1. PEOPLE! THE BUSINESS OF MUSIC…
HI, I’M JONATHAN FIRSTENBERG. WELCOME TO THE BUSINESS OF MUSIC… → PEOPLE. WHY PEOPLE? THE MUSIC BUSINESS IS RUN BY PEOPLE. JUST AS NOTES RELATE FROM ONE BEAT TO THE NEXT, SO DOES THE NETWORK AND ENERGY OF PEOPLE WHO ARE MOTIVATED EVERYDAY TO BOTH AVOCATE FOR ARTIST S, AND INCREASE REVENUE…MAKE MONEY FROM GETTING MORE EYES ON THE ARTIST AND MORE EARS ON THE MUSIC. THE MONEY GENERATED BY MUSIC SUPPORTS VERY FOUNDATION THAT KEEPS THE MUSIC GOING.
ARE YOU HERE TO GET INTO THE MUSIC BUSINESS? ARE YOU HERE TO BE ONE OF THE PEOPLE IN THE MUSIC BUSINESS? WHETERH OR NOT YOU ARE READY TO MAKE THAT CHOICE, YOU WILL DISCOVER HOW YOU ARE THE PERFECT PERSON TO GET INTO THE MUSIC MUSINESS. YOU’RE PEOPLE!
HERE’S AN OVERVIEW OF THE BUSINESS OF MUSIC…PEOPLE →

2. 16 - WEEK COURSE OVERVIEW FEATURING…
HOW MANY OF YOU ARE IN THE MUSIC BIZ?
HOW MANY OF YOU WANT TO BE IN THE MUSIC BIZ?
HOW MANY OF YOU WANT TO BE IN THE MUSC BIZ BUT DON’T KNOW HOW?
HOW MANY WANT TO BE IN THE BIZ BUT HAVEN’T FOUND AN AREA OF INTEREST?

3. WEEKLY S K Y P E SESSIONS 1-2 SKYPE GUEST PER WEEK
YOU CAN READ BOOKS ABOUT MUSIC AND THE MUSIC INDUSTRY, BUT NOTHING BEAST FIRST HAND INTERACTION WITH THOSE WHO HAVE SUCCESFULLY MADE CAREERS IN MUSIC AND THE MUSIC BUSINESS. THE UNIQUE PART OF THE COURSE IS THAT WE WILL FEATURE 1 AND OFTEN 2 SKYPE SESSION PER NIGHT FEATURING →

4. → SKYPE GUESTS DOUG FRANK DONNY MARROW JOHN RUDOLPH ADAM LEVENSON
ERIK STEIGEN
JONNIE DAVIS
JC QUINTERO
VINCENT CASTELLUCCI
RON COHEN
KYLE KING
STEVE PLUNKETT
MARC FERRARI
RANDY WACHTLER
MARK LIGGETT
DAVID GROW
STEPHEN PHILLIPS
JOY MURPHY
SCOTT JAMES
ROSS HARDY
ASHLEY MILLER
DOUGLAS PRICE
STEVE CORN
JACK CYPHER
DOUG BOSSI
STAURT HART
BEN REISS
SHAWN LEMONE
LINDA CHELGREN
NOEL WEBB
TIM STITHEM
BRIAN BESHEARS
LIZ REDWING
RYAN BORN
BRIEF DESCRIPTION OF EACH OF THE PEOPLE IN THE BUSINESS OF MAKING MUSIC…EACH WITH THEIR OWN UNIQUE STORY OF THE LIFE IN MUSIC. WE WILL BE DISCUSSING THEIR JOBS AND PASSIONS AND COVER THE FOLLOWING AREAS.
INTRODUCING…
AND HERE’S WHAT WE WILL BE VARIOUS JOBS, POSITIONS, DUTIES WE WILL BE LEARNING ABOUT. →

5. Weekly Session Topics MARKETING LICENSING FOREIGN SUB PUBLISHERS
PUBLIC RELATIONS
DIGITAL DELIVERY
TELEVISION & MOVIE MUSIC
MUSIC ORGANIZATIONS
METADATA
BREAKING INTO THE BUSINESS
NEW BIZ DEV
SONGWRITING
LICENSING
CONTRACTS
NETWORKING
PUBLISHING
RECORD LABEL
MUSIC SUPERVISION
TALENT
ROYALTIES
ACQUSITION OF RIGHTS
PRO’s (ASCAP, BMI, SESAC)
INTERNET, VIDEO, CELL
SALES
SO. THE NEXT QUESTION IS THE BIG ONE.. →→→

6. DO YOU WANT A CAREER IN THE MUSIC BUSINESS?
I ASK YOU THIS BECAUSE OUR RELATIONSHIP TO MUSIC IS BOTH PRIMAL AND NATURAL…→→→

7. Does everyone get into the music business?
Who loves music?
Everyone loves music.
Does everyone get into the music business?
Are you different?
Are you driven to be in and around music?
WHAT ARE YOU GOING TO DO TO MAKE IT HAPPEN I ASK BECAUSE IT TAKES CERTAIN ATTRIBUTES TO SUCCEED →→→
Do you see yourself with a career in music?

8. THIS IS WHAT IT TAKES Perseverance Ambition Desire Music Tools
Reference Guides
Networking
Commitment
Talent
Luck
THERE IS
WHAT ARE WE DOING HERE? WHAT DO WANT TO KNOW ABOUT THE MUSIC BUSINESS, OUR OWN MUSICAL JOURNEYS→→→

9. DISCOVER… WHAT YOU ARE BEST SUITED FOR ARE YOU MORE OF A CREATIVE TYPE
ARE YOU MORE OF A BUSINESS TYPE
WHAT AREAS YOU MIGHT THRIVE IN
WHAT AREAS YOU ARE LEAST INTERESTED IN
FIND OR CREATE YOUR NICHE
→→→WHAT JOB WHETHER IT BE SONGWRITING OR SEDING OUT ROYALTY STATEMENTS TO ARTSIST, LETS DISCOVER WHAT YOUR ARE BEST SUITED FOR→→→

10. Music Career Occupations
Writer
Internet Radio
Co-writer
Music Supervision
Performing Group
Music Editing
Song Submissions
Critic, writer
Demo Recordings
Recording Engineer
Producer
Business Development
Management
Administration
Agent
Copyright and Royalties
Music Video Prod.
Attorney
PRO’s: ASCAP, BMI, SESAC
Other
THIS IS JUST A SAMPLE OF THE VARIOUS AREAS

11. Find your way INTO THE BIZ
How do I get in?
What is my commitment?
Where do I start?
Who can help?
Do I have direction?
What can help?
What are my strengths?
Am I too old, too young?
What’s my strategy?
Am I talented enough?
Do I know enough?
Will this class help?
Do I have passion?
What are my goals?
→→→IT’S TIME FOR US TO SHARE A BIT ABOUT OURSELVES. I’D LIKE TO LEARN MORE ABOUT YOU AND YOU SHOULD KNOW SOMETHNG ABOUT ME→→→

12. Introductions Your Name
Your interest in learning about the Music Business
Motivation for taking this class
Musical Experiences
Music Goals/Desires/Passions
Favorite Musical Experience
Favorite Musician/Band/Artists…
→→→JUST SOME OF THE THINGS YOU CAN TELL ME ABOUT YOURSELF. IT HELPS ME CUSTOM DESIGN THE PROGRAM…TRYING TO MEET YOUR NEEDS AND HELP IN YOUR QUEST. WHY DON’T I START.
JONATHAN FIRSTENBERG
I BECAME INTERESTED IN THE MUSIC BUSINESS WHILE READING THE LINER NOTES ON RECORD ALBUMS. ALTHOUGH THE MUSIC INTRIGUED ME MORE AND I UDERSTOOD IT, I WAS AWARE THAT BEHIND THE MUSIC LAY THE FOUNDATION FOR HOW I WAS HOLDING THE RECORD IN MY HAND AND BEING BATHED IN DIFFERENT KINDS OF MUSIC. I PLAYED TRUMPET AND VIOLIN AS A KID, THE DAY THE FIRST BEATLE RECORDING WAS PLAYED ON THE RADIO, I WANT TO HOLD YOUR HAND, WAS THE DAY I PICKED UP THE GUITAR. I LISTENED TO CLASSICAL MUSIC WITH MY FATHER, WENT TO CONCERTS, GOT INTO BROADWAY MUSICALS AND ROCK. THEN I PLAYED IN BANDS AND ORCHESTRAS, TOOK MUSIC CLASSES AND DISCOVERED A PASSION FOR THE MYSTERY OF MUSIC. WANT TO MUSIC COLLEGE AND MAJORED IN VIOLA AND COMPOSITION. FIRST GIG OUT OF COLLEGE WAS DRIVING A MINI VAN UP AND DOWN THE EAST COAST SELLING SHEET MUSIC TO MUSIC STORES. THIS IS WHERE I STARTED BEING AWAY OF HOW MY REPERTOIRE OF MUSIC TITLES AND COMPOSERS STARTING GROWING.
HOW WILL WE MEASURE YOUR PROGRESS IN THE BUSINESS OF MUSIC…PEOPLE
→→→

13. HOW WILL YOU BE GRADED #1:
5 WRITTEN EXAMS
MUSIC INDUSTRY ORGANIZATIONS
LICENSING DEFINITIONS
GENERATING INCOME AT LABEL AND PUB.
TYPES OF CONTRACTS
Final Exam

14. HOW WILL YOU BE GRADED #2:
GROUP PROJECT WITH SBCC MUSIC/DRAMA…TBA

15. HOW WILL YOU BE GRADED#3:
INDIVIDUAL PROJECT…
GET A MUSIC JOB/INTERNSHIP
JOIN AND ATTEND MUSIC INDUSTRY ORGANIZATION
CREATE A LABEL/PUBLISHER/AGENCY
PRESENT A MUSIC SHOWCASE AND INVITE MUSIC BIZ CONTACTS
GET A SONG PLACED
GET SIGNED/DISTRIBUTORSHIP
DIGITAL STORE PRESENCE
YOU TUBE
COME UP WITH YOUR OWN PROJECT
HERE ARE SOME PROJECT IDEAS

16. PROJECT IDEAS

17. Projects
NETWORKING: Attend Music networking event and bring back 5 names of people/companies you will be staying in touch with and/or setting up a meeting with.
CONCERT/EVENT PROMOTION: Be responsible for promoting, creating and selling related merchandise.
A GOOD WAY TO FIND OUT ABOUT EVENTS, INTERNSHIPS, JOB OPPS IS TO KNOW MORE ABOUT AND JOIN ONE OR MORE OF MANY ORGINATIONS THAT ARE EITHER MUSICALLY OR GENRE ORIENTED ASSOCIATIONS…. →→→

18. Music Industry Organizations
Recording Industry Association of America (RIAA)
Academy of Country Music (ACM)
American Federation of Musicians (AFM)
Amer. Federation of TV and Radio Artist (AFTRA)
Country Music Association (CMA)
Dramatists Guild of America (DGA)
Gospel Music Association (GMA)
Harry Fox Agency (HFA)
Nashville Songwriters Assoc. International (NSAI)
National Academy of Recording Arts and Sciences (NARAS)
Production Music Association (PMA)
Association of Independent Music Publishers (AIMP)
California Copyright Conference (CCC)
more…

19. HARRY FOX AGENCY (HFA)
The Harry Fox Agency is a provider of rights management and collector and distributor of mechanical license fees on behalf of music publishers in the United States. HFA has over 46,000 music publishing clients and issues the largest number of licenses for physical and digital formats of music. It was founded in by the National Music Publishers Association.

20. Amer. Federation of TV and Radio Artist (AFTRA)
A performers' union that represented a wide variety of talent, including actors in radio and television, radio and television announcers and newspersons, singers and recording artists (both royalty artists and background singers), promo and voice-over announcers and other performers in commercials, stunt persons and specialty acts—as the organization itself publicly states, "AFTRA's membership includes an array of talent". With the information presently available, the union can lay claim to 65,182 members throughout the United States (with a figure of quoted in early 2012). On March 30, 2012, it was announced that the members of AFTRA and of SAG had voted to merge and that the name of the new organization is SAG-AFTRA.

21. American Federation of Musicians (AFM)
A labor union of professional musicians in the United States and Canada They are the largest organization in the world representing the interests of professional musicians. They accomplish this by negotiating fair agreements, protecting ownership of recorded music, securing benefits such as health care and pension, and lobbying legislators.

22. Academy of Country Music (ACM)
In 1964, performers Eddie Miller and Tommy Wiggins teamed up with club owners Mickey and Chris Christensen to establish the Country and Western Music Academy. Their vision was to promote country music in the western 13 states with the support of artists based on the West Coast such as Johnny Bond, Glen Campbell, Merle Haggard, Roger Miller, Buck Owens, Wynn Stewart, Jimmy Wakely and Tex Williams.

23. The Recording Industry Association of America (RIAA)
A trade organization that represents recording industry distributors in the United States. Its members consist of record labels and distributors, which the RIAA say "create, manufacture and/or distribute approximately 85% of all legally sold recorded music in the United States."
LET’S MOVE ON TO SOME OTHER AREAS WE WILL BE COVERING DURING THE COURSE→→→

24. What is Music Licensing?
Just as radio is crucial is breaking new artists and cementing careers, licensing provides make-or-break opportunities for today’s acts.
The Bad News: rates are down
The Good News: Volume is up

25. LICENSING DEFINITIONS
Cue: An individual musical fragment intended to be used in a motion picture or TV/radio show episode. The musical fragment may be part of a sequence of cues intended to segue without interruption between them. Cues used for underscoring can be used behind dialog, or to score visual action.

26. LICENSING DEFINITIONS
Cue Sheet: A document containing a detailed listing of each piece of music used in a film or television production. The cue sheet lists the music by title, composer, publisher, timing and type of usage, and is usually prepared by the producer of the TV program or film. The document must be filed with the performing rights societies.

27. LICENSING DEFINITIONS
Copyright: The exclusive right is set forth in the Copyright Act Section 106. A copyright protects the author of a work for a stated period. The right usually lasts until 70 years after the death of the surviving author of the work, to make, dispose of, and otherwise control copies of literary, musical, dramatic, pictorial and other copyrightable works.

28. LICENSING DEFINITIONS
Favored Nations Clause / Most Favored Nations Clause: In publishing, a MFN clause provides that an offer given to one party in an agreement is at least equal to the best offer negotiated with the other parties. An MFN clause might be used in negotiations for Royalty rates (other than Statutory) for a Greatest Hits CD. The clause would insure that all publishers receive the same Royalty Rate equal to the highest rate negotiated. As an example, assume that Licensor B initially agreed to grant a reduced rate but under MFN. During negotiations, Licensor A was granted a full mechanical. Under this situation Licensor B would receive a full rate because Licensor A had received a full rate because of the MFN clause.

29. LICENSING DEFINITIONS
Blanket License: A type of license allowing a music user, typically a TV network, or radio station, to play or perform all compositions covered under the license without a limit on use for one (usually annual) payment. PROs and Production Libraries often use blanket licenses with television, Film, and radio stations.

30. LICENSING DEFINITIONS
Ephemeral Use: Temporary, momentary, short-lived. This means, a TV or radio broadcaster can legally use your music without having to pay a synchronization fee.
Example: Live transmission (or “live tape delay”) such as newscast, sporting event where it would be impossible for broadcaster to obtain necessary rights, i.e., Marching band playing pop song, stadium music over public address system.

31. LICENSING DEFINITIONS
Compulsory Mechanical License: A compulsory mechanical license is a license for a musical work that has legally been previously recorded and can be obtained without having to obtain the copyright holder's permission (hence "compulsory") but still requires the payment of a licensing fee. This fee is set by the Copyright Arbitration Royalty Panel and as of Oct the statutory mechanical royalty rate is 9.1¢ per song for each track on a CD or download, or 1.75¢ each minute of playing time, whichever is greater.

32. LICENSING DEFINITIONS
Direct License: A license obtained directly from the copyright owner or publisher where the Performing Rights are paid directly to the copyright owner by the Licensee. With a Direct License, no royalties are collected by, or paid to, the Performing Rights Organizations (BMI, ASCAP, SECAC, etc.).

33. LICENSING DEFINITIONS
Fair Use: Fair Use is a doctrine in United States copyright law that allows limited use of copyrighted material without requiring permission from or payment to the rights holders. Even if a work is found to be an unauthorized derivative, an alleged infringer can escape liability via the defense of fair use. For example, in Campbell v. Acuff-Rose Music, Inc., the Supreme Court found that although a parody of the song "Oh, Pretty Woman" by 2 Live Crew was an unauthorized derivative work, fair use was still available as a complete defense

34. LICENSING DEFINITIONS
Harry Fox Agency: A company that represents music publishers in the negotiation of mechanical licenses, synchronization licenses and foreign licenses, and the collection of music royalty income.

35. LICENSING DEFINITIONS
In Perpetuity: In Perpetuity means that the rights to a song remain with the rights holder for the full life of the copyright.

36. LICENSING DEFINITIONS
Master Use License: A license from the owner of the master recordings allowing for the reproduction and distribution of the master recordings. In audio/visual productions, media companies must obtain a Master Use license for the sound recording and a Publishing license for the composition.

37. LICENSING DEFINITIONS
MCPS: Mechanical Copyright Protection Society and PRS are not-for-profit UK collecting societies that ensure composers, songwriters and publishers are paid royalties when their music is used, from live performance to TV and radio, CDs to DVDs, downloads, streams and everything in between. MCPS and PRS entered into an operational alliance in 1997.

38. LICENSING DEFINITIONS
PA Copyright Form: PA Forms are used to copyright the composition. PA stands for “Performing Arts.” Copyright registration establishes the legal owner and/or publisher of intellectual property for works such as musical compositions or the lyrics for a song. As of August 1, the fee for this registration will be $35 to $60 per registration, dependent on the way the registration is filed, i.e. electronically vs. paper. The SR Form is used to copyright the master recording of the song.

39. Rules of Music Rd.
Leave early enough for every gig counting on getting a flat tire.
Don’t burn bridges.
Don’t underestimate others role and place in your career…gate keepers, assistants, etc.
Be able to ask for exactly what you need from a person who asks you what your needs are.
Be positive in the face of all obstacles.
Remember to thank those who help you and make sure you pay it back in some way…even through expressing gratitude.
Turn over every leaf…don’t leave opps on the table.
You never know what doors will open up when one closes.