted the burden of promotion from themselves to their fans, but also because their music was (and is) remarkable. They, like all bands, had to start by playing in front of their friends, but, because the music was (is) remarkable, the fans wanted to spread the word. Guster, understanding this, created an architecture of participation that enabled and empowered these people to do so. Note, Guster did not have to give incentive for these fans to spread the word; rather, the fans wanted to spread the word because they were passionate about the music. The sharing of something they loved, was reward enough. Guster just gave them tools and direction.


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So what does Grooveshark do? When you click the “about” link on their website, a little pop-up box appears that says: “Grooveshark is the world’s largest on-demand music streaming and discovery service.” What this means is that anyone can go to Grooveshark, and, for FREE, type in the name of an artist and then play any recording by that artist in the Grooveshark system. Users can make playlists, stop, start, skip and basically listen to what they want, when they want, with little-to-no restrictions. And guess what, allowing anyone to listen to anything they want with basically no restrictions got them a whole bunch of users. How many? According to their little pop-up box: “Over 30 million users flock to Grooveshark…” Wow. 30 million users that “flock to Grooveshark,” and, again, I quote from their own site: “…to listen to their favorite music, create playlists, discover new tunes, and share it all with friends via Facebook, Twitter, social news sites, and more.” Well, when you have 30 million people coming to your website, you have a lot of web traffic. This means you can start making money by charging entities to advertise on your site. After all, you reach tens of millions of consumers. Just think of all the money Grooveshark makes by selling ads. There is just one really big, big problem: they don’t get licenses and don’t pay the artists, the labels and/or the songwriters for the use of the music that’s making them tons of money. I can assure you, 99% of the hundreds of thousands of TuneCore Artists whose music is in Grooveshark have not been paid a single penny. Said more simply: ARTISTS SHOULD BE PAID FOR THE USE OF THEIR MUSIC! In order for Grooveshark to pull off their “aren’t-we-so-clever-f**k-the-artist” scheme, they use copyright law in a way it was not intended to be used.

Click On READ MORE April 2, 2012

Is internet radio completely broken? It’s getting harder not to ask that question: Pandora is one of the biggest streaming radio services on the planet, yet it’s struggling to pay its royalty bills, it can’t even enter the UK, and it can’t convince Wall Street to take it seriously. And now, the company is telling Wall Street that it’s unlikely to be profitable until at least early 2013 - that is, best case scenario. But is this really Pandora’s fault? You can argue all day about what a content owner deserves to be paid. But what if it’s simply impossible to build a business around those rates? This is what Pandora warned investors as part of its annual SEC filing, released just days ago. “Since our inception in 2000, we have incurred significant net operating losses and, as of January 31st, 2012, we had an accumulated deficit of $101.4 million. A key element of our strategy is to increase the number of listeners and listener hours to increase our market penetration. However, as our number of listener hours increases, the royalties we pay for content acquisition also increase. We have not in the past generated, and may not in the future generate, sufficient revenue from the sale of advertising and subscriptions to offset such royalty expenses. Part of the problem is that Pandora derives 87 percent of its revenue from advertising, according to figures shared by the company in March. Pandora’s been trying (rather unsuccessfully) to diversify into premium subscriber services, but it also finds itself dealing with considerable consumer resistance to paying for music (and especially radio) online. On top of that, Pandora is dealing with SoundExchange royalty structures that seem to be killing - not facilitating - the online radio market. And this is just horrific math: streaming rates are increasing, not decreasing, and the more listeners Pandora acquires, the greater its royalty obligations become. Which means that if per-stream royalty rates aren’t reexamined or restructured, one of the greatest companies to enter this space may simply be unable to survive long-term.


Many musicians long to “quit their day job” and work full time in the industry. You might see this as an impossible dream, but if you’re creative and hard working, it’s definitely possible to make a full-time career as a musician. Here are ten ways a musician can earn a living in the music industry while promoting their own material. If you’re a solid and versatile musician, you could make decent money being a session or studio musician. Session musicians work with soloists - or bands whose drummers had a tantrum and left halfway through recording - to record additional instruments on a studio album. You’re not a member of the band, so you won’t get royalties or any of the limelight, but you do get paid for your time, as well as experience playing a variety of different styles. Session work has another upside – it puts you in contact with a wide range of bands, artists, sound engineers and music professionals. If you do a good job and are friendly and helpful, they’ll remember you when your own album comes out. Music publishers and many commercial companies hire songwriters to compose commercial jingles, movie scores, and pieces for established artists to play. You’ll need a good background in music theory to be a songwriter, but it can be a lucrative, continuous source of work. The bands and artists at the top wouldn’t be there without the words of music critics, writers and bloggers. Every genre of music has glossy magazines (as well as instrument-specific magazines) or - given the trouble print is currently in - websites that need regular columnists, interviewers and reviewers. When bands tour or festivals come to town, they need a huge crew to handle the setup, tuning, care and sound-check of a host of different instruments. If you’ve had a lot of experience with a specific instrument (anyone working retail in a music shop, this is for you) you could get a position as an instrument tech on a show. Most techs travel with a tour, so you’ll need a flexible schedule and a body that can function on a few hours’ sleep. There’s a saying that “those who can’t do, teach.” But I say – why not do both? Teaching can be one of the most enjoyable things you’ll ever do, and having students in your own home means never having to get a job at an office. You could teach community classes, become a lecturer at your university, or coach up-and-coming talent. Musicians need album covers, posters, and merchandise – not to mention tattoo designs to perfect their badass image. If you’ve got artistic talent and know your way around Photoshop, you could quickly become the go-to designer for bands in your area. Graphic design skills can be a great way in with music magazines and labels – many are sorely lacking in decent designers. If you’ve got a spare shed that’s home only to a growing population of spiders, you could rent it out to bands as a rehearsal space (after you evict the spiders, of course!) Many bands struggle to find spaces in densely populated areas [in Brooklyn, you can apparently make a killing], so if you’ve got the rooms to spare, why not help out some local talent and get a bit of extra cash while you’re at it?