Over the last three decades I have continued to see a reoccurring disparity with different musicians that don’t know where to look—and don’t know what to look for—which keeps them isolated with no real hope of success. I’ve encountered this not only in local developing music scenes but also while formally mentoring aspiring artists at music conferences across the country.
In writing the original manuscript, my experience and accumulated knowledge base placed me in a unique position to provide you with information from the point of view of an artist, a manager, and also from that of a record label. It was important in the creation of this book that all of these perspectives were taken into consideration, as they vary so greatly in how they interpret what is actually required to succeed in today’s market.
I also would like to stress the fact that the views in this book are not merely comprised of one person’s observations of the music industry, but includes tried and true methods of success that have been implemented by bands that have maintained relevance for more than three decades.
This resulted in a well-rounded, all-encompassing guide to creating momentum and visibility for emerging artists that covered all of the developmental elements that they would need to lay a solid foundation for themselves in the independent market.
Although multiple books and publications have been written on some of the various subjects contained herein that have a cold encyclopedic reference style of providing information, what I did in writing The Music Industry Self Help Guide was approach as many of these topics as possible, link them all together, and present them on more of a personal and direct level.
What resulted was a brutally honest and thought-provoking guidebook written in a conversational manner that can give your career a serious head start and help you move forward if you choose to implement its information.
The first edition provided a very solid framework for this expanded edition which has additional chapters, resources, lists, and a step by step guide on how to fill out an online copyright form.
This entire book was also re-tooled from the 1st Edition to provide quick and easy reference points for easy navigation. What you now have in your hands is a book that was designed with your success in mind and has been refined into a better product for your added benefit.
Although this book encompases the entire spectrum of the music industry from the earliest stages of a developing artist’s career to the corporate wranglings of the music industry giants, I chose to focus primarily on the independent market, because this is the place that you must pass through while earning your stripes and paying your dues in this industry.
As the title implies, this is a self help guide, so what this book also does to prepare you for success is look at one of the largest hurdles that aspiring musicians face as they try to move forward in their career: themselves.
No other key component in this book will surpass the importance of one’s ability to master oneself, and this book will callously press you to take an unflinching look inside yourself to understand who you really are and attempt to identify what is holding you back.
How far you get beyond the independent market will not only rely on the quality of the music you release, but will also hinge largely on how you utilize the things that you read in this book.
Approx 400 pages - 34 chapters - 50+ color photos and several resources.
Michael Repel is a digital media distribution company owner (Repel Media), former record label owner, musician, and most recently the author of The Music Industry Self Help Guide.Mike has been involved with underground and independent music scenes since 1986. Observing from a young age how the mechanics of these music scenes operated, he has developed a keen eye for what makes many artists, bands, and even music markets as a whole achieve success, growth, and sustainability along with the factors that cause their inability to function and ultimately their overall failure.Adopting the rigidly-held DIY (Do it Yourself) mindset that was the mantra of all of the bands he grew up with, which has enabled him to achieve everything he is doing today; he has embodied this into a chronological development strategy which contains the vital information that is necessary for getting ahead of a large and growing number of directionless artists and bands. This strategy can be best described as a current A-to-Z development plan for breaking into and out of the independent music market. This book contains chapter upon chapter of critical developmental tools that many of today's musicians are missing and it is now here for your personal advancement.
Carlos Fournier is a professional type editor who also engages in freelance work for selected clients. He is also the vocalist for a Miami based Hardcore band named On Our Own, which has been in existence for more than 13 years.
When the brothers began clashing in 2003, the flashy and beloved Big Meech risked it all on a shot at legitimacy in the music industry. At the same time, a team of investigators who had pursued BMF for years began to prey on the organization's weaknesses. Utilizing a high-stakes wiretap operation, the feds inched toward their goal of destroying the Flenory's empire and ending the reign of a crew suspected in the sale of thousands of kilos of cocaine — and a half-dozen unsolved murders.
In this controversial new book, Daisy Christodoulou offers a thought-provoking critique of educational orthodoxy. Drawing on her recent experience of teaching in challenging schools, she shows through a wide range of examples and case studies just how much classroom practice contradicts basic scientific principles. She examines seven widely-held beliefs which are holding back pupils and teachers:
- Facts prevent understanding
- Teacher-led instruction is passive
- The 21st century fundamentally changes everything
- You can always just look it up
-We should teach transferable skills
- Projects and activities are the best way to learn
- Teaching knowledge is indoctrination.
In each accessible and engaging chapter, Christodoulou sets out the theory of each myth, considers its practical implications and shows the worrying prevalence of such practice. Then, she explains exactly why it is a myth, with reference to the principles of modern cognitive science. She builds a powerful case explaining how governments and educational organisations around the world have let down teachers and pupils by promoting and even mandating evidence-less theory and bad practice.
This blisteringly incisive and urgent text is essential reading for all teachers, teacher training students, policy makers, head teachers, researchers and academics around the world.