Others think of anything that is receiving heavy rotation on radio as commercial music. Whatever their definition, one thing is often overlooked: commercial music is the heart of the music industry which pumps the blood that keeps it alive.

So why then are so many music artists resistant to making commercial music? The answer that I’m often given is because they don’t want to “sell-out” their creative integrity by conforming to some industry version of what’s popular (i.e. what’s selling at the moment). It becomes very obvious to me that the problem is not commercial music, but rather the perception and definition of it.

The misconception is that the music industry created this superficial definition of commercial music to strip away the artistry and true identity of artists for the purpose of making money; forcing artist to create songs that the “masses” will enjoy. That fallacy is often perpetuated by music artists who are usually incapable (not unwilling) of creating commercially viable songs.

The truth is the public, not the industry, dictates what is commercial, and for decades they have gravitated towards, embraced, and purchased songs that adhere to a commercial music format.

If commercial music is the rule for success and sales in the music industry, there are inevitably going to be some exceptions to it, but unfortunately, the tendency is for music artists to try and become the exception, instead of observing the rules and why they exist.

Simply put: the rules of commercial music success have not, and will not change. Not in your life time or your children’s lifetime. They exist because it’s human nature to reject the unfamiliar; in the music industry, similarity is the cornerstone of acceptance. This is why so many popular songs sound similar and contain familiar elements.

It’s a rule that is prevalent in every genre, and on every continent. There are those artists who do a masterful job of observing their own artistic values while delicately balancing the demands for commercial music by industry professionals. Artists such as Prince, Sting and Bjork, have pushed the envelope of creativity for years. But artists of their caliber who possess such sublime talent and vision are rare.

For the sake of clarification and argument, I will offer my explanation and industry definition of what commercial music is; based on 25 years of listening to recordings as a music lover, music industry professional, and music critic in what I will call, “The 6 Rules of Commercial Music Success.” They are songs that have the following:

1.) A STRONG HOOK/MEMORABLE CHORUS. If no one knows what your song is called, they can’t request it when they hear it on the radio. More importantly, they can’t buy it at retail…or track it down on the Internet to illegally download a copy of it.

2.) GOOD MELODY. Commercial music is characterized by good melodies (i.e. verses, choruses, and sometimes bridges that get stuck in your head and make you want to sing-along). What can the top selling hip-hop acts of the last 10 years (Tupac, Notorious B.I.G., Jay-Z, Eminem, and 50 Cent) attribute their success to? Good melodies (not cool beats) that increase the commercial value of their music.

3.) WELL-PRODUCED. Coming from an R&B background where producers are a pivotal part of commercial music success, I did not realizeuntil I became a consultant that many rock bands don’t utilize, nor value producers like R&B music acts. Perhaps they should since the record company often assigns top-notch producers to enhance the quality of songs (through their musical expertise) and enrich the records (through their experience and proficiency in the recording process), ultimately making them more enjoyable to listen to and, you guessed it…more commercial!

4.) APPEALING LYRICS. The lyrics don’t have to be profound; people just have to be able to emotionally connect with and mentally relate to them. If you have a way of saying common things in an uncommon way, your lyrics will have an edge over the songwriter whose song is about the same topic. Write about what’s closest to your heart for credibility and sincerity, and others will be able to relate to your songs – especially if it’s on a subject matter that they know or have experienced.

5.) KEEP IT SHORT. Keep the length of your songs down to a maximum of four minutes. Jazz and World Music are exceptions. A song that is well-written makes people want to hear it again, and again, and again. The longer the song is, the less likely that will happen. Don’t believe me? Check the length of your favorite songs.

6.) TALENT/WELL-PERFORMED. Most outstanding vocalists are often surprised by how low this rule is on the list. The fact is that there are more mediocre songs performed by outstanding vocalists, than there are mediocre vocalists performing outstanding songs. A good song that is well-performed gives it an edge, but if the song is lacking, all of the yelling and vocal acrobatics that singers tend to use to compensate for it will not make it a better song…though it may help the singer to attract better songwriters to work with. If you lack talent and it’s a really good song, someone more talented can (and will) sing the song and make it better.

Now that you know the 6 rules of commercial music success, hopefully you will be able to use this information to your advantage and create songs that will increase your chances of success in your professional music endeavors…or you can ignore them and continue to wonder why no one (other than your friends and family – all of which listen to commercial music) like your songs.

Gian is a recognized authority on commercial music and Independent A&R Specialist who is best known for his comprehensive and insightful music reviews on The Muse’s Muse.com. He has been an influential factor in obtaining record deals for artists signed to RCA, Bust It!, Gasoline Alley and Interscope Records. He currently does A&R for signed and independent music artists, and music producers including Grammy nominated music producer Cori Jacobs (Pussy Cat Dolls) and San Francisco Bay Area Producer, Chris Carter, (Jasmine Trias/Back Street Boys), in addition to being an Adjunct professor of Music Industry Studies at San Francisco State’s Music/Recording Industry Program.

Break dance, which is now mostly referred to as “b-boying”, and the dancers called “b-boys” or “b-girls”, is actually a term applied to anyone who identifies with the “break dancer” culture. The B-boy genre, which is largely unnoticed in the U.S. mainstream, is actually as popular as other forms of popular sports and entertainment. It generates millions of dollars of revenue through it’s own network of live events, websites and retail outlets, which sell their own unique brand of B-boy videos, music, apparel and related paraphernalia, and is searched for on-line as much as other forms of popular sports and entertainment. B-boy entertainment is viral, a bona-fide phenomena that is re-emerging in the U.S.

B-boy, which technically stands for “break or beat-boy”, is the art of traditional break dancing, but now combined with elements of gymnastics and mixed martial arts or what is now known as “tricking”. The original form of the dance, which never actually died, as most in the mainstream assume, again simply went underground where it could find its own home, a place where B-boy’s could shine in their own right, away from the negative aspects of modern mainstream Hip-Hop. There it’s where it has remained and morphed into an incredible acrobatic styled dance which is often compared to an Olympic sport.

“You won’t see any finer moves in the Olympics”- Ron Wilkerson / Monster & Critics.com

At the center of any B-boy competition is the “Battle”; where two opposing sides, either teams or solo, face each other in a battle of dance supremacy. Many B-boy competitions include choreographed stage presentations, in which they’re judged for creativity and showmanship, but the Battle remains the foundation of any B-boy competition.

RedBull & SONY® are two of the largest and most notable sponsors of B-boy competitions worldwide. With several dozen major events held annually, some of the larger events like Battle of The Year and R-16 draw in crowds of over 10,000 and 20,000 respectively. Other notable events like the World B-Boy Championships, FreeStyle Session, Red Bull BC One & Beat Battles boast record breaking attendances into the thousands, and sell out year after year.

These hi-energy contests are incredible displays of creativity, dexterity and agility. The Battles, which are often laced with verbal smack, jostling and chest thumping, are explosive to watch and have often been compared to a WWE match. However, this is unscripted and in the end, with hugs and handshakes all around, there’s nothing but respect and honor for one’s opponent…that’s the B-boy way.

In Europe and Asia, B-boy has exploded, spawning its first set of celebrities in the Korean crew “Last for One”, which have been featured in commercials, TV and are regarded as bona-fide celebrities in their country. As a matter of fact, over seas, B-Boy is a booming market for endorsements and sponsorships. So much so that SONY® Europe has even released a B-boy game for their Playstation2 (PS2) and PlayStation Portable (PSP) game platforms.

Like most popular trends, the US lags behind, but there are some very significant signs of a mainstream resurgence here. Leading the way is the documentary Planet B-Boy, which made its debut at the 2007 Tribeca Film Festival in New York City. The film chronicles the trying journey of five of the best B-boy crews, from all around the world, on their way to the Grand Daddy of B-boy competitions, the International “Battle of The Year; which is considered the “World Cup” of B-boying. The movie opened to rave reviews and is being touted as a film of “great significance in the history of B-Boying and Hip Hop” by Dancing.net.

On television there are several projects in development that feature or highlight break dance, of which is the development of a street styled dance competition created by P-Diddy for MTV and the WORLD B-BOY LEAGUE, a league organization, which will televise “fight league” styled B-boy competitions.

As well in the U.S., the break dance resurgence can easily be witnessed by visiting your local high school or college. B-boy clubs have sprouted up, in what seems like thousands of college and high school campuses across the country. In most cases, these are legit, school-sanctioned organizations, which are offered right along side chorus, poetry and chess. A search on Google for break dance clubs, college turns up dozens of these clubs and related organizations.

This article just skims the surface of this topic, but clearly demonstrates how the B-boy genre is alive and thriving today. It is unquestionably a viable market and a much more popular force than recognized. The days of your Uncle’s head spins and moonwalks are long gone. B-Boy isn’t a fad or fodder for a punch line. It’s a legitimate art form, a popular sport and a significant element of Hip-Hop culture whose time is well over due. Break dance never died, it just went back home to change its clothes and it will be out to play again soon.

“…an important element of dance culture that deserves some legitimate respect. Or perhaps a slot at the Olympics”.
Rich Cline
-Shadow on the Walls

Mr. Covert is manager of The Knucklehead ZOO, 2-Time National Break Dance Champions

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Robert Peter Williams also known as Robbie Williams was born on 13th February 1974 in the village Newcastle-under-Lyme.

He sold tens of millions of albums worldwide and is one of the best selling artist not only in the UK but also world wide.

The take that period (1990-1995).

Robbie Williams started his career with the very popular boys band Take that (Robbie Williams, Mark Owen, Jason Orange, Howard Donald and Gary Barlow). They had several number one hits such as “back for good”. In total they had 10 UK number one singles seven of them were created when Robbie Williams was a member of the band.

In 1995 the band splitted however in 2006 they came back with a new single “patience” the band was reformed but this time without Robbie Williams.

Robbie William’s solo career

In 1996 he covered George Michaels’ freedom and reached number two in two in the UK hit parades. This number is very impressive because the original George Michael didn’t receive a top ten place in the charts. In September 1997 Robbie Williams released his debut album live trough a lens.

He received a top eight position in the UK charts, however he was struggling to reach the top 40 in the European charts.

In 1998 I worked together with Williams and chambers to make the album “Millennium”. At this time he had a relationship with Nicole Appleton a member of the band All Saints.

The band still active these days. With the single millennium he reached his first top one single in the hit charts. And he had not only success in Europe but also in Latin America. “She’s the one” another single from the album Millennium reached also the number one in the charts.

In 1999 he did a lot of promotions and tours and without doubt he was a very successful artist. He created also a knew album with the well known hits like “Rock Dj”, “Supreme”. He collaborated also with the Australian Pop artist Kylie Minogue (Kids).

In late 2001 he released a new album Swing when you are winning. In this album he had a hit with Nicole Kidman “something stupid” it was a cover from Frank and Nancy Sinatra. In 2002 Williams began working on what would be his fifth studio album, Escapology. It was the best selling album of this year in 2002. His ninth album was called Intensive care, his best selling studio career of his time with the single Rudebox that’s also the upcoming title for his next album.

His last album so far has the title Rudebox with hits such as Rudebox and she’s Madonna. This latest song was released with the Pet Shop Boys and is a love song to Madonna. In the video clip you can see Robbie Williams as a drag queen dressed in a white jacket.

Discover more bio’s and the latest news from Celebrities by visiting my blog Celebrities bio’s and news

You want to get THERE but what is THERE?

Many people I talk to equate success and getting THERE to making music full-time, getting their songs into film and TV, going on the road and selling enough CDs and merchandise to support themselves financially. That is awesome. But unfortunately some indie artists have no clue as to what they really want. They are tired of their day job and want to make a change. They dream about the day they can quit and do music full-time. They dream but don’t act.

So how do you get there?
You must act!

Ahh, that is the hard part for many. How do you act? What does it take? I suggest spending time really thinking about your wants and needs. And don’t be vague! Don’t say I want to be a rock star so I can earn millions. Get out some paper and write down what THERE is to you. Aim high. But step back and look at the big picture. Be realistic. What do you need to do now to get onto the road to getting THERE?

Make an action plan then stick to it. If you want something badly enough you will do what it takes. You will do the work.

Oh yes, you heard me right. That nasty word that too many people can’t handle: work. That is the bottom line. You have to work it. You can’t sit back and coast. Well you can, but will that lead you to THERE? Doubtful.

I can think of several indie artists that work extremely hard. Here is what they all have in common:
*They persist.
*They network.
*They take advantage of every opportunity that comes their way. No excuses!
*They don’t complain. If things don’t go their way, they move on to the next one.

Do what it takes to get yourself THERE? Get committed! Make a plan. Take action. Do the work. Be a DO-ER! You will see results.

Copyright © 2007 Madalyn Sklar, IndieMusicCoach

Madalyn Sklar is a music business coach, consultant and author. She founded IndieMusicCoach and has spent over 11 years working with a wide range of independent musicians all over the world – U.S., Canada and Japan thus far. Her goal is to help indie artists achieve greater success in the music business by working smarter not harder. She is also the founder of GoGirlsMusic.com, the oldest and largest online community of indie women musicians, with a vision of bringing together and empowering musicians from around the world.

“And listen to what?” I always say. “That crap you have in your glove box?”

I run into people and friends all the time that “Used to” listen to Dance Music, and claim knowledge of the most popular and listened genre of music in the world, but in all reality, they just really jumped a bandwagon at the time the radio was playing a lot of C and C Music Factory, Black Box, KLF, Pet Shop Boys, and every Top 40 artist had to have a “Club Mix” and thought that they were in “The scene” for a time period.

Then radio moved on to the “next big thing” and like sheep, they went with it, or reverted back to what they were listening to before. The fact of the matter is, Radio, MTV, and other mainstream outlets play what image they think they can sell you, not what’s really good, or popular. They create popularity. That is their business.

The Death of Dance Music has been predicted by one writer or another over the last 25 years and it always makes me laugh. Some of the same guys, (and gals) that were hitting the clubs in the 90’s, wearing their best Z-Cavaricci’s, Cham’s, Polo’s, Alexander Julian Shirts, Roots Shoes, Baby Doll Mini’s, Coach Bags, and “Jacked up” on enough Cocaine to stimulate the GNP of Bolivia, are now the same writers and “haters” that lost touch with what is going on, had a kid or 2, sobered up, and since it wasn’t on the radio anymore, and assumed that everyone stopped listening, and continued to be force fed the same 40 songs as everyone else in the country, until you heard it enough times, that familiarity tricked you into believing that you liked it.

Nothing, as we all know, nothing could be further from the truth but I always get a kick out of my friends and associates that don’t give any respect to the form, and pull out an old Megadeath, Journey, or Phil Collins TAPE, and say, “See now, this was the good stuff”

I have been listening to House, and Techno/Trance since the beginning, and not only is the old ground breaking stuff still able to hold it’s own on any dance floor, but it has evolved and gotten better over the years and has spread around the world like an infectious plague, and planted a flag firmly in the culture of most every civilized society on the planet. I love it when I play something from “back in the day” and somebody in my car will say, “Hey , I like that new stuff you’re playing…Who is that?”. And I’ll say something like, “Um, that’s Todd Terry with Martha Wash…it’s 10 years old”

Now I don’t know any other form of music that holds it’s groove after 10 years or more like good Dance, House, Techno, and Trance.

So in Honor of some of the most held on to forms of music that have gone Bye, Bye, while everyone has been claiming the Death of Dance Music Over the last 20 years, I would like to give my last respects to some of the genre’s that some thought would last forever, and won’t let go of:

(The birth and death dates, are just estimations based on my own experience)

* Motown 1957-1975 (Surviving family members, Michael Jackson, Dianna Ross, Lionel Ritchie)

* Classic Rock 1969-1974 (They call it “Classic” for a reason. It ain’t coming back, and you don’t remember most of it anyway…”You were high!”)

* Disco 1973-1980 (maybe earlier, but where would Dance Music Today be without it)

* Good Rap 1982-1997 (Don’t get me started, just read my rant)

* Alternative 1983-1985 (You know, Thomas Dolby, Men Without Hats, Yaz, OMD….at least that’s what they were calling it back then)

* Grunge 1990-1994 (died with Curt Cobain, I think Bush is the only thriving survivor)

* Metal 1974-1980 (I have nothing here)

* Glam Rock 1987-1990 (You remember?-White Snake, White Lyon, Great White, Nelson, Ratt “Out of the Cellar”…and back in again)

* Funk 1969- ? (as long as George Clinton is Alive, Funk will never be dead, although we lost a lot when Rick James passed away…”Bitch!”)

* Speed Metal 1989

* Good Hip Hop 1990-1994 (Bell Biv Devoe, Wrecks in Effect, Red Head Kingpin, Soul 2 Soul, Tony, Toni, Tone, and the “New Jack” stuff)

* Boy Bands 1983-1997 (New Edition, New Kids on the Block, Boyz to Men, Menudo, N-Sync. God that lasted a long time!)

* Alternative Rock 1984-1994 (New Order, Depeche Mode, Pet Shop Boys..although I am a big fan of this era, and it will never truly die to me, and the fact that they are still making music, just not much airplay in the states)

* Tibetan Chanting Haunting stuff: 1994-1995 (Enigma, Deep Forest, and a slew of “Monks”. I still listen to Deep Forest, it’s timeless to me, but there was a time every house wife had an Enigma CD in her car)

I have liked or owned all of this through out the years, and I am from Detroit, so Motown has a place in my heart and is part of my Detroit culture that i am most proud of, and still have a lot of it, but nothing has been as consistent as House, and Dance Music.

So when I hear the constant calls for the Death of Dance Music, it makes me chuckle. I just consider the source, and look inside thier tape collection, and I understand.

The bottom line is, at some point in most of our lives, we just stop becoming open to new forms and either go with the wind, or hold on to that time in our lives when everything was great, and we were open to new things, and searched for something that made us unique from the norm that we could relate to. I swear I had, and still have friends that believe Jim Morrison, and Curt Colbane were speaking for them in some alternate psychic reality.

You may have noticed that I didn’t mention Country Music. There is no need. Country Music has held it’s own, respectably, and it’s fan base for years. It also, is not going anywhere.

Thank God I was born a House Junkie . House, Trance, and all of it’s forms that rock the dance floor, make you feel good, make you want to party, make you want to sweat, and not just remind you of past good times, but that new times are yet to come, and it “keeps on keeping on”, year after year with great Dance Floor Rockin’ stuff contributed from artists from all over the world over.

To all the other forms, and bandwagons that have come and gone, I bid you a fond farewell, “It’s been fun” and R.I.P.

Harold Mansfield
124 Beats Per Minute

http://www.124bpms.com

Club Life Entertainment , iTunes Dance Music Downloeads , All access Travel Rates and Bookings, Entertainment. Daily Articles, Nightclub Updates, Special Events, DJ appearance Schedules, New Releases, and Nightlife Entertainment around the World.

If instead of turning to right at Hauptbahnhof, you go straight and cross the tramlines and you get to Rembertistrasse (the street under the autobahn) you will find the Tower Club (on Herdentorsteinweg). This is a place decorated in a Gothic Style with old walls and little light. It has two floors: downstairs one can also dance and upstairs one can play some table football. As I was told by one of the bodyguards, the music is better upstairs, but there’s a dancing floor only downstairs. This is the perfect place for rock (softer, not very hard…), alternative, new wave, crossover, and hardcore music genres fans. Sometimes it also has house parties. The place is especially popular among students because on Tuesdays it has Student parties with free entrance and Foster’s beer at half price. Even if you are not a gothic fan you might want to drop by if you do not have anything important to do on Wednesday morning and have a chat with some students.

The first club on Rembertistrasse is Rosige Zeiten. This is again a mostly house club, but on some occasions they also have 70’s parties. It has got a pretty impressive reddish decoration. Unfortunately in the last years the club has lost it’s popularity and if you go there before 1:30 you will find very few people. Entrance costs about 5 euros and it is useful to ask how many people are in (because sometimes there are quite many, especially when DJ-s from London come there).

The next club on Rembertistrasse is Neue Welt also known as nine-nine-one (on Fridays). On Fridays the main genre played is trance and other non-commercial techno genres (but not house). The atmosphere is not spectacular and there are not too many people on Fridays. On the other hand, the club seems to be totally different on Saturdays when the music played is varied (mostly charts). The place even seems too crowded and small and the people seem a bit too immature (starting from 14 year old people). Personally, when I was there on a Saturday with Akhil, Azim and Timur we felt that it was not the place for us…but maybe it’s not like that every Saturday… From 3 or 4 o’clock in the morning the place reopens for the Morning Beats trance party (Sunday morning, entrance 5 euros). So, if trance is your religion you might want to try this.

Walking further on Rembertistrasse, you will get to Woody’s. They put all kinds of music, anything that is in vogue for any taste (less house). The entrance is 3 euros, the average age is 18 (it means there are also people who are 15 and people who are 25) and the drinks are pretty cheap. It has got one floor and nothing too spectacular.

The most famous club on Rembertistrasse is Stubu/Coconut. This is the club about which you will hear most things from the other pioneers. Some of us went there so many times that we are disgusted when we hear the name of the place but we still go there…I don’t know why but the place is a magnet. It probably owes it’s popularity to the fact that it is open all week, entrance is only 3 euros on Friday and Saturday night and free on the other days. You won’t believe but there are actually parties everyday there. The student party is on Thursday when the place gets sometimes as full as in the weekends (also because of the happy hour- drinks at ½ price till 10 o’clock). It has two floors: Stubu-mixed, charts, techno, German Schlagers and Coconut-hip-hop, RnB. There’s a great variety of people you can meet here: from students to factory workers, all races and different nations.

On the other side of the Hauptbahnhof if you are a trance fan you could go to Schlachthof and if you like house more you might want to try Swutch Club.

Closer to the city center, near the banks of River Weser (on Schlachte Street) there are several good clubs and restaurants with foreign food. One of the good clubs is Rio where they occasionally have Latino parties, like the one called “36 Grad” (the place to practice your salsa, merengue, cha-cha-cha, mambo and rumba skills).

On the same street you may find on the Weser a boat where they hold parties: Shark Lounge. It is mostly famous for the student “pa:ti”-s which take place about once a month. The main genres played are house, UK Garage, Hip-hop, Latin House and some house/RnB mixes. People are also very select, clean and decent. The entrance fee ranges between 5 and 7 euros (might be up to 10 for very, very special occasions). A small advice: Check online if the place is open on the day you want to go there because it is not open every weekend.

The biggest multi-taste disco inside Bremen is Modernes. This is the place for many motto parties (Studio 54, Heartbreaker’s ball, Robbie Williams Night, etc.). These motto parties are guaranteed to bring more fun because people are dressed up, there are movie projections, games, live stage entertainment. The entrance costs from 4 to 9 euros. The dancing floor is among the biggest I have seen in Bremen, although there are much bigger places outside the city.

There are also two very big clubs in the Sebaldsbrück area, close to the Mercedes-Benz factory but these ones are more specialized. Their names are Aladin and Tivoli and they are right one next to each other. This is a big advantage on special occasions when the walls between them are removed and everything transforms into a huge 4-floor party complex (with a yard where one can breathe some fresh air). During normal weeks (weekends and some working days) Aladin hosts parties for rock, hardcore, alternative, hard rock, heavy metal, punk and related tastes while Tivoli hosts parties for Trance & Techno fans (entrance 10 euros). However, Tivoli does not get full during normal weekends. One can have the best time partying in Bremen at the big Jungle, Old Skool, 2step, Drum ‘n‘ Bass and House events. These happen about once a month or once in two months. This is when the two clubs (each one having two floors) unite giving birth to an impressive complex with floors for all tastes.

Usually at these parties there are about 15 to 20 DJs and 5-6 MCs (famous ones, from Germany and England) and also 2-3 LJs (for all the lasers, vortexes and projections). This is why the entrance price is situated around 20-25 euros (depending on the number of celebrities), but one can get a 3-5 euro rebate if the tickets are bought before the event (Vvk. i.e. Vorverkauf). Even before opening at 10 o’clock one can see long cues at the entrance and the place gets full in about one hour. Dreamland and Junglemania are two famous events that take place several times a year. Personally, I have had my best clubbing time at these parties, so if you enjoy the genre you should not miss it! Remember a thing: Good parties don’t take place too often! (That’s why it might be a good idea to put some money aside some time before.)

To sum up, I may say that Bremen is not a huge night-life center like Frankfurt, Berlin or Hamburg but still for a busy IUB student trying to forget for a few hours a week about assignments, study and student jobs, there are enough places to acquire new memories and experiences. I am telling you this because after you will graduate you will have less free time than you have now. We will all be preoccupied by career and then family, we will be really mature people and we will be fully responsible for our actions. And then we will ask ourselves: Didn’t I miss anything from the beauty of being young and restless? So, my advice would be study hard and learn well but don’t forget to chill out a bit because Bremen is not a village after all J!

So, Viel Spass!

Article written by a student from Bremen. More information and details available at http://clubbingpocketguide.blogspot.com Useful information and tools for people around Hamburg: http://www.amigomo.de

You would think that with the age of the computer and with very affordable software that press kits would get better. “Flashy” perhaps, but the actual depth of the material being offered into today’s press kits is usually the same with very little emphasis on the needed verbage and elements and filled with the same old clichés of where they grew up, this that and the other. It’s got to be more than that if you want to grab the attention of music industry professionals. At ReelMusician.com we are bombarded by this type of press kit day in and day out, knowing that some of these acts are fairly credible, but without the right image and marketing materials, that being their press kits, that they probably won’t make it. So what does make for a solid press kit? Let’s look at some ideas and concepts.

First off, understand that most individuals, good writers or not, aren’t cut out to write press kits. Like marketing, there is a special niche of writers who know what moves, sells, and what ultimately delivers in the final analysis. You might be a great writer emulating other press kits or material that you’ve gathered, but you have got to know what, where and when, when you are creating such marketing pieces. At ReelMusician.com, we understand that while each act and group is unique, that there are marketing differences with each and every bio and press kit that we write and produce.

As you begin to create your press kit, you will want to have a note pad and you will be jotting down ideas on probably a number of pages. On your first page you will be noting exactly what you want to accomplish with this press kit. Are you going for a record deal, or are you an older act that doesn’t necessarily care about the record deal, but would like to obtain more booking dates and so you will craft your press kit around club owners, venues, and booking agents, etc. You need to figure out exactly who and where this press kit will be going.

Your next step will be to write down exactly what you will be including in your press kit and why. Why are you going to include certain elements? They very well may be needed, but why? This will help not only make concrete what you already are more or less thinking, but it will also give you an advantage when you begin writing to create goals for why you are including what. There has always got to be a driving reason behind your press kit. It is not a slap it against the wall and stick mentality, it is a very well thought out marketing arm, aimed at your desired goals. Therefore, it begs your attention to implement specific marketing principles with a very well thought out marketing plan.

Now that you’ve decided what main categories of items that you will be including in your press kit, you are ready to write down short descriptive items under each category that you will expand upon when you are writing. This may take you awhile. But take the time and think through what you should include. Be imaginative. Some ideas can look bigger than life when written well. Those just starting out, it’s not as easy to do as those who have been in the business awhile simply because of experience and lack of realistic, music career oriented material. That’s why it’s almost that more crucial at the beginning stages of your career to have these professionally written so that your marketing isn’t as limited as it might seem otherwise. You have got to put more than where you grew up and musical influences. There has got to at least have the appearance of more experience and weight in your marketing which is done through carefully, crafted and targeted writing.

When you have finished with your initial ideas, you are now ready to sit at the computer and start writing your press kit. I couldn’t possibly address every issue or your own writing style here, but do understand that there are marketing words to use, that words do have meaning, and that you want to ultimately demand a call to respond in some way. You want the reader to be saying, “Sign this act now,” or “Maybe we can call them to open for so and so.” That’s what is needed. Not just a, “these acts influenced my writing” – that won’t get it. You have got to be writing for a call to action. Marketers on the web with any experience at all are writing for a call to action – usually for you to purchase something. So keep this in mind. Please don’t hesitate to email or call us with any questions. We’d love to know how you are doing and answer any questions you might have.

Mr Gauger is a former talent booking agent with the William Morris Agency and founder of http://www.ReelMusician.com You may contact the author at tgauger@reelmusician.com Free e-books “The Jingle Singer’s Guide,” and “Secrets To Great Song Demos,” may be downloaded at http://www.ReelMusician.com

Yes, fellow Dj’s the age old rumour that you can back up your original CD’s to MP3 format for use on a Hard Drive or Digital based player legally in the UK is FALSE! . Doing so is illegal and likely to risk prosecution despite it being perfectly legal and acceptable in many other European Countries, and America either under Fair Use conditions in local copyright acts or the Home Recording Act of 1992 (U.S.A). So in other words, UK based DJ’s are being singled out, penalised and getting the raw deal once again.

The Digital DJ Licence costs you £200 ($350) and this gives you the right to back up original CD’s to MP3 or other digital format for storage and playback on Hard Drive format (upto a maxium of 20,000 tracks) for use on a PC or Laptop, however like anything else there are conditions and several flaws.

Q) I have a Digital DJ Licence so surely I am now fully covered

False!. The first and perhaps most largest flaw in the Digital DJ Licence is the fact that the PPL licence is only half the story!. In order to remain fully legal you also need permission to convert the tracks from the MCPS as well. The Digital DJ licence only covers the PPL side of the law. As well as buying the Digital DJ Licence you will need to contact the MCPS and obtain a licence from them or risk prosecution. Since the MCPS (at the time of writing) do not have a blanket licence similar to the Digital DJ licence in place nor are they part of this Digital DJ licence, then this is likely to work out very expensive and time consuming once you contact the MCPS and also the individual record labels of all of the artists whose material you are converting in order to obtain permission. Assuming they DO give you permission!. If the MCPS or Record Label decline permission to convert any or all requested tracks and you have already bought the Digital Dj Licence then sadly, you have bought yourself a white elephant.

Q) What Additional rights and facilities does the Digital DJ Licence Offer?

Other than the right to convert your existing original CD collection to a more flexible means of archive and playback, absolutely nothing. You cannot use the digital back up at the same time as your original CD Material, so having two roadshows and using your CD material at one, and Laptop at the other would naturally still be illegal and is not granted under the terms of the Digital DJ Licence.

Personally I believe that making Dj’s pay twice and ongoing for converting material, is simply put, unfair discrimination and an attempt at cashing in on the rights of individuals to choose to use alternate technologies where they are available in their marketplace. Dj’s in other countries are not subject to the same laws and fees, so why should UK DJ’s be charged? – after all, we already pay more than our colleagues in other countries for the original CD’s in the first place, charging us a yearly fee on top of that is just taking the piss. What would happen if everybody was charged an annual fee to own and play their legally purchased CD’s in addition to the cost of the CD’s in the first place? – there would be a public outcry and rightly so.Why should this stealth tax on Digital Dj’s be treated with kid gloves?

Q) But we are DJ’s and using material commercially therefore we should pay

This is a tired point and one which is flawed. If you are going to use this point, then what you are suggesting is that all DJ’s should be paying a yearly fee to PPL to play music where a fee is paid to the DJ. There can be no half measures or discrimination here. Either all DJ’s who work for a booking fee (ie to make money) irrespective of whether it’s a public or private function should pay the same Digital Licence fee every year whether they use CD, MP3 or a PC as a means of medium. Is a Digital Dj any more commercially desirable than a conventional CD or Vinyl one, do they earn more money?, command higher fees? do they deny the artist royalties?

Let me ask you a question, if a DJ buys a CD from the mall, goes home and converts it to MP3 purely because it is a more flexible and prefered method of playback for him / her, then leaves the CD in a cupboard at home whilst they take their laptop / pc to a gig, how is this adversely affecting the artiste who created the music?, is the artiste any worse off financially because of these actions? do they deserve a higher fee to compensate?.

Also remember that any venue we work in has to have an entertainment licence by law, which is payable to PPL, meaning that for playing music at least the PPL already has had it’s pound of flesh!.

Q) How did this legislation get in and why wasn’t I consulted?

Like most new legislation, rumour has it that this one arrived via the back door too. There was appearently DJ’s and DJ Associations who were consulted as to their opinion on the matter and the licence was rumoured to have been constructed around their feedback and requirements. However exactly who was consulted and which DJ Associations remain a mystery because nobody has come forward.

Recent polls on the many DJ Forums, Entertainment Blogs and even the BBC show that the majority of DJ’s are not happy with the licence in its current form.

More information on the Digital DJ Licence and campaigns against this unfair legislation can be found at http://www.dj-forum.co.uk

The town was once a small fishing village with a pretty harbor and a few local shops tucked away a few kilometers from the bustling resort of Protaras. The harbor is still there and now it is home to a host of pleasure craft as well as the little fishing boats. If you don’t wear yourself out clubbing you can still catch the fishing boats as they return in the morning and maybe even pick up some fresh fish too. Another great feature of the harbor area are the many restaurants where you can relax and watch the world go past whilst enjoying a huge range of cuisine including surprisingly, fish!

The beaches in Agia Napa are amoungst the best in the area perfect for bathing or sun bathing with plenty of beach front bars and restaurants to escape to when the sun gets too much for you. Nissi beach is another beautiful stretch of coast with plenty of water sports and facilities for all the family. There is a great paved walkway that runs along the coast from Agia Napa harbor right through to Nissi beach which is a great way to walk off those hoiday excesses and take in the beautiful coastal scenery at the same time.

The town has more than enough shops and supermarkets of every conceivable type so you won’t go short of any of those holiday essentials either. Bars, how many do you want? Even if clubbing doesn’t float your boat it’s still worth paying a visit to the famous Agia Napa square home to all the top clubs and bars. Bearing in mind that things don’t get going properly until about one o’clock in the morning the bars are already bustling from around 9pm. So why not take justa little peep and maybe indulge that hidden party animal just a little. There are even several clubs that play the nostalgic music of the 70’s 80’s and 90’s so even the mums and dads be able to sing along.

If you are looking for a Cyprus holiday that’s suitable for families you will find that Agia Napa has everything you could want. There’s plenty of family resturants including K.F.C. and a Macdonalds too so the kids will be easy to please. The accomadation in all parts of Cyprus is clean and modern so you can expect nothing less in Agia Napa too. The resort boast several top class hotels 5 star and above if you want to be pampered to death or modern apartment complexes if you prefer to please yourselves. Whatever you decide you can be assured that Agia Napa will be a Cyprus holiday to remember and it’s a great place to start if you want to explore more of this beautiful Island paradise.

With so much to offer to such a wide range of Cyprus holiday makers it’s no wonder that families and couples return to Agia Napa year after year and recommend it to their friends and family. If you want to sample the best of Cyprus you won’t go far wrong choosing Agia Napa as your holiday destination. If you don’t find everything you expect for a great family holiday in Agia Napa Cyprus the chances are you won’t find it anywhere. Enjoy Agia Napa and Cyprus!

Kevin Moore owns several Cyprus web sites and writes regular articles about Cyprus holidays and Cyprus property so take a look for yourself here Cyprus Agia Napa

Electro

Electronic music spans across a large variety of styles, domains and media types. A snapshot of a certain vision of electronic techno music, terribly ambitious, yet perfectly accomplished and mastered. Elektrocast is an electronic music pod cast based in Berlin the city of Electronic music.

Nobody composes electronic music that has the beauty and emotion of the music of Vangelis. That relatively little academic attention has been devoted to electronic dance music is somewhat surprising, considering Techno’s popularity, creative dynamism, and relevance to and reflection of the processes of cultural formation and mediation in information-age capitalist society. It is also distinguished by being primarily, and in most cases entirely, created by electronic means.

During an innovative period concomitant with the development of disco-influenced and vocal-laden House music in Chicago, musicians in Detroit developed a style of music based on more or less equal parts of European synth pop or “EuroDisco” like Kraftwerk and Tangerine Dream, and domestic music such as Parliament/Funkadelic, Afrikaa Bambataa, and Detroit’s Cybertron, who were making heavily funk-influenced, electronics-based music called, variously, “Electro-Funk”or “Electro,” and who had also been influenced by the purely electronic bands of Europe. The simple fact is that although electronic instruments do automate some elements of the musical process, no good DJ simply lets his instruments run on “autopilot. Composition for electronic music, whether electro acoustic or simply synthetic, is just as time-consuming and creative a process as writing for any other type of instrument.

Drum

Drum & Bass is, as its name implies, a style of music dominated by drum and bass samples; in fact, it is really just a stripped-down version of Jungle, often using many of the same elements as Jungle, including scratching, but far more sparingly, which results in a sound often lacking the aforementioned “layering” effect. Drum & Bass has become very popular in the United States during the past two years, and many clubs now feature entire evenings devoted solely to it.

Techno Music has the capability of swinging the mood of your loved ones. Techno Music can be heart pampering present on this Valentines Day. Techno music concentrates more on the beat rather then the lyrics or the other elements of a song. Techno music is purely electronic music intended for and dance; the music combines the sound of classic German electronic and a feel of urban American music.

Techno music can be made in several ways; a compositional technique can be made and developed to suit the instruments that are being used. Techno music showed a tragic and rather melancholic nature and was influenced by its urban roots. Techno music continues to remain a marginal underground music in the United States.

Claire Brown is a successful Webmaster and publisher of www.WeKnowMusic.net. She provides more information about music and what has influenced them over time that you can research in your pajamas on her website.