Presented by Gary Hays in affiliation with Songwriters Anonymous

Introduction:

So, you've finally made the decision. Everyone has told you how good you are, including your Great Aunt Madeline on your Mother's side, and convinced you that you'll never make it unless you take the plunge. Or, just the opposite, everyone thinks you are crazy for giving up your peaceful existence in pursuit of a Lottery's chance dream that will probably never come to fruition. At any rate, you are ready, with the exception of a few impending formalities called plans.

Lots of new talent strolls into Nashville with visions of sugarplums dancing in their heads. Lots of new talent crawls out of Nashville with visions of finding a job back home in their heads.

Now, assuming that your musical repertoire of chart busting material is firmly loaded in your 48 caliber of life, proceed, but do so with caution. A whole new level awaits you. You are about to embark on a journey. Listen to the radio for a current songs commercial appeal. You are coming to Nashville to make money, aren't you? Study the lyrical content, pay attention to the hooks (those things that make a song memorable), listen to the musical riffs and most popular tempos (mid tempo by the way), brush your songs up if need be, now proceed, but still with caution, and welcome to our fair city.

Brief interjection of no relevance

I went downtown on Broadway yesterday just to play tourist and listen to some classic cover played by some of the best unknown pickers in town. Many of these players are studio musicians or bands that are off tour. The "Stage" happened to have John Michael Montgomery's band and that didn't suck. I like to go during the afternoon when things aren't so crowded and sometimes you can find a parking spot without having to pay for one of the expensive garages that continue to gouge and destroy the innocent seeker of a mellow day spent in some hallowed haunts. Can I get an amen. Anyway, the beer in expensive, the service not bad most of the time, the talent is mainly "insane". You'll see some people that are destined for a huge artist career. You may see some that have already made it, it happens all the time, especially in Tootsies Orchard Lounge. Not too long ago, Kenny Chesney pulled up out front of Tootsie's, jumped out of a limousine, jumped on stage, did two songs and then out the door where he was

never to be heard from again. That night! He started there. It's fun to take a break every now and then to breathe in some Nashville history. It renews you and gets your spirit centered. Lots of people before me have traveled this chosen dirt road of visions, and at least some of them, have done pretty well.

OK, I'm here

Assuming that you have made suitable arrangements to sustain at least the necessities of life for a given period of time, welcome. If you have neglected that step, good luck, you should get busy fulfilling that need. Since I an not a qualified Realtor, Landlord or employment agency, I'll spare you from misdirected, with good intentions information and assume that this is not an issue. There, I said it. Every good and productive journey begins with a sequence of events. To properly reach eternal bliss, do not bypass a step no matter how good your endearing friends have convinced you that you are. There is a reason for the sequence. Like any form of business, you must develop properly, and it doesn't happen over night.

Here is an excellent place to start, for several reasons, and no matter what your level may be. The Bluebird Café. www.bluebirdcafe.com. The Bluebird has the best known and most prestigious Monday night open-mic in all of Holy Land. It's really a lot of fun and you will meet some really cool people who will become friends for a very long time. Many of them are embarking on their first journey as well. Some are also playing other places and can help you "get in". Keep in mind that anyone can perform at an open-mic, so you may hear some exceptional talent and vice-versa. Play nice. Do not speak when someone is performing. DO (in capital letters), turn off your cell phone or run the risk of being strangled with a guitar cord and sacrificed to the Bluebird gods. If you can afford it, buy a beer or two to support the place, they like that. Do get know the long time MC, Barbara Cloyd www.barbaracloyd.com. I said get to know her, do not bug her, she is a busy lady and if there is some impressive talent on stage, that talent will gain her attention. If you are serious, and not a PIA, Barbara will help you, and it's a very good thing if she does. Here are some primary rules. Keep your songs to about 3 minutes. You may find that your microphone will get turned off if your song turns into to an epic dialogue. Nobody cares about what prompted you to write the song or about the historical highlights. Shouldn't the song tell that story? And please, please, pretty please, DO NOT ballad everyone to death. Try and keep it mid to up tempo and people will be quite appreciative.

The purpose for doing this writers night is the experience (in many

respects) you will gain. It's also not a bad place to work on your stage presentation. Standing in line for an hour to get on the roster for the night is an experience in itself. Once you have done this for a couple of weeks, you will get to know the regulars and will quickly become friends with some of them. Circles of friends are easily created as long as you are as serious as they are. You'll probably start writing with some of them. You'll learn more about your craft and end up polishing up some of your previous songs, or disposing of them properly. In a short while you will be ready for phase two.

In the meantime though. go to some writers nights where the writers are invited. Don't ask to be invited until you are really, really ready. You want to come out of the gate, strong. Just get a feel for the whole process and analyze where you need to be before approaching the Kings and Queens of songwriter nights hosting. People like Debi Champion www.debichampion.con , Lee Rascone www.myspace.com/youlookbad, Jack Scott www.writerartist.com and many other revered names including, I hope, even me www.songwritersanonymous.net. Listen to not only the early night performers, make sure you hear the later night performers as well. In most cases they are the ones who have been around for awhile and are much more popular. Some of the early night writers are fighting their way up. Remember that sequence?

Songwriters hosts like crowds. Club owners like crowds. Get the picture? Learn how to promote yourself because nobody else is going to. Develop a large circle of friends and associates. Let everyone know when and where you are playing and beg them to come. If you haven't already, get some social networking going. Collect Email addresses and send bi-weekly updates. Don't bombard people, they hate that. Keep your schedule on Myspace, Facebook, your own website or whatever you may use. In other words, get people there! What's really cool is if you can find two other writers that you gel with, get together and practice each others material so that when you perform everyone can play at once, and book yourself as a round. If you are good you will get invited back frequently and who knows, that trio may develop into something, crazier things have happened.

Play everywhere and (almost) anywhere that you can. Remember, you are developing, Grasshopper.

Other things to get involved with

The first thing that you should do if you are not already affiliated, is to become affiliated with either ASCAP, BMI or SESAC. You will hear

different opinions concerning who is better than who, take it all with a grain of salt, and just choose one. Just walk in, fill out a short application and be on your way. Or, do it online. They will take care of getting you paid should you enter the Kingdom of Cut Land.

Check out the Nashville Songwriters Association if structure is your thing. www.nashvillesongwriters.com. They offer a lot of very educational programs and workshops and etc. A good outfit that boasts a long and royal history. Some people join, some don't. Check them out and then make the determination.

Another worth while event that has been going on since the dawn of Nashville Time, is Doak Turners, 3rd Sunday at 3 event. www.nashvillemuse.com. Doak is an old friend, a great guy and knows everybody. His events are well attended and a lot of fun. Circles of writers break off and everyone shares their finely crafted tunes. Networking is done and new relationships are formed. Bring some chicken.

Be seen. Get to know people. Network. Do not hand those that you meet, copies of your latest CD. It's quite frowned upon.

Getting Invited

It's always a thrill when you receive your first invitation to perform at writers night. There are only a couple of ways to attain this tribal honor. Find someone that you know who has already been invited and has been asked to put their own round together. After you have performed, go see the host and inquire about being invited back. The other method is to merely approach the host and inquire. In this instance you will probably want to have a business card with a website listed on it where they can hear you. Myspace will do fine. It's also acceptable in this instance to offer a copy of your CD. Try www.vistaprint.com for free business cards, they will work just fine. Once you have inquired, do not bug the host. Wait a couple of weeks before you follow up and only follow up once and make it brief. Hosts have their own time table for booking dates. They may not be in that mode at that time. You may asked to audition. If this is the case, be prepared for a late night, you will be taking the stage when everyone else is done. You probably will not have much of crowd as most of the patrons and other writers have bailed by that point. That's OK though, the only person that you need to impress is the host. In the meantime, continue playing at various open-mic's as much as you can. Continue going to writers nights. Continue being seen. Nashville is a relationship city and a lot of things are based on those. In some circles

it's called politics.

Brief word about your website.

Some artists and writers invest a healthy amount of their sustainable income into their website. This is absolutely and positively, not required. I suggest a well laid out Myspace Music page. Gather a bunch of friends on there, it looks good. Put your music on your page, write an interesting bio that mostly tells the truth and use it as your main website. Have some nice photos on there and not one of you standing in your front yard holding a guitar in front of a tree. You still need to be professional. You can get some nice shots without spending a fortune. Just like music people, because this is a creative city, there are many photographers hoping to bust into the entertainment market. They will work cheap. Or, grab a friend and set out on a photo expedition. Some of the shots are bound to be good.

Now that you have been invited

First, a couple of cardinal rules. When you (and if you) introduce your song, never say "here is a song that I wrote". Of course it is or you wouldn't be sitting on that less than comfortable wooden stool awaiting your designated turn to perform. Once again, never verbalize a lengthy dissertation concerning the roots of your song. Let the song say it. If another performer on the stage is performing, do not attempt to play along unless you are invited by the performer to do so. If you screw up the song they will have a tendency to become irritated and your face will become red when they will blatantly display their dissatisfaction. Creative types are just that way. You know, you're one of them.

You will more than likely be performing early evening or late night when you first begin. Prime hours are reserved for those who usually bring fans and friends with them. You'll get there. The coolest thing is when you finally catch one of the regulars mouthing the lyrics to one of your songs as you are performing.

Make certain that you tune before getting on stage and invest in an on stage tuner in case your instrument doesn't stay that way. It's expected, and being out of tune is totally unacceptable.

Brief interjection of no relevance

Let's about Tootsies. Home of the legends. Back in the day, The Ryman Auditorium (the former Grand Ol' Opry), had no air

conditioning, and Nashville gets hot. Guys like Willie Nelson, who was told on numerous occasions that he would never make so should just leave), would walk across the alley to Tootsies and drink beer between performances at the Opry. "Tootsie" would feed every starving writer in town, and guys like Willie used to be one of those starving writers. Other worthy patrons were stars like Patsy Cline, Hank Sr. and anybody who was anybody back in the day. Tootsies has a habit of attracting some very good performers and they don't choose just anyone. If you want to see the real stars of tomorrow, this is the place. If your goal is to become an artist, go study these performers. Watch them work the crowd as they always put on their best performance. When there is a band in the upstairs room, go listen. You won't be sorry. They have studied the craft and developed their own unique approach and style. Go thee and do likewise if thy goal is to become an artist.

Cool, you played your first invited night

You got through it and in your humble opinion, it went well. Did you stop and ask for another date on the way out? Shame on you. Now let's get you invited to play at some other places. Now you have a name to drop. So an so booked me to play so and so place. Hosts like to hear that, especially if your gig was at one of the highly prized and recognizable nights. Start visiting the nights that are hosted by the people you want to get in with and go say hello. Your chances are pretty good.

Let's also talk about the standard format of a conventional songwriters night in Nashville. They consist of "rounds", which is three people sitting on stools next to each other on stage. You walk on stage, plug your instrument into the existing cable, get a very rapid sound check, figure out who is going first, and begin. Then on to the next writer and so forth until everyone has performed a three songs each. Get off the stage and make room for the next three. Never complain excessively about the sound quality, it's mostly marginal, with some exceptions like the French Quarter Café, Do your best and quit whining. Always pay attention to whomever is on stage with you performing. I have seen some writers get off the stage when another one is performing. I wouldn't suggest that, it's quite rude and very few can pull it off. So, even if you don't enjoy their music, act like you do with a clever little nod or grin, now and then just for good measure. Sometimes it kind of feels good because your turn is coming and you hope you are the star of the round. Admit it, we all have a bit of an ego where our original music is concerned. When the round is over, say something to the other performers like, "good round" whether you sincerely mean it or not. It's the right thing to do and I have seen some marginal writers

become very good and have gone on to receive cuts, so don't discount anyone, they may be an excellent contact down the road.

After you have been doing rounds for awhile and have received a certain element of notoriety, ask if you can put your own round together and bring in the best you have in your arsenal. Make it entertaining and play off of each others material. Have fun so the crowd will have fun. You'll be selecting your round mates from then on out and have better control concerning who you are getting stuck with on stage. I once got placed with a guy called "Hog Man" who writes songs about pigs and snorts at least once per song. I paid attention to him and pretended to laugh where I thought I should. It was gruesome. Once you get to a certain achieved level, you can also ask the host who will be in your round with you if you don't wish to put one together. That can be interesting if you are getting placed with good writers, and it helps to expand your network in a positive and productive way. Now you just may be getting in with the right people just well enough to start pitching your material to the industry. Maybe.

A Few Additional Basic Rules Concerning Club Etiquette

Being the previous owner of a very popular Nashville songwriters venue, and having many dealings with owners of other such clubs, I am more than qualified to speak about life from the other side of the desk. Many club owners host songwriters nights because they themselves are writers, and many songwriter venues have come and gone throughout the years. Because writers are traditionally not known for their endless stream of revenue, the survival rate of the venues that cater to this market, is not good. Songwriters must offer their support, not only musically but monetarily as well. Remember this rule of thumb, you are not doing the venue a favor by playing a couple of tunes, they are doing you a favor by letting you play your music and offering a stage. That's the way it is looked at. Showing up by yourself and ordering a glass of water does nothing for the venue and you will probably not be invited back no matter how good you are, it's just a harsh reality. Try and get as many people out to each of your performances as you can, and spend a little money, it doesn't have to be a lot. Owners accept this as a wonderful gesture. Show up early and watch the performer before you. Stay around long enough to watch the performer after you. It's proper protocol.

Prepare to Pitch

Not so fast, have you prepared? It is always advisable to team up with

one or more writers who are at the same level of above. First of all, if they have been kicking around for awhile, they may have some contacts that you don't have, and contacts are important. Secondly, several heads are better than one, especially several creative like minded minds. If you have written everything by yourself, your song may be lacking in a particular area, and you don't realize it because you wrote it. Trust me, you will gain just as much exposure, if not more, by co-writing.

The business of pitching material in Nashville is complex yet simple. Know as many people as you can. Hang out where industry people hang out. Stick close to Music Row. Go to events. The most difficult means of pitching material is walking through the front door (if you get theta far), and handing someone your CD. Don't even think about mail. Sometimes there is a cardboard box outside the door for depositing your valued CD. Have I mentioned the importance of knowing people? Never slam your CD into the hand of someone that you are speaking with at a local bar. You may ask for permission to being a copy to their office, but do so without being overly aggressive. Sometimes the conversation will lead that way if you direct it. Wait for the moment and then strike, quickly and with all the grace you can muster, then back away, you got what you were after, good for you.

The other alternative is to hire a professional pitching agency because of their established connections. They must like your song and feel that it has a fighting chance. Be careful with the selection process, there are a lot of crooks in Nashville who will gladly act as the recipient for your hard earned cash. Check them out and verify the hits they has pitched and plugged. This may cost you some loot and you may have to give up a percentage of the publishing or royalties, don't be afraid to do this. Publishing gets given up every day, especially by relatively new writers hoping for success. You'll still make a boatload of money. I've heard writers say: "I'll never give up my publishing". They still do not have a cut. It's a bargaining tool. Sometimes one publisher may have to split with another publisher or even the artist. It's how things get done, accept it! You'll have more bargaining power later once you are better established.

For heaven's sake, never pay anyone to help you unless they are a well established plugger/pitcher or you are taking lessons of some sort. That rule applies from day one, forward.

Pitch to publishers, record labels, producers, managers and pretty much, anyone who will let you.

Mini Interviews

Jeff Dayton www.jeffdaytonmusic.com Jeff is currently a staff writer with Black River Music Group

Based in Nashville, TN, Jeff is a full-time songwriter, studio musician and performing musician. His songs have been recorded by George Strait, Doug Stone, Keith Bryant, Jason Foster, Chubby Carrier and many more. Jeff is a staff songwriter at Black River Music, a new publishing/label/studio on Music Row.... On the road, Jeff spent 15 years as bandleader/guitarist for Hall of Fame artist Glen Campbell. He's also played on tours with Kenny Chesney, Tammy Cochran and an additional 3 years with Lee Greenwood.... In the studio, Jeff's producer credits include Buck Owens, Glen Campbell and the Kingston Trio, plus many regional and developing artists.... Jeff was a founder of the Writer Posse.... Jeff also serves as the NSAI Adopt-a Shop Pro mentor for the Phoenix, AZ regional workshop; volunteers in the Country Music Hall of Fame & Museum's Words and Music education program; volunteers in the YMCA We Build People program fundraising; and aids in songwriting with students from Battle Ground Academy.

In your opinion: What makes a song great?There are as many answers to this as there opinions of what is "great." Personally, I love classic song construction: full-grown lyrics that hit me inside or make me grin; killer melodies that are fresh and a delight to the ear; grooves that draw me in. Greatness is not equal to radio success either. There are hundreds of great songs we never hear on air. The main challenge is being fresh and not repetitive. To quote David Malloy, "It's all about fighting boredom."I listen to all genres of music and lyrics, from all eras. Lately, I've been in a kind of 60's cheese zone and right before that, current acoustic

pop. As writers, we have a ton to learn from our history. Some of my favorite writers are Rodney Crowell, Guy Clark, Bob McDill, Lennon/McCartney, Roger Miller, Jimmy Webb, Cole Porter, Hank Cochran and so forth. I dig into everything from Nickelback to Outkast to R. Kelly to the Fray and Yellowcard and Gin Blossoms. I listen to zydeco, hip hop, jazz, bluegrass and more. I find greatness all over and try to pull those influences into my work.

What advice would you offer to songwriters considering a move to Nashville? The absolute best thing I did for my songwriting was moving here. Before that I visited as often as I could afford, but I highly recommend being here full time. Once I made the move, it took me several years to realize how much I had to learn, even after being a writer with cuts and years of experience. What you find here, on the Row and at the writers nights, is how high the bar has been raised lately. The songs and voices and players who already live here are so incredibly good it's staggering. More are arriving daily. I also tell new writers to do the '"hang." It's crucial to your business. My saying is, "It's 90% networking and the other 90% is who you know." This town is awash with more gifted artists and writers than ever. If challenge inspires you, then you belong here!_______________________________________________________________________

Mark Wehner - Mark is President and Founder of Nashville based Creative Independent Artists. You should view the web site, it will be well worth your effort. www.cia-nashville.com

CIA-Nashville President Mark Wehner is a 12-year veteran of the independent music scene. Based in Nashville, Mark spent 8 years doing what you do, making independent music, eventually landing a record deal with Hayden's Ferry records. Prior to that, Mark

was in management with radio stations in Philadelphia, Daytona Beach, Orlando and Lafayette, LA. He's well qualified to anticipate the challenges that lie ahead, how to meet them and how to overcome the obstacles that most artists will encounter on their journey.

Mark was the creator of the weekly music series, Americana Tonight, a series that The Tennessean dubbed "one of Nashville's finest weekly happenings." While Americana Tonight is no longer in weekly production, it remains a high profile haven for established acts, as well as those on the rise, via resurgences during key events.

Over the years, Mark has advised and mentored countless aspiring artists from many diverse genres including Americana, Folk, Alternative Country, Roots, and Adult Alternative. His knowledge of the music industry and his ability to reach behind closed doors makes him uniquely qualified to take your career to the next level and beyond.

CIA-Nashville is active with The Americana Music Association, The Roots Music Association, Folk Alliance, International Bluegrass Music Association and Music Cares, among many other professional affiliations.

In your opinion: What makes a song great?A great song will do two things for me: make me wish I had written it because it's just so damn good, and offer a vivid glimpse into an important and vital emotion. Imagery through both lyrics and melody are what will allow a song to get through the clutter and stand up over time. When you look at what are considered "the classics," they all have a sense of timelessness and could have come from the '70s or last week. What advice would you offer to songwriters considering a move to Nashville?

Networking with your peers, accepting constructive criticsm and admitting you may not know everything, after all will serve a newcomer well. The more people you know, the more people you're likely to meet who may actually care what happens to you and your music. Listening to what others say and suggest regarding your writing and presentation will help you grow. Naturally, you're free to discount an opinion or suggestion and will do that more often than not. But being open to hear another viewpoint might bring ideas you'd never considered.________________________________________________________________________

Andrew James www.andrewjamesmusic.co.uk

Andrew James is a singer and songwriter—but the term “singer/songwriter” does not do him justice. The British tunesmith has more of a rock edge than we normally associate with the singer/songwriter subgenre, but his pop-friendly hooks and graceful piano work keep the songs grounded. While his extremely talented supporting players rock behind him, he lets loose with rich, soulful vocals that glide across his sweeping melodies. He has an impressive vocal range, effortlessly switching from a smooth falsetto to a full-bodied baritone. When he makes a vocal downward swoop, as on the chorus of “Scared To Fall Down,” he takes you down the spiral staircase with him. James’ songs paint a picture of a man who has fought personal demons, doomed relationships, and an utter lack of control over the state of his world—yet he has overcome all of those things and finally found salvation. The lyrics are sometimes loaded with multiple meanings. Is “I Can’t Fight” about drug addiction, alcoholism, or unrequited love? One could simply ask him, but part of the song’s appeal is that it leaves the listener guessing. And with beguiling couplings like “Feel like I could lie undetected/Feel like I could die unprotected” (from “Safe As Houses”), James is sure to pull you into his world and keep you in his grasp until he’s sure you’ve got his message. At first listen he may remind you of David Gray, but it soon becomes clear that Andrew James is a talent all his own. Don’t miss out on him.

1. How does the song writing community in Great Britain differ from that in the U.S., particularly Nashville?Living just outside a small town right in the middle of the UK (Stratford upon Avon – of Shakespeare fame?!) offers very little by way of a song writing community.

After gigging and picking up the general muso vibe in Nashville three times through 2007, I feel that having some kind of writing community is hugely important when it comes to both creativity and support, especially when things don’t come so easy from your head to paper.Having said that, I’m quite solitary when it comes to the actual writing process. I do, however, feel a great benefit of sharing writing ideas and inspirations verbally over a pint in the local pub or whatever, away from any instruments or studio time – away from any pressure. The most regular candidate for this discussion is my drummer Paul Johnston. Paul is a hugely experienced musician and has had his own studio for over 20 years now. Being able to draw on that kind of experience and passion is invaluable to me. Together with the rest of the band…. these guys are like a mini song writing community in themselves and help me no end.Obviously the biggest place for music in the UK is London. I have to visit our capital every so often for numerous music related issues, but still don’t feel an enormous pull to move there. Of course there is more music going on in the big smoke, but London is a sprawling place with a totally different feel to somewhere like Nashville. If you live and play out in London, you’ll get to know more bands and promoters which may help you more than living outside the city, but as far as writing is concerned, I feel we’re still struggling to support each other on that side of things.I recently attended a small and intimate seminar hosted by Ralph Murphy (ASCAP) who kindly invited me to sit in with a group in London to talk and learn about writing songs. I found it refreshing to be invited to a no cost meeting, simply to talk about writing styles etc. Why does it take me meeting Ralph (through my Nashville songwriter friend Jane Brock) whilst I was in Nashville, to get involved with some kind of vibe going in London? Why is no-one in the British music industry offering such support and passion? Maybe someone is and I just haven’t heard about it…. but then that begs the question, why haven’t I heard about it?I know artists in and out of London – in fact I was doing some vocal work for a London band only yesterday. Some have found living there has helped a lot, whereas others could not wait to get out and have gone on to be more successful living elsewhere. From a personal point of view, London has more cons than pros for me to make the move...maybe I’ll live to regret it, but I’ll take the risk!From my short time spent in Nashville so far, I have spoken with so many musicians and writers with hardly even needing to try – there seems to be a musician in every bar?! You just don’t find this in the UK anywhere, especially in such concentrated numbers. Perhaps I was just more focused on what I wanted to achieve from being across the pond and away from home…but I found my time there truly inspirational and therefore exciting. There’s some kind of buzz in that town that I have

yet to feel here in the UK!I try to keep my finger on the pulse on both sides of the Atlantic and I could make my decision on where I’d rather be musically in the blink of an eye. In fact, where I’d rather be based full stop! Anyone got a spare green card?!

Additional Pointers

If you are coming to Nashville and need a place to live, try Craigslist and some of the other online sites. Check with NSAI and groups like that for anyone looking for a room mate, if you need one. If you are close enough, visit town a few times and work on future arrangements.

Don't come to town expecting to sustain life on the money that you will make from your music, it "aint gonna" happen.

Be prepared to work if you must, and aim for a day shift if you can get it.

Devote your spare time to your craft. That's why you came to Nashville, don't lose sight of that.

Allow yourself ample time. Being successful in Nashville generally takes time. If you give up easily, stay home and settle down.

If your primary instrument is guitar, invest in decent electronics. Sound people will like you much more.

Always explore new opportunities and beware of those who offer pie in the sky offers. If it sounds too good……….

Go out even when you don't want to. Be seen.

Do not affix your CD to anyone's vehicle in any fashion.

Write with other people.

Don't write songs about coming to Nashville.

Write about something other than when your last boy or girl friend broke up with you.

If you are performing, and don't have the best instrumentation skills,

find someone who does. If you write and can not sing a lick, find someone who can. Yes, presentation counts. Even the best written song will sound awful if not presented correctly.

Don't give up.

Cool Songwriter Hangs

Bobby's Idle Hour Bar - No known website - 1028 16th Ave S, Nashville

The original Bobby's Bar was marked by a giant statue of a man wearing a cowboy hat and holding a guitar.. It was "tored" down by progress. Not to fear, they reopened right down the road . Bobby's sees the good, the bad, the ugly and the excellent person with a cut. It's always a good and memorable time. Don't be surprised if the guitar on the wall behind the bar ends up getting passed around. If it does, take a turn, it's fun.

Loser's Bar & Grill - No known website - Division St. near the Row - Nashville

Owned by George Strait's long time manager, Erv Woolsey. Cool place. You'll find writers, publishers, nobody's and somebody's, including occasional visits by stars such as Eddie Montgomery. Very laid back and casual, come as you are and be who you are. Always room for one more regular. Late at night on weekends the Vanderbilt student crowd takes over and most of the regulars leave. Go early. Not really a songwriters club but a great place to get connected.

The Commodore - West End Avenue - Holiday Inn - Nashville

Not my favorite spot because of being in the Holiday Inn and because you can't get too wound up here, so I find it rather boring. Long time songwriters host, Debi Champion, rules the roost and knows everybody in Nashville. You'll hear some new writers that are so-so, to some writers with mega cuts, all in the same night. Just don't get out of hand, have fun and enjoy the music, be respectable. It's a great spot to learn some things and get to know a few people.

Douglas Corner www.douglascorner.com

A very cool hang and a legendary establishment. Many big names have graced the stage and lots of real up and comers still do, with an occasional drop by… Douglas Corner should be on your list of places to frequent.

The French Quarter Café www.frenchquartercafe.com

The French Quarter Café has struggled a bit in times past, mainly because of it's neighborhood, but it remains solid. Popularity appears to be increasing again, restoring it to it's rightful standings within the Nashville songwriting community. Not every night is geared toward songwriters, but the nights that are make it worthy of hanging out. Dennis, the owner, knows music very well and is a talented blues player. He makes certain that the sound in his club is better than most places, and he succeeds in holding true to his promise. Food is pretty good as well, if you get hungry.

Ri'chard's Café' - www.richardscafe.com

Located in historic Whites Creek, about 15 to 20 minutes away from downtown Nashville, Ri'chard's Café' is a fun place. It's a family style Louisiana style Cajun diner, that also hosts some of the best songwriting talent in the area. Performers get full hour long sets which is a bit unusual. Songwriters love performing there because of it. Could be expensive if you went there every night, because you are expected to eat, but well worth going to when finances permit. Richard Trest, the owner, is a very talented songwriter who has been kicking around Nashville for a number of years. He knows no enemies and everybody loves him.

Other Songwriter Friendly Places

Norm's River Roadhouse http://www.myspace.com/normsriverroadhouse

The Listening Placehttp://www.listeningroomcafe.com

Hotel Indigohttp://www.hotelindigo.com or better yet.. http://www.myspace.com/youlookbad

Sundays 6-9PM CRAGNACKERS 21 AND UP, MUST SHOW ID4700 Old Hickory Blvd., Old Hickory TN 37138

Tuesdays 7-10PM HOOTERS4119 Lebanon Pk., Hermitage , TN 37076

Mondays & Thursdays 6 to 9PM NASHVILLE PALACE2611 McGavock Pike, Nashville , TN 37214

Fridays & Saturdays 6-9PM CHIC-FIL-A303 Old Lebanon Dirt Rd., Hermitage , TN 37076

The Hall Of Fame LoungeBest Western, Music Row, 1407 Division St, (615) 242-1631

Other Helpful Nashville Links

http://nashlinks.com/

http://nashville.about.com/

http://nashville.thelinks.com/

http://en.wikipedia.org/wiki/Nashville,_Tennessee

http://www.ascap.com

http://www.bmi.com

http://www.sesac.com

http://www.nashvillechamber.com/relocation/newresident.html

http://www.nashville.com/

http://www.nashville.net/

http://nashvillelife.com/

http://nashvilletourismcenter.com/

http://www.newschannel5.com/Global/category.asp?C=59820

http://www.nashvillescene.com/

http://www.nashvillemusicguide.com/

http://nashville.employmentguide.com/

http://nashvillejobslink.com/

http://nashville.jobing.com/

http://nashville.apartments.com/

http://www.nashvillerent.net/

http://nashville.craigslist.org/

Primary Nashville Neighborhoods

8th Avenue SouthNot far from downtown, antique stores line both sides of Eighth Avenue South. A collector's haven, the area has become known as a premier antiques district. Monthly, a local auction house in the center of the district at Douglas Corner opens its doors for one night of auctioning mayhem to a standing room only crowd.

Many diners converge on Eighth Avenue for Southern cooking at Arnold's Country Kitchen. Open for breakfast and lunch, Arnold's serves some of the very best of Nashville's indigenous cuisine. Called a meat-and-three, this style of restaurant refers to the meals served for one price - a choice of meat plus three vegetables. Proprietor Jack Arnold stands behind the buffet counter and barks your order as you slide through the long line. One caveat: the seating is family-style, so you may have to share a table.

The best comedians in the world frequent Nashville's only comedy venue, Zanies Comedy Night Club, located at Douglas Corner. For more than two decades, Zanies has been making Nashville laugh with headliners like Jerry Seinfeld, Jay Leno, Tim Allen, Jeff Foxworthy and Paula Poundstone. Performers appear Wednesday through Sunday. Zanies offers non-smoking shows, is an 18 and older crowd and requires a two-item food or drink minimum.

Across the street from Zanies is Douglas Corner Cafe one of Nashville's most popular listening venues. The venue boasts live music six nights a week ranging from country to rock to Americana, and many of the early shows have no cover charge. On some evenings, the stage is even disregarded when songwriters pull up chairs and perform "in the round" in the midst of the audience.

12SouthOne of Nashville's newest neighborhoods, 12South is the up-and-

coming place to live and socialize. With the city investing in sidewalks and street lighting, 12South has begun to take shape over the last several years. You can grab coffee, score some new guitar strings, stock up on garden mulch and grab a bite to eat all in the course of an afternoon on foot. Start a unique shopping adventure at Katy K's Ranch Dressing, a one-of-a-kind boutique, offering vintage Manuel suits and spangled gowns by Nudie's of Hollywood. Crammed into this tiny store, customers can look through designer cowboy boots, belt buckles, cowboy hats and Western shirts - all cleverly called "Ranch Dressing." You know you are there when you see the shapely cowgirl cutout on the building's stone facade. Shop for eclectic housewares at Sadie B. and 12th South Mercantile or for music and music accessories at the Corner Music Store. After walking around this charming neighborhood, pamper yourself in one of the chic salons like Trim Classic Barbar or Suite 1.

Not many neighborhoods have as many standout restaurants as 12South. Mirror was one of the area's first and has been a leader in martini trends and chic environments. Looking to introduce new foods, drinks and events to the neighborhood, Mirror continues to cater to the expanding and changing clientele. Rumours Art & Wine Bar is a full-fledged wine bar with a small but excellent menu that complements the wine. With an expansive patio and hip ambiance, Rumours has been the perfect addition to the neighborhood. Mafiaoza's Pizzeria & Neighborhood Pub is located in the heart of the 12 South district, and it fits right into the bustling neighborhood. With the slogan "Welcome to the Family," you know you'll feel at home in this Godfather-themed restaurant. In an obscure, unmarked building on the south side of the district, many have found a rare treat: Las Palletas, an authentic Mexican popsicle shop, makes fruit and vegetable popsicles from old family recipes. Stripped bare of any accessories, two stand-alone freezers separate the customers from the two sisters who own the shop, and a chalkboard with the flavors of the day is the only menu in the store. Don't be afraid to try an unusual flavor like avocado.

East NashvilleEast Nashville is home to several historic neighborhoods that are finding themselves in the midst of a renaissance. Its low-key vibe and neighborly personality make this community a great place to escape without leaving town. Although over 600 structures were destroyed in the great East Nashville Fire of 1916, the area still boasts an eclectic mixture of antebellum buildings. Historic Edgefield is one of only two locally zoned "historic preservation districts," requiring that all new construction, additions, demolition, alterations and fences be approved by the Metro Historical Commission, giving the neighborhood a

timeless feel. Additionally, the area has been featured on the HGTV network during Bob Vila's "America" and in HGTV's "Our Place" series. The Lockeland Springs Historic Neighborhood is a turn-of-the-century streetcar suburb two miles northeast of downtown Nashville. The tornado of 1998 ripped through this historic neighborhood destroying or damaging at least 300 homes, but the neighborhood has rebounded stronger than ever with renovations, additions and new construction.

Edgefield and Lockeland Springs are linked by a bustling retail area known as Five Points. Several restaurants, a coffeehouse, hardware store, city library and neighborhood watering hole anchor this thriving area that is seeing more and more commercial investment each month. Within East Nashville, sports enthusiasts frequent the Edgefield Sports Bar and Grille.

A taste of New Orleans and great live music can be found at the French Quarter Cafe. For folks craving delicious soups or a sandwichs for lunch, take a trip to Edgefield's Tolar House Bakery. Radio Cafe, truly an urban pioneer, is open for special music events. For a taste of old Mexico, visit the Rosepepper Cantina, where guests may find themselves being serenaded by a Mariachi band. Goodies are baked fresh each day at Sweet 16th, a great local bakery that makes scones, muffins, cakes, and Mamarangues, a mixture of chocolate and toffee. Margot Cafe and Bar, housed in an antique gas station turned brick-and-timber gourmet restaurant, has quickly become one of Nashville's most outstanding restaurants.

Five Points is home to several galleries including the Art & Invention Gallery and adjoining studio, Garage Mahal. Having five to six shows annually, including the signature Tomato Art Show in August and Holiday Artisan Show in December, Art & Invention Gallery focuses on inventiveness in fine art, crafts and original furniture. Named Nashville's "Best Neighborhood Event" in 2005, the Tomato Art Festival is a laid-back event that has attracted regional and national attention for its celebration of the fruit. Visitors and locals alike are increasingly finding themselves crossing the river to sample the varied eating and nightlife venues available in East Nashville. Whether you're in the mood for great music or incredible food, you can find them all just east of downtown.

Elliston PlaceElliston Place is located just west of downtown near the Vanderbilt University campus and has a variety of options for dining and nighttime entertainment. As one of Nashville's young, trendy neighborhoods, small homes and cafes epitomize the tenants of the area. In the heart of the neighborhood is the Elliston Place Rock Block,

a block-long section of Elliston Place that is home to six of the loudest nightclubs in town. The legendary Exit/In has played host to many of today's hit-makers since 1971. This cornerstone of Elliston Place shows no signs of slowing down. The legendary Jimmy Buffett got his start at Exit/In shortly after it opened, as did the young comedian Steve Martin. For those with more alternative musical tastes, walk across the street to The End, a club firmly entrenched in Nashville's rock scene and definitely worth a listen.

There are also several bars on Elliston. The Corner Bar is unabashedly basic - good drinks, good pool and good people. This place is a favorite among locals looking for a low-key night of simply hanging out. The Gold Rush doesn't claim to be a pool hall; actually, it doesn't claim to be anything. This no-frills bar is a late-night hangout where many bands have been known to appear after their gigs at larger venues around town.

No trip to Elliston Place is complete without a stop at the Elliston Place Soda Shop. An institution for seven decades, Elliston is a meat-and-three favorite with a 1950's decor. Known for its fried chicken and milk shakes, this authentic old-time soda fountain has a faithful following among the locals. Just down from Elliston Place Soda Shop is Elder's Bookstore, which has been serving Nashville's literary set since 1930. This modest-looking bookshop stocks some of the rarest of the rare: first edition Faulkner, limited edition Warren, and signed Hemingway. A superior selection of Southern and classic literature, leather-bound volumes, illustrated children's classics, antique maps and Tiffany-style lamps can all be found here. A little further up the street is another local favorite with the same down-home charm. Rotier's has been serving up the city's best cheeseburger for decades. Take your waiters' suggestion and try their burgers on French bread.

GermantownOne of Nashville's historic neighborhoods is bringing people closer to town to live and play. Germantown, so named because of the influx of German immigrants in the mid 19th Century, was Nashville's first suburb. The district is one of Nashville's most architecturally heterogeneous neighborhoods, containing a significant concentration of Victorian building styles. Listed on the National Register of Historic Places since 1979, the neighborhood now is being restored to its original grandeur.

Germantown Cafe specializes in straightforward traditional cooking with a subtle twist. Recently featured in Bon Appetit, this unpretentious restaurant serves bistro fare with the menu changing seasonally. Nearby in a restored Victorian home, Monell's is a staple of the

Nashville food scene. A traditional meat-and-three restaurant, meals at Monell's are served family-style. Seated at tables of 10 or 12, patrons pass the bottomless bowls of fried chicken and hot rolls to the diner on their left. Get there early as Monell's doesn't accept reservations. Located down the street from Monell's is the Mad Platter Restaurant. With a menu that changes seasonally, is intimate and inviting restaurant was one of the first local cafes in Germantown. Guests are encouraged to try the signature dessert - Chocolate Elvis, a three-layer terrine with dark and white chocolate ganache and Italian milk chocolate buttercream on an almond graham cracker crust.

Green HillsAn area that sports some of Nashville's most desirable homes, Green Hills also has its fair share of exciting destinations for a night out. The Bluebird Cafe has a national reputation as the place to be heard in Nashville if you want to make it as a songwriter. In this intimate setting you can witness a moment "in the round." In this format, three or four songwriters sit in a circle, sharing songs and the inspirations behind the music. This format has become an important part of The Bluebird Cafe's tradition. The audience is given a unique opportunity to hear original material from different points of view in a casual, comfortable environment. It's a chance to discover up-and-coming writers or to hear hits, new and old, from some of the best of the best. The Bluebird serves a variety of alcoholic beverages, and sports a small but interesting menu. The talent that has graced the Bluebird stage includes Garth Brooks, Michael McDonald and Faith Hill.

For the jazz lover, look no further than F. Scott's Restaurant & Jazz Bar. The restaurant has an award-winning menu, wine tastings every Monday and jazz nightly. F. Scott's serves contemporary American cuisine in a setting that combines the comfort and familiarity of a neighborhood restaurant with flair and sophistication. For the ultimate change in scenery, stop by the Greenhouse Bar. This place really is a greenhouse complete with hanging plants, gravel floor and fountain. Try one of their specialty drinks or step up to the beautifully crafted bar for a beer. A few doors down from the Greenhouse are a couple of watering holes for the sports-minded patron. The Box Seat has TVs everywhere, so you won't miss your favorite team in action. It gets crowded on game days so arrive early.

From boutiques to an upscale mall, some of Nashville's best shopping can be found in Green Hills. Stores like Bamboo and My Friend's Place offer trendy, chic clothing lines in a boutique setting. Anchored by Dillard's and Macy's department stores, The Mall at Green Hills features such stores as Tiffany & Co., Louis Vuitton, Sephora, Kiehl's, Pottery Barn, Sigrid Olson and many others.

Hillsboro VillageConveniently located near Vanderbilt and Belmont Universities, Hillsboro Village is a collection of shops, boutiques and restaurants perfect for a day's stroll. A four-block radius with all the makings of its own village, this quaint Nashville neighborhood has rejuvenated the community and attracted young professionals for living and playing.

If hungry customers are hoping to rub elbows with Music Row execs or simply want to eat something from the extraordinary half-price late night menu, look no further than the venerable Sunset Grill. A long-time staple of Nashville's dining landscape, Sunset Grill offers a great wine menu, inspired entrees and a cool atmosphere. Across the street is the popular Cabana, a versatile restaurant and bar. This mellow restaurant morphs into an upscale hot spot with live music and DJs in the evening. Behind Sunset Grill is the trendy Jackson's Bar and Bistro. Specializing in French Bistro style food as well as eclectic European fare, this neighborhood bistro encourages patrons to come as they are and be themselves. Across the street is arguably Nashville's most famous restaurant. A Nashville breakfast tradition, the Pancake Pantry boasts a menu with 21 pancake selections. Combining some surprising ingredients with family flapjack recipes, the ending results are pancakes that melt in your mouth. (Try chocolate chip or sweet potato flavors.) Saturday and Sunday mornings are especially popular at the Pantry, and the waiting line usually wraps around the building down 21st Avenue. For Parisian-style fare, Provence Breads and Cafe offers gourmet sandwiches and decadent baked goods in a relaxed, cozy atmosphere.

In the center of the Village is one of Nashville's local breweries. Boscos brews handcrafted beer and has won many awards for its Tennessee original Flaming Stone beer. There are more beers on the menu, too, suited to every beer taste imaginable, plus a variety of pasta dishes, oven-fired pizzas and great sandwiches. Sam's Place is a fully functioning sports bar with great food. A bit younger crowd than at the other Village spots, Sam's is a place where patrons can feel comfortable dressed in a t-shirt and jeans. Across the street from Sam's Place is Fido. This funky coffeehouse is the heart and soul of Hillsboro Village. Fido draws a mix of Vandy students, Music Row execs, musicians and neighborhood locals. Coffee is the main attraction, but large sandwiches and all-day breakfasts are crowd pleasers.

Hillsboro Village may seem small, but unique boutiques and specialty stores abound. From industrial espresso makers to egg timers, Davis Cookware carries a myriad of kitchen items. BookMan/BookWoman Used Books offers more than 150,000 used volumes and a search

service to help you find what you need. You can even turn trash into treasure at Nashville Lights, where almost anything can be made into a lamp. Pangaea, Fire Finch and A Thousand Faces each offer their own varied selection of art, jewelry, office accessories, furniture and gifts. For unique gifts or rare finds, these stores are a must. Posh Boutique offers a wide selection of the latest styles with prices ranging between $10 and $200, accommodating all budgets. Even glasses aren't spared by this neighborhood's chic style. SEE (Selective Eyewear Elements) features unique European designer eyewear.

MidtownEvery city seems to have a midtown, and Nashville is no exception. The funny thing is, nobody here ever calls it that. If you were to ask a local where Midtown is, you might receive some confused looks. But ask about places like South Street, Bound'ry or Virago, and they'll be able to tell you exactly how to get there. A Nashville favorite for years, South Street Original Crab Shack & Authentic Dive Bar is known by locals as simply South Street. This Cajun restaurant serves large portions, spicy entrees, seafood and barbecue. With a 'convertible' dining room and an open upstairs called the Treehouse, South Street is perfect for a casual atmosphere on a warm southern night. A few doors down and a world away, the Bound'ry is one of Nashville's most unusual places to spend an evening. Dining at the Bound'ry is a true experience. The upscale global cuisine is delectable, and the restaurant itself is a work of art. The decor is best described as a Salvador Dali painting gone wild. It is eclectic and beautiful at the same time, combining the five senses into one grand experience. The Broadway Brewhouse is a place for the true beer connoisseur with over 70 beers on tap and another 100 or so in the coolers. Attached to the Brewhouse is the very affordable Mojo Grill. Specializing in Cajun-inspired dishes that will fill your stomach without emptying your wallet.

One of the hottest spots in Midtown is Virago. This restaurant is rather upscale with a very contemporary menu. Patrons can choose to lounge around the sushi bar for a more casual dining experience or sit in the main dining room surrounded by Paul McLean's artwork. Part sushi bar, part upscale restaurant, part late night cocktail lounge, Virago plays all of its roles well. Noshville is a New York-style deli that offers a broad menu of deli favorites like the Reuben and corned beef. Try one of the exceptionally large servings of dessert or the sour pickles found on every table. With a second location in Green Hills, Noshville brings a bit of the Big Apple to the Music City.

Sylvan ParkSouthwest of downtown Nashville lies the quaint and quiet

neighborhood of Sylvan Park, a beautiful setting with homes and businesses that run the gamut from funky to upscale. Here 1920's clapboard homes and 1930's stone bungalows look right at home together.

The neighborhood's namesake restaurant, Sylvan Park Restaurant, has been serving Nashville residents old-fashioned Southern cooking for more than 50 years. The restaurant's continuing popularity is demonstrated by the proliferation of Sylvan Park restaurants around the city. Called a "meat-and-three" this style of restaurant refers to the meals served for one price - a choice of meat plus three vegetables. Across the street, Caffe Nonna is a cozy, neighborhood Italian bistro. Seating 45 people, the cafe has an intimate ambience with servers who maneuver deftly between wooden tables. Next door to Caffe Nonna is Park Cafe, comfortable and quirky; this fusion eatery serves creative dishes with influences from Asia, India, France and Italy. Known for its upscale dining, Park Cafe has become a top choice for many of Nashville's prominent faces. At The Produce Place, one can find a wide selection of fresh food and produce, including organic and gourmet items. This small establishment offers fresh bread from local bakeries and a varied selection of fine cheeses as well as preservative-free juices and soups.

Extra Bonus

The A & R Department

There are lots of record labels in Nashville, some major, some minor, some here today, some gone tomorrow. We have tried (and are still building) a comprehensive list. Before you get to those links though, read this information regarding A&R departments. This particular department is very important and these people should become your best friends (if you can arrange that). Remember, they are business people and should be approached that way.The record label AR position is probably one of the most hectic jobs in the music business. AR stands for Artists/Repertoire. The main function of a record label AR is to help their artists creatively while helping the record company financially by signing hit acts and developing them. They are usually music industry professionals that are hired to oversee the entire recording process which includes finding the right songs for their artist, working with the right music producers, finding the right recording studio, etc. A major record label AR must stay on top of current music industry trends in order to create acts that will do well for the record label that employs them. Even if a record company AR really likes a band they still may not be able to sign them. Usually it is the head record label AR that makes the final decisions. The reason why being an AR can be extremely stressful is because with every act that you sign your job is on the line. Since there is a high rate of failure in the music industry AR people try to sign artists that are already somewhat established. If an AR does not prove to the record label that they can generate hit acts they will be let go from the company. Most AR people were producers, promoters or artists themselves. Basically record label AR people are hired to present a trustworthy face to artists and musicians. Usually record company AR people are in their thirties because they are old enough to know what they are doing and young enough to know what the new trend is. If you get signed you better believe that it is just the beginning, there are still a lot of things that could go wrong. Someone at the record label may drop the ball or your record label AR person may have to deal with flaky or unhappy music producers that are not really into the project and are too busy to put their heart in it. AR must also fight for you to get the attention of the record labels publicity, sales and promotion departments. It definitely takes a lot of work on an the part of AR to get a recording artist from signing to being added to radio play lists and having a video on MTV. The recording process for a record label AR is very intense because they must make sure that there are enough radio friendly songs on the release. If the AR feels like there are not enough quality songs they will have the artist write and record more..

There are a lot of record label AR people that accept unsolicited material. The ones that accept unsolicited material may ask you to put a certain code on your package so that they know you have permission to submit. Whenever I find time I usually sort through everything because you never know what you are going to hear. They know exactly what they are looking for in an artist and if they see it in you they will more than likely sign you without any hesitation. If you get your act together and promote yourself aggressively there is a chance that a record label AR will come to you. Green day is one band that did not really have to look for a record deal. All they did was become a local hit and sell a good amount of CDs on their own, next thing that you know a majority of the major record labels wanted to sign them. It is always a great idea to do as much as you can on your own.These days record companies spend less time developing acts, it’s almost like they are looking for artists that are already polished and ready to go. Your package should include three of your greatest songs with the best one first because most AR people will not keep listening unless the first

song gets their attention. At times I get a full complete CD from artists that did not include a note telling me which song or songs I should check out. I did not have time to listen to the whole CD and did not feel like searching around for a great song. In the package you must also include a quality eight by ten photo, a biography that tells the AR a story about the artist and how much local or regional success he / she has. Make sure that you leave your contact information home address, email address, home phone cell phone, etc. Make sure that your demo CD is clearly and neatly labeled. If AR is interested they may ask for more songs, when your next show is, etc. Since successful music managers, music producers and music publishers act as filters for the AR people you may want to get them to shop your demo for you. Your demo may have a better chance of someone listening to it if the person who sends it is well known or has a track record in the music industry. You can use music industry resource like All Music Industry Contacts to find a successful music manager, producer or publisher to shop your music. This music business is all about being professional and persistent so work hard at getting your music to the people who can make things happen. Record label AR people hate when representatives call them or leave messages that are full of hype like I have the best new artist, you better sign us quick or we will be with universal records or my artists are hotter than the ones out. The only thing this does is make them never want to meet you.

The internet is becoming a great way for record label AR people to find new talent because artists are becoming savvy enough to get sites up with MP3 samples of their music. Technology is making the job of finding new talent easier and easier. As I have said before I like it when a successful music manager or producer recommends an act because I trust their judgment but I would never rely on this alone. There are a lot of magazines out there that offer demo reviews for artists, my favorite would have to be music connection magazine. I like to associate with people who program college radio stations because they usually know exactly what is new and hot. Just like its a stock brokers job to research potentially profitable stock, its an AR persons job to research potentially profitable artists. I tend to like artists that are already selling albums locally and are having those records counted by sound scan. The first and most important thing that an AR person is looking for is hit songs. The second thing record label AR people are looking for is a star quality front person that looks good, has style and charisma. The third thing record companies are looking for is an artist or band that has a great powerful stage presence and performance. One of the main reasons why Brittany Spears sells so many records is because she is sexy and shows off her body. Lets face it sex sells and will sell until the end of humanity. Did you see the makeover they had to do on Clay Aiken before he could be seen as a star quality recording artist?

The Publisher

A music publisher is an agent, who deals in the marketing of songs. Originally, the term referred to publishers of sheet music but this has changed largely over the years, and today's music publishers rarely deal with printed music or scores. (Those who do have come to be known as music print publishers.) The primary job of todays music publisher is to link up new songs by songwriters with suitable recording artists to record them, with the intent of creating a hit record and generating large numbers of sales and airplay. Promoting such songs, supervising the collection and payment of publishing royalties for sales to their writers, placing writers songs in other media such as movie soundtracks and commercials, and handling copyright registration and ownership matters for published songs, are among other jobs handled by a music publisher. Traditionally, music publishing royalties are split fifty/fifty, with half going to the publisher (as payment for their services) and the rest going to the songwriter –

or songwriters, as the case may be. Other arrangements have been made in the past, and continue to be; some better for the writers, some better for the publishers. Occasionally a recording artist will ask for a co-writers credit on a song (thus sharing in both the artist and publishing royalties) in exchange for selecting it to perform, particularly if the writer is not well-known. Sometimes an artists manager or producer will expect a co-credit or share of the publishing and occasionally a publisher will insist on writers credit. These practises are listed in descending order of scrupulousness, as regarded by the music industry. The most unscrupulous type of music publisher is the songshark, who does little if any real legwork or promotion on behalf of songwriters. Songsharks make their profit not on royalties from sales, but by charging inexperienced writers for services (some real, such as demo recording or musical arranging, some fictional, such as audition or review fees) a legitimate publisher would provide without cost to the writer, as part of their job. Some music publishers also fill other business roles, with regard to writers and artists many serve as record producers, and vice versa, or as artist managers. This is generally considered acceptable, although sometimes aspects of one role can negatively impact other dealings a publisher or manager may have with their client. Rock-n-roll pioneer Buddy Holly split with longtime manager Norman Petty over publishing matters in the late fifties, as did the Buckinghams with producer James William Guercio almost a decade later. John Fogerty of Creedence Clearwater Revival was sued by his former publisher Saul Zaentz (who also served as his manager) over a later Fogerty song that sounded slightly like a CCR song Zaentz published. (Fogerty won in court.) As intellectual property, copyright ownership can be bought, sold, or inherited, as can rights to royalties under a publishing contract. Several bands and artists own (or later purchase) their own publishing, and start their own companies, with or without help from an outside agent. The sale or loss of publishing ownership can be devastating to a given artist or writer, financially and emotionally. R and B legend Little Richard was largely cheated on his music publishing and copyrights, as were many performers. Brian Wilson and Mike Love of The Beach Boys were crushed to learn that Murry Wilson (father to three of the Beach Boys, Loves uncle, and the bands music publisher) had sold their company Sea of Tunes to A&M Records during sixty-nine for a fraction of what it was worth, or earned in the following years. A large factor in the Beatles breakup was when their publisher Dick James sold his share of Northern Songs, the company theyd formed with him in sixty-three (then taken public in sixtie-seven, with shares trading on the London Stock Exchange), to Britains Associated Television (ATV) in sixtie-nine. Neither the Beatles nor managers Lee Eastman and Allen Klein were able to prevent ATV from becoming majority stockholders in Northern Songs, whose assets included virtually all the groups song copyrights. Losing control of the company, John Lennon and Paul McCartney elected to sell their share of Northern Songs (and thus their own copyrights), while retaining their writers royalties. (George Harrison and Ringo Starr retained minority holdings in the company.) The sale of ones publishing and copyrights can also be liberating, depending on the circumstances. Singer-songwriters Laura Nyro and Jimmy Webb both sold their publishing in their early twenties, and were able to retire or devote themselves to purely artistic efforts. Porter Wagoner and Janis Ian each ran into financial trouble due to mismanagement, and were only able to avoid bankruptcy by selling their publishing.

The Producer

In the music industry, a record producer (or music producer) has many roles, among them controlling the recording sessions, coaching and guiding the performers, and supervising the recording, mixing and mastering processes . This has been a major function of producers since the inception of sound recording, but in the latter half of

the tentieth century producers also took on a wider entrepreneurial role. These activities comprise record production. During the eighteen ninties, Fred Gaisberg ran the first recording studio and provided the closest approximation of production by guiding an opera singer closer or further away from a gramophones horn to match the dynamics in the score. However, within the first half of the twentieth century, the record producers role was comparable to that of a film producer, in that the record producer organised and supervised recording sessions, paid technicians, musicians and arrangers, and sometimes chose material for the artist. In the fifties this role was performed by the AR (artist and repertoire) directors, one of the most notable of whom was musician and composer Mitch Miller at Columbia Records. Until the sixties most producers and AR directors were salaried staff on the payroll of major record labels, and most recordings were made at studios owned and operated by major record labels, such as the famous EMI Abbey Road Studios in London. In the mid-fifties a new category emerged, that of the independent record producer. Among the most famous early independent producers are the famed songwriting-production duo Leiber and Stoller, Wall of Sound creator Phil Spector and British studio pioneer Joe Meek. Magnetic tape enabled the establishment of independent recording studios in major recording centres such as London, Los Angeles and New York. Unlike the old record company studios, which were effectively a closed shop, these new studios could be hired by the hour by anyone who could afford to do so. The biggest and best commercial studios were typically established and operated by leading recording engineers. They were carefully constructed to create optimum recording conditions, and were equipped with the latest and best recording equipment and top-quality microphones, as well as electronic amplification gear and musical instruments. Top-line studios such as Olympic Studios in London or United Western Recorders and Musart in Los Angeles quickly became among the most sought-after recording facilities in the world, and both these studios became veritable hit factories that produced many of the most successful pop recordings of the latter twentieth century.Prior to the nineteen-fifties, the various stages of the recording and marketing process had been carried out by different professionals within the industry -- AR managers found potential new artists and signed them to their labels; professional songwriters created new material; publishing agents sold these songs to the AR people; staff engineers carried out the task of making the recordings in company-owned studios. Freed from this traditional system by the advent of independent commercial studios, the new generation of entrepreneurial producers -- many of whom were former record company employees themselves -- were able to create and occupy a new stratum in the industry, taking on a more direct and complex role in the musical process. This development in music was mirrored in the TV industry by the concurrent development of videotape recording and the consequent emergence of independent TV production companies like Desilu, established by fifties TV superstars Lucille Ball and her then husband Desi Arnaz. These producers now typically carried out most or all of these various tasks themselves, including selecting and arranging songs, overseeing sessions (and often engineering the recordings) and even writing the material. Independent music production companies rapidly gained a significant foothold in popular music and soon became the main intermediary between artist and record label, signing new artists to production contracts, producing the recordings and then licensing the finished product to record labels for pressing, promotion and sale. (This was a novel innovation in the popular music field, although a broadly similar system had long been in place in many countries for the production of content for broadcast radio.) The classic example of this transition is renowned British producer George Martin, who worked as a staff producer and AR manager at EMI for many years, before branching out on his own and becoming a highly successful independent producer. As a result of these changes, record producers began to exert a strong influence, not only on individual careers, but on the course of popular music. Other notable past and present independent producers

include Don Kirshner (The Monkees), Conan Middleton (Warrior), Mickie Most (one of the most successful of all time), Tony Visconti (David Bowie, T.Rex), pioneering Australian producer Ted Albert (The Easybeats) and, more recently, American producer and label owner Rick Rubin (Metallica, Beastie Boys, Red Hot Chili Peppers, Rage Against the Machine, Johnny Cash, System of a Down, Slayer) Nigel Godrich (Radiohead, Beck, Travis, Air) and Hip-Hop mogul Dr. Dre (N.W.A, Eazy-E, The D.O.C., Snoop Dogg, Eminem, Fifty Cent, The Game). Realising the potential for creating recordings that could match their musical vision, many successful recording artists have become producers in their own right. Examples are Trent Reznor, Nile Rodgers, Jeff Lynne, Brian Wilson and Brian Eno. Some producers also became de facto recording artists, often creating records with anonymous studio musicians and releasing them under a pseudonym. Examples of this phenomenon include the records by fictional groups The Archies and Josie and The Pussycats, produced by Don Kirshner and Danny Jansen respectively, who were contracted by TV production companies to produce these records to promote the animated childrens TV series of the same name. Similarly, Jeff Barry and Andy Kim recorded as The Archies.In modern electronic music (not to be confused with electronica music, but any music created using electronic equipment, regardless of genre), the producer is often the only person involved in the creation of a musical recording, and is responsible for both writing, performing, recording and arranging the material. The term producer is nearly synonymous with musician in this field. This change has been partly due to the increase of inexpensive yet powerful music production software, which allows for entire tracks to be composed, arranged and recorded at home on a PC or laptop, allowing the traditional roles of a team of people to be performed by one individual. Popular PC music production software packages include Sony ACID Pro, Sony Vegas, Pro Tools, Cakewalk SONAR, Logic Pro, Cubase, Reason, Ableton Live, Garage Band, and FL Studio (formerly Fruity Loops). With the advent of portable recording equipment, live album production has become much more cost effective than in the past couple of decades. This has resulted in thousands of live music recordings flooding the internet and music stores. Notable live concert record producers include: Guy Charbonneau, Randy Ezratty, Eddie Kramer, Mark Cavener, Allen Reynolds, and Chuck Plotkin.

How to Submit Your Music

Cover Letter - A cover letter should be included in your package, stating the titles of your songs, a short intro or bio of your act, and most importantly what your intentions are for the submission. For instance, are your looking to get your band signed as a rock act, or are you a song-writer looking to pitch songs for single song contracts, or movie soundtracks. State why you are sending your submission and make the letter very professional. Copyright - Any material you submit should be copyrighted material, and the date of the copyright should show somewhere on your material along with either the word copyright or the copyright symbol. For more info on how to copyright your material please visit the government website www.copyright.gov . Click on the different types of works that can be copyrighted, and decide which explanations fit your copyright submission. At this time you usually have to fill out the corresponding form with your particular submission, Send a check for $30, and of course send in the material you would like copyrighted. You may need to send in your lyrics and or

music, and possibly multiple copies of your material. Please read the website carefully and fill out the forms per the instructions. Lyric Sheet - A lyric sheet and/or music sheet, should also be located in your submission package to the record company. Simply list the songs and lyrics and copyright information in your submission. Demo CD, Tape, or DAT- Most important is the music you are submitting. Any music company these days will most likely want a well produced demo. So, your indie material should be free of distortion, hissing, or any other imperfections that take away from the actual song. Whether you are a singer songwriter or a local band, make sure your demo as clean as possible. This will only help your chances of getting your demo heard by a record executive. Self Addressed Stamped Envelope (SASE) - Some, not all record companies will want you to add a self addressed stamped envelope to your submission. This is in order for the record company to respond to your submission with feedback. Check with the company to see if this is in their submission policy. Don't Pay to get a Contract - Some companies say they would like to sign one or a number of your songs to contract, but there's a catch. These companies would like you to pay a fee to re-record the song. This amount can be significant. If any so called record company approaches you with this type of contract be cautious. Be sure to check the BBB Better Business Bureau to see if this company has had complaints in the past. Make sure they in fact are a reputable company. If a record company is truly interested in your music, you should not have to pay an upfront fee. Do your research when approached with any deals that seem skeptical or to good to be true. Always have your contact information on anything you send in. It's best to put your contact info on your demo CD, in case someone would misplace your other material. Good Luck with all your submissions.

Music Term Dictionary

A Side. The A Side is the single chosen by the record company for radio play. It is expected to be "the hit." The B Side is usually an album cut that is not expected to have significant radio play.

Acetate. The material in vinyl mastering used to produce a "master" acetate record from which all duplicates are molded from.

Acetate Dub. A one-of-a-kind, individually cut record made of acetate (not vinyl). Also known as a "dubplate" they generally wear out after 50 plays on a turntable.

Acoustic. As in "acoustic guitar" or "acoustic version": Instruments that do not require a power source to be played and properly heard or that is not electronically modifed (such as a non-electric guitar, drums, or wind instrument). A recording arrangement that is entirely or primarily composed of acoustic instruments.

Acoustics. The characteristics, such as how sound is reflected and absorbed, that give a space such as a living room, concert hall, or cinema an identifiable sonic "signature."

ADAT. An 8-track digital tape, identical in appearance to a VHS cassette. ADAT is the most popular digital tape-based recording format and contains up to 44 minutes of 8-track audio per tape.Administration. The supervision of all financial, copyright and contractual aspects of either an entire catalog or a particular song.

Advance. Money paid before the recording or release of a song, to be deducted against future royalties of that song.

Adult Contemporary. Also known as "soft rock" it is a music genre targeted to the adult market (30+). It is often distinguished by orchestral background music, conservative backbeats, and frequently features "love songs." Not quite as conservative as "Easy Listening," it borrows generously the emotive ballads that occasionally appear in "Pop."

AF of M. An abbreviation for American Federation of Musicians.

Air. The Vamp, the Verse, if there is one, and the Chorus (composed of "8s"), ending with the Rideout, constitute the component parts of the printed sheet-music copy. But there is music that exists between the sung lines ("fills") that can be described as the "Air" in the song. If "Air" is recognized as "music without words," the Vamp and Rideout, too, must be listed as "Air" pockets.

Air Checks. A recording made of a televised show on 3/4" tape to be used for demo reels.

Airplay. Radio or internet broadcast of a music recording.

Amplifier. An electronic device which increases the strength of an electrical signal. For instance they take relatively small electric signals and increase them to a strength powerful enough to drive a speaker. For musicians, amplifiers are used with electric instruments and microphones to increase volume and modify basic frequency sets (such as increasing bass or treble tones, or adding distortion effects).

Analog. In a music and recording context, analog refers to a way of sending information electronically using variable voltage. Very similarly to the way AM and FM radio signals work, analog devices use a continous wave signal as a carrier onto which information is encoded as electric pulses. Analog signals are limited in the amount of data they can transmit. They are also vulnerable to interference that causes distortion or other inaccuracies to appear in an analog recordings. However, because the voltage oscillations of analog signals are similar the wave qualities of sound, there are arguments (of some merit) that analog can more faithfully reproduce sound (but is much more difficult for editing and correcting recordings).

A&R. An abbreviation for Artists and Repertoire; record company staffer or liaison in charge of selecting new artists, songs and masters.Arrangement. The adaptation of a composition for performance by other instruments and voices than originally intended.

Arranger. One who adapts a musical work to particular instruments or voices.

Artist. An individual or group under recording contract.

#Artist Management. The task of developing an artist's career. The artist manager typically advises the artist on all business decisions and attempts to promote the artist through all available means, including demos, media coverage, and person-to-person networking.

Assignment. The transfer of rights to a song or catalog from one copy-right proprietor to another.

Audition. A formally arranged session (usually by appointment through an agent) for an actor to display his or her talents when seeking a role in an upcoming production of a play, film or television project, usually to a casting director, director or producers.

Avail. A courtesy extended by a performer to a booking agent indicating availability to work during a certain timeframe. Avails have no legal or contractual status.

Backgrounds. Another term for backup vocals on a song.

Backline. Specific musical instruments and equipment needed for a live performance. In certain circumstances, the "backline" refers to equipment that is expected to be provided by the venue.

Balls. A deep and resonant vocal tone.

Bed. The soundtrack that goes under your voice-over. It may be a bed of music or sound effects or a combination of both.

Big Five. A phrase that collectively refers to the five largest corporations in the global music market: Universal, Sony, BMG, Warner, and EMI.

Billboard. To emphasize or set apart a copy point is to "billboard" it.Biography. A concise account of an artist or group's industry related experience or background.

Booker. An agency employee who sets appointments for talent/models.

Booking. A confirmed date for a live performance or studio session.

Booking Agent. One who finds employment for artists from buyers of talent.

Borderless. A photograph that takes up the full space of the paper with no white edges.

Boom Mike. A microphone on the end of a pole, held above actor's heads to record dialogue.

Boot Legging. The unauthorized recording and selling of a performance of a song.

Bullet. Designation of a record listed on the charts, referring to increased record sales.

Buyout. A one-time payment for shooting and airing a commercial.Cans. Studio term meaning headphones.

Cartage. A gear management and transportation service provided to professional musicians by private companies. Cartage companies are responsible for bringing all of an artist's musical equipment to a studio for a session.

Catalog. All the songs owned by a music publisher considered as one collection.

CD. A CD (Compact Disc) consists of up to approximately 333,000 sectors. A 650 MB CD holds 74 minutes of audio, and a 700 MB CD holds 80 minutes of audio.

CD-Recordable (CD-R). Recordable CDs are special CDs on which data may be recorded by using a special laser that burns microscopic holes in the recording layer. These pits can then be read by standard CD readers. Recordable CDs are somewhat more fragile than standard CDs, so care should be taken in their storage and handling. The label side is particularly delicate.

CD-Rewritable (CD-RW). A CD-Rewritable disc can be written to, erased, and rerecorded many times.

Charts. Lists published in the trade magazines of the best-selling records. These are separate charts for pop, soul, country western, etc.; musical arrangements.

Chord. Three or more notes sounded simultaneously that imply a harmonic function.

Chorus. A section of the song that repeats itself at certain intervals. At the turn of the century, and continuing into the sixties, Choruses were compared and shaped within thirty-two bars of music.

Clearance. The right of a radio station to play a song.

Clearance Agency. Same function of a performance rights organization, such as ASCAP, BMI, SESAC.

Click Track. A perforated sound track that produces click sounds that enables one to hear a predetermined beat in synchronization with the movie.

Clipping. A condition where the dB (decibel) level of a track is too high and causes sound distortion. Clipping can also occur if the dB levels of two tracks combine with each other to cause distortion.

CMYK. An abbreviation for Cyan, Magenta, Yellow and Black. The colors used in the printing process in which four distinct color plates are printed one on top of the other which combines the colors to make photo-realistic images.

Collaborator. One of two or more partners in the writing of songs.

Commercial. Regarding the music industry, the potential to sell, or that which has mass appeal.

Commission. Percentage of income paid by actors to their representative. If it is an agent, the amount cannot be over 10% for a union contract; if it is a manager, the percentage is unregulated, but is traditionally 15-20%.

Common-Law Copyright. Natural protection of a song based on common laws of the various states. Was superseded by a single national system effective January 1, 1978.

#Composer. One who writes the music to a song.

Composite. A type of head shot popular in the commercial industry which positions several different images of the subject together on one 8" x 10" spread giving casting directors a quick way to determine how the subject will look in different settings.

Composition. A musical work; the art of writing music.

Compulsory License. Statutory mandate given to a copyright owner to permit third parties to make sound recordings of the copyright owner's song after it once has been recorded.

Console. The audio board or control panel that allows the engineer to direct the audio signal to the recorders, and to combine the various audio components into the final mix.

Consignment. An arrangement through which a retailer takes possession of an artist's product, such as CDs or t-shirts, and only pays the artist for inventory that is sold. Essentially, when a sale occurs, the retailer purchases product from the held inventory to meet the order. This system is common among online retailers of independent music.

Consumer Publication. Entertainment oriented periodicals written and published for a general public readership, i.e., Rolling Stone, Spin.

Control Room. The room from which producers direct musicians and engineers operate recording equipment during a session. The control room contains the bulk of a studio's recording equipment, including the mixing board and multitrack recorder. Control rooms are typically separated from the live studio in which musicians perform by a soundproof glass panel.

Co-op Advertising. Retail advertising partly or fully paid for by a record label and/or distributor. Can also refer to a group of retail advertisers pooling funds to jointly advertise.

Co-Publishing. The joint publication of one copyrighted work by two publishers.

Copyright. As a noun, means the exclusive rights granted to authors and composers for protection of their works; a song or musical composition; as a verb, to secure protection for a song by filling the proper registration forms with the Copyright Office.

Copyright Infringement. Stealing or using somebody else's copyrighted song.

Copyright Notice. Notice comprised of three elements:The symbol of copyright, the word "copyright," or the abbreviation "Copr." The year the song has been registered for copyright or the year of first production

of the work. The copyright owner's name.

Copyright Office. Federal government department, one of whose main purposes is to file and supply information regarding copyrights.

Cover Record. Another artist's version of a song already recorded.Cover Set. Set which is always ready for shooting on a moment's notice. If a film crew is scheduled to shoot outside, and it rains, they move to the cover set.

Co-Writing. Joint authorship of one work by two or more writers.

Craft Service. The food table on a music video set, or refers to the person(s) who handle the food.

Cross Collateralization. Means of recouping the money spent on one song or recording against the earnings of another song or recording.

Crossover. A song which receives airplay in more than one market.

Cue (musical). Another term for the talk back system in a recording studio usually conducted through headphones. It can also mean an audible or visual sign that tells you when to begin reading.

Curriculum vitae. Short account of one's career or qualifications.

Cut. (Musical) To record; a recorded selection.

Cuts. Lines, speeches, songs, or any other element in a printed script left out of a particular production.

DAT. An abbreviation for Digital Audio Tape.

Date. A recording session or live engagement.dB. An abbreviation for Decibel, a comparative unit of measurement of "loudness." 1 dB is approximately equal to the smallest change in loudness that can be detected. 0 dB is the threshold of hearing, 65 dB is a normal speaking loudness (at 3 feet), 130 dB is the threshold of pain (rock concerts are often about 120 dB).

Demo. A recording that demonstrates the talent and music of an artist to potentially interested parties, such as booking agents or A&R representatives. As the cost of professional-grade recording has decreased as a result of improving technology, the production standards applied to demos have generally been raised.

Diaphragm. The lower part of the lungs, filling the abdominal space, that supports the voice when actors and singers breathe correctly on stage.

Diction. Clear, sharp pronunciation of words, especially of consonants.

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D

Discography. A catalog or list of recordings made by a particular band or artist as well as the related information such as the playing time, recording date and label.

Distributor. Company that handles the sales and shipment of a record company's product to retail outlets and one-stops for a certain territory.

DJ. An abbreviation for Disc Jockey.

DJ Business. To be actively engaged in paid DJ gigs.

Donut. A type of spot that has prerecorded material at the beginning and at the end with a "hole" in the middle for the voice part. The parts can be reversed as well, with the voice being the donut and the pre-recorded material in the hole.

D.O.R. Dance-Oriented Rock; a categorization of popular music utilized by radio stations.

Downstage. The area of the stage closest to the audience.

Dub. An audio or video copy. Also called a "dupe" (short for duplicate).

DVD. An abbreviation for Digital Video Disc. A disc that uses optical storage technology similar to a CD. DVDs can hold high quality video, digital audio, and computer data (up to 4.7GB per side). With widespread support from virtually all facets of the entertainment industry, DVDs are positioned to render all other formats (video tape, audio CD, video cartridge) obsolete.

Dynamic Range. The range between the loudest and softest sounds a soundtrack and/or sound system can reproduce properly.

Editorial print. Editorial print work involves photographs used to compliment the story line of an article in a magazine.8 x 10 Glossy Pictures. The primary calling card to the people who will be calling you in for interviews and auditions, and casting you in their productions.

Engineer. Individual who operates studio equipment during the recording of a song.

Entertainment Law. A specialty area of commercial law that looks after the needs pertaining to music, theatre, sports, dance, literature, architecture, visual arts, Internet and television industries.

EP. An abbreviation for Extended Play or Extended Play Record. This expression designates a recording longer than a single, but shorter than a full-length album, or LP. Often EPs are promotional releases by a new band and contain only four to six songs.

EQ. An abbreviation for Equalization. Electronically boosting or dampening the level in certain frequency ranges relative to other frequencies from the same source. Equalizers are processing units that adjust the strength of specific frequencies.

Exclusive Songwriting Contract. A contract which prohibits the songwriter from writing for more than one publisher.

Fader. A control on a console or amplifier that changes the strength of a signal. Faders are often sliders or knobs that can be adjusted quite gradually to modify the signal intensity. The most basic example would be the volume control knob on a stereo.

Feedback. When sounds or vibrations from speakers are picked up by microphones (or other input devices), and are amplified by the sound system (often re-output though the speakers to create a vicious cycle). In a recording environment, it is usually heard as "rumble," in a performance environment it is heard as a dreadful, screeching, high-pitched squeal through the PA system.

Filter. An electronic network that allows certain frequencies to pass while blocking others. Active filters contain powered components such as operational amplifiers (op-amps) and are normally inserted before the main amplifier. Passive filters do not contain any powered components and are normally inserted between the amplifier and the loudspeaker.

#Finder's Fee. A finder's fee is any compensation in cash, cash equivalents, or anything of value that a third party is paid or receives for any services in connection with an investment transaction.

Flanging. An effect in which a signal is delayed between 0 to 20 milliseconds and combined with the unaffected, initial source signal. The effect is similar to chorusing (with only one replica signal), but the effect has a distorted, "doppler-effect" sound (like the sound of a jet engine passing overhead and receding in the distance). The term "flanging" comes from a time when the effect was achieved by playing back the replica signal on a reel-to-reel tape deck and pressing on the flanges. Today's technology creates the effect using a variable comb filter.

FM Radio. "FM" stands for "frequency modulation" which describes the radio wave signal of a broadcast -- audio signals are conveyed through the changes in frequency of a carrier wave. FM broadcasting is a hi-fidelity medium that can broadcast in stereo.

Folio. A collection of songs offered for sale to the public.

Four Color Process. A printing process in which four distinct color plates (Cyan, Magenta, Yellow and Black -- collectively known as CMYK) are printed one on top of the other which combines the colors to make photo-realistic images. Typically, an image is created on a computer, the images is converted to CMYK and is output as four, separate, film separations. A separate plate is made from the each film separation. Colored ink is applied to each plate. Each plate is stamped on paper, one at a time, creating the final printed image.

Free Goods. A fixed percentage of product deducted from the total in a shipment to account for "giveaways" and promotional copies distributed for free. No royalties are paid to the artist for "free goods." Example: A distributor sends 1000 CDs to a retail chain, but only charge for 900, the artist does not get paid for the 100 "free" CDs. The 10% will also likely be a charge-back (the label's loss will be deducted from the artist's royalties). Therefore, an artist's lawyer should negotiate a limit on the quantity of free goods the record company may distribute (it is often capped at 15% on albums; 30% on singles).

Generation. The process whereby each time you copy a piece of film or tape it losses some clarity.

Gig. A catchall phrase used as a term for performance at a venue. Often used for shorter events as opposed to a "concert" which implies a large venue and a long musical set.

Gold Album. Certification by the Recording Industry of America that a album has sold half a million units.

Gold Single. Certification by the Recording Industry of America that a single has sold half a million units.

Groove. Rhythm or tempo that helps create the "feel" of the song.

Harmony. The combination of musical notes to form chords that serve to enhance the melody line; the art of combining notes into chords.

"Head" Arrangements. An arrangement devised spontaneously. No chords are prepared for instrumentalists and vocalists. Instead, they read off lead sheets and an arrangement is made from various experimental styling devised at the studio.

Head Shot. An 8" x 10" photograph that acts as your calling card for securing television, film and theatrical work, showing your face as it actually appears. The head shot should capture your best and most unique physical features, while still remaining true to your actual image.

Heads Out. Manner in which a reel-to-reel tape is stored, with the loose end at the beginning of the tape, enabling the tape to be played immediately.

Heavy Metal. Musical category characterized by high-volume, maximum guitar presence.

High Note. The highest note sung in a particular song which varies according to the musical key of the song.

High-Speed Dub. A tape copy that is made at several times normal speed. Often used in reference to tape duplication. High speed dubs are often less costly and have a quicker turn-around time than real time or at speed dubs. They can be susceptible to problems, so always check your dubs before releasing them to prospective clients.

Hook. A phrase or melody line that repeats itself in a song; the catchy part to a song.

Hot Mike. A microphone that is turned on.

IFPI. The International Federation of the Phonographic Industry is the organization that represents the interests of the international recording industry. It comprises a membership of 1400 record producers and distributors in 76 countries. It also has national groups in 46 countries. The IFPI headquarters is in London. Regional offices are maintained in Brussels, Hong Kong, Miami, and Moscow.

Impresario. An entertainment entrepreneur.

Indie. Industry slang for "independent." The term is vague and is used to variously refer to smaller record labels, smaller publishing companies, artists signed to these labels and companies, unsigned artists, and the music produced by all of these.Ink. To sign a contract.

Insert. A mix engineering term referring to an external EQ or processor that is being "inserted" on an individual track.Inserts. The artwork that accompanies a CD in the form of a booklet or fold-out pamphlet in the CD jewel case. The front panel is typically 4.695 inches in height and 4.75 inches in width. The insert contains all liner notes, song titles and times, and sometimes lyrics, photos or other artwork.

In The Can. A phrase borrowed from the film business and used in voice-overs. When a good take is achieved, it is considered ready for processing or "in the can." It generally means that the director has the take he wants.

Intellectual Property. Conceptual ideas that can be transferred or fixed on to a tangible medium, such as a song, book, film, Web site. The "intellectual" component of a work is the expression of ideas, the "property" refers to the physical form or manifestation of it.

J-Card. The artwork on an audio cassette box named for the shape it makes when folded to fit in the box.

Jacket. The packing for a vinyl album. Usually cardboard to protect the record from damage, as well as a paper or plastic sleeve that fits over the actual disc to protect it from scratches.

Jewel Case. The clear plastic case that houses a CD and its accompanying artwork. It typically has a hinged cover and a tray where the CD sits snugly to protect it from dust and scratches. Standard jewel cases are approximately 3/8" in thickness. CD singles are often sold in "slim" cases which are about 1/4" thick and contain less artwork (smaller inserts).

Jingle. A short phrase of music usually accompanied by lyrics used to convey a commercial message.

Label. A record company.

Larynx. The human voice box containing the vocal chords.

Leader. Conductor or person in charge of the band.

Lead Sheet. A musical notation of a song's melody along with the chord symbols, words and other pertinent information.

Leader Tape. Reel-to-Reel tape which contains songs separated by white tape for easy access.

License. As a noun, it means a legal permit; as a verb, it is to authorize by legal permit.

Lick. A brief, improvised musical interpolation.

Liner Notes. Musician, songwriting and production credits printed on the packaging of a recording.

Lithography. A printing process as opposed to a photographic process used to inexpensively reproduce a large quantity of headshots.

LP. An abbreviation for Long Play or Long Playing. This expression dates from the recording discs developed by Thomas Edison in the 1920s. Although others had been producing discs for twenty years before that, Edison's LPs had the "longest play" (20 minutes each side). When music was primarily distributed on vinyl records, LP simply meant any full-length album. The term is less common now, but it is still occasionally used to refer to full-length CDs.

Lyrics. The words to a song.

Lyric Sheet. A (typed) copy of the lyrics to a song.

Lyricist. The writer of the words to a song.

Manager. The person or organization responsible for developing an artist's career. The manager typically advises the artist on all business decisions and attempts to promote the artist through all available means, including demos, media coverage, and person-to-person networking.

Market. Selling place; medium where only one type of record is played (i.e., pop, R&B, E&W, Rap, etc.)

Marketing. The process of increasing product sales by generating public interest in an artist's music through various promotional means, including exposure in print, television, radio, and the Internet.

Master. The original recording. The tape from which dubs are made. Also, a finished recording of the song from which records are pressed and distributed to radio stations and record stores.

Mastering. Final preparation of a recording for mass duplication. This includes evening out audio levels (so that loudness is consistent throughout the album) and polishing the audio quality of the recording.

Master Use License. A license granting permission to use existing recorded material, including but not limited to: vocals, music, TV or film dialog, speeches, and sound effects. For sampled material, a Master Use License is required regardless of the length or amount of material that is used.

Mechanical License. A license granted by a copyright owner for the use of copyrighted material on a recording. Mechanical licenses are required any time a copyrighted composition is used. Other licenses may also be required, depending on the nature and medium of the project.

Mechanical Rights Organization. Collection agency for copyright owners of money earned from the mechanical reproduction of their songs.

Mechanical Royalties. Moneys earned for use of a copyright in mechanical reproductions, most notably records and tapes.

MIDI. Abbreviation for Musical Instrument Digital Interface. A standard digital language/interface for transmitter-receivers (Universal Asynchronous Receiver/Transmitter, UART) that enables electronic instruments and editing devices (synthesizers, computers, drums machines, etc.) to communicate with each other.

Mike. Attaching a wireless transmitter to an actor's body or clothes to record dialogue.

Mix. The final audio product combining all the elements into one composite soundtrack. "Mix" also applies to the act of creating the mix. This is sometimes referred to as the "mixdown."

Mixer. A control panel that allows the engineer to combine the input signals from several channels (each channel could be a different input device -- guitar, synthesizer, microphone, etc.) into one or more output channels. The mixing board gives the sound operator level control and basic tone control of the input signals, as

well as the volume and tone control of the combined (mixed) output. The goal of mixing is to get a well-balanced level set. Mixing also refers to the process of equalization which uses more advanced mixing boards that can achieve a greater audio quality.

Modulate. To change from one key to another in a song.

Monitor. A speaker for use in recording studios.

Mono. Short for Monophonic. A descriptive word for sound systems that have only one sound channel.

MOR. "Middle of the Road"; songs that may be classified as easy listening.

Motif. The shortest significant melody of a song or theme.

MP3. Abbreviation for MPEG Audio Layer-3, it is a compression system for digital audio. The MP3 format is one of three compression systems derived from MPEG (Moving Picture Experts Group) technology. The MP3 format compresses digitized audio data. The MP3 reduces the number of "bytes" (unit amount of digital data) in an audio file by a factor of 12. This reduces the file size of an audio file (to 1/12 its original size) so that it can be quickly and efficiently transmitted over the Internet. An MP3 may be downloaded in minutes rather than an uncompressed CD audio file which could take hours.

#

M

Music Publisher. The individual or company who:Screen songs and gets them commercially recorded. Exploits the copyrights. Protects the copyrights. Collects income from performance, mechanical synchronization and printing

rights both in the United States and in foreign countries.

Neutral Demo. A demo that doesn't sound like it's for one particular artist, but best represents the song whereby it can be recorded by anybody.

Nondestructive Editing. Nondestructive editing means that all of your original audio files remain completely intact, even though in Jam it appears as though they have been changed. All editing features in Jam are completely nondestructive.

Non-Linear Editing. Putting scenes together on a computer using film editing software capable of moving them around, and/or out of order, for ease in building a demo tape, or a scene in a movie or commercial.

Off-Card. A union musician working on a non-union project is known to be working ‘off-card.'

One Sheet. A marketing document created by a record label that summarizes in marketing terms, the credentials of an artist or band; as well as describing in summary form, the promotion and marketing plans the label has developed to help sell the record. It also includes interesting facts about an act's fanbase and target audience, as well as all the essential promotion, marketing, and sales tactics that the label will use to help convince a distributor to carry and get behind a new release.

One Stop. Wholesale record dealer that sells the records of several manufacturers to juke box operators and record sores.

Option. Acquiring the rights to a story, such as a current events, true-life story, that guarantees that no one else can work with the party who sold the story. Options typically last for a year or less.Out Takes. Parts of an original recording or taping that will not be used in the finished product.

Overdub. The addition of instruments or voices to pre-existing tracks.

P.A. A production assistant who usually gophers and manages the extras.

Packager. One who selects and combines talent for shows.

Pan. A very bad review from a critic.

Payola. Secret payment to broadcasters to play certain records.

Pen. To compose or write.

Per Diem. Money given to performers and crew when on tour to cover the expense of food and other personal incidentals.

Performing Right. Rights granted by U.S. copyright law which states that one may not publicly perform a copyrighted musical work without the owner's permission.

Performing Rights Organization. Society whose purpose is to collect monies earned from public performances of songs by users of music and to distribute these to the writers and publishers of these songs in a proportion that reflects as accurately as possible the amount of performances of each particular song.

Performance Royalties. Monies earned from use of one's song on radio, television and other users of music.

Phase. Two sound waves are said to be "in phase" when their frequencies are synchronized. This will produce "constructive interference" that will boost the level of that frequency. Two sound waves are said to be "out of phase" when their when their frequencies are non-synchronous. This will produce "destructive interference" at the points where the respective waves have opposite polarities. Destructive interference is a "cancelling out" of sections of the combined sound.

Phonorecord. Any device which transmits sound other than that which accompanies a motion picture or other audio-visual work.Photo-Offset Reproduction. Reproduction of musical manuscript by printing press.

Pick. A song that has been reviewed by the trades and projected to have success.

Pipeline. A listing or schedule of music projects in some stage of production.

Pirating. The unauthorized reproduction and selling of sound recordings (i.e., records, tapes, CDs).

Platinum Album. Certification by the Recording Industry Association of America that an album has sold a minimum of one million units.

Platinum Single. Certification by the Recording Industry Association of America that a single has sold a minimum of one million units.

Plug. Broadcast of a song; to push for a song's performance.

Plugola. Secret payment to broadcasters for free mention of products on the air.

Points. A percentage of money producers and artists earn on the retail list price of 90 percent of all records sold.

Pop. A term derived by shortening "popular" music. It describes a music genre that has the greatest audience appeal. It appeals both to younger audiences as well as adults, but tends to be marketed toward the younger (and more profitable) demographic. Pop often includes crossover hits from R&B, Country, Rock, AC and some of their sub-genres. The music classified by "pop" has catchy hooks, memorable melodies, energetic backbeats and a structure repetition through a verse and chorus pattern (usually).

Post. A short form of "post production." This is the term applied to all the work that goes into a production after the talent leaves. This includes such processes as editing, multi-tracking, music selection, adding special effects and mixing.

Presence. A performer's ability to command attention onstage, even when surrounded by other actors.

Press. The manufacture of a large quantity of records duplicated from a master for commercial sale.

Press Kit. A presentation including newspaper clippings, review of movie, television, musical and theater productions, a biography, headshot and resume given to the media and interested industry professionals. Also called a press package.

Print. Producer's cue that an engineer's final mix is good enough to "print" or use.

Printed Edition. A song published in the form of sheet music.

Producer. The individual who oversees the making of a single or long playing record, radio, television or stage show from inception to completion.

Production. The technical aspects of the music industry, including sound systems and lighting requirements as well as video and recording process.

Professional Manager. The person in charge of screening new material for music publishers and of obtaining commercial recordings of songs in his company's catalog.

Program Director. Radio station employee who determines which songs shall be broadcast.

Promoter. One who secures talent from an agent for the production and presentation of a performance; the primary risk taker in the event.

Proof Sheet. After a roll of film is shot and developed, it is printed onto sheets of 8 1/2 x 11 or 11 x 14 inch paper, holding up to 36 exposures. Use a photographer's loop to check the lighting and focus.

Prosody. The marriage of words and music.

Publication. The printing and distribution of copies of a work to a public by sole or other transfer of ownership, or by rental, lease or lending.

Public Domain. Unprotected by copyright due to an expired copyright or caused by an invalid copyright notice.

Publicist. A person hired to create awareness of a person or project.

#

P

Queued Up. Previewing a tape and having it set to start playing at the beginning of a song.

R&B. Rhythm and blues; "soul" music.

R&R. Rock and Roll.

Range. The vocal extent of a singer's voice, from its lowest note to its highest.

Rave. An extremely good review from a critic.

Recording Contracts. Legal documents detailing an agreement between a record label and recording artist.

Red Book Standard. The format standard for the audio CD that allows universal compatibility with any Compact Disc and any CD player. The format stipulates that the audio be recorded in stereo at 44.1kHz sample rate with a 16 bit word, among other things.

Reel. A video tape compilation of an actor or director's best work.

Regional. A commercial airing in a part of the United States.

Release (marketing). The issuing of a record by the record company, or a film by a studio.

Release (legal). Legal document releasing producer from liability, usually refers to talent allowing the producer to use his or her likeness on film and soundtrack.

Retouching. A photographic process whereby certain flaws in a picture are covered up or removed.

Reverb. Reverberation is caused by repeated echoes of sound that gradually fade away. The echoes are too quick, too numerous, and too irregular for the ear to distinguish individually. This occurs in environments that allow persistent echoes to occur such as a room or hall with hard-sufaced walls. A reverberation unit is an electronic device that can simulate natural reverbaration (and can do so accurately enough to sound like the source is in different kinds of rooms, from a small concert hall to a cathedral). The individual echoes are repeated randomly and the quantity of the echoes is increased as they fade away.

The Rideout. The Rideout is the music that begins on the downbeat of the last word of the song. Just as all songs have a Vamp, every Chorus comes packaged with a Rideout.

Rider. A contract between a performance venue and an entertainer detailing the finalized (negotiated) terms and conditions of a performance, such as performance length, compensation (i.e. travel expenses, lodging), profit share, and payment.

Road Manager. Traveling supervisor hired by artist to coordinate details of concert tours on behalf of the artist.

Roomtone. The sound a room makes without anyone in it. Everyone has a different sound, so recording in the same room is sometimes critical when trying to match voice parts from one session to another.

Royalty. Money earned from use of the record or song.

Sample Clearance. The authorized use of a copyrighted sound recording to be incorporated into a new composition.

SASE. Means "self-addressed, stamped envelope."

Scansion. The analysis of verse to show its meter.

Score. The compilation of pages of sheet music that contains all the music for a show.

Scoring. Music added to help fill scenes or dialogue cut by a director during post-production.

Self-Contained Artist. An artist who writes and performs his or her own material. Also refers to artists who require no production or personnel assistance from promoters.

Session. Meeting during which time musicians and vocalists make a recording.

SFX. Abbreviation for sound effects. Sometimes also written as EFX. or FX.

Sheet Music. The pages containing the music and lyrics to a single song, as opposed to a score containing all the music for a show.

Showcase (musical). A presentation of new songs and/or talent.Sibilance. A drawn out or excessive "S" sound during speech. In extreme cases, the "S" sound is accompanied by a whistle. Sibilance is annoying and a hindrance to some voice actors. "S" is a popular letter with copywriters and is found in most lines except the last one.

Signature Song. A song that is primarily associated with a single famous singer, as "Singing In the Rain" was with Gene Kelly.Single. A small record played at 45 rpms containing two selections, one on each side; record released because of the expectation by the record company that "A" side would achieve success.

Song Plugger. One who auditions songs for performers.

Song Shark. One who profits from dealing with songwriters by deceptive methods.

S/PDIF. An abbreviation for Sony/Philips Digital Interface, a standard audio transfer file format. It is usually found on digital audio equipment such as a DAT machine or

audio processing device. It allows the transfer of audio from one file to another without the conversion to and from an analog format, which could degrade the signal quality. The most common connector used with an S/PDIF interface is the RCA connector, the same one used for consumer audio products. An optical connector is also sometimes used.Spec. Short for speculative. It usually means volunteering your services and postponing payment until a project sells.

Speed. Exclamation that indicates the film and the audiotape are running simultaneously at the correct speed.

Split Publishing. When the publishing rights to a song are divided among two or more publishers.

Spot. A commercial for radio or television.

Standard. A song that continues to be popular for several years.

State-of-the-Art. Contemporary or current.

Statutory Copyright. Status acquired by a composition when it is registered with the Copyright Office or is published with the proper copyright notice.

Stereo. Short for Stereophonic. The separation of recorded sound onto two distinct channels. Different audio tracks are split and sent to two different channels. When played back through two different output channels (two separate speakers), the result more effectively imitates the acoustic quality of a live performance than a "monophonic" recording (where all sound comes through one channel).

Storyboard. A frame-by-frame artist's drawing of key scenes (with the lyrics printed underneath) serving as a rough plan for the way a music video should appear and what camera angles the director should use.

Strike. To remove something from a set, or tear it down.Studio (sound). An audio isolation room where the talent performs, with an adjoining control room.

Stylus. A needle made of steel or gemstone (diamond) that is housed in a magnetic cartridge on the arm of a phonograph.

Subpublisher. The company that publishes a song or catalog in a territory other than that under the domain of the original publisher.

Subpublishing. When the original publisher contracts his song or catalog to be handled by a foreign publisher for that territory.

Subwoofer. A speaker designed to produce the lowest audio frequencies at an adequate volume. Most subwoofers, or "subs" as they're commonly called, are designed to operate from 80 Hz downwards, as the ear can usually pinpoint the source of any higher frequencies. The bass units of small three-piece systems are commonly referred to as subwoofers, but they often have limited output below 50 Hz or so.

Sweeten. The addition of new parts to existing rhythms and vocal tracks and horns.

Synchronization. The placing of music in timed-relation to film.Synchronization Right. The right to use a musical composition in (timed-relation to) a film or video tape.

Tails Out. Recording tape wound on a reel so that the end of the soundtrack is on the outside. A tape wound "tails out" is usually marked with blue adhesive tape, while one wound "heads out" is usually marked with red adhesive tape.

Take. The attempted recording of a musician or vocalist. The "attempted" refers to the usual circumstance in which it usually takes several takes to get the recording right from the musician, producer and sound mixers standpoint.

Talkback. The system that allows people in the control room to talk with the talent in the studio.

Tear Sheets. An actual copy of a print ad torn out of a newspaper or magazine and put in an artist's portfolio.

THX. A set of technologies from Lucasfilm first developed for the cinema and subsequently for the home. In the theater, THX standardizes the sonic environment by stipulating not only the acoustics required but the playback equipment as well. In the home, both electronic and speaker strategies are employed in order to have the program material more closely match that of the dubbing stage.

Time Reversion Clause. Contractual agreement in which a publisher agrees to secure recording and release for songwriter's material within a certain period of time. Failure to secure recording and release triggers reversion of the song rights to the writer.

Top Forty. Radio station format where records played are only those contained in lists of the best-selling records.

Top One Hundred. Lists published in the trades of the top selling singles for a particular market.

Track. One of the several components of special recording tape that contains recorded sounds, which is mixed with the other tracks for a finished recording of the song; the recording of all the instruments or voice of a particular music section; music and/or voices previously recorded.

Trades. Industry newspapers and magazines read by all professionals to keep up with trends and news in the entertainment business.

Transparencies. The slide form of a photograph.

Union Scale. Minimum wage scale earned in employment by members of AFTRA, AF of M, SAG, etc.

Upstage. The rear area of the stage farthest from the audience; also used to describe an actor's attempt to distract audience attention from what another actor is doing.

Vamp. All printed copies of songs begin with a few bars of music called the Vamp or Intro. It is recognizable as the first musical statement at the top of the copy and it is further identified by the absence of a logic.

Verse. The selection of a song that precedes the chorus or is the A section in AABA pattern songs. The Verse follows the Vamp and is the first vocalizing of the text of the song. The Verse seldom contains heavyweight musical material. Since it is so scored in order to give preeminence to the information contained in the lyric, most often Verses can be ad libded without effort.

Voice Over. The act of providing one's voice to a media project. Called voice-over because the voice is usually mixed over the top of music and sound effects.

Walla. The sound of many voices talking at once, such as at a party or in a restaurant. Also known as "walla walla," this old sound effects term is derived from the idea that if a group of people got together and just kept saying "walla" over and over, it would create a good sound ambiance for a crowded scene.

Wet. A voice or sound with reverb added to it.

Windscreen. A foam cover or fabric guard placed over a microphone to help prevent popped "P's" and other plosive sounds. Sometimes called a "windsock" or "pop filter."

Work-For-Hire. Contractual basis whereby a record label or production company employs a composer or lyricist to create music or songs for a movie with copyright ownership to be retained by the producer or company.

Writer's Signature. Unique style of the writer.

Legal/Business

Songwriters: A Call To Arms! Better Business Bureau's "Facts For Songwriters" Song Rights: Legal Aspects of Songwriting (Old) Kohn on Music Licensing

• • Ιντεραχτιϖε Χονφερενχε ον µυσιχ χοπψριγητσ/λιχενσινγ Myles Wakeham's Articles: Marketing in U.S., Masters/Demos, Producers, etc. Music Business Notes from SCALA NEWS Music Business FAQ (Zebra Music) Tips for Negotiating Songwriting Agreements By The Book: Legal question & answer column for musicians Musicians' Intellectual Law and Resources Links Multimedia & Entertainment Law Online News Practical Tips for Musicians (The Music Law Offices) Ask Li'l Hank Music Law Articles

Entertainment Attorneys

Aaron W. Davis http://www.ptslaw.com/

4800 IDS CENTER, 80 SOUTH 8TH ST., MINNEAPOLIS, MN 55402 USA

Tel 612-349-5754, Fax 612-349-9266Email: davis@ptslaw.com

Abdo, Abdo, Broady & Satorius, P.A. http://www.abdoabdo.com/

625 MARQUETTE AVE., SUITE 710, MINNEAPOLIS, MN 55402 USA

Tel 612-333-1526, Fax 612-342-2608Email: dsatorius@abdoabdo.com

Addleshaw Goddard http://www.addlegoddard.com/

150 ALDERSGATE STREET, LONDON, EC1A 4EJ UK

Tel 44 (0) 20-7606-8855, Fax 44 (0) 20-7606-4390

Alan S. Bergman

19 W. 44TH ST., SUITE 1716, NEW YORK, NY 10036 USA

Tel 212-944-1630, Fax 212-944-1631Email:

alanbergman@alanbergman.com

Alexander Harnett

1501 BROADWAY, 30TH FLOOR, NEW YORK, NY 10036 USA

Tel 212-302-5600, Fax 212-391-6743Email: alex@apharnett.com

Artisan Legal Services http://www.yourcounselor.com/

1925 CENTURY PARK EAST, 5TH FLOOR, LOS ANGELES, CA 90067 USA

Tel 323-540-0999, Fax 323-540-0979Email: gonzo555@aol.com

Brown, Raysman, Millstein, Felder & Steiner LLP

120 W. 45TH ST., NEW YORK, NY 10036 USA

Tel 212-944-1515, Fax 212-840-2429Email: jkendrick@brownraysman.com

Carlin America

126 E. 38TH ST., NEW YORK, NY 10016 USA

Tel 212-779-7977, Fax 212-779-7920

Charles & Associates http://www.mymusicattorney.com/

2626 S. LOOP WEST, SUITE 402, HOUSTON, TX 77054 USA

Tel 713-432-7100, Fax 713-432-7127

Cornelius & Collins http://www.deborahwagnon.com/

511 UNION NASHVILLE CITY CTR., SUITE 1500, NASHVILLE, TN 37219 USA

Tel 615-244-1440, Fax 615-254-9477Email: dlwagnon@aol.com

Eskridge & Eskridge Law Firm http://www.eskridgelaw.com/

1502 HARLEM ST., SUITE 10, MEMPHIS, TN 38103 USA

Tel 901-522-9600, Fax 901-274-3800Email: info@eskridgelaw.com

Fischbach, Perlstein & Yanny

1825 CENTURY PARK EAST, SUITE 850, LOS ANGELES, CA 90067 USA

Tel 310-556-1956, Fax 310-203-8330Email: mperlstein@fpllaw.com

Fraser Entertainment Law http://www.fraser-elaw.com/

980 YONGE STREET, SUITE 415, TORONTO, ON M4W 3V8 CANADA

Tel 416-967-0080, Fax 416-967-0090Email: stephen@fraser-elaw.com

Gladstone, Doherty and Associates

49 MUSIC SQUARE WEST, SUITE 300, NASHVILLE, TN 37203 USA

Tel 615-329-0900, Fax 615-329-2148Email:

sgladstone@gladstonedoherty.com

Greenberg Traurig Attorneys http://www.gtlaw.com/

2450 COLORADO AVE., SUITE 400-E, SANTA MONICA, CA 90404 USA

Tel 310-586-7888, Fax 310-586-7800Email: cooper@gtlaw.com

Harbottle & Lewis http://www.harbottle.co.uk/

HANOVER HOUSE, 14 HANOVER SQUARE, LONDON, W1R OBE UK

Tel 44-207-667-5000, Fax 44-207-667-5100

Email: hal@harbottle.co.uk

Hertz, Schram & Saretsky http://www.hsspc.com/

1760 S. TELEGRAPH RD., SUITE 300, BLOOMFIELD HILLS, MI 48302 USA

Tel 248-335-5000, Fax 248-335-3346Email: hhertz@hsspc.com

Idell, Berman & Seitel

530 BUSH ST., SUITE 601, SAN FRANCISCO, CA 94108 USA

Tel 415-986-2400, Fax 415-392-9259Email: info@ibslaw.com

Kay, Collyer & Boose

ONE DAG HAMMARSKJOLD PLAZA, 31ST FLOOR, NEW YORK, NY 10017 USA

Tel 212-940-8343, Fax 212-755-0921

Klinedinst PC http://www.klinedinstlaw.com/

777 S. FIGUEROA ST., 47TH FLOOR, LOS ANGELES, CA 90017 USA

Tel 213-607-2115, Fax 213-607-2116

Law Offices of Alfred W. Schlesinger

2029 CENTURY PARK EAST, SUITE 3760, LOS ANGELES, CA 90067 USA

Tel 310-203-4251, Fax 310-557-3564Email: aws999@aol.com

Law Offices of Craig Benson

1207 17TH AVE. SOUTH, SUITE 300, NASHVILLE, TN 37212 USA

Tel 615-320-0660, Fax 615-320-0909Email: portianut@home.com

Law Offices of George Tavares

407 LINCOLN RD., MIAMI BEACH, FL 33139 USA

Tel 305-673-9696, Fax 305-673-4813Email: tavaresesq@aol.com

Law Offices of Jeffrey L. Graubart

1900 AVENUE OF THE STARS, SUITE 1425, LOS ANGELES, CA 90067 USA

Tel 310-788-2650, Fax 310-788-2657Email: graubart@gte.net

Law Offices of Peter M. Thall

1740 BROADWAY, 22ND FLOOR, NEW YORK, NY 10019 USA

Tel 212-245-6221, Fax 212-245-6406Email: pthall@thallentlaw.com

Law Offices of Stephen Baerwitz

10940 WILSHIRE BLVD., SUITE 600, LOS ANGELES, CA 90024 USA

Tel 310-443-4243, Fax 310-443-4263Email: sb.lawbiz@verizon.net

McLaughlin and Stern http://www.mclaughlinstern.com/

260 MADISON AVE., NEW YORK, NY 10016 USA

Tel 212-448-1100, Fax 212-448-0066Email: adeutsch@mclaughlinstern.com

Menes Law Corporation

1801 CENTURY PARK EAST, SUITE 1560, LOS ANGELES, CA 90067 USA

Tel 310-277-4895, Fax 310-556-5695Email: mlc@meneslaw.com

Michael Aczon

1250 ADDISON ST., SUITE 211A, BERKELEY, CA 94702 USA

Tel 510-649-7900, Fax 510-649-7969Email: maczon@best.com

Michael P. McCready http://www.music-law.com/

10521 S. WESTERN AVE., CHICAGO, IL 60643 USA

Tel 773-779-9885, Fax 773-779-9190

Nemschoff Law Offices

1801 AVENUE OF THE STARS, SUITE 600, LOS ANGELES, CA 90067 USA

Tel 310-274-4627, Fax 310-274-5039Email: nemschofflaw@mindspring.com

Probstein, Weiner & Hodgson

1875 CENTURY PARK EAST, SUITE 850, LOS ANGELES, CA 90067 USA

Tel 310-556-1956, Fax 310-203-8334Email: cheryl@backstagelax.com

Pullman Group LLC http://www.pullmanco.com/

1370 AVENUE OF THE AMERICAS, SUITE 2601, NEW YORK, NY 10019 USA

Tel 212-750-0190, Fax 212-750-0464Email: dpullman@pullmanco.com

Rush Law Group

1209 16TH AVE. SOUTH, NASHVILLE, TN 37212 USA

Tel 615-327-7370, Fax 615-327-0811

Sukin Law Group

370 RIVERSIDE DR., SUITE 7-B, NEW YORK, NY 10025 USA

Tel 212-223-4411, Fax 212-223-4413Email: michael.sukin@worldnet.att.net

The Music Law Group http://www.themusiclawgroup.com/

250 W. 59TH ST., SUITE 917, NEW YORK, NY 10107 USA

Tel 212-215-4125, Fax 212-245-6293Email: peter@themusiclawgroup.com

Thelen Reid & Priest LLP http://www.thelenreid.com/

40 W. 57TH ST., NEW YORK, NY 10019 USA

Tel 212-603-6510, Fax 212-603-2001Email: melkin@thelenreid.com

William E. Bajohr

499 ERNSTON RD., PARLIN, NJ 08859 USA

Tel 732-721-8700, Fax 732-721-8701Email: esqtimes2@aol.com

Songwriter Organizations

USA • • Τηε Αλασκα Περφορµινγ Σονγωριτερσ Γρουπ (ΑΠΣΓ) Anchorage, AK • • Βαλτιµορε Σονγωριτερσ Ασσοχιατιον (ΒΣΑ) Baltimore, MD • • Βοστον Σονγωριτερσ Ωορκσηοπ Boston, MA • • Χαρολινα Ασσοχιατιον οφ Σονγωριτερσ (ΧΑΟΣ) SC • • Χεντραλ Χαρολινα Σονγωριτερσ Ασσοχιατιον Raleigh, NC • • Τηε Χηιχαγο Σονγωριτερσ Χολλεχτιϖε Chicago, IL • • Χοννεχτιχυτ Σονγωριτερσ Ασσοχιατιον Watertown, CT • • ∆αλλασ Σονγωριτερσ Ασσοχιατιον (∆ΣΑ) Dallas, TX • • Φορτ Βενδ Σονγωριτερσ Ασσοχιατιον (ΦΒΣΑ) Houston, TX • • Ηαωαι∋ι Σονγωριτερσ Ασσοχιατιον HI • • Ινδιαναπολισ Σονγωριτερσ Ασσοχιατιον Indianopolis, IL • • Ιντερνατιοναλ Σονγωριτερσ Γυιλδ (ΙΣΓ) οφ Ορλανδο Orlando, FL • • Ισλανδ Σονγωριτερσ Σηοωχασε Long Island, NY • • Μιννεσοτα Ασσοχιατιον οφ Σονγωριτερσ MN • • Νασηϖιλλε Σονγωριτερσ Ασσοχιατιον Ιντερνατιοναλ

(ΝΣΑΙ) Nashville, TN • • Νατιοναλ Αχαδεµψ Οφ Σονγωριτερσ (ΝΑΣ) CA • • Νορτηερν Χαλιφορνια Σονγωριτερσ Ασσοχιατιον (ΝΧΣΑ) Northern

CA

• • Πηιλαδελπηια Αρεα Σονγωριτερσ Αλλιανχε Philadelphia, PA • • Πιττσβυργη Σονγωριτερσ Ασσοχιατιον (ΠΣΑ) Pittsburgh, PA • • Πορτλανδ Σονγωριτερσ Ασσοχιατιον (ΠΣΑ) Portland, OR • • Σαν ∆ιεγο Σονγωριτερσ Γυιλδ (Σ∆ΣΓ) San Diego, CA • • Σονγωριτερσ & Ποετσ Χριτιθυε Central OH • • Σονγωριτερσ∋ Ασσοχιατιον οφ Ωασηινγτον Washington, DC • • Σονγωριτερσ Γυιλδ οφ Αµεριχα Nashville, TN • • Σουτηερν Χαλιφορνια Σονγωριτερσ Ασσοχιατιον (ΣΧΣΑ) Southern

CA • • ςιργινια Οργανιζατιον οφ Χοµποσερσ Ανδ Λψριχιστσ (ςΟΧΑΛ)

Richmond, VA International

• • Αυστραλιαν Σονγωριτερσ∋ Ασσοχιατιον Australia • • Βερµυδα Σονγωριτερ∋σ Ασσοχιατιον Bermuda • • Γυιλδ οφ Ιντερνατιοναλ Σονγωριτερσ ανδ Χοµποσερσ • • Ιντερνατιοναλ Σονγωριτερσ Ασσοχιατιον (ΙΣΑ) Λτδ Limerick City,

Ireland • • Σονγωριτερσ Αοτεαροα Νεω Ζεαλανδ Σονγωριτερσ Ασσοχιατιον

(ΣΑΝΖΣΑ) New Zealand • • Σονγωριτερσ Ασσοχιατιον οφ Χαναδα (ΣΑΧ) • • Σονγωριτερσ∋ Ασσοχιατιον οφ Νοϖα Σχοτια Nova Scotia, Canada • • Σονγωριτερσ, Χοµποσερσ Ανδ Λψριχιστσ Ασσοχιατιον (ΣΧΑΛΑ)

South Australia

Music Organizations

Acoustical Society of America • • Αχουστιχαλ Σοχιετψ οφ Αµεριχα : Abstracts from recent ASA

meetings Alabama Bluegrass Music Association American Beethoven Society American Brahms Society American Choral Directors Association American Composers Forum American Federation of Musicians US and Canada American Federation of Jazz Societies American Federation of Violin & Bow Makers (AFVBM) American Federation of Violin & Bow Makers (AFVBM - Unofficial Website) American Guild of English Handbell Ringers American Guild of Organists American Handel Society

American Harp Society American Liszt Society American Music Conference American Music Therapy Association (AMTA) (Silver Spring, MD) American Musical Instrument Society American Musicological Society

• • ∆ιρεχτορψ οφ Μυσιχολογιστσ∋ Εµαιλ Αδδρεσσεσ American Musicological Society Midwest Chapter American Musicological Society South-Central Chapter American Orff-Schulwerk Association - Music and Movement Education American Pianists Association (Indianapolis, IN) American Recorder Society American Recorder Society, Denver Chapter American Recorder Society, Miami Chapter American Recorder Society, Pittsburgh Chapter American Recorder Teachers Association (ARTA) American Society of Composers, Authors and Publishers (ASCAP) American Society of Music Copyists American Songwriters Network American String Teachers Association American String Teachers Association of California American Symphony Orchestra League American Viola Society Antiquarian Booksellers Association of America Arizona Cello Society / Taki Atsumi, President Arizona Friends of Chamber Music (Tucson, AZ) Asociación Argentina de Intérpretes (Buenos Aires, Argentina) Associated Male Choruses of America Association for Latin-American Music & Art (ALMA-USA) Associated Board of the Royal Schools of Music - the world leader in music examinations (London, England) Association of British Orchestras Association of California Symphony Orchestras (Sacramento, CA) Association of Canadian Orchestras Association of Concert Bands Association of Texas Small School Bands (Sugar Land, TX) Association for Recorded Sound Collections (ARSC) Association for Technology in Music Instruction (ATMI) Associazione Internazionale Studi di Canto Gregoriano (Gregorian Chant) L'associazione Musica Antica a Magnano (Magnano, Italy) Atlanta Brass Society Atlanta Federation of Musicians Audio Engineering Society University of Colorado at Denver Australian Computer Music Association Australian Trombone Association

Automatic Musical Instruments Collectors' Association (AMICA is a non-profit, tax exempt group devoted to the restoration, distribution and enjoyment of musical instruments using perforated paper music rolls and perforated music books... Instruments of interest include player pianos, reproducing grand pianos, nickelodeons, orchestrions, circus/fairground organs, player pipe prgans, disk/cylinder music boxes) Baltimore Choral Arts Society Barbirolli Society Bel Canto Society Boston Clavichord Society British Columbia Choral Federation British Double Reed Society ? British Flute Society Performance Plus Competition British Horn Society British Music Society Calgary Pro Musica Society (Chamber Music Society) (Calgary, AB) Canadian Arts Presenting Association (CAPACOA) Canadian Association of Music Libraries Archives, and Documentation Centres ? Canadian Association for Music Therapy Canadian Country Music Association (CCMA) Canadian Music Educators Association Canadian Musical Reproduction Rights Agency Ltd. / Canadian Music Publishers Association (CMRRA/CMPA) Canadian On-line Musicians' Association (COMA) Canadian Society for Traditional Music Canadian University Music Society Catgut Acoustical Society (primary interests is the application of scientific principles to the construction of instruments in the violin family) Cello Club of Great Britain Cello Society of Korea Central Florida Musicians Association (AFM local 389) Chamber Music Society of Lincoln Center / David Shifrin artistic director Chicago Viola Society Children's Music Network Chinese Music Society of North America Choristers Guild (Garland, TX) Chorus America (A national, nonprofit service organization created to promote the highest artistic quality, development and growth of vocal ensembles, to advocate remuneration for singers, and to stimulate greater understanding, appreciation and enjoyment of choral music by all segments of society in the United States and Canada). Christian Fellowship of Art Music Composers The College Music Society

Composers Guild of New Jersey Conductors Guild (West Chester, PA) Consortium of Vermont Composers The Consortium to Distribute Computer Music CDCM Contemporary A Cappella Society Contemporary Performers' and Composers' Fellowship (Sydney, Australia) Cosmopolitan Music Society Country Dance and Song Society (Haydenville, MA)

• • Λιβραρψ ανδ Αρχηιϖεσ Country Music Association of AustraliaDallas Fort Worth Prefessional Musicians Association (Arlington, TX) Danish Filmmusic Society Delta Omicron International Music Fraternity Delta Omicron International Music Fraternity at Newberry College Denver Musicians Association of Colorado (regional focus of Colorado, Wyoming and eastern Utah) Duke Ellington Society Early Music America Early Music Guild of Seattle (Seattle, WA) Early Music Minnesota (an organization of Minnesota musicians who perform early music) Early Music Organisation of Ireland Early Music Vancouver (Vancouver, B.C., Canada) Early Music Vancouver (Vancouver, B.C., Canada) (Contact info.) East Tennessee Gospel Music Association Edmont Composers Concert Society (Edmonton, Alberta, Canada) Edward Elgar Society English Folk Dance and Song Society (Unofficial) Ernst Bacon Society (American composer) European Society for the Cognitive Sciences of Music (ESCOM) Europa Cantat - European Federation of Young Choirs (EFYC) Europe Jazz Network (Ravenna, Italy) Film Music Society Finnish Amateur Musicians Association - SULASOL (Helsinki, Finland) Finnish Flute Association Florida Association of Music Therapy Florida State University Society for Musicology (Tallahassee, FL) Galpin Society (for the study of musical instruments) Gamma Lambda: A professional, honorary, band service fraternity Gamma Ut (The student organization of The Early Music Institute (EMI) of the IU School of Music) The Graduate Theory Association (GTA) - student organization at Indiana University School of Music Guild of American Luthiers Guild of Carillonneurs in North America

Handel & Haydn Society Havergal Brian Society (hyperion-records) Havergal Brian Society Historic Brass Society Historical Harp Society Houston Harpsichord Society ? Hungarian Music Council (Budapest, Hungary) Hungarian Trombone and Tuba Association Incorporated Society of Musicians (London, United Kingdom) Indiana Music Educators Association Indiana Music Teachers Association ? Intermountain Acoustic Music Association International Association for the Study of Popular Music (IASPM) International Association of Electronic Keyboard Manufacturers (IAEKM) International Association of Jazz Educators International Association of Jazz Record Collectors International Association of Music Information Centres (IAMIC) International Association of Sound and Audiovisual Archives International Bluegrass Music Association International Clarinet Association International Committee of Musical Instrument Museums and Collections (CIMCIM) International Computer Music Association (ICMA) International Confederation of Societies of Authors and Composers International Council for Traditional Music (UNESCO) International Double Reed Society International Fasch Society (IFG) (aim to research the lives and the musical works of the Kapellmeister at the Court of Anhalt-Zerbst, Johann Friedrich Fasch (1688-1758) and of his son Carl Friedrich Christian Fasch (1736-1800) International Federation of Choral Music International Machaut Society International Military Music Society Netherlands branch Hungarian Music Council Music Council of Australia International Music Products Association (NAMM) International Musicological Society International Society for the Performing Arts International Society of Bassists International Society for Music Education International Trombone Association International Viola Society Internet Cello Society Internet Cello Society Internet Viola Society Israel Musicological Society

Charles Ives Society (Bloomington, IN) Jeunesse Musicale Austria - aims to provide music for young people (Vienna, Austria) Jugend Musiziert (München, Germany) Jussi Björling Society K-W Chamber Music Society (Waterloo, Ontario) Keyboard Teachers Association International, Inc. (Westbury, NY) Kodály Society of Canada Koussevitzky Recordings Society, Inc. Los Alamos Concert Association (Los Alamos, NM) Lute Society (England) Lute Society of America (Lexington, VA) Other Lute Societies LYRICA Society for Word-Music RelationMalcom Arnold Society Meet the Composer Monterey Bay Recorder Society Music Educators National Conference - MENC (Reston, VA) Music & Entertainment Industry Educators Association (USA) Music & Entertainment Industry Student Association Music Industry Association of Newfoundland & Labrador (Newfoundland, Canada) Music Industry Human Rights Association (MIHRA) Music Library Associations Music Publishers Association (MPA) Music Teachers' Association of California Music Teachers National Association (Cincinnati, OH) Music Theory Midwest Musica di Tradizione Classica Musical Instrument Technicians Association Musicians Network Musicological Society of Southern Africa (Pretoria, South Africa) Nashville Songwriters Association International National Academy of Recording Arts & Sciences, Inc. -- The Recording Academy actively represents the music community on such issues as intellectual property rights, home taping, record piracy, archiving and preservation and censorship concerns. (Grammy) National Academy of Songwriters (NAS) National Association of Music Merchants -- The International Music Product Association (NAMM) (Carlsbad, CA) North American Performing Arts Managers and Agents (NAPAMA) National Association of Recording Merchandisers (NARM) - serves the music and other prerecorded entertainment software industry National Association of Schools of Dance (NASD) National Association of Schools of Music (NASM) National Association of Teachers of Singing

National Band Association (NBA) National Coalition for Music Education National Endowment for the Arts National Flute Association National Music Publishers' Association, Inc. (NMPA) (New York, NY) National Association of Composers, USA (NACUSA) New Directions Cello Association: Cello City Site (alternative or nonclassical cello) New York State School Music Association (NYSSMA is a non-profit educational organization for the development of youth through music) New Zealand Society for Music Education (NZSME) NewMusNet Conference Homepage Northern Australian Regional Performing Arts Centres Association Norwegian Performing Right Society (TONO) Norwegian School Orchestra Association Norwegian Society of Composers Ohio Collegiate Music Education Association (Wright State Chapter, Chapter 576) Ohio Music Education Association OPERA Amercia, Inc. (Washington, DC) Oregon Band Director's Association (Gresham, OR) Organization of American Kodály Educators Ottawa Valley Bluegrass Music Association (Ontario, Canada) Pacific Composers Forum Percussive Arts Society Percy Grainger Society Performing Right Society (PRS) - UK association of composers, songwriters and music publishers. It administers the "performing right" in their music. Philatelic Music Circle (PMC) Piano Tuners' Association Pittsburgh Chamber Music Society Plainsong and Mediaeval Music Society ? The Serge Prokofiev Association The Rachmaninoff Society Recorder and Early Music Society of West Australia Recorder Society of Connecticut ? Renaissance and Baroque Society of Pittsburgh Rock Record Collectors Association (RRCA) Rocky Mountain Society for Music Theory Sacramento Recorder Society San Diego Songwriters Guild (San Diego, CA) San Francisco Early Music Society (SFEMS) (Berkeley, CA) Scala: Songwriters, Composers and Lyricists Association (Australia) Robert Schumann Society, Düsseldorf Scottish Music Information Centre (Glasgow, Scotland)

Scriabin Society of America Seattle Recorder Society SESAC, Inc. (a performing rights organization, with headquarters in Nashville and offices in New York and London) Sigma Alpha Iota (Asheville, NC) Sigma Alpha Iota - Fort Wayne Alumnae Chapter: International Music Fraternity for Women Sir Thomas Beecham Society Société française de musicologie Società Italiana della Musica e del Teatro Society of Composers, Inc. (SCI) Society for American Music: American Music Network (formerly known as The Sonneck Society) Society for Electro-Acoustic Music in the U.S. (SEAMUS) ? Society for Ethnomusicology Society for Ethnomusicology Southern California Chapter (SEMSCC) Society for Ethnomusicology Southwest Chapter (SEM-SW) Society for Music Perception and Cognition Society for Music Theory Society for Music Theory

• • Χοµµιττεε ον τηε Στατυσ οφ Ωοµεν Society for Research in Psychology of Music and Music Education Society for Seventeenth-Century Music Society for the Preservation & Encouragment of Barber Shop Quartet Singing in America (SPEBSQSA) (Kenosha, WI) Society for the Promotion of Indian Classical Music and Culture Amongst Youth (SPICMACAY) Society for the Promotion of Indian Classical Music and Culture Amongst Youth (SPICMACAY) - University of Virginia Society for the Promotion of Indian Classical Music and Culture Amongst Youth (SPICMACAY) - Pittsburgh Chapter Society of Recorder Players Society of Swedish Composers (Stockholm, Sweden) Songwriters Guild of America (SGA) South Western Ontario Musicians' Publication page ? SouthEastern Bluegrass Association (SEBA) Southeastern Historical Keyboard Society Southern California Recorder Society State College Choral Society (Pennsylvania) Stradivari Society Suzuki Association of the Americas Swedish Horn Society Swedish Society of Popular Music Composers Swedish Strauss Society Swedish Wagner Society Sweet Adelines International (an organization of women singers

committed to advancing the musical art form of barbershop harmony through education and performance) (Tulsa, OK) Leopold Stokowski Society Leopold Stokowski Society of America UConn Cello Society Thomas Morehouse, editor UNESCO (United Nations Educational, Scientific and Cultural Organization) Vancouver 'Cello Club Vancouver Recital Society (Vancouver, BC) Ralph Vaughan Williams Society Viola da Gamba Society of America Viola da Gamba Society of Great Britain Wagner Society of Great Britain (London, England) ? Washington Blues Society (Seattle, WA) Washington Recorder Society West Coast Amateur Musicians' Society (British Columbia, Canada) Westwinds Music Society Wilhelm Furtwängler Society of America Winchester & Portsmouth Diocesan Guild of Church Bell Ringers Wolverine Antique Music Society 78rpm Phonographics & Traditional Jazz Web Site Worchester Hills Recorder Society World Carrillon Federation World Folk Music Association Young Composer's Guild - Distance Learning Project ? Young Concert Artists, Inc. (New York, NY)

Assorted Links

NSAI – Nashville Songwriters Association International

Hello Nashville – All about NashVegas

Nashville Songwriters Foundation (and the songwriters hall of fame)

ASCAP – The American Association of Composers, Artists & Publishers

BMI – Broadcast Media International

SESAC - Performing Rights

Berklee School of Music

Nashville – A walking tour of lower Broad Street

Compo10 – Cool site. Contests, Info & More

Taxi – The worlds leading independent A&R company

Addicted to Songwriting – Very good songwriting resource site

The Rhyme Zone – Looking for the right word. Make it rhyme. Find it here.

Marc Alan Barnette – Find out how it’s done. Marc will come to you!

Give Me Nashville – More information about Nashville

Singer/Songwriter Directory – Comprehensive directory of songwriters around the globe

Song Lyricist.com – Good resource for lyricist, poets and songwriters

Whole Note – The on-line guitar community

Murphy’s Law of Songwriting – From Ralph Murphy at ASCAP

Publish Songs.com – Publish on-line

Songwriters Directory – Another good directory of writers

Nashville Association of Musicians - NAM

Performing Songwriting – Very good resource

Beaird Music Group – Check these guys out

F-Jam Online Muisc Collaborations (Cool)

Indie-Music.com A very good resource

Bravenet – Create your own free website

Music For The Troops – Send music to the troops

Audio Street – Great resource. Post your music, etc.

K-vibe Productions – Another great resource. On-line music community

Media Web Source – Industry resource for writers, bands etc.

The Indie Bible – Everything, everything, everything!!

Mp3 MuiscGram – Send a music gram. Download music and more

Music Link Exchange – Lots of good music links

Recording Channel – All you need to know about recording

Songtuary – A haven for music. Add your link

Caustic Truths – For the metal in you

U.S. Copyright Office - The Official Way

Nashville Artists Association – Artists in Alliance

Songwriters Guild of America SGA

Canadian Songwriters Hall of Fame - Our Canadian Friends

Songsalive – Supporting & promoting songwriters and composers worldwide.

Songwriters Resource Network

Christian Songwriters Network

Songwriter 101.com – Plug into the business

Songwriters Tip Jar – Take your songs to the next level

Writing Songs.com – Writing songs all the time

Lyrical Line – Songwriters Community

Lyric Tips

Bluegrass Festival Finder For a Good Time

Media Jukebox – The one that plays it all

Angelic Music - It's a girl thing

Copyright Information Services

Copyright Registration Services

We Are Listening - The singer/songwriter awards

SongwriterUmbrella

Advance Royalties

The U.K. Songwriting Contest In it's fourth year

Glasgow Songwriters Group Cool

Boston Songwriters Workshop

Music Yellow Pages

Austin Music – Another great music city

Music Industry Contact

Women In Music

Music Industry Today

Billboard on-line

Gospel City News

Mojam – Concert search

Bandname.com Music industry standard for registration of band names.

Freelance Musicians' Association (FMA)

Galaris Independent Music On line resource For Independent Musicians.

GIGPAGE.com Easy, do-it-yourself online gig calendar for your web site.

GoGirlsMusic.com Oldest online community of independent women artists.

Great American Song Contest Highly recommended songwriting competition.

Harmony Central Music news, reviews, forums and newsletter.

HomeRecording.com Knowledge center for anyone interested in recording and mixing.

The Indie Bible lists 8000 contacts that will help you to promote your music to the world

Indie-Music.com Resources essential to any working musician. Free and fee based services.

Internet Underground Music Archive (IUMA) IUMA offers unsigned artists, independent bands, local talent mp3 music free airplay, publishing and promotion plus free new mp3 and real player music track downloads for listening.

MP3 Musicgrams Free Music Promotion Service for Fans and Artists

Musicians Registry Searchable Database of Musicians, Resource Guide and Event Calendar.

Musician Resources Directory of on line music resources by music type or instrument.

MP3.com MP3 resource for musicians.

National Music Foundation (NMC) To preserve and celebrate American music through educational programs and performances.

National Music Publishers' Association (NMPA) NMPA is dedicated to the protection of music copyright across all media and across all national boundaries.

NYC Music Places Free resource enabling musicians to find rehearsal, audition and performance space in New York City.

On-Line Guitar Archive (OLGA) Library of files (Tabs)

Pollstar Searchable on line concert and gig database. Search by artist, city, venue.

Songwriters Resource Network Presents articles on the art & business of songwriting.

Tapes 2 CD Put your tape to CD!