Text by Dawoud Kringle
Recently, I’ve gotten sucked into not one, but three separate arguments about digital vs. analog. I won’t waste time and effort arguing about this. This is one of those Internet (or personal) debates that will go in circles and end up nowhere, and ultimately resolve and change nothing. I can only speak for myself and my own music.
The trouble with all this is I can’t afford to record analog.
You’re a musician…but is it a HOBBY or a “REAL JOB”?
(This article was written by entertainment attorney and indie artist Christiane Cargill Kinney. You can follow her on Twitter for more helpful indie-artist tips.)
As independent musicians, there are many times when we have to work second jobs to make ends meet, and after you factor in the costs of recording, manufacturing, marketing, touring, and other legitimate business expenses, not to mention sharing any profits you may receive with your co-authors, managers, agents, labels and distributors, the fact remains: independent music does not always turn a profit.
When tax time rolls around every year, many of us receive the same lecture from our accountants: “You need to start showing a profit, or the IRS may consider this a ‘hobby’ and not a ‘real job.’” If you haven’t heard this lecture in the past, you should probably get a new accountant. However, for those of you who have heard it, your reaction may be the same as mine. Read more »
Text by Sohrab Saadat Ladjevardi
I totally agree with Ari in all the things he says in this podcast interview about how “freelancing” musicians or bands need to deal with clubs.. Actually, I’ve been advising musicians around me almost the same things. I think that the time has come that musicians and bands know how to deal with clubs. Yes, you can’t play for free anymore, as far as you’re professional and live from your music. But you have to collaborate with clubs to make a gig a success. As a musician you need to know what your responsibilities are. You need to know how clubs make business. You just can’t ask for a guaranty and expect that a crowd will show up. On the contrary, it’s very important that musicians can negotiate things with the clubs. You have to be flexible in your demands. Being a musician means to be the composer-performer and your own manager at the same time. In fact, you make yourself famous and the clubs could be a great help for you. But you need to know how to deal and work with them.
Post from CD BABY postcast: http://cdbabypodcast.com/wp-content/uploads/2014/05/DIYMusicianPodcast_Episode131.mp3
By Dawoud Kringle
There are times when the Designer of destiny makes a fortuitous decision on your behalf.
Photo by Sohrab Saadat Ladjevardi
I first met Sohrab Saadat Ladjevardi in the lobby of a hotel where a mutual friend, virtuoso pianist David Cieri, was performing. We hit it off immediately; and both knew we’d met kindred spirits. The first time we’d played music together was in Ornette Coleman’s apartment. One of my life’s regrets was that I’d not recorded that session! It was marvelous.
Greetings, FMC friends! After a long and cold winter, many of us are excited to be escaping to the sunshine of Austin, Texas this week for great music, excellent tacos, and a jampacked SXSW schedule. Meanwhile, there’s plenty of excitement heating up in the world of policy. Read on for all the latest happenings.
1. FMC On The Road: SXSW
2. Artist Revenue Streams: New Case Study!
3. Comcast/Time Warner Cable Merger: Bad News For Musicians
4. On Copyright: Congressional Hearings Resume
5. Health Care Update
6. Best of the Blog
7. Work for FMC
8. SF MusicTech: Register Now!
9. How Are We Doing?
