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CORIE L. ANZIANO - Anziano Enterprises ---June Edition - Volume 2 - Issue 12

What You Neeed to Know
About Music Confrences & Festivals

Ahhh - Summer. I love the summer. It’s the marking of multiple Music Conferences, Festivals and other Events nationwide; which also means - “A Time for Opportunity!” Whenever I hear about an artist who needs a record label, a tour and/or even networking prospects…now is the time! Being the Executive Panelist Coordinator for the Atlantis Music Conference & Festival, I get asked a multitude of questions and I figured I would cover what a “Music Conference” is and how it can benefit you!

First off, once an artist averages more hours a week practicing than socializing they should consider investing into a Music Conference. These Conferences should be for (in this order) Education, Networking and Shared Experience. Now, many conferences boast about the opportunities to be “discovered” and “signed” but what does this mean? In reality, is it enough alone to justify the investment? Let’s break it down.

The discovery aspects are most likely not going to happen until you have a team in place that has connections strong enough to get the music industry to your show. If your ONLY motivation is to go play at a conference in the hopes an A&R HAPPENS upon your show and signs you, that’s not a wise investment, more of a gamble on a penny stock; meaning, never say never, it HAS happened, but the odds are not in your favor.

However, at Atlantis, if you feel you are ready for that record label deal and you DO NOT have a team in place; Atlantis can provide the platform for you through the “Music Industry Face-off”. It’s where your band is guaranteed a spot to perform directly in front of an A&R panel and the Majors in your genre. You receive immediate feedback on the spot and YES, we have had record contracts inked on the spot for those who were undeniably talented. (That happened again this past September 2007!) Please note: The Music Industry Face-Off is NOT part of the normal registration. Therefore, if you are looking for this type of opportunity and plan on coming to Atlantis, make sure you register for the Music Face-Off instead of the regular submission in advance especially since spots are limited and there is a deadline. Also, not ALL conferences offer this type of opportunity. Make sure you ask the conference you are attending if they do and the qualifications of the panel.

Now, let’s say you ARE accepted to perform out of the thousands who submit, whether it’s Atlantis and/or your Regional/Local Event. The biggest mistake I see our artists make is showing up to the venue, playing their show and leaving immediately afterwards and not taking advantage of attending any of the 4 days of education, networking and experience at their fingertips. Many Music Conferences have panels that are an incredible resource! Some of the topics covered are Songwriting, Producing, A&R, Touring, Promotion, Distribution, Legal, Management, Marketing, Recording, Building your Career through the Internet, DIY and Major Label options! The panelists are the Cream of the Crop, the Top Industry Professionals that you may never have a chance to reach and/or connect with at any other given point.

Now, some conferences only focus on getting a “major label deal” which isn’t always helpful. I truly believe that a conference needs to provide much more than that. At Atlantis, our unwavering mission statement for 11 years has been to service the artists through education, dedicated feedback and to service the industry by providing the greatest platform of discovery for new talent Worldwide through our showcases in all genres. We do not have an opinion of Indie vs. Major vs. DIY, our role is provide knowledge about all the above so that our artists can make the best educated decision as it relates to their goals.

Even with all of the benefits of a conference for an aspiring musician, the number one question is “How much is this going to cost us?” I took the time to total up the average 4 person band below as if you were coming to perform at Atlantis. (Keep in mind, gas prices vary area to area, but I based it on Atlanta, Georgia gas prices because my mother didn’t answer the phone when I called to ask her the average gas rate is in UpState, NY currently, so blame her if it’s off a quarter or three!)

Out of Town Artist
$35.00 – Submission Fee, if submitted on time.
$129.00 – One Bedroom Suite at the Granada if booked by August 30th, 2008
$12.00 – Parking overnight at the Granada
$240.00 – Van Rental, 2 days @ $120 a day, unlimited mileage
$126.00 – Gas, average trip 540 miles @ $3.50/gallon at 15 miles a gallon for a 12/15 pass van.
$240.00 – Food – 2 days, two/three meals a day, $30/person a day, 4 members per group
$782.00

This equates to approximately $195.50 per band member! Stick $47.00 aside each week for a month and you are there! (I have seen bands spend more on cigarettes and beer.)

Now, is it better to attend multiple conferences or try to develop a “buzz” at a single event? In other words, should artists be spending travel money to reach the executives or should they wait for them to come to their local/regional event? It is best if you can afford it, to attend MULTIPLE conferences. NEVER wait for the industry to come to YOU! Go to where they are all congregated in ONE place. Every conference is different. Make sure you do your homework. If you are a Rock band and the Music Conference only specializes in Country with Top Country Pros, you are wasting your time. Look for the event that provides you the most for what you do and specialize in. Also, make sure the panelists you are going to see are qualified to be speaking. I have attended events where the so-called “pros” are nothing but local, self-proclaimed industry that couldn’t get you a deal even if their life depended on it.
At the Atlantis Music Conference our panelists have consisted of Steve Schnur (Worldwide Executive of EA Games), Dallas Austin (Super Producer), Matt Serletic (CEO of Virgin Records), Steve Gottlieb (President of TVT Records), Mathew Knowles (President of Music World), Three Doors Down, Shinedown, Teddy Riley, India.Arie, Jermaine Dupri (Executive Vice President of Urban Music at Virgin Records) and many, many more. We also have showcased artists such as Mastodon, Queens of the Stone Age, Maroon 5, Los Lonely Boys, John Mayer, Cee-Lo, Bone Crusher, Cartel, Tony Rich, Keri Hilson, Bryan Michael Cox, Goodie Mob, Lost Prophets, The Lost Trailers, Sugarland, The Wright’s, Trapt, Bowling for Soup and Kottonmouth Kings and last year more than 100 Sonicbids artists played at Atlantis!

Even if you submit and you are rejected to perform, you NEED to attend more than anyone else. At the Atlantis Music Conference, any artist who submits a package and is rejected receives one complimentary registration good for the entire conference. We do this for a reason. It’s so you can learn exactly what piece of the puzzle you are missing that stands between you and the career you are looking to further. So make sure you ask the conference(s) you plan on attending if they will still allow you in. If they do, take FULL advantage for the information provided so you can build your career in the right direction.

Bottom line - Depending on where you are in your career and what your goals are for tomorrow, there are opportunities all around you unlike many years before where you had to “know someone who knew someone”. I am biased and will tell you everyone should go to a music conference every year, especially Atlantis! However, it really depends on your needs and personal choice. If you are ready to advance past the local bar gigs but aren’t sure how, then you need to attend. Even if you aren’t an artist, conferences are a necessity for networking between booking agents, managers, radio, legal, sponsorship financiers and many other crucial members of the musical team! So what are you waiting for? Get off your rear and get in gear! Opportunity is knocking and you need to be there and if you decide that the Atlantis Music Conference is your destination, I will see you there! Make sure to say Hello! ---

To learn more about the Atlantis Music Conference visit us at www.atlantismusic.com or call (770) 499-8600. The 11th Annual Atlantis Conference is slated for September 17-20th, 2008 in the Heart of Atlanta, Georgia. In 2007, Over 32,000 people attended from 11 different countries! If you are looking for a career in any aspect of Music (including Music Education) then you need to be here!

Corie L. Anziano, is the President of Anziano Enterprises | Exec. Coordinator for Atlantis Music Conference and Festival | And is a US Booking Agent | Major & National.
You can contact her at: canziano@gmail.com | Myspace/anzianoenterprises | www.atlantismusic.com

To Contact Her Please E-mail Us Here..

CORIE L. ANZIANO - Anziano Enterprises ---May Edition - Volume 2 - Issue 11

HOLY GRAIL OR RAIL

Every band seems to be on a quest; a quest for that Holy Grail called the “Record Label”. Now, I have learned throughout the years that when a band says “I hate labels and I’d tell them where to stick it”...isn’t EXACTLY True. In my findings, the second an A&R Rep says “I want your band”, they quickly pipe up and say “Really? Where do I sign?” Obviously what the band MEANT to say is they would tell the label where to stick it on the table so they can press hard for three copies! It’s not the fact they were lying when they would speak their opposition; it’s the fact that the Industry has brainwashed musicians into believing that “without them, you can’t make it”.

Let me tell you a story:
Picture it - Atlanta, 1989. A band formed. A band that would later be considered one of the key creations in a genre called “rap-metal”; a band called - Stuck Mojo. Before Rage Against the Machine, before Linkin Park, before anyone - they played with a unique sound derived by having members from very diversified musical backgrounds. They worked diligently recording demos while they lived in their 20x20 recording space that consisted of no running water and cold concrete flooring. They would take showers using a hose that the landlord supplied while calling a public restroom at a convenience store their own. Without much money, they hit the road. For four years, they played every dive and hole that would have them across America. Slowly, they built a fan base that became an underground following that couldn’t be denied. They gained the attention of Century Media and signed with them in 1995. Sadly, Stuck Mojo inked a SEVEN Album deal that also signed away all rights, publishing and merchandise with it! The band didn’t know better but what did they have to lose? They were living “in a van down by the river” theoretically! At the time, Century Media was a green-independent that later would become a Major in Europe as a result but the band on the other hand, wouldn’t be as lucky.

Without further ado, Mojo set out and toured like a MACHINE and when I say toured, let me give you an idea of what “touring” meant to them. At their record highest, Stuck Mojo played 318 days in 1998. From 1995 thru 1999 they averaged 250+ gigs a year, literally living on the road and only coming off to record. Sounds incredible, huh? Think Again.

Stuck Mojo toured the world 20+ times having their basic expenses paid without having to get a “real” job. However, they sold hundreds of thousands of records only to end up owning nothing after a decade of hard work. 100% of all seven albums sales as well as publishing would (and will) forever go to Century Media and never a penny to them. Reality is brutal, they lived a dream that left them with nothing in the end. As a result, In 2001, they fulfilled the lingering contractual obligations and prevented Century Media from being able to exercise any ownership rights over future recorded materials and then the band fractured.

Does this happen often? Sadly, Yes. Let me give you a more precise picture - When you sign a record deal, you see very little money (if any), all of which you have to pay back out of your 12% to 18% royalty depending on how good a negotiator you are. If you get a $40,000 recording advance and a “good” royalty deal, you will be making on paper close to $2 a record; meaning you have to sell 20,000 records just to repay the recording advance. Meanwhile, the label has not only recouped the money they advanced you but also netted close to $5 a record to boot; therefore making their $40,000 back from you AND $100,000 while you receive nothing more financially. (And we haven’t even gotten to the promotional monies they put out to promote you which all has to be recouped.) Times this by years of interest, bills, no rights to your songs, no merchandise rights or publishing and you have the recipe for disaster that Stuck Mojo endured longer than most. (Most would have never have fulfilled the obscene contract and found real jobs in a different field.) But, this story actually has a happy ending!

In early 2005, Stuck Mojo decided they weren’t done and regrouped! Without a label, they decided to do things much differently. They returned to the one thing that made them famous...Touring! With a new album in hand and a strong team in place, they released the album free for download on the internet. Each recorded track had Rich Ward (the guitarist), doing an intro that said “This is Rich Ward from Stuck Mojo and you are listening to (insert song name here). This was done for a reason. Anyone who downloaded the track and passed it to friends not only had the song ingrained in their heads, but also the band name - over and over and over again for each downloaded track. The result? Larger show attendance and a new fan base to add to the old! They turned a significant profit on live performances and sold their CD/DVD combo for those who wanted a hard copy verses the burned. It was a success! Stuck Mojo made more money off of the Southern Born Killers album than the seven combined previously on Century Media! With newly energized ambition, the band picked up where they left off, but this time on THEIR terms. With having successfully toured the US, Europe and Russia since and gearing up to record their 9th album, the outlook is refreshing! And, believe it or not, Mojo signed to a label recently again, but the difference? Stuck Mojo is the ONLY band on the label that owns 100% of their music, publishing and merchandise and it’s only for two albums. Needless to say, the other bands who signed everything are in for a rude awakening! So, whenever you hear someone in a band who thinks music is just about talent, think again. The Music Business is very much that...A Business. It has always been my opinion; if you know less than anyone on the business team that represents you, then you are doing yourself a disservice. Learn all you can and not just enough to be dangerous; that’s how you get ripped off! Bottom line? As a musician, never sign off on your music! It’s your livelihood, your life, your meaning! When you think you have nothing to lose and that grail is gleaming, ask yourself one thing- “If I have no value, why are they here to sign me?” Think about it, be smart and know - Sometimes when you think you have nothing to lose, is when you lose EVERYTHING! ---

Corie L. Anziano, is the President of Anziano Enterprises | Exec. Coordinator for Atlantis Music Conference and Festival | And is a US Booking Agent | Major & National.
You can contact her at: canziano@gmail.com | Myspace/anzianoenterprises | www.atlantismusic.com

To Contact Her Please E-mail Us Here..

CORIE L. ANZIANO - Anziano Enterprises ---April Edition - Volume 2 - Issue 10

Blood, Sweat, Tears & No Contract

I get asked many questions about the music industry on a regular basis and it’s not always from just the bands. Many times, it’s from new managers who ask me for a copy of my “management contract” to use as a guide. I automatically get the “deer in headlights” look when I state “I don’t have one.” Let me tell you a story.

Years ago when I was working with local bands, I realized the time had come to spread my wings and take on a new challenge - “breaking a band”. I didn’t have the contacts like I do now, but I had the drive! With my strong background of managerial experience as well as marketing, I wanted nothing more and set sail on my mission.

After months of listening to countless demos and seeing show after show, I started to believe that my perfect group would never emerge. So, on the recommendation of a friend, I flew down to Florida to see a group that he felt was the next BIG thing. When I arrived, I was pleasantly surprised to see that they had a great stage presence and catchy music, however, the first thing that came to mind was “current bands that sounded just like them”. (Which is the industry’s kiss of death.) When they came to me after their show for feedback, I started explaining my thoughts when suddenly, I stopped in mid-sentence. I slowly turned around because there was something I couldn’t ignore. The headlining band was only about 35 seconds into their first song when I found myself transformed into a trance-like state. I slowly walked away from what I was doing, completely glued. Wow! These guys had it all! The look, the sound, the energy! Not only did they have the entire package but over 1800 local cheering fans. DING DING DING, Ladies and Gentleman - We have a Winner! I immediately fought through the sea of local groupies like a kid at Fat Camp hearing the dinner bell. These guys were gonna need someone and that someone was going to be ME!

After approximately a week of meetings, we became a perfect team - well, Almost. The only thing standing in the way of our perfect bliss was their record label. The small label was run by a wealthy man who had deep pockets and no qualifications. He even had a fancy contract binding them for two years and since he financed their CD’s and merch, they felt obligated. They had no booking agent, no management, no distribution, no promotion, no “anything” outside of what they had already done on their own. When I asked what they DID have, they smiled brightly and said “We have 2000+ CD’s and a few really cool T-shirts!” Oh, YAY! Nothing spells success like 100% pure cotton!

Even though my band had been sucked into this bogus deal, I knew they were going to be huge and I wanted it so bad, I could taste it. I immediately started out revamping their press kits and making club contacts. I needed to expose them outside of the Orlando area so I booked them in Atlanta, GA at the Velvet Room @ the Hard Rock. (They had never played outside of their home state previously.) The show went rather well though we didn’t have the draw they were used to in FL; but we made new fans and that was what we needed. I will never forget the lead singer thanking me after that show and stating “You have already done more in a few weeks than our label has done in 14 months!” Talk about an ego boost! Over the next few months, I worked feverishly making multiple industry contacts. I was successful in getting them into rotation on College Airways as well as some of the top radio stations. Within 8 months, I had booked their (and my) first East Coast Tour complete with minimum guarantees of 500+ dollars and all the beer they could drink per show. (I had NO clue at the time that this was almost unheard of in the Industry to achieve with a no-name band.) All I knew was - we were on our way! (Well, one of us was...)

Shortly thereafter, I received a call from MTV. They had heard about my band through mutual contacts and wanted to use one of our songs on the Laguna Beach soundtrack! I was so excited I could barely move. As the tour approached, I was able to lock down 3 other TV and soundtrack deals as well as securing Major Label A&R (Atlantic Records and Universal) to attend our NYC Showcase at CBGB’s. With only 13 more days left under the label’s strong hold, they set out on tour.

The tour started out great! They would call me after each show and tell me how “awesome” of a time they were having but there was a problem. Not only were their pockets growing with a little bit of cash, but so were their heads. Somewhere between night 7-8, they decided they were HUGE Rockstar’s and they became disrespectful to the venue owners. The band began demanding free liquor to be delivered to them backstage and the owner said NO! (Now, I have seen clubs do this but you usually need to draw MORE than 9 people in order for them to oblige.) Out of cockiness, the band retaliated by posting a photo on their website of them flipping off the venue even though the man let them stay to perform and paid them $550.00 for it. Needless to say, the talent buyer called me at 2am stating that he hoped this wasn’t a “reflection of the talent I represented”. OUCH!

My tour slowly became about “damage control” and in order to save my own name, I joined the tour in Philly. I had to remind them constantly that this was a JOB and NOT a vacation. They even would refuse to play shows in order to go “shopping” in select cities. (Yeah, you heard me - Shopping!) By the time the showcase rolled around at CBGB’s, their voices were shot from hollering and raising hell in the City. My lead singer cracked and strained through the first song as my A&R reps listened and cringed. How could they blow this? I worked SO hard and THIS is what they give me? I then went to the bar for some therapeutic alcohol. As I waited for my drink, their sleazy label guy came wandering through the doors at CBGB’s with his wealthy posse and a huge smile. Part of me perked up. I knew their contract had expired at this point and I felt the need to rub it in but he beat me to it. “Corie!” He said, with a huge smile, “I want to thank you for what you have done for my boys!” He then threw a 100 bill on the bar and told the bartender to give me whatever I wanted all night and there was more where that came from! He then told me something that my band had hid from me throughout the tour. My heart sunk right down to my ankles as he told me that the band resigned for another year with him before they left FL. I wanted to cry. How could they? After they were done performing, I questioned the band. Their response was “If we can do THIS good with YOU, imagine how good we can do with a REAL manager!”

That day was the worst day of my life or so I thought. I ended up going back home to Virginia only to have the biggest awakening ever. My phone rang and it was a pretty heavy hitter in the music industry. He was calling to say that I had caused a huge stir up the East Coast and it wasn’t because of my band. He went on to tell me how impressed he was of my determination and success to get radio airplay, large booking guarantees and MTV contracts without any previous knowledge and that he wanted me to work with him. He then added, “If you can do all of that with a crappy band, imagine how good you’re gonna do with a Great Band!”

I had been so focused on what my band was doing, that I never realized the Industry was watching ME! It was a few days later when Mark Willis, the President of the Recording Academy in the Atlanta Chapter, called to talk to me. He made it clear that it wasn’t the band who wanted it, but it was ME who wanted it MORE than the band. I told him that I wished I would’ve had a contract though and he told me something that I would become my career philosophy. “Any contract can be broken in a court of law. Why hold yourself to a contract working with people that you may not want to work with and vice-versa?” He was right. If I needed to hold my band to a contract, then something was off balance. I then looked at him and asked if he held management contracts with any of his National Bands and he stated “not since my first breaking band told me that they couldn’t wait to have a REAL manager!”

From that day on, I have run Anziano Enterprises on the Honor-System. I work just as hard as my bands - no more, no less! And to tell you the truth, I couldn’t be happier! The only contracts I keep are for booking and label deals but none for management. Everyday I smile for two reasons - (1) Because I know that blood, sweat and tears DOES pay off. (2) The knowledge that my first band never played outside of Florida ever again with their “Real Manager”. <insert evil laugh here>

Bottom line: Whether you are a band, manager, booking agent and/or promoter, you must remember one thing - SOMEONE IS ALWAYS WATCHING. So play like the label guy is in the audience, book as if you have a National and promote like it’s the last show ever! Doing the work will get you noticed faster than talking about it and you never know - You just might find yourself at the top before you know it! ---

Corie L. Anziano, is the President of Anziano Enterprises | Exec. Coordinator for Atlantis Music Conference and Festival | And is a US Booking Agent | Major & National.
You can contact her at: canziano@gmail.com | Myspace/anzianoenterprises | www.atlantismusic.com

To Contact Her Please E-mail Us Here..

CORIE L. ANZIANO - Anziano Enterprises ---Mar Edition - Volume 2 - Issue 9

Are you a Myspace Rockstar?

Are you ready to call a venue and tell them to book you because of how popular you are on Myspace? Are you ready to call the shots when it comes to negotiating the guarantees because your band is above the typical “free beer and door deal”?

Let’s see just how “popular” you and your band are. Follow the steps below and if you are STILL a “rockstar”, I want to manage YOUR band!

1. Delete all friends that everyone has. ie: Tom, ForBidden, Butch Walker, Tia Tequila, Dirty Shirty, Pamela Anderson, etc. This includes all porn stars pages and pin-up girls. (Yes, I know, one day you will have groupies that look just as good, if not better) but for now, they AREN’T fans...delete them.

2. Delete all of your favorite National Bands. ie: Tracy Atkins, Justin Timberlake, Avril Lagvine, Kelly Clarkson, Metallica, Alice in Chains, Velvet Revolver. (They don’t know you and they are not coming to your local show.) You are THEIR fans, not Vice-Versa.

3. Delete all Movie Promos & Festivals. (Trust me, Taste of Chaos is NOT trolling your page and neither are the producers of Rambo 4).

4. Delete all pages that spam you with Budjoint.com and Profile trackers. Their pages have been hacked! If they can’t control their spam it’s because they have a life and could care less about their Myspace profiles.

5. Delete all people who only added you to “add you”. They are the ones leaving those “Thanks for the Add” comments.

6. Delete all red “X”’s that are of deleted members.

7. Delete all family members, high school friends, best friends and girlfriends/boyfriends.They aren’t fans, they are moral support. Their job is to LIE and tell you how “amazing” you are even when you aren’t.

8. Delete all Radio Stations UNLESS your band is in ROTATION! (And No, sending your cd and/or music links to them a half a million times DOESN’T count!)

9. Delete all Magazines (Hustler, BillBoard,Spin etc), Record Labels, Out of State Venues, Organizations, Major Labels (those pages aren’t controlled by the VP’s and/or anyone who is listening...sorry!)

10. Delete all Actors, Comedians, and any “Myspace Train’s”. Open your bulletins...The ones who want to show you how to get “more friends now” - delete them ALL and anyone listed in those emails that you have added previously.

11. Delete all friends under the age of 16, they aren’t coming to your show!

12. NOW, if you are preforming in a venue in NY, delete ALL people who reside outside of NY State and/or outside of your immediate 50 mile radius. They will not travel to see you in this point of time unless they are family and we deleted them earlier, so it doesn’t matter. (and again, if they come to see you they want in for FREE, hence the famous “guest list”.)

Now, how Many fans do you have coming to your show on Wednesday Night? Yeah, I thought so.

Everyday, talent buyers are bombarded with requests from bands to book them. Whether its in Upstate NY, Atlanta or Los Angeles; there is only one thing the buyer wants to know - “How many people are you worth”? Most people inflate this number in which many buyers will deduct 65 immediately per hundred. “Oh, we can bring 100!” translates to “We can bring 35 AT BEST!”

Don’t believe me? Ask ANY club/bar owner if they can relate to the following and see what THEIR response is:

Top 3 Signs that the Band will bring No One to the Show

1) 2 Weeks before the show they say “Man, we are BLOWING UP on Myspace and We’re gonna pack your place!”

2) 1 Week before the show they ask - “What’s your capacity again?”

3) Upon arriving at the gig they ask “So...how many people do YOU usually get on a Thursday night?”

To be successful in the Music Business means to recognize it for what it is; A Business. Music requires as much leg work as possible to promote yourself and the venue you are performing at. Lately, many bands have become “brainwashed” into believing that they never have to leave the comforts of their bedrooms because they can promote on Myspace for their audience. This is simply not true since Myspace is accountable for less than 2% of attendees.

If Music is your passion, then you need to earn your fans one at at time. From word-of-mouth, posting flyers around town, to attending local venues handing out sample CD’s and swag! People love free stuff and the chances of them listening to your CD on the way home is MUCH greater than them randomly finding your Myspace. Hard Work? Yes, it is. Building a fan base isn’t just about having talent. You must put yourself out there to become known. If you leave it to Myspace, you will be in the same spot two years from now...On the couch with a laptop wondering what went wrong!

Be realistic. If you tell a bar owner what your fan base is, LOW BALL it instead of Highballing. This will guarantee their respect as well as a repeat booking.

Stay away from the “Myspace Promoters” that do NOTHING for you. They want to ride your coat tails and take a part of YOUR money! If you are drawing less than 150 people, you aren’t exposing yourself enough. If you are pulling more than 150 people to your show, your local talent buyers KNOW WHO YOU ARE! You DO NOT need a manager UNLESS you are the “Local All-Stars” and ready to take your career further. The Golden Rule: If you can’t make it in your home town, you’re not likely going to make it elsewhere!

Play original music. If you are looking to be signed, playing covers won’t cut it. Yes, it may be popular because everyone knows the tune, but Music Execs will never give you the time of day.

Education and Networking is Key! From participating in charity shows to submitting to multiple Music Festivals and Conferences! The more people you are in front of, the better chances you have. Talk to the professionals and accept criticism with stride and appreciate ALL feedback. This is the only way you will become better.

Remember, if the Music Business was as easy as posting a few comments and bulletins, EVERYONE would be a Rockstar! Until then, keep to the grass-roots and work your way up. If you have something amazing, the labels will find YOU!---

Corie L. Anziano, is the President of Anziano Enterprises | Exec. Coordinator for Atlantis Music Conference and Festival | And is a US Booking Agent | Major & National.
You can contact her at: canziano@gmail.com | Myspace/anzianoenterprises | www.atlantismusic.com

To Contact Her Please E-mail Us Here..