General Bobby Farrell Bobby Farrell Promotions Vandor Company Directory
President George Bush's nominee, Michael B Mukasey, for US Attorney General is a victory for ASCAP, BMI and SESAC whose kak-jew Pay Clique thievery he has rubber stamped and protected by force of law for years on end as Chief BLACK ROBED BASTARD of the US District Court, Southern District of New York.

There is neither justice, honesty nor integrity anywhere in Michael B Mukasey and according to his on-bench track record, there never has been. His philosophy is simple: if you're a jew, jew-controlled or a One World Government socialist, you are pristine as The Most High Himself; if you're anything else, even wealthy by honest endeavor, you are already guilty of any charge whatsoever against you regardless of how asinine or illegal the Constitution may otherwise provide.

That is the slimy BLACK ROBED BASTARD we can look forward to enduring until the honest citizens of these United States overthrow all these socialist bastards, restore the Constitution, and start over – with the proviso of standing all socialists in front of a firing squad every morning to make sure these atrocities never happen again.

20 September 2007
Colonel Robert F. Cunningham,
General Bobby Farrell.
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INDEX
- The Legal Statement that has stood for TEN Years!
- The opening information of the Foundation Blocks of Recorded Music!
- The HOW and WHY we do things differently!
- What it takes and YOUR OPTIONS for YOUR MUSIC!
- Court Approved LEGALIZED THIEVERY by ASCAP, BMI & SESAC!
- Recording Contracts: THEY'RE AVAILABLE! Don't believe the liars at ASCAP, BMI & SESAC!
- ExP vs 'Paying for Publishing': ASCAP, BMI, SESAC, THE GRAND LIARS!
- Real & Phony Charts, Radio & Sales: INDEPENDENT vs DISTRIBUTED LABELS! ASCAP, BMI, SESAC pay one - Rob the other!
- Who to Trust - Who NOT to Trust: SONGWRITER ASSOCIATION SCAMS! ASCAP, BMI, SESAC endorsed outright thievery!
- Shelving Contracts - Career Nightmare! What to Look For/Avoid. FACTS & FIGURES that ASCAP, BMI, SESAC approve to your detriment!
- Industry Ignorance vs Paranoia: TURKEY LIST, HOW TO AVOID IT! Regardless of the lies of ASCAP, BMI & SESAC!
- Publishing Contracts: PRICELESS & WORTHLESS! Beware of all ASCAP, BMI, SESAC 'endorsed' contracts!
- Music Publishers - Labels - General Licensers: NOT THE SAME THING regardless of what the liars at ASCAP, BMI & SESAC claim!
- Before You Record: WHAT WON'T WORK! The facts ASCAP, BMI & SESAC don't want you to know!
- The Industry's BEST & WORST DEAL! The truth ASCAP, BMI & SESAC spare no effort to hide!
- General Licenser's FINANCIAL SUPPORT! How to get it! ASCAP, BMI & SESAC really don't want you in on this information!
- ASCAP, BMI - The Whole Scam And How It Works!
- ASCAP's Bergman Buys Senator Orrin Hatch (R) Utah In Open Conspiracy!
- Promo (Digital Music) Libraries and how they work!
- Prep 101 - How to Copyright a Song - Book - Stageplay!
- Kindergarten Course To Become A Recording Artist!
- Prep 101 - How To Get A Recording Contract!
- Exact Process To Become A Recording Artist!
- Underground Artists Wanted!
- Production! - Do It Right The First Time!
- Where The Money Really Is In Music!
- World Wide Distribution For Your Label!
- Vandor Music Group - Debt Free and Growing!
- Area/National Vice Presidents Record Producers & Production Studios Wanted To Join A Growing Company!
- Investing In A Performing Artist! There's Money To Be Made!
- VMG Is Signing New And Established Artists!
- ASCAP, BMI, SESAC, Liars And Thieves, Documentation, The First!
- ASCAP, BMI, SESAC, Liars And Thieves, Documentation, The Second!
- The TRUTH about ASCAP's anti-Goyim (anti-Gentile) antics and practices!
- More documentation of anti-Goyim (anti-Gentile) RACIAL practices AGAINST General Bobby Farrell and all VMG Affiliates! This time by All Music.com!
- Every known release by one of music's most innovative and early labels!
- Separate page of background documentation of ASCAP's anti-Goyim
(anti-Gentile) RACIAL practices AGAINST General Bobby Farrell and all VMG Affiliates!
LEGAL NOTICE

LEGAL STATEMENT for those who want the truth about ASCAP, BMI and SESAC!

Each and every Agency and Company mentioned in the following International Industrial Review report (and some who aren't!), To Wit: ASCAP, BMI, SESAC, LASS, NAS, Songwriter's Market, American Songwriter's Guild, General Licensers, Labels, Billboard, Radio & Records, Gavin [UPDATE: Gavin has folded! Another casualty of TRUTH in a hype-is-everything market!] and the United States District Court, Southern District of New York; have been contacted to present any commentary in defense or explanation concerning statements and/or charges made about or against them to be presented here: UNEDITED, FREE OF CHARGE, AT OUR EXPENSE!

To Date: Only the General Licensers and a few of their Labels have responded! Their comment? "Cold, hard truth never hurt anybody nor does good competition!" Their updated Executives and email addresses will be included when they are provided.

This site originally went on-line August 14th, 1995, and not one of the accused herein has even so much as threatened to sue for either defamation or libel. They all KNOW FOR A FACT that TRUTH is a perfect defense against both! Period. And they all damned well KNOW we have the unquestionable documentation and will present it in its entirety in any court of competent jurisdiction at any time. Therefore, because the accuseds dare not sue under any pretense whatsoever - as they would certainly do "IF" they were not guilty as charged - each and every word, statement and claim contained herein must be considered to be cold, hard, full and documented TRUTH. And it is!

The General Licensers and Labels, none of whom are maligned herein, do not care if the world knows how they actually operate. For the products they are required to deliver, the Prima Donna and Paranoid nonsense they must endure, whatever they charge can more often than not be fully justified.

Oh, yes! Before we forget, this site has been downloaded by the Department of IN-justice, Senate Investigations Committee, - "nameless" from the House Investigations Committee, several - UNKNOWN - hosts (and we damned well know who that is!), ASCAP, BMI and SESAC: all of whom can go straight to Hell!

That Damned Akurian,

General Bobby Farrell.
INTRODUCTION

This publication is verbatim from our old web site and is intended for study by those who want the real, cold, hard truth about the Entertainment and Recording Music Industries. The what-will-work every time processes all successful Producers, Artists, Songwriters, Record Labels, Music Publishers and General Licensers know and use are contained herein for those with the intelligence to see it and the courage to use it.

If you're one of those sucked in to thinking a Record Label is the "CASH COW" of all 'good enough' Artists or Songwriters (by whatever never-defined and mysterious process such is supposed to be accomplished), this site is the best thing that ever happened! It blows that myth at the outset. If you're looking to 'get signed' and be instantly rich and famous, by that never-defined process supposedly to have happened to all the Super Stars (which it never did!), you're not going to like anything in this site.

TRUTH often hurts, but the pain doesn't change the bottom line facts. Either you want to KNOW what you're doing - the TRUTH of it - so you can get into your share of the many millions of dollars available in this Best Of All Industries, or you want to waste your life dreaming bubbles in a hail storm. The TRUTH is, Recorded Music and Entertainment is a volitile and sharp steel business that does not tolerate bubbles, cream puffs or weak-kneed namby-pambies. It also doesn't tolerate paranoids or Idiot Elements who scream "scam" at anything and everything that doesn't fit their life-long programmed stupidities.

Unfortunately, the Recorded Music and Entertainment Industries are more over-loaded with liars, lies, congames, myths, delusions and stupid never-did-work scenarios than all other Industries combined. Politics and religion included. This site is dedicated to exposing the major scams that infest and infect this Best Of All Industries, and delivering in documented detail the exact processes to become successful songwriters, recording artists, producers, singers, musicians, arrangers, record labels, music publishers, script writers, literary authors, screen writers, motion picture producers, directors and such professionals. Once you KNOW what you're doing, and what to AVOID, all doors are open.

But a word of caution: the exact degree you either don't like, or will not accept, the information in this site is the exact degree of your chances of being an abject failure in it!

We didn't make this Industry's rules. We weren't even asked. We did pay through the nose for years on end to glean, test and prove this information, and often at exorbitant cost. But these are the rules you will operate by or they are the rules that will cut you off at the gate, and that choice is yours. And, like all good rules, each and every one has a very valid and sound business reason behind it. Knowing what that reason is, and how to use it to your advantage is just about the whole secret (if there is such a thing) to this Industry.

The "HOW TO DO IT" and "DO IT RIGHT THE FIRST TIME" processes are clear, and probably nothing like anything you've ever heard before. The fact YOU haven't heard these things is no reflection on YOU. For years this information - by design - has simply NOT BEEN AVAILABLE any where else on the planet. That you may not like these contents DOES NOT alter them as TRUTH so much as one iota. And you can take every word herein to the Bank!

The WHAT-WON'T-WORK (and never-did-work) scenarios, all the major SCAMS, and deliberately perpetuated Beer Joint Baritone DELUSIONS are exposed - naming the names - and we're ready for court any time the lying, thieving bastards are.

You'll find this Best Of All Industries can often be harsh. Downright brutal isn't uncommon. There's neither mercy nor second chances for the Idiot Element. But in the same breath, let me clarify that nobody in any position of real power is out to break your back. They have better things to do, such as MAKE MONEY with or without you. They do not have, and will not take, the time to humor this Industry's rampant and perpetual stupidities! If you want to be IN this Industry, then learn the BUSINESS of this Industry.

Everything you've ever heard from those who've never made a record in their life (Aunt "Send-It-In" Ninny, Uncle "Wait-to-be-discovered" Stupid and Cousin "Reeecords-is-free" Chucklehead, to name three) and those victims who followed such idiotic advice and got themselves royally creamed, is as bogus as a politician's promise. The psychopaths who spew their idiocies at every opportunity, and those who are stupid enough to be sucked in by so much as one word of their nonsense, are both equally doomed to fail without hope of rescue. Prepare yourself with ACTUAL how-to knowledge, and those in power have open doors and more support than you can imagine.

So, BEFORE you blast off rushing to the nearest so-called music Capital to "get discovered", 'going into the studio', making or shipping worthless demos, shopping for a label to finance your life-long beer party, or other such jackass "send-it-in" stupidities, READ THIS ENTIRE SITE, LINKS AND ALL! Don't think you can skim it and plug the few holes in your already-vast-and-superior 'knowledge' - you can't! And it will only take about five seconds for any Record Executive to know you're dumber than a brick, if you try! You need to either THROW OUT or PUT ON HOLD all you 'know' or 'heard' about Entertainment and Recorded Music UNTIL you've been through this entire site. You'll find that some of what you supposed is correct, just polluted to hell and back with untold layers of half-truths! [Old Proverb: A half-truth is a WHOLE lie!]

And then, whether you sign with VMG or not, you'll be prepared to deal with any Entertainment cum Music Company to your own best advantage. Knowledge is POWER! And VMG wants you to be armed to the teeth.
THE VMG PROCESS

Contrary to the popular delusion, Record Companies DO NOT throw millions of dollars to the winds just for the hell of it. They'd skin a flea for the hide and tallow, so make no mistake about their intentions regardless of the disguise they wrap it in ... such as "your talent" ... "audition" ... "be discovered" ... and other such deliberately perpetuated damnable and knowing lies. Record Companies MUST make money to survive just like every other business, but they DO NOT have to take YOUR SHARE in the process! And VMG doesn't.

All VMG contracts guarantee full composition rights to the authors/composers and NEVER a 'collateralized' (less than statutory) mechanical royalty for artist-composed songs; NEVER an assignment of Public Performance earnings (in case you're in the Pay Clique of a PRO) under the guise of 'recoupables'; ALWAYS full ownership of the masters by whoever paid for them (and VMG does NOT pay for them!); 100% total control over one's career, image and management; and a whole lot more such goodies. VMG is legendary for paying ABOVE statutory royalties and NO CHARGE-BACK against the Artist!

NO! We do not finance pipe dreams. We'll help you prove your product to those High Dollar Financiers who do! Once you're on solid business ground, the money is there, the opportunity is there, and VMG is there.

So, what DO we do?

First, we get the product into commercial acceptability range: Radio Friendly, properly cleared, properly protected, and released on a distributed label. (For those stupid enough think we do all that 'in our studio', have a great time at the International Jackass Convention and don't forget to write home about all the other fools you've encountered.)

Radio Friendly: keep the production UNDER 3:30 total running time. Long winded productions cost too much to air, and in hard economic times can cut radio exposure to fatal levels. Even when you're BUYING it! We'll have it NORMALIZED when we process from here.

Properly cleared: Kak (infinitely unqualified) lawyers and equally crack pot bought-and-paid-for courts have created a mountain of totally useless and unnecessary paperwork that must be done properly. We take care of all that as the industry requires.

Properly protected: The Copyright Office and all it's must-hires can take forever and a year to process a copyright that used to take no more than ten days including mail. Even so we REQUIRE you to have a duly executed protective and mailing to yourself WILL NOT WORK! More details in the site.

Released on a Distributed Label: The amount of MONEY involved to establish a legitimate label, get it LICENSED for global distribution, and all the necessary logistics involved, is HUGE! But we have that, labels and publishers, since we're a GENERAL LICENSER (did you ever wonder WHY the Great Madonna's Maverick label needs Time-Warner?). Your own label is as good as ANY so-called Independent because you can throw the copies as far as they can.

Yes, we TEST everything via the most cost-effective resources available. Currently that is Electronic Music Services (EMS), aka promolibraries. The best part about EMS is the fact you don't need a manufactured record! More about that later.

Second, we watch the response, if any. If none, we go back to the drawing board. And since we (VMG and the ExP) haven't blown the entire farm, we can afford to go back to the drawing board! If some, we pay attention to the what, the where and the how much. Then we make a business plan - appropriate to that response - to follow up because a commercially acceptable product costs a lot of money to exploit.

Third, we count the cost to build this tower, spell it out, and go after the money to do it. We get the Artist on the desk of the investors! That STOPS the record company "front" cum "advance" that cleans the clock come CHARGE BACK time. It's the ARTIST's/EXECUTIVE PRODUCER's money, sufficient to do the job for as long as it takes, well invested and well managed.

Fourth, we live by that business plan, adapting as the market requires.

That's one hell of a lot of work for four points, and often one hell of a lot of time involved. But that's the sound business principals all successful businesses operate by. And understand this loud and clear: Entertainment and Recorded Music IS NOT a glory trip! IT'S A BUSINESS! And all other scenarios are poppycock.

VMG signs such PROVEN product Artists to a minimum of 5 Albums over 5 Years with an identical option. Depending on the Field of Music and the market at the time, costs can vary all over the place, and we make our projections accordingly to insure enough resources to stay the course for the entire term and duration of the contract.

NO! We do not 'pick up' anybody, at any time, for any reason. If you're free and clear of all encumbrances, READ THE ENTIRE SITE (links and all) and call us.

If you're tied up with Jackass, Jackass & Jackass and Associates - get UNtied - and call us.

If your 'management' got you signed to a label that's robbing you blind - fire the bastards - and call us.

If your 'management' got you signed to a label YOU can throw as far as they can - fire the bastards - and call us.

If your 'management' got you signed to anybody that cannot, or will not, get you on the desk of the financiers for the Booking and Concert Resources ($$$) you need - fire the bastards - and call us.

If your 'management' is 'shopping' you with "advance, advance, advance" on the brain - fire the bastards - and call us.

If your 'entertainment' attorneys approved such jackass contracts as just mentioned above - fire the bastards - and call us.

If you've got baggage, personal or legal - UNload it - and call us.

If you've got what it takes to be a Super Star - ability and business acumen - call us.

NO! We do not 'pick up' any product and 'take it from there', at any time, for any reason. If your product is free and clear of all encumbrances, READ THE ENTIRE SITE (links and all) and call us.

If you've already manufactured your product - throw it in the trash - and call us.

If you've already signed away part of your 'distribution' - don't call us - do another project and call us before you do the same thing again.

CHECK LIST OF THE VMG PROCESS AND PROMO-PACK!
MARKET TEST EVERY THING BEFORE HEAVY INVESTMENT!

Every Artist and Songwriter worth their salt wants to GET THEIR MUSIC HEARD and make a living doing what we really do best: Performing. The problem is two-fold: "HOW?" and "HOW MUCH?"

HOW?

BEFORE you spend one more second or one more penny making copies of product, even on your own equipment and especially on your own hip-pocket label, to send to radio stations that can't air it, promoters who can't use it, and agents that can't use you either: STOP! You're trying to play this tuba from the wrong end!

You have to ADAPT TO THE MARKET, not adapt the market to you!

FIRST: Understand that Recorded Music is a BUSINESS, and not a glory-trip! And all businesses require the same foundations: land (facilities, equipment), labor (expertise) and capital (investment).

SECOND: Market Test your product in a BUSINESS manner that will have INDUSTRY CREDIBILITY! THAT DOES NOT mean 'college' radio, KW-JACKASS every Thursday morning at 3:AM, or puppy-dog 'reviews' that nobody IN the Industry gives a damn about, et cetera. To make a record successful in the market you NEED SCADS of investment, but FIRST you need a commercially acceptable product!

The simplest and CHEAPEST way to hard test YOUR-MUSIC-DONE-YOUR-WAY against the WORLD COMPETITION is to upload your initial efforts into the PromoLibraries – to prove one way or the other YOUR-MUSIC-DONE-YOUR-WAY can fly on its own groove. No hype, no phony bought-and-paid-for 'charts', just hard groove-for-groove competition on a level playing field, and UP AGAINST the Big Dogs of the Pack.

Can't play in that League? Then DO NOT squander any more time or money until you CAN! You don’t have to sell the farm to make yourself a staple in music, but you can't do it 'free' either. TEST your product, PROVE your product, and THEN consider your options.

Already playing in that League? Then TEST your new product, PROVE your product, and consider the offer below.

Now let's take the ramifications of "HOW MUCH?".

First consideration is HOW MANY Broadcasters, Foreign and Domestic Licensers, Major Chain and Independent Buyers your music is going to cover. NO! Your music WILL NOT cover it all! Crossover is one thing, and a Clean Sweep is another: and NOBODY has ever made a Clean Sweep with ONE release!

Let's look at the Specialty Product fields, Gospel, Blue Grass, Progressive Jazz, Dixie Land, Folk, most Underground and Underground Alternative, et cetera, for example:

Gospel, all fields. There are only about 1,100 broadcasters airing some form of Gospel during their broadcast day. 1,100. Sounds like a lot. IS NOT! When you actually run the stats on this 1,100, you find that about 800 of them are actually airing 30-Minute and 1-Hour PROGRAMS for whoever BUYS the airtime! Empty slots, usually between late-night and AM Drive Time are generally filled with SATELLITE FEEDS via a reasonably trustworthy computer! Most simply cannot afford to pay someone to sit up all night playing records and "trusting in the lord" since listeners are FEW enough to begin with.

Now let's look at that remaining 300. It's just about divided by the DENOMINATIONAL factor! For example: it's a well-known fact that WHITE Gospel stations won't air BLACK Gospel music and the feeling is mutual, UNLESS somebody is BUYING airtime. Shouldn't be, but a fact of life nevertheless. Most of it of NECESSITY, because of LISTENER tastes.

With an equally FEW Main Stream outlets handling Gospel, there really isn't a lot of sense in investing a ton of money since the necessary COVERAGE isn't all that huge to begin with. There are still FIXED COSTS, but running 50,000 copies for "in-advance-of-orders" shelf stocking is absolute idiocy!

Main Stream is another matter! Let's say you have a Country release that for all intents and purposes goes right between they eyes of the dirty pickup truck driving, Caterpillar Equipment ball cap wearing, warm Budweiser Beer drinking, RED NECK. Now there really isn't any use sending that record to a HARD ROCK station! Unless you're a glutton for your own stupidity, and no business minded person is that idiotic.

That kind of HARD Country has about 2,200 Main Line Broadcasters in full-time, NONE of which you can afford to ignore. Factor in the additional Outlet Buyers and Foreign and Domestic Licensers - since there are more of those too - and you begin to get an idea of how to compute an Initial Promotion Budget. But let's add a little fun to the game ... What if Cut #3 has a bit of a jitterbug drive that MIGHT work in Southern Rock? Do you suppose that sound business principals would permit you to IGNORE that additional 800-Plus stations? Not unless stupidity has outrun your pocket book! And THERE is the problem fixing a budget!

If you DON'T add that 800-Plus broadcasters, you're UNDER promoting and UNDER exploiting the product! That Cut #3 may very well be the ONLY song that really does anything. And sound business principals dictate that you CANNOT afford to ignore that potential, even though it is going to INCREASE the Initial Promotion Budget.

SOUND BUSINESS is also the PRICE of doing business!

Take a look at the following SAMPLE breakdown, and note it contains some very RELEVANT factors: 1. through 7., for starters.

NEW ARTIST - SINGLE FIELD, MAIN STREAM, NO CROSSOVER
Specialty Product: Gospel, Blue Grass, Progressive Jazz, et cetera,
will be less, as stated above.

1. You will OWN YOUR MASTERS!
2. You will OWN YOUR CAREER!
3. You will OWN YOUR IMAGE!
4. You will OWN YOUR COMPOSITION RIGHTS!
5. You will OWN YOUR MANAGEMENT!
6. You CAN own your PUBLISHING!
7. You CAN own your LABEL RIGHTS!

The COST to get YOUR-MUSIC-DONE-YOUR-WAY into the Field of Hard Competition covers everything on this end except: (1) The initial production/recording and such related costs; and (2) In-Advance-Of-Orders copies into the stores – which we advise against unless you're willing to assume all the costs of product return. More about that later. Below is a SAMPLE project breakdown:

It covers: upload of the ENTIRE 10-song album into the PromoLibraries toward world wide airplay.
It covers: all clearances, UPC codes and initial promotion administrative costs.
It covers: all exclusive anti-counterfeiting Codes and Measures (anti-counterfeiting, not anti-copy!)
It covers: all exclusive artwork in FULL COLOR for label, traycard and cover insert.
It covers: all processing (glass, et cetera) masters, proofs and manufacture.
It covers: all shipping and handling to VMG's promo-delivery facilities.
It covers: all airplay impact (results) analyses and promotion-indicator impact statements.
It covers: all EXCLUSIVE envelopes, printing, packaging, inserting, addressing.
It covers: all Mailing Lists, EXCLUSIVE package inserts, printing, delivery and postage(s).
It covers: submission to all relevant Field of Music US, Canada & Mexico Broadcasters.
It covers: submission to all relevant Field of Music program syndicators.
It covers: submission to all relevant Internet DownLoad Services (paid purchases).
It covers: submission to all relevant Internet Background Music Services (free listens).
It covers: submission to all relevant BackGround (overhead) Music Services.
It covers: submission to all relevant Industry Buyer's Guides and Services.
TOTAL (ExP) COST from your Finished Production Master: -----------------------------------$25,000.00 (USC)
TOTAL (Label) share of Initial Record Promotion Budget: --------------------------------------$25,000.00 (USC)
TOTAL (Publisher) share of Initial Record Promotion Budget: ----------------------------------$25,000.00 (USC)
TOTAL (VMG) share of Initial Record Promotion Budget: --------------------------------------$25,000.00 (USC)
TOTAL Estimated Package Cost: ----------------------------------------------------------------------$100,000.00 (USC)
CROSSOVER can increase these estimates proportionately.

VMG's doors are always open. We are NOT obligated to accept any product we deem inappropriate, or a bad investment.
BFIN PROMOTIONS
WHAT IT TAKES!
YOUR OPTIONS for YOUR MUSIC!

Any record without promotion, and PROPER promotion, is a waste of time and money. You've made the greatest master in history, now what the hell do you do with it?

If you're on a Major or a DISTRIBUTED Label, you don't have to worry about it. All legitimate record companies have competent promotions staff who can do a hell of a lot better than most indie promoters. There are a FEW exceptions, and the letigimate labels know who they are as use them as necessity dictates. BFIN is only one of that few.

If you made your own record because you couldn't get signed, or an established Artist without a current and sensible contract, then you're pretty much on your own when it come comes to Record and Artist Promotion – which are NOT the same thing! Distribution and Foreign Licensing are problems down the line, but FIRST you have to get your music HEARD! Whether you're self-produced or self-labeled, on a Mini or a Major, the bottom line is the same, YOU MUST GET HEARD!

And to get music HEARD, radio still rules the roost.

Options are simple. Mainly because there are so damned few that will work! You can hire some phony-baloney 'promoter' or 'pr' firm that can’t throw your record any farther than you can; put your best cut in an equally worthless 'compilation'; or you can upload to the PromoLibraries. The later is your best bet, as they reach far more potential users than you can afford to mail to, even if you had all the addresses.

Then there is us. BFIN.

We're mavericks. We're hell raisers. And we don't give a damn who knows it, and even less about who doesn't like it. WE GET MUSIC HEARD! Bottom line. NO jackass, NO phony hype, NO payola, NO nonsense.

The first hurdle with BFIN Promotion is IF WE'LL TAKE THE PRODUCT! Our decision is not based on 'talent' or any other such crap-ola, but on the QUALITY of the production. A poorly produced or processed product is usually the result of someone's emotional tangent; or someone's attempt to build a monument to their own stupidity on YOUR money; followed closely by those involved in entertaining one another. All are sure and certain Kisses of Death, and BFIN won't waste our time or your money. We'll simply turn the product down and let you lose your rectum with somebody else's name attached. Send us a product with the proper amount in the check payable to BOBBY FARRELL INTERNATIONAL, and if we reject it, we'll return the product and your check uncashed. Simple as that.

Promotion? $100 per week per song with a minimum of EIGHT (8) WEEKS - which DOES NOT include PromoLibrary upload costs. How long will a song last? Nobody knows. Patsy Cline's "CRAZY" is still playing after 40 YEARS! Some stuff won't last that many hours! We DO NOT work the phony baloney Billboard, et cetera, 'charts', we work to GET IT HEARD!

BFIN promotion is one thing, PromoLibrary upload is another. PromoLibrary upload? $600.00 per song, or $450 per song in lots of five, and $400 per song for full albums of 10 or more songs. Ten (10) song limit at this price on non-manufactured product, additional works at $425.00 PER-SONG; Thirty (30) song limit on anything manufactured in one package, even two (2) or three (3) CD packages, additional works at $425.00 PER-SONG. - We don't sit in judgement of the products you want uploaded.

If you want the product uploaded come Hell or High Water, we'll upload it come the Main Gates of Hell in partnership with a Hurricane. No ifs, ands, buts or maybes. It's your call and your dime. PromoLibraries are the most cost-effective Market Test there's ever been, and VMG/BFIN keeps those doors open to everyone who wants to try their luck. The FACT is, nobody KNOWS what will and what won't succeed! Therefore, we REFUSE to set ourselves in such a position of outright hypocrisy. You like the product? That's good enough for us. Because YOUR DECISION and YOUR OPINION are as GOOD as ANYBODY ELSE'S in this entire Industry, including ours! Period. NO jackass, NO phony hype, NO payola, NO nonsense.

NO! We won't 'review' product for PromoLibraries to see if we'll 'take' it – quashing the hopes of those fools who think if we hear it, we'll be so impressed we'll pay all the bills and then give them all the money. We're NOT going to provide you with our Industrial Intelligence sources either. Like we said, "NO jackass, NO phony hype, NO payola, NO nonsense." In the REAL world of records, either you DO business or you DON'T, and nobody gives a damn one way or the other.

ANY legitimate Chart action means "MOVE WHILE THIS PRODUCT IS HOT!" because you've just proven your product is COMMERCIALLY ACCEPTABLE! Even so, SEVEN (7) out of EIGHT (8) releases NEVER sell any commercial copies at all, and NINETEEN (19) out of TWENTY (20) never sell enough commercially to pay for the damned thing! With that in mind, everybody SHOULD understand the HIGH-DOLLAR VENUES are only available to those with good PLAYING records, bought airtime or not, and you need a PROPERLY licensed and distributed product to even get that far.

IF and WHEN a song logs airplay: IT'S TIME TO MOVE! Crowd the carburetor with all the BOOKING you can get - or RELEASE the album - which ever is the case! But you can't wait for the world to fall into your living room demanding your presence at the Billion Dollar Ball. It isn't going to happen. YOU have to be ready, willing, and able to MOVE as your situation requires.

Again: "NO jackass, NO phony hype, NO payola, NO nonsense."

As for DISTRIBUTION of the product, that is contained in other parts of this site.

So, one more time, the MONEY isn't made IN THE RECORD, it's made IN THE VENUES! Concerts, Live Performances! And product endorsements, if you can get them. But it takes a good PLAYING record to get either.

To have a good PLAYING record, you need to GET IT HEARD!

Unless you have the $$$ to promote yourself/the act as an Artist, booking, tour, et cetera, the only thing record promotion is going to do is TAKE money. Nobody is going to fall all over themselves and hand you a fortune out of nowhere. That makes a fine movie, a fair stage play and perhaps a B-Grade book, BUT IT DOES NOT WORK IN REAL LIFE!

What we're telling you UP FRONT is: until you're established, unless you're content with LOCAL/AREA booking at a hopefully increased price, promoting your record can very well be a waste of time and money. If you're already established, or have HIGHER aspirations, then it's a very sound and necessary investment.

In either case the choice is yours. Our job is to GET YOUR PRODUCT HEARD and USED as much as possible. Buying air time is YOUR affair, and we recommend buying air time ONLY as an element of ARTIST promotion, AFTER you've proven the COMMERCIAL ACCEPTABILITY of the product via the PromoLibraries. Nothing complicated when you think about it.

And now you ask:

Who have we done this for before?

Better question: WHO ARE WE DOING IT FOR RIGHT NOW?!

Click the link, read the list, and make up your own mind. The "PREVIOUS" button will return you to this page.

Questions? BFIN Promotions!


INTERNATIONAL INDUSTRIAL REVIEW!
Copyright 1994-2005, IIR.
Blanket Permission Granted to Copy and Reprint in whole or in part.
Published Here by Permission.

INTERNATIONAL INDUSTRIAL REVIEW!
ARTICLE 01
UNITED STATES DISTRICT
COURT ENDORSED THIEVERY!

PUBLIC PERFORMANCE SWINDLE!

Corabin Thessleux
International Industrial Review,
Investigative Reporter,
Bruxells, Belgium

Recorded Music is a multi-billion dollar per year Industry. Most of those billions are wasted on well intentioned, but worthless, what-won't-work scams, schemes and scenarios. The EEC is deluged with foreign product, most of which gets counterfeited by licensers, labels or sub-publishers. Even so, the outright thievery by the United States' public performance licensing agencies: (ASCAP) American Society of Composers, Authors & Publishers; (BMI) Broadcast Music, Incorporated and SESAC (which stands for SESAC?); make EEC counterfeiters look like rank amateurs by comparison.

The scam is simple, even if legal, and they've been doing it for years! They profess to 'monitor' broadcasters, count the plays of music in their respective catalogues, divide the license fees (after expenses!) between the publishers and songwriters, and pay the due amounts every quarter.

The fact is: 'monitoring' is strictly controlled, limited to broadcasters who program music published or written by their Elite Cliques! The few 'other' stations that do get 'monitored' are carefully chosen 'followers' of the 'in' programming to insure as much money as possible is retained, by hard documentation, for said Elite Clique members. In short, stations who play only Billboard 'chart' records, which are determined by cash 'advertising' and NOT what listeners want to hear!

Therefore, their reputed 60,000 hours of 'monitoring' done by outside agencies of ASCAP, BMI and SESAC are nothing more than a system of controls to insure their Elite Clique members get the lion's share of all public performance monies. To be sure, ASCAP, BMI and SESAC all pay a pittance list of members (for years on end whether they've released anything or not!), lest the whole scam be revealed by proper questioning! Something 'the courts' have proven to be incapable of doing.

The thoroughly corrupt courts of our own EEC should take lessons in moral degeneracy from courts in the United States, and could get Magna cum Laude PhDs in blatant stupidity from the United States District Court, Southern District of New York! That 'court' has rubber-stamped every non-public scam of ASCAP since 1941, and has kept: United States vs ASCAP, et al., running ever since!

At least their antics make money for the lawyers. We don't know WHEN, WHERE, HOW or HOW MUCH various 'court' officials get paid, but we suspect tee times, the golf course, in cash, and lots of it: or else this scam would have been shut down years ago! The fact that said 'court officials', primarily Judges, are appointed to ASCAP's 'review boards' upon 'retirement' from the Bench! Now you know "why" ASCAP never loses a case against it's members and Members never win a case against ASCAP! It's a matter of nine wolves and one sheep deciding what to have for lunch. And it's prima facie evidence of a totally corrupt, ASCAP-bought-and-paid-for 'court' as charged throughout these IIR articles.

Initially ASCAP, BMI and SESAC operated on about SIXTEEN PERCENT (16%) of gross collected revenues. Today that's about what gets distributed! There's obviously some very expensive overhead. Overhead 'the courts' are reluctant to question, and over which the membership has absolutely no control. Tie that together with their continual 'improved distribution' scenarios that benefit only the Elite Clique, and it doesn't take a brain surgeon to comprehend ASCAP, BMI and SESAC are Recorded Music's WORST SCAMS!

ASCAP, BMI and SESAC collect (or should that be extort?) millions of dollars every year in 'license' fees from broadcasters, live music venues including night clubs, background music systems such as MUZAK, cable television and just about everywhere else music is used in public for profit. The cold hard fact that most of that money is siphoned into the bank accounts of the Elite Cliques or wasted on over-priced employee 'benefits', all duly endorsed by 'the courts' is an abominable affront to justice and the free enterprise economic system!

The only real differences between ASCAP, BMI and SESAC are telephone numbers and addresses. The thievery is the same and their 'excuse' is the same. The most long-running of which is, "make sure your work is cleared" so they can LOSE the damned thing before your earnings are paid!

Most performers do not know that night clubs where they hope to be discovered are literally blackmailed into paying ASCAP, BMI and as often as not SESAC, a 'license' fee based on the number of live music nights times the seating of the house! Most performers also do not know that even though they perform their own compositions: just as much a public performance for profit as any other song; they will never collect one penny for those efforts! The entire royalty 'distribution' scam is based solely and exclusively on 'monitored' radio air play!

Legalized thievery with full
endorsement of the courts!

Let's explain the scam one more time so even those nitwit 'judges' who get a chance to read this column can also understand it.

1. ASCAP, BMI and SESAC contract to represent authors, composers and publishers of musical works;

2. They 'license' said works to music users who use them for profit;

3. They determine royalty 'distribution' only by their own 'monitored' broadcast airplay;

4. They 'monitor' only the clique broadcasters who program only works of and by their Elite Clique members;

5. They pay their Elite Clique the lion's share of collected 'license' fees;

6. They pay a select clique a continual pittance to cover the scam; and

7. Legally rob everybody else with the court's full approval!

What can be done about it? Legally, nothing! Violence is outlawed, and that's the only language corrupt politicians, including those on court benches, really understand.

However, if the law were changed: A: To require payment by users only when they were documentably monitored, and only for the period of documented monitoring; and B: Only upon billing on behalf of those whose music was actually used!

There would be a massive improvement in 'distribution' preceded by equally monstrous howls of resistance from ASCAP, BMI and SESAC!

It's hard to tell what kind of a roar the 'courts' would produce, since they too would be losing out on a great deal of graft from the public performance gold mine of ASCAP, BMI and SESAC. Recorded Music could certainly use an honest Public Performance Licensing Agency. Those who are being robbed should be about the business of establishing it. Like everything else in Business: it would take a little money!
INTERNATIONAL INDUSTRIAL REVIEW!
ARTICLE 02
RECORDING CONTRACTS
THEY'RE AVAILABLE!

HOW TO GET THEM!
CONTROL YOUR CAREER & DOUBLE YOUR ROYALTIES!

Everest Whyte,
International Industrial Review,
Investigative Reporter,
London, United Kingdom

The dream of getting a recording contract and living happily everafter in the lap of luxury is the prime motivation for most entertainers, despite the few burned out hippies that still insist in their best American nigger english, "for the arts, man". Being an actor, singer, musician, or any other 'art' related profession is being in that particular business!

Businesses cost money. Somebody must pay the bills, profit or no profit. And right there is the prime downfall of most hopefuls trying to break in to this most-lucrative of all Industries: they never recognize anything but the glory trip! They'll squander every last farthing in recording (known inside the Industry as "session rich and promotion poor") under the false assumption that some record company 'will take it from there'. Nothing could be farther from the truth! Executive Producers must not only foot the recording bill, they also have to pay their share of promotion!

Record Companies only 'discover' those few artists who pose a threat to those acts the company already has a hard financial commitment to! The only 'insurance' they have is to play people's ignorance against them and let the fools keep themselves out of the Industry on any ruse that will work. If you will believe their "record-company-pays-all" nonsense - you're a prime candidate to become a never-was.

Any record available on the commercial market is owned by four entities: 1., the Executive Producer; 2., the Record Label; 3., the Music Publisher(s); and 4., the General Licenser. These are the same four who finance INITIAL promotion! If the record should achieve market sales, the Label, Publisher(s) and General Licenser must carry the load, at the direction of the General Licenser. If the record is one of those out of eight that actually sells any copies at all, the General Licenser usually just carries the load on their own.

It's the General Licenser who fronts the marketing and distribution costs, with a charge back to the Label and Publishers (especially their own in-house subsidiaries) should there be severe losses. In cases of dubious market demand, General Licensers are often required to produce financial statements of the Label and Publishers or have them contract for some portion of liability (co-sign) to acquire short term business loans. It should be becoming apparent there are no free rides in Recorded Music regardless of myths to the contrary. After all, it's a business!

The cold hard facts for all concerned is: only ONE distributed record out of EIGHT ever sells any copies at all! Non-distributed (Indie) product is totally worthless as an investment, even as demos. But with an ROI (Return on Investment) at a tremendous FORTY SEVEN PERCENT (47%) AVERAGE: the reason why records still exist as investment entities is obvious. Even at those ONE out of EIGHT odds: when a record does pay it pays in solid-sterling spades!

Therefore, if Labels, Publishers and General Licensers are financially embound as partners: they only need one more to make a complete set: Executive Producers to create and invest in the actual product! Executive Producers are like all other businesses: they need to buy goods, services and expertise in order to sell their wares at a profit. All businesses must buy goods, services and expertise just to stay in business, and those in Recorded Music are no different.

The days when a Label would front or pay all costs of recording, promotion and distribution began to fade in the '50s when returns fell from previous 800% levels and went on the critical list in the '60s, except for communist money to finance the moral and intellectual degeneration of Western youth. By 1970 it was a Zombie (rare but reputedly walking dead), and by 1980 both the funeral and grave site had long since been forgotten.

There are no surviving Labels who pay all the bills except to shelve the unsuspecting competition!

Even when Labels did front money their contracts had charge back clauses to deduct any and all expenses incurred plus loan-shark-level interest from just the Artist's royalties: all to be paid in full: before the Artists get paid one red cent and before the contract can expire! That's right! All the investment plus interest deducted from just the Artist's royalties even if the Executive Producer, Label, Publishers and General Licensers were making money by the bucket! And, until the entire debt was paid in full: including all that exorbitant interest, the Artist was bound to that contract and not allowed to contract with anybody else! And that's where the one-hit acts came from and went to!

All other myths and delusions to the contrary are just that: myths and delusions and only a total ignoramus doesn't know any better. That Record Companies pay anything except to shelve is on equal par with the 'send it in' stupidities still found among the terminally ignorant 'song-poem' writers.

To cut through all this: anyone can get a solid recording contract! 'Talent' has nothing to do with it. It's a business procedure pure and simple. That means you're going to have to spend some money and manage your career as a business.

1. You should be your own Executive Producer if at all possible. It will permit you to retain 100% control over your career, including what to record and how to record it and double your mechanical royalties at the same time! You'll get paid as the Artist, and get paid as the Executive Producer, and have the right to record your own compositions and get paid any songwriter public performance earnings you can blackmail your ASCAP, BMI or SESAC affiliation out of!

2. You need an EXECUTIVE PRODUCER'S RECORD RELEASE AGREEMENT [INSERT: VMG's current issue on-line for your study and review.] that only a member of the Board of Directors can authorize. Don't waste time talking to anybody else, they're in place to 'wild goose chase' all those who don't know any better. And don't waste your time with anyone who doesn't respond immediately to your request! A turn-down or run-a-round is solid evidence that the company you're talking to is simply out of available money for your project. Unless you've shown your Industry Ignorance or paranoia, or both. Call the next one until you get a "YES!" response.

3. Your finished productions (which you will pay for) must conform to the General Licenser's dictates: format, total running time, et cetera. Therefore, get that ExP Agreement in Paragraph 2., above, before you spend one penny in recording something that is totally worthless! The Licenser will provide a BREAKDOWN and you'll have no more than THIRTY (30) DAYS to deliver, so be ready to do business.

New Artist album promotion budgets (2004) should run between $60,000.00 to $250,000.00 for a project to financially prove itself; up to $5,500,000.00 for a project that intends to buy the 'main' charts and make a good bid for the equally bought 'awards'; of which you will be required to pay from one quarter to one third, depending on the Licenser. And these costs do not include any Artist Promotion, which has little to do with Record Promotion, although they look a whole lot alike in most cases. There are only six General Licensers, so don't waste your time talking to 'labels'! And don't waste your time 'waiting to be discovered'.
INTERNATIONAL INDUSTRIAL REVIEW!
ARTICLE 03
ASCAP, BMI, SESAC
THE GRAND LIARS!

EXECUTIVE PRODUCER
VS
'PAYING FOR PUBLISHING'

Misram Alheid,
International Industrial Review,
Investigative Reporter,
New Delhi, India

In a land of over 200 languages and an ancient taste for music, we have fewer myths and outright lies about records and publishing in our entire nation than you'll find on the sidewalks of 16th Avenue, Nashville, alone. If New York's lying-myth system were garbage, their famed mass of Sky Scrapers would be little more than prickly thorns at the bottom of the pile. The Los Angeles cum Hollywood mess can be smelled as far East as Tokyo with the wind due West at Hurricane speed.

And the one myth leading the parade? Any money you have to invest is "paying for publishing"! If you're not willing to invest in your own business for your own career - why should anyone else?

ASCAP, BMI and SESAC have shot down more legitimate record deals with their 'paying for publishing' lies than all the street cons, preachers and politicians combined. Because record investments are often substantial those new to the Industry will contact ASCAP, BMI or SESAC for information. What they get is The Great Grand Series of Defamations and Damned Lies designed to eliminate any and all competition that might infringe on their own respective Pay Cliques!

Record Companies do not pay all the bills! Anyone capable of kindergarten arithmetic can see why. Publishers do not pay all the bills! The same kindergarten arithmetic shows they can't afford it either. The fact there is a lot of money in a selling record is buffered by the odds of only one album out of eight ever selling any copies at all! Dividing the cost of producing and promoting a record between the Executive Producers, Labels, Publisher(s) and General Licensers doesn't increase the odds, it simply lowers the price to gamble!

Should the content (songs) manage to log any air play, ASCAP, BMI and SESAC will reputedly collect and disburse the earnings via 'their own monitoring'. ASCAP, BMI and SESAC will also spare no effort to smear and defame anyone who asks an Executive Producer for their share of the promotion budget! ASCAP, BMI and SESAC also know for a fact that each and every one of their Pay Clique members have to pay their share of each and every recording project they're involved with.

The unnumbered fools who get taken by the 'send it in' song shark scams and the 'your song in an album' on Stupid Jerk Records (not to be confused with Promolibraries, Electronic Music Services or the Super Six General Licensers) is as appalling as the perpetual lies of ASCAP, BMI and SESAC that any costs borne for production or promotion by whoever wants to make a record is 'paying for publishing'! Nor does it justify their deliberate omission that not only does being one's own Executive Producer (ExP) double the mechanical (record sales) royalties, it also guarantees: a 100% choice of music to record, a 100% decision in the finished mix, a 100% ownership of the masters, and a 100% control over your career!

All record companies pay earnings to FIVE entities: 1., Artist; 2., Executive Producer; 3., Record Label; 4., Music Publisher(s); and 5., themselves as General Licenser. Music Publishers pay the songwriter(s) any mechanical royalties, usually a full fifty percent of the remainder after limited expenses. However, publishers do not pay songwriters an equal split of Public Performance (airplay) royalties, as the affiliation agency has reputedly already made that separation at their 'payment' to both parties. (That is if you're a member of one of their Pay Cliques!)

Now put that together: YOU are the Executive Producer producing YOU as the Artist; and that's TWO (2) shares of mechanical earnings from record sales paid direct to YOU by the General Licenser or Record Company! Now since YOU are paying all the recording and a share of promotion costs: YOU'RE A FOOL TO RECORD ANYBODY ELSE'S COMPOSITIONS BUT YOUR OWN; and that's another FIFTY PERCENT of a mechanical share from airplay and the publisher! Next, when and if you can blackmail ASCAP, BMI or SESAC (however you're affiliated) into paying you the Public Performance (airplay earnings) as the songwriter: your Return On Investment (ROI)

Radio air play royalties begin about TWELVE CENTS per logged play times the stations of the same programming in that market. They go up in a series of plateaus until at ONE MILLION accumulated plays, as a songwriter not per song, to FORTY EIGHT CENTS per logged play times the stations in the market being 'monitored' of the same programming format, et cetera.

Now you know why ASCAP, BMI and SESAC spare no effort to gut anyone who isn't in their Pay Cliques! They want to keep all those mechanical and public performance royalties to themselves! If there are no other records available, The Cliques have the entire Field to themselves!

Five of the Super Six General Licensers have closed door policies to limit the amount of new releases, artists and songwriters into the market. Vandor is the only General Licenser with an open door policy in all fields of music.

The Grand Liars at ASCAP, BMI and SESAC will give you every reason known to mankind to prevent you from doing business with anyone who permits YOU to own and control your product and primarily with the "paying for publishing" scenario. They'll profess 'not to endorse any record company' and in the same breath tell you that Sony (CBS), Bertlesmann (RCA), Universal (MCA), et cetera, will be a better deal: yet they will not open those doors for you unless you're a member of the United States Senate!

If YOU want to be in the business of making money with your music, then be ready to invest in your music like any other business! Think about it, why should any business, including a record company, finance anyone who won't invest in themselves? Are you going to stay out of music just because The Grand Liars at ASCAP, BMI and SESAC will tell any lie to keep you out of their multibillion dollar per year Super Graft gold mine?

And, tragically, because money talks the entire Industry is overloaded with talentless racket, the Nashville MONOTONE being a bit more palatable than some other fields. Every truly original thought in music since the invention of records has come from the independent 'looking for a break'.

It's a good Industry, with a lot of good people in it, despite The Grand Liars at ASCAP, BMI and SESAC. But be prepared to be your own Executive Producer once you have that all-important EXECUTIVE PRODUCER'S RECORD RELEASE AGREEMENT for you or your Artists. Once you have an ExP Release Agreement (the short term) you can record and produce as many or as few Artists as you want - and get each and every one of them the same Financial Support
INTERNATIONAL INDUSTRIAL REVIEW!
ARTICLE 04
REAL & PHONY CHARTS
RADIO & SALES

INDEPENDENT VS DISTRIBUTED LABELS

Renita Marie du Bourbon,
International Industrial Review,
Investigative Reporter,
Paris, France.

Back in the Distant Dawn of Printed Piano Forte and Parlor Sing-A-Long Folios the only push to find out which tunes were the most popular were concerned with making Player Piano Rolls! The advent of sound recordings changed all that in such a rush it took nearly FORTY years to make a dent of any consequence. But once RADIO came on the air at regular hours, KDKA, Pittsburgh, Pennsylvania, began to explore unknown territory on an expedition that is still in the field and a long way from final report!

Hard on the heels of mass-reach capability and for-profit use royalties law suits by ASCAP came the 'necessity' of a 'chart' of some sort to dictate which of the many records were really the most popular.

Where they were 'the most popular', radio or sales, was never made clear to the General Public and still isn't clear today. And by deliberate design!

The data used to make such determinations was reputedly gathered from those who either aired the record or sold them across the counter. The two original sources: 1) radio reporting the number of listener requests and 2) reported over the counter sales; instantly became corrupted and no mercy was shown on anyone who dared 'question' the process!

Today, as always money still talks and the charts published by Billboard' SoundSCAM, Radio & Records, and on/off Gavin [UPDATE: Gavin has folded! Another casualty of TRUTH in a hype-is-everything market!] are as phony as last year's Second Coming of Jesus Christ! Anyone can 'chart' in any of the three by buying enough advertising, some of which might even get printed, or making sure that 'advertising' you bought is via Clear Channel's scam broadcast-vs-venue operation.

As of this writing, Radio & Records has been reputedly trying to clean up their act, but until they accept and fairly list Independent Labels their efforts remain as phony as Billboard and Cashbox always have been. Billboard's SoundSCAM con-job notwithstanding.

Gavin only 'charts' labels with "Gavin Membership" and that's why Vandor Music Group's (VMG) many successes are conspicuous by their absence. Vandor refuses to be black-mailed by anybody, regardless of the costs. As one of the six General Licensers, they have no qualms about telling anybody "to go to hell" and especially when their integrity is in question.

But Independent Labels must suffer the 'major label' myths and delusions, and especially when it comes to real and phony charts and direct record sales. Getting a chart record is easy enough, but selling records is an entirely different nightmare! There are only NINE (INSERT: EFA folded and Polygram was bought out by Seagrams, now Vivendi/Universal.) General Licensers who have world wide distribution, and they sell virtually all the records found on legitimate Record Store shelves. Generally speaking, the Label is either distributed by one of these NINE, or it's dead.

However, the major difference between General Licensers is whether or not their 'budget' includes stocking the shelves with product whether it sells or not on the Executive Producer's nickel (Yes, that part is GREEN for a reason!) and any high lifestyle enjoyed by the General Licenser or 'label' Executive, swimming pools, et cetera.

Ever since France's Polygram (Phonogram) bought out America's Mercury Record Corporation, following their grand bust attempting to take over the Black Music market from MoTown without Black advice or input, the "I" word (Independent) has been a label curse throughout the Industry.

Most Americans had never heard of Polygram and incorrectly supposed it to be some Johnny-come-Lately without so much as a grain of an idea as to the American Music Scene or the "in" musical tastes. They were wrong on both accounts. Those who insisted Mercury's near demise in a hail of bad blood from the Black Community, and sale to some 'out of towners' would lower the label to that of any other backyard studio record company, were wrong about that too. Even so, the "I" word was in the world to stay.

That Mercury and it's second label, Smash, had impressive track records from Patti "Tennessee Waltz" Page to Matt "I'm Movin' On" Lucas, was neither overlooked nor ignored by the Execs at Poly, and they spared no effort to return the label to its glory of yesteryear. However, the Kiss of Death identity of "Indie" stuck to Mercury like hot glue and many recordings were re-released under the Polygram and Polydor labels to avoid the stigma.

Mercury was one of those 'major' labels of the 'direct promotion' scam to eliminate all 'indies', instituting buy back of unsaleable copies from distributors, blackmailing 'chart' mags into retaining the TOP 40 positions (thus the so-called "Top 40") for that Elite Few (leaving the remainder for whoever could afford to buy the bottom sixty (to avoid Anti-Trust litigation), and deliberately perpetuating the myth that 'talent' is the only way to 'be discovered'. With phony 'charts' the only charts, those so-called 'majors' had it their way for years.

However, the truth is: there is no such thing as an Independent or Major label! There are only distributed and non-distributed labels! And until the so-called industry recognized 'charts' list independents, distributed or not, on an equal and fair basis with the so-called majors: there won't be such a thing as an honest chart either!

That Billboard was forced to switch to a 'sales tracking' system called SoundScan (SoundSCAM would be more appropriate!) didn't raise their credibility one iota. Their 'sales tracking' is as phony as ever. They still dictate to their 'reporting' stations what they can and cannot air, and manipulate the reported sales from outlets and those from the majors to make any given record show up anywhere they want it in the so-called 'charts' in direct proportion to 'advertising' purchases.

Clear Channel's playlist smacks of conflict of interest just like reported Time-Warner's former ownership of Billboard and Warner Brothers Records through various corporate layers. (Billboard being currently owned by VNU does not raise their credibility one iota either.) Under such advertising income duress, guess who gets their choice of any chart slot they want? And, the integrity of any chart published by owners of a label found therein is then and there suspect.

Since it's common knowledge that all original ideas, musical and technical, are out of the Independent Label camp and only exploited by the so-called 'majors': it is high time for the Industry-At-Large to stop all this "Billboard/R&R/Gavin-'only' nonsense and get back in touch with the market beginning with the Broadcasters!

Perhaps if we did that, talent would again mean something. Even if not, the honesty would be refreshing.

And that's something the Industry has seen far too little of in this entire Century: plain old honesty.
INTERNATIONAL INDUSTRIAL REVIEW!
ARTICLE 05
WHO TO TRUST:
WHO NOT TO TRUST!

SONGWRITER ASSOCIATION SCAMS!

Antonio Guitonelli,
International Industrial Review,
Investigative Reporter,
Roma, Italy

Every poet/songwriter worth their salt wants to have their creation be the work of the age in addition to providing sufficient income for a nice comfortable retirement as soon as possible. It's the closest to a something for nothing as most people are ever going to get. That very too-good-to-be-true content is an open invitation for every ScamArtist and con-game to avail themselves of the opportunity to play the ignorance of the victim to the limit.

Enter the song shark!

Since all fools, and most 'experts', refuse to even consider anything other than age-old lies whose only claim to credibility is 'they've been around a long time', the "send it in" stupidity is as rampant as ever. Every so-called "songwriter association" and public performance licensing agency advises against the "send it in" and get "professional lead sheets" or "your song in a (non-distributed!) album" song shark scams. Not because they have any real concern for YOU losing YOUR money, but because they want YOU to spend YOUR money with them!

It is true that all "send it in" operations are song shark scams. They do perform what they say they will do: and it's the Kiss of Death the minute they do it! Not one General Licenser, their Labels, Publishers or Executive Producers will knowingly touch a song once it's been through the song shark mill. They can't afford to! Regardless of what the songwriter thinks, or their so-called 'contract' says, the risk of litigation and related costs are easier and more cost-effective to avoid than to endure.

However, the many songwriter associations hawking their memberships aren't any improvement when it comes to con-games and deliberate mis-information scams. The prime come-on is the 'seminar' with 'known' singers, songwriters offering advice and publishing or record company executives who are reputedly 'looking for material'. Their 'guest list' often reads like a "Who's Who" but their Membership ALWAYS reads like a "What's That"! Ask any of them to give you a list of dues paying members (not gratis or lifetime members who were inducted to exploit the credibility of their names) who are making a living at writing songs by following the association's instructions.

THERE AREN'T ANY! The list is zero and always has been and always will be!

The reason is simple. If any record company or publisher wants material: all they have to do is open the mail! A listing in any of the credible Tip Sheets will get anywhere from 50 to 5,000 songs: in the exact requested format, free, clear, and ready to go!

Then why waste the time and money 'giving advice' at the Never Wases' Poetic and Sour Chord Every Other Six Months Ape de-Ticking & Sewer Tasting Poets, Songwriters, Authors, Composers and Ain't-Never-Been-Recorded Music Arrangers Society? To get a VERY LOW COST and totally unsuspected look at who is and who is not POTENTIAL COMPETITION in the Big Money realms of Executive Producer, Record Label, Music Publisher and General Licenser investments!

Such 'seminars' when a part of the equally scam 'music festivals', 'fan fairs', et cetera, give the 'guest' an unparalleled look at both songwriters and Artists who should be shelved due to their ability to be viable competition, and those who aren't worth the paper of a contract. And that's all those pay-all-your-own-costs but get here and PLAY FOR FREE in hopes of 'being discovered' music festivals are about!

Anyone who 'gets signed' at such scam gatherings are seldom ever heard of again once the initial 'publicity' runs its soon to be forgotten course. The content of those 'contracts' prevents the artist from writing or performing for anybody else until the record company is fully reimbursed for their investment. There's a huge disparity between what that 'investment' actually costs and what is charged back against the artist/victim.

As for songwriters ignorant enough to sign a 'staff writer' contract: they are then and there for hire which means any money they receive, 'salary' or other pittance, pays them in full regardless of how much they make for the publisher! And as often as not that will include the songwriter's entire catalog! Understand that! Under the terms of such 'staff writer' contracts each and every song the songwriter/victim has ever written or ever will write is instantly and forever the sole and exclusive property of the 'publisher'!

Most of the Industry's long-standing songwriter/publisher contracts and Contract Organizations, such as Songwriter's Guild of America, are so outdated from the current Industry that neither their contracts or advice is worth the effort to throw it in the trash. For instance: page after page of 'percentages with respect to printed music score for public sale': when in the real world Publishers license the music for flat fees to Music Book & Folio Publishers when and if they get a song with sufficient demand to justify it's inclusion. And that demand is always the result of a HIT record on a distributed release by one of the Super Six General Licensers! And all other scenarios are phony!

Who to Trust? Anyone who will share the costs of a release using sound business principals. The General Licenser will get you a Label and Publisher who will pay their share and pay their own share for the privilege. All you have to do is be your own Executive Producer which includes paying all the recording costs and one quarter to one third of promotion.

Who NOT to Trust? Everyone who isn't contracted with one of the Super Six General Licensers and legally displays the Licenser's logo on their Labels and Mastheads! And none of the so-called Songwriter Associations. And nobody who offers a 'publishing contract' but doesn't have a documentable record deal for the song already in the works. Nor anybody with the endorsement of ASCAP, BMI or SESAC emblazoned upon their Elite Clique souls. Affiliation is one thing - but endorsement is another!

The Recorded Music Industry is wide open for those who aren't afraid to put their money where their 'talent' is. But the investment and venture must be managed like a business! Just like any other business. And as in all other areas of life - you're known by the company you keep - good company is expensive!
INTERNATIONAL INDUSTRIAL REVIEW!
ARTICLE 06
SHELVING CONTRACTS
CAREER NIGHTMARE!

WHAT TO LOOK FOR - WHAT TO AVOID - FACTS & FIGURES!

Burley Watson,
International Industrial Review,
Investigative Reporter,
Nashville, TN

Getting a Recording Contract is the dream of everyone who has been bitten by the roar of the grease paint and the smell of the crowd since Edison invented the phonograph.

Those who 'go to (name the music capitol) to get a break' should realize they may very well be the best 'talent' their home town has ever seen but here in Nashville, New York or Hollywood they are just one more jerk looking for a handout!

Only one out of ten thousand ever even get to work on a distributed product. About the same number ever get a chance to 'road band' with an Artist on a distributed label. One out of ten thousand odds while you're starving on the street isn't exactly paradise terms.

Even those who manage to gin-mill enough to keep themselves in boiled eggs and a rat's nest never bankroll sufficient funds to make acceptable demos, let alone pay their share of a distributed record. For the most part they could do far better right there at home. Should someone from a 'label' or 'production company' observe them as being a potential monetary threat to any of their investments: the sign-them-to-a-contract scam is on in all it's full fury! But if you're stupid enough to be in one of the so-called Music Capitols 'to be discovered', they already know you're too stupid to be any threat at all and they don't have to waste one penny on you!

The 'sweetheart' contract is one that fulfills all the myths and delusions about the Industry: (1) It costs the artist nothing; and that's exactly how much the artist will get paid regardless of how many copies the record sells; (2) It takes all the artist's original compositions and song ideas; and retains them until the record company's 'investment' is paid in full which is usually never; and (3) Any and all Artist's earnings are charged back until the record company's 'investment' is paid in full which is also usually never; and (4) The record company can continue to run up debt against the Artist as long as necessary!

If there's an album involved, rather than a single or 'demo' session (why a record company needs a demo of its own acts for its own use is ludicrous) there is probably a "tour to promote the record" somewhere in the fine print.

Now think about that. When anyone buys a ticket to a concert it's to see an Artist whose recordings have made them famous, not some jerk hawking records nobody ever heard tell of! The real reason for the 'tour' is to guarantee the jerk will be head banging a gig somewhere in the dark regions of Swamptown when the Artist they might have infringed on plays The Grand Palace in Tinsel Ville.

And it's no more complicated than that!

Any and all such 'sweetheart' contracts are shelving (the record company can put the product on the shelf for as long as it likes) contracts designed for the sole and exclusive purpose of being a very inexpensive insurance policy!

There's no such thing as insurance on a record project, especially for ROI (Return On Investment), and the only recourse to protect a working investment is to shelve contract any and all real competition that's ignorant enough to sign. The fact it's legal doesn't change the immorality of it one bit.

In an honest Executive Producer's contract here's what to look for:

(1) A simple twenty or so page agreement that used to be easily in no more than six or seven pages;

(2) A term of not more than five years with two year riders;

(3) A total lack of charge back;

(4) Royalties of not less than statutory - as of 2004 at EIGHT and ONE HALF CENTS ($.085) per 3:00 song, although VMG pays EIGHT POINT SIX CENTS ($.086) per 3:00 song;

(5) A total lack of embindments on other songs you've composed (although they may not use them);

(6) An Executive Producer's fee that is NOT LESS than one quarter (or there won't be enough money to do the project properly) nor MORE than one third (or you're footing the whole bill yourself!) of the Total Promotion Budget;

(7) A total absence of lesser mechanical royalty rate for using your own compositions; and

(8) A breakdown of the Label's, Music Publisher(s)' and General Licenser's share of the investment.

What to avoid: any contract that costs you nothing and doesn't spell out the vast array of limitations inferred above; and any contract with any Label that isn't licensed and distributed by one of The Super Six General Licensers and carries the Licenser's logo on its label.

Facts & Figures: The U.S. Copyright Office averages processing some thirty five thousand music copyrights each and every WEEK, fifty two weeks a year! About fifteen percent are renewals, leaving about thirty thousand copyrights per week covering brand new material. The average copyright for music covers TEN POINT THREE (10.3) songs for a total of 15,934,100 brand new songs each and every year!

Facts & Figures: The Super Six General Licensers release about 2,500 albums per year combined, each containing an average of TEN songs. That's a total of some 25,000 songs. However, about one third of those 25,000 album inclusions are re-caps of previously released material, leaving only about 17,300 new compositions recorded and released per year out of 15,934,100 written per year! No wonder the song sharks have huge schools of fish to feed on!

Facts & Figures: Only one out of eight distributed albums ever sells any copies at all. Non-distributed (independent label) albums manage only about one tenth of one percent (.001%) of total commercial sales. Only one out of eighty singles ever sell any copies at all except as album outcues. A few Foreign Countries still buy 45RPM single records but most prefer cassettes, and there are some 3,500,000 jukeboxes still in operation (2002) using the old 45s. And a few thousand still using 78s!

Facts & Figures: The optimum running time for any record is UNDER three minutes and thirty seconds (3:30)! The reason is: cost of radio air time! The average United States radio rotation of a record is 8 times a day 7 days a week for 6 weeks; the average cost of a thirty second spot commercial is $25.00; making the average station's air time investment in each and every :30 of a song's running time $8,400.00 over the six week life of the average song!

Facts & Figures: The Golden Rule: Those who have the Gold make The Rules! And it's never more true than in the multi-billion dollar recorded music Industry and especially where the 'waiting to be discovereds' are concerned.

Facts & Figures: About 99% of all established Artists at one time recorded on a small label, and 99% of those will return to Indie labels before they retire. And the most successful avoided 'sweetheart' contracts from day one. It was easy enough, they just didn't expect someone else to finance their pipe dream.
INTERNATIONAL INDUSTRIAL REVIEW!
ARTICLE 07
INDUSTRY IGNORANCE
VS
PARANOIA!

TURKEY LIST - HOW TO AVOID IT!

Tsunami Isuroko,
International Industrial Review,
Investigative Reporter,
Tokyo, Japan

There's nothing worse than trying to do business with a totally ignorant know-it-all programmed with every idiotic idea ever imagined unless it's trying to do business with a paranoid ("Who-have-you-done-this-for-before?" is their universal "I'm a paranoid!" sign board!). Recorded Music and Entertainment Industry Ignorance when combined with paranoia can wreck a project faster than anything else. The greatest nightmares for Record Executives are paranoids who get on the phone to everybody they can get the number of, radio stations, wholesalers, print media, manufacturers, licensers, record stores, et cetera, and run their mouth to the instant destruction of their own project and as often as not incur sales cancellations of other records handled by the company they're back-dooring!

Horror stories are real, but happen only to those who are Industry Ignorant or paranoid or both! America's famed Bo Diddley was financially raped for untold millions, but he signed a contract with a charge back clause that would bankrupt the Rothchilds! He was Industry Ignorant and paid the price. He's still hiring lawyers, all of whom take his money knowing they can't do a damned thing! And neither can anyone else.

If you sign any contract, make sure there are hard limitations on the charge back or you're never going to collect one single solitary Yen. However, the minute you put a limit on charge back, the label will put an end to negotiations! The only way to avoid that scenario is to be your own Executive Producer (ExP) and then don't stick your nose into areas where the Label, Publishers or General Licensers have the contacts and the expertise.

Their money is on the line too, so they'll do their job without your interference. All contracts, and especially ExP Agreements, contain non-interference clauses that apply to the ExP, the Artist, and any and all associates of both under penalties of BREACH! And they must.

It takes a great deal of expertise to speak all the Industry Languages, and one word out of context with the right person can kill a project. The worst problems are the industry paranoids who went to work at industry shops: wholesalers, broadcasters, record stores, manufacturers, et cetera; to 'get' that non-existent 'break' themselves. When their big chance didn't happen, they become resentful, and anybody is fair game. They can be handled, but only by experts with authority to spend money and make deals.

The artist that 'calls the station', or has their 'friends' call, to hype their record is a fool of the greatest proportion! It takes about five seconds standing in a radio station lobby to acquire the ability to smell a phony 'hype job', and nothing will get your record thrown off the air faster. That's why most Licensers won't send PromoCopies to stations in the artist's area until the record is in demand, and why there are non-interference clauses preventing the ExP, Artist and all their associates from 'taking the record to the station'!

IT'S THE ABSOLUTE KISS OF DEATH!

The same thing applies to gin-mill juke box copies! There's nothing less professional than a juke box title strip ball point penned on the flip side of some other record that wasn't playing either! Industry Ignorants and Paranoids will do it every time. And when they do: they get a lifetime membership on the Industry's Turkey List! And often as not get all others associated with the product Turkey Listed too, with very few exceptions.

Blacklists are illegal, but Industrial Intelligence, such as credit reports, are not! And when any General Licenser or any of their business investors or associates gets damaged by some jerk, regardless of how 'talented' and regardless of their past industry accomplishments: they Turkey List that jerk!

And rightfully so. They've probably bankrupted the entire investment other people worked hard to earn and trusted them to make a profit on; defamed and bad-mouthed the very people whose reputation made the investment possible; and thus damaged or destroyed the livelihood of employees all up and down the Industry.

If someone caused you to lose your job, or lose a commission you've already worked for: how mad would YOU be? What would YOU do about it? You certainly wouldn't do business with that person ever again.

And in this business, you won't!

Either you want your music to make money or you don't. If your music is a living room, patio or garage hobby, that's fine! You can do the whole thing your way. After all, you're paying the bills! But if you intend to make money with your musical efforts: you're in the music business, and that changes all the rules.

The Recorded Music Industry has its own rules and they will not change to suit the preferences, delusions, dictates, idiocies, stupidities, ignorances or paranoias of anyone, including those in the industry! You can be as original with your music as you want, but the rules will not bend. Only a fool thinks differently, and only a damned fool attempts the process.

If you want to lose your money, and risk your reputation, then do so by all means. But if you expect anyone else to pay the bills and lay their reputation on the line just so you can blast off incoherently: YOU'RE CRAZY! Its as simple as that.

It may come as a surprise, but there are more Ordained Ministers, Attorneys, Accountants, Medical Doctors, Engineers, Politicians, Firefighters, Bank Officials, Stock Brokers, Postal Employees, Sociologists, Registered Nurses, Administrators, Business Managers, Court Judges, Police Officers, Scientists and Educators doing hard criminal time from each profession than all the Recorded Music 'criminals' in jail combined!

Remember, a Music Capitol address does not endow the addressee with any great expertise or honesty. And lack of a Music Capitol address does not strip one of either! For instance:

There are no General Licensers based in Nashville "Music City, USA"! And that is the very entity every Country Music Artist must get through to if they're ever going to make a living: The General Licenser. It's the General Licenser that provides anywhere from ONE THIRD to THREE QUARTERS of the Promotion Investment and ALL Distribution costs and expertise.

Running an Industry Ignorant or Paranoid mouth within hearing of any of the General Licenser or Label Executive, or any of their investor's ears will get you TURKEY LISTED instantly! The Recorded Music and Entertainment Industry is like a pristine Jungle, it has the promise of everything. But if you will commit suicide, the Jungle is quick to oblige.
INTERNATIONAL INDUSTRIAL REVIEW!
ARTICLE 08
SONGWRITER'S AND
MUSIC PUBLISHING CONTRACTS

EITHER PRICELESS OR TOTALLY WORTHLESS!

Wilhelm von Kelvburg,
International Industrial Review,
Investigative Reporter,
Berlin, Federal Republic of Germany.

Once the Printing Capitol of the enlightened world, we've seen our share of 'publishing' scams. But none are equal to the United States' "send it in" charades. Everyone who "sends anything in" gets 'accepted' and hustled to have 'professional lead sheets' printed at an outrageous cost even if you already have a song or poem 'set to music', all duly copyrighted 'in your name'.

These song sharks actually keep their part of the 'bargain' and do what they say they will do, and none of it needs doing!

First, 'lead sheets' haven't been used to hawk songs to publishers or producers since invention of the common cassette! One VOCAL with ONE instrument and a typewritten copy of the lyrics is all anybody need produce to 'demo' a new composition. The vast majority of composers can make their own in the living room or home studio and any request for anything more is a congame in progress.

There is never any need or request from legitimate music executives for 'studio' demos. In fact, it's a Mark of Stupidity to use studio-produced demos unless you have your own studio business, or unless you can't sing or play an instrument! Otherwise, simply make the VOCAL prominent and include a XEROXED copy of the copyright and typewritten copy of the lyrics . Anybody, especially 'publishers' who want 'a better demo' can pay for it themselves or they really don't want it.

To 'studio produce' a demo is all-but the Kiss of Death for the song! You spend a lot of time and money getting arrangements and musicians to 'make this demo' insuring Michael Jackson's horns are all there, and the producer who listens to the cassette is trying to hear Willie Nelson's guitars through your "horn racket"! And that is just plain everyday stupid!

ONE vocal and ONE instrument will let the producer hear whatever it is they have in mind, and anything that disrupts that process is instantly trashed.

NEVER PAY A PUBLISHER! Not one penny. Not one finnig for anything they might have to do to exploit a song! BUT NEVER CONFUSE BEING AN ExP (EXECUTIVE PRODUCER) WITH 'PAYING FOR PUBLISHING'!The two are not the same thing and have nothing to do with each other.

KNOW THE FACTS: Somewhere between ninety eight point nine (98.9%) and ninety nine point three percent (99.3%) of all Recording Artists earning ONE HUNDRED THOUSAND DOLLARS per year are their own Executive Producers! Therefore getting one of them to 'record your song' is economically out of the question. They simply cannot afford to finance your fortune on their money!

However, even the greatest talents get dry spells, and when the artist you've chosen is in need of material: hit their Producers and the Publishers of their previous releases with your best works! It's the only chance you have of getting someone else to finance your writing career. Should you land such (or any other) contract, look for these terms: (a) A fifty percent of any and all earnings after deduction of limited expenses, which will not include Public Performance (airplay) as that is already divided by the affiliation agency; and (b) a contract that does not go on and on about "percentage of wholesale this ..." and "reduced royalty that ...", simply because it's all bull!

Your best bet is to sing your songs yourself once you've contacted a General Licenser and secured an Executive Producer's Record Release Agreement. Then you know YOUR MUSIC will be out in the world where it can be heard by the General Public and other artists who are looking for material! Artists know they're going to need material long before any mention of even doing another album is in any of the news.

Odds of getting a recap by another artist? Three hundred to one, but remember: about one third of all new releases are recaps! You must have a song someone else needs to record.

Getting a Publisher who will pay their share of YOURS or ANYBODY ELSE's record is the job of the General Licenser: and they'll do it right the first time. That kind of publisher's contract is priceless, so don't tie up your music with some fly-by-night 'publisher' who neither has nor will spend any money in the released record! Getting suckered by some 'send it in' song shark is not only the Kiss of Death for you and your song: that contract is worthless! So are the vast majority of contracts recommended by ASCAP, BMI and SESAC.

NEVER SIGN A CONTRACT that's recommended by any Songwriter Association! They don't know any more about the real world of recorded music than the nearest 'send it in' relative and most are song shark operations themselves!

Songwriting could use a good all-field-of-music Tip Sheet published at least every month. Song Writer's Market would fill that void if they'd shelve their stupidity and learn something about this Industry. Don't call them for advice, they don't know anything you haven't already tried that didn't work either.

Be prepared to invest in your music, but don't be stupid and squander hundreds of tapes, envelopes and postage sending demos to everybody on the planet. That simply will not work. The average songwriter sends 100 submissions a year for five years per song at an average cost of TEN DOLLARS per submission! For that kind of money they could have a commercial distributed release!

[INSERT: You might want to try some of your best works in an UP-LOAD to a series of PROMOLIBRARIES, and you only need to upload to ONE - as they trade song for song constantly. [Contact any legitimate Record or Artist Promoter, Song Hookers, Inc., AVMR Services] or Major DISTRIBUTED Label contact or any of the several independent promolibraries. Most LEGITIMATE PromoLibrary Brokers are on-line. Record and Artist Promoters who DO NOT have access to EMS or promolibraries - or don't know what they are - are NOT legitimate promoters! Prices vary but the cost is nominal for the coverage to put your music in the hands of some 8,000 broadcasters and background music users. Your song just might get picked up for recap or HIT in one of the industry's legitimate charts!

And if you upload through the promolibraries, "how do you know they'll play your song?" The same way you'd know if you squandered about $35,000.00 to $40,000.00 it takes to manufacture and mail the same recipients a copy!

AVMR Services handles both our paperwork and promolibrary contracts, although you may use any service you want. Just make sure they are LEGITIMATE! You don't need a promoter, or anyone else, to contact an EMS (promolibrary) Broker. AMVR's promo contract is at Promolibrary Contract.]

INTERNATIONAL INDUSTRIAL REVIEW!
ARTICLE 09
RECORD LABELS,
MUSIC PUBLISHERS,
GENERAL LICENSERS


NOT THE SAME THING!
SOME YOU PAY, SOME YOU DON'T!

Jeremiah Jacob Jacoby,
International Industrial Review,
Investigative Reporter,
New York, NY

New York City. Once the great Mecca of print publishers and now the Great Grand Sewer of Entertainment Industry myths and deliberate distortions. New York City has produced and perpetuated more outright contemptible damned lies than all other so-called music capitols combined! Those of us of Jewish extraction are familiar with the old saying "A half truth is a whole lie", and the New York Music Industry, specifically ASCAP, BMI and SESAC, do not even have the pretense of so much as a half truth.

The first Great Myth: is the deliberate distortion that because PUBLISHING IS FREE TO SONGWRITERS everything else is reputedly 'free' through out the entire Entertainment Industry. Promotion and Distribution is not 'free'! Neither is recording production, ASCAP's, BMI's and SESAC's damned lies to the contrary notwithstanding.

PUBLISHING IS FREE TO SONGWRITERS! But it ends there and stays ended there! Being one's own Executive Producer and paying those relevant costs is not 'paying for publishing'. However, the Great Grand Liars at ASCAP, BMI and SESAC will purport that spending any money for anything is a no-no except to their Pay Clique Members who pay their share of a record investment just like everybody else!

There are THREE (3) elements of recorded music that are not only totally separate and non-related, they are critical to the investment and expertise of each and every record:

(1) Music Publishers: who not only print song sheets, books and folios (usually by licensing them to PRINT publishers with their own wholesale and retail chains), they also attempt to license their works to Record Labels and Trade Publications that cater to song lyric content in addition to background music users such as Muzak, and television and motion picture inclusions;

(2) Record Labels: who license, manufacture and release recorded music wherever recordings or their content can be used for profit as well as direct sales via existing commercial distribution and marketing outlets; and

(3) General Licensers: who are the Big Administrative and Finance Houses, with all the facilities, and sound business principals expertise, to cover all the bases of this very complex and risky Industry. And all it takes is MONEY!

The second Great Myth is: that once a song is contracted to a publisher that it's a surefire fact the song is going to be recorded and make everybody a million bucks!

The Great Grand Liars at ASCAP, BMI and SESAC will tell you to "get a publisher and don't pay any money", and in the same breath they confirm that getting a song recorded, and making any money on it once you do get it recorded, is only a shot in the dark at the very best. In fact, only ONE song in 5,000 ever makes any real money. That doesn't mean there isn't a solid return on investment, it just means that not every song is going to pay a million dollars.

The fact is: Executive Producers who pay all their own production and their share of promotion costs aren't going to record anybody's music they can't make a solid return on: i.e. paying themselves instead of anybody else! It's not a matter of a good song selling a lot of records, it's a matter of the content of their record paying the investors as much Return On Investment as possible. If YOU were paying all those bills whose music would YOU record? YOUR OWN!

But the Grand Liars at ASCAP, BMI and SESAC will advise against paying any portion of production or promotion even as your own Executive Producer! Read the credits of virtually all 'name' records, motion pictures and TV programs and you'll find the STAR is usually their own Executive Producer! Peter Falk of "Columbo" and Angela Lansbury of "Murder, She Wrote" for solid examples.

The fact is: Music Publishers don't spend one dime knocking on doors to hawk songs in their catalog! All they do is advise the General Licensers as to available budget and take their choice of whatever is up for the next distributed release! And they only get that chance if the General Licenser's in-house publishers either don't have the budget or necessary material for the Artist.

If YOU were a publisher would you finance someone nobody ever heard tell of, or invest in a KNOWN quantity of business expertise?

The Grand Liars at ASCAP, BMI and SESAC will tell you to "make a better demo" and send it to everybody in the book knowing damned well their respective Pay Clique Members are spending money hand over fist to get their songs recorded and released on distributed Labels! If you're ignorant enough to believe ASCAP, BMI and SESAC, then you're welcome to stay out of this Industry as long as you want to!

The fact is: Record Labels don't have to spend one penny to 'discover' anybody! They may have to spend a bit to shelve someone to keep them out of competition with an artist they have a huge investment in under disguise of 'discovering', but for no other reason.

The Grand Liars at ASCAP, BMI, SESAC and at least six of the nine General Licensers will tell you "talent is the only way to go" and turn you down for a contract in the same breath! If you're stupid enough to believe the 'talent' nonsense then YOU are keeping yourself out of competition and nobody in the Industry has to spend so much as one more penny to keep you out!

The fact is: General Licensers aren't in business to humor perpetuated myths and delusions of the Industry: they're in business to make money selling records! They have all necessary facilities and expertise to process, manufacture, layout, print, promote, advertise, license, market, distribute, merchandise and sell records and Artists world wide.

The Grand Liars at ASCAP, BMI, SESAC and said six or so General Licensers will stop at nothing to keep those facilities exclusively to themselves because it's cheaper than competing in an open market! And MONEY is the name of the game.

NEVER pay a 'publisher' for "professional lead sheets" (which haven't been used for thirty years!), "a better demo" or ANYTHING ELSE a publisher does to exploit a song! And don't expect to earn more than a pittance at best unless YOU or someone with money to burn INVESTS A LOT OF MONEY in production, promotion and distribution of a record containing your song! Even when distributed by one of the Super Six General Licensers the odds are only one out of eight the record will sell any copies at all!

NEVER confuse paying all or part of production, promotion, et cetera, with 'paying for publishing' because it is not! Neither Executive Producers, Record Labels, Publishers or General Licensers are bottomless pits of money: and none are in business to make millionaires out of non-investors!

NEVER pay anybody "to have your song in ..." unless that Artist records for a Label licensed and distributed by one of the Super Six General Licensers! However, there are a few quality Radio Compilations that are not 'your song in an album' scams and should not be confused with such. New Country and Stardust, both out of Nashville are two examples of solid and legitimate compilations - that deliver what they say they will deliver without any nonsense attached.

NEVER confuse a Promoter as being a DISTRIBUTOR! Or a local Distributor with being a NATIONAL or WORLD WIDE GENERAL LICENSER! They are not the same thing. One is a wholesaler, the other SELLS TO wholesalers.

And NEVER expect someone else to pay all the bills and then give YOU all the money! Unless you're a total idiot.
INTERNATIONAL INDUSTRIAL REVIEW!
ARTICLE 10
BEFORE YOU RECORD
WHAT WON'T WORK!
KISS OF DEATH ELEMENTS TO AVOID AT ALL COSTS!

Lyman Jergens,
International Industrial Review,
Staff Reporter,.
Los Angeles, CA.

More good record projects are destroyed in recording by fools than all the no-talents that ever lived!

First, only a complete idiot records anything before they have a hard contract for release and distribution. Emphasis DISTRIBUTION! Those who squander untold hours of tape, talent and equipment producing an emotional trip in hopes some record company 'will take it from there' are those proverbial fools from whom money is soon parted.

Record Companies do not need 'talent' or material: they need Executive Producers (ExP) with their share of the BUDGET!

Releases in the real world are owned by FOUR (4) entities, all of whom pay for promotion and THREE (3) who absorb distribution costs thereafter should there be any actual sales. The Super Four are: (1) Executive Producer (ExP), creator and Chief Financier of the project and who either owns the masters or represents the investors who do own it; (2) the Record Label, under whose license and liability the product is manufactured and sold; (3) the Music Publisher(s), who own the copyrights to the recorded material, various other rights and obligations that fall under Copyright Law; and (4) the General Licenser, who owns the distribution network and does the vast majority of administration.

The Label, Publisher(s) and General Licenser are the Big Three of Distribution once a disk is actually in demand. The ExP usually isn't required to invest any more money once a record is begins selling. But, that depends on the terms of the contract!

Therefore, before you record, get an Executive Producer's Record Release Agreement from one of the Super Six General Licensers. Not only will it insure that your record will be released, it will get up to seventy five percent of promotion on someone else's nickel! If they have the budget to take your project at all, the General Licenser will put up their share and get you a label and a publisher who will put up their respective shares. Now there's enough money in the bank to properly release, promote and distribute the record.

It will not get you any front money to record! Forget it and be ready to pay the recording costs and a quarter to a third of the promotion budget. And be ready to do business! You'll have no more than thirty days to deliver the Finished Production Masters and a check. Should something go wrong, for any reason, contact your Exec immediately! Let them hang for even twenty four hours and your deal can very well be in the nearest sewer. They have to make money on their money, and while you're dillydallying they'll go with something that's ready.

The General Licenser will give you all the specs, from running times to mix secrets of commercial acceptability. Follow those instructions to the letter or your deal is dead, contract or no contract. The General Licenser will provide you with an ESTIMATED BREAKDOWN, and that's the available deal, take it or leave it. It may be a matter of available money, or that your music really isn't setting the sales world afire regardless of what the media hype claims.

WHAT WON'T WORK!

1. Any indication that you're either Industry Ignorant or paranoid. Industry Ignoramuses queer deals at the outset, but paranoids queer deals after the money is invested! You'll queer one deal and never come off the Turkey List ever again.

2. Manufacturing product (even demo copies) to 'impress' the record company. You've just destroyed any and all anti-counterfeiting capabilities! There's a first generation copy of your master out who-knows-where. Commercial copies are made from copies of your master, so 'having your master back' only displays your Industry Ignorance.

3. Trying to do the record company's job for them! They have, and pay good money to, all the expertise necessary to do whatever is required from start to finish in each and every field of music. The very last thing anyone needs in this (or any other) business is interference! They know what to do and when to do it, and with their money on the line too, they won't make any mistakes.

4. Waiting for them to call YOU! Should any record company ever need 'talent' or material all they have to do is answer the phone or open the mail! Anyone who thinks 'it takes talent' to make a record should turn on the radio.

5. Not talking to their answering machines. People who want to do business know answering machines and voice mail systems are critical! Those who 'won't talk to them' have locked themselves out of the Industry with their own stupidity. Good riddance.

6. Going to a 'music capitol' to record. A tape deck or instrument will operate just as well at one address as any other, and General Licensers are unimpressed with people who squander money needlessly. Follow the General Licenser's production advice and your record will be as commercially acceptable as anybody else's.

7. Constant contacts with your Executive. Time squandered with you is time not spent taking care of the product! When there's news of any importance they'll contact you!

8. Don't take your half-cocked, used-car-salesmen reject 'managers' and other such baggage with you via contract or otherwise. Make sure if someone else represents you that they are: A) Industry Knowledgeable, B) have a spotless Industry Reputation, C) are not paranoids, and D) know how to do their job without spilling over into anybody else's.

9. Don't be caught dead presenting 'business plans' in the same vein as those palmed off by the Majors on wanna-be fools to insure they squander their budget and thus are kept out of the Industry and Competition on their own nickel. The most prime example is an "EP". Record Buyers don't want half an album and they cost as much to manufacture as a full production.

10. If you want an attorney to review your contract, get legal advice, not business advice. Lawyers suffer under the same what-won't-work nonsense as every other fool who has never made nor sold a record. And "not spending any of your own money" is the Title Page of each and every such scenario.

The General Licenser will present a copy of the broadcasters they've sent PromoRecords to after the record has run its course. The 'after' factor is to prevent destruction of the project by 'friends' and breach of contract, specifically the non-interference clauses.

One thing you'll need from day one besides money is original material! You can't just record somebody else's music anymore than you can just drive off with somebody else's car. You can perform it all you want to, but recording it takes a Mechanical License from the Publisher(s) prior to production and release of the record. Make sure your music is free and clear, and not plagiarized, unless you want a Lifetime Membership on the Industry's Turkey List.
(CLARIFICATION - Music Publishers, Labels and General Licensers do not throw their entire budget into a record project! They make their investments in proven product only, in accordance with market demand, and only as that market demand dictates. They do have an initial investment in any release - mostly administrative and legal fees - and each does their own process of promotion. However, the greater part of the financial burden with respect to whether a record will sell in commercially acceptable quantities or not is the sole and exclusive domain of the Executive Producer (ExP) and is paid for out of the ExP's share of the promotion budget. WARNING! Any successful record project must be handled from start-to-finish by, or in exact accordance with instructions from, the General Licenser! There are myriad of legal, administrative and marketing details that are critical to a successful record. Blasting off on your own incoherent emotional tangent of Beer Joint Baritone Ph.D. stupidity is the best way to pre-empt all of them, to sure and certain financial disaster! - General Bobby Farrell.)
INTERNATIONAL INDUSTRIAL REVIEW!
ARTICLE 11
THE INDUSTRY'S BEST
AND WORST DEAL!

LONG-STANDING LIES, MYTHS AND CONGAMES!

Sebestian Garcia Mondragon
International Industrial Review,
Investigative Reporter,
San Palo, Brazil

With all the MIS-information about recorded music filling the entertainment pages and air waves, getting accurate how to do it right the first time facts is all-but impossible. Nevertheless a non-distributed record is worthless regardless of how much money is spent in production or promotion.

Most Artists and Groups squander their entire budget making totally worthless 'demos' or being session-rich and promotion-poor. There's nothing more idiotic than thinking you can produce anything and some 'label will take it from there'. The only time that scenario happens is when some label has to take the act out of competition!

Talent is not the prime factor of success in recorded music. It does take good song material, produced in a commercially acceptable manner, sufficient budget to properly manufacture and deliver the record to appropriate promotion and distribution outlets with the industry expertise and logistics necessary for the General Public to hear, find and buy the record!

If you're an aspiring artist you're going to have to develop a market following of record buyers who will hopefully become Concert Ticket buyers and long term supporters who will contact their local broadcasters to air your music. And right there is the first Catch 22. How do you get to listeners without first going through radio? The fact is: you don't!

That means you've got to produce a recording that is air-worthy at the outset, then get it delivered to radio stations by those elite few who know the who and where your record will have the best chance. Mailing records willy-nilly flatly won't work! Broadcasters are reluctant to air records that can't be bought through existing commercial distribution outlets.

You need distribution through one of the Super Six General Licensers!

If you're amenable to adapting to the market rather than expecting the market to adapt to you: then you have as good a chance as anybody else to make a well-paying life-long career as a Recording Artist. If you insist on some self-inflicted narrow little nit of 'your talent': you're wasting your time and money in this Industry. So what do you do to get on the air and develop a market following?

You pay strict attention to the advice of your General Licenser!

Currently, there are still satellite networks offering FREE programming to radio stations for carrying the satellite company's commercials. Stations insert their own commercials, reducing their staff and payroll to sales personnel and on-air technicians, the later usually at the lowest possible wage! Thus "On Air Personalities" (OAP pronounced APE) 90's doublespeak title of an 80's DJ) either have to perform or die the death. If they can't produce solid income for the station: they're dead.

Next, live music night clubs can cut their license costs and band overhead with the installation of an amplifier and mike into the jukebox and letting the customers entertain themselves! It's called "KARAOKE" and it became a rage in the Nineties, and a rage of rages in the New Millenium, with no end in sight. There are Karaoke entertainment services with the talent and equipment for hire, but with a lot less trouble of a live band and all their prima-donna nonsense. Club owners can charge the same prices at the door and for drinks as they would with a live band only at a near-nothing cost. And suddenly the door is wide open to the Artist who wants to build a market following!

First, the record must be a distributed product, easily obtainable by contacting one of the Super Six General Licensers and requesting an Executive Producer's Record Release Agreement before you record! You'll know how much money it's going to cost, the latest market indicators as to instrumentation and music tastes, and get priceless production advice. Then you only need to concentrate on which FIVE songs to record.

FIVE SONGS? That's right. You need only record FIVE songs. And you mix them with and without the lead vocal!

Get that straight! You'll have TEN cuts for the album: FIVE with the lead vocal, and FIVE without the lead vocal. That will double your mechanicals as you'll get paid for both inclusions just as you would with ten songs, and cut your recording costs by half in the process! But make sure you only eliminate the LEAD vocal - everything else stays intact!

The OAP must either entertain or die, leaving no other choice but to hit the karaoke spots as few bands can actually credibly perform most new and popular records. That dictates the circumstance that said OAP must be about the business of making the songs popular they intend to perform! You've handed them a first rate quality set of KARAOKE BEDS to sing to: but the Karaoke Night Club or Operator has to buy their copy!

The OAP has to air YOUR version of the song in order to make it popular enough for their performance of it even in satire! And that has to be done over the air!

With OAPs in the either deliver or "we-go-satellite" squeeze, night clubs fed up with ASCAP, BMI and SESAC black mail, and prima-donna band nonsense, the doors to radio airplay and someone else doing YOUR MUSIC as covers are both as wide open as the Industry has ever been in its entire history!

Sing-A-Longs (kids call them TRAX, Industry calls them MMVs, Music Minus LEAD Vocal) often outsell the artist's vocal version by a factor of FOUR to ONE! That's a market increase of FOUR HUNDRED PERCENT! In simple rule-of-the-thumb terms if your record sells 100,000 copies - the MMV will generate another 400,000 in sales - and you're SOLID GOLD as it only takes 500,000 to get a GOLD ALBUM!

It doesn't matter if the OAP satirizes your song: you're still the Artist of all sold copies! It doesn't matter if the OAP sings your song over the air: you're still the songwriter on the receiving end of those Public Performance for Profit royalties! Once you have a distributed record containing songs ANY OAP can sing: the odds of building a market following are astronomical, not to mention the ROI (Return On Investment) from record sales!

At an average of $1.80+ (as ExP and Artist) per copy sold (2004) not counting airplay you can see why over 99% of $100,000.00+ per year Artists are their own ExP! (UPDATE: Royalties have been increased to EIGHT and ONE HALF ($.085 USC) as of January 1st, 2004) per 3:00 song per copy sold. For a 10 selection album, that computes to $.85 to the Artist and $.85 to the ExP - totaling $1.70 per copy sold if you're both! And, when you're your own ExP you can record your own compositions and get another FORTY TWO point FIVE CENTS ($.425) as your FIFTY PERCENT (50%) share of the Music Publisher's mechanical earnings. NOTE: that Vandor/VMG pays EIGHT POINT SIX CENTS ($.086) per 3:00 song, keeping with our policy of always being above statutory.

That's the best deal the Industry has ever had. Don't be disheartened if the General Licenser you contact turns down the deal. They may be too far in debt to take on any new projects unless the ExP is paying the whole show! Simply call the next Licenser until you get a taker. But never call until you're ready to do business!

The Industry's worst deal is the one that costs you nothing - has ASCAP's, BMI's and/or SESAC's full approval - and a charge back provision that's pure and simple robbery. The only worse case scenario is waiting to be discovered by some 'talent scout' reputedly representing a 'label' or one of the Super Six General Licensers. The only time that is going to happen is when you are making enough noise to be a threat to the investment of somebody who has already bought their way to the top - and you have to be shelved - to protect that investment.
INTERNATIONAL INDUSTRIAL REVIEW!
ARTICLE 12
GENERAL LICENSER'S
FINANCIAL SUPPORT

Geoffery Borginton,
International Industrial Review,
Investigative Reporter
Bern, Switzerland

The Super Six (6) General Licensers distribute virtually all the records available in legitimate record stores world wide. There are a few grandfathered Labels, some with National, a few with neighboring-country International, but none with world wide licensing and distribution. Only the Super Six General Licensers are global!

If you're talking to a label, the odds are you're negotiating yourself into a shelving contract. That's the 'sweetheart' deal that sounds great, costs you nothing, and owns your soul and everything you create from date of signature to the far reaches of oblivion. Even if you're laying down a huge chunk of money! The old "If you've got a million dollars, we'll match it!" game played so well in the so-called music capitols.

A little-known fact is that all labels are caught in a near-closed market situtation. In order to have legitimate distribution, above and beyond the Mom & Pop operations, there are Fiduciary and Administrative requirements beyond the financial and expertise scope of virtually all Independent Labels. Most have to do with anti-counterfeiting Codes and Measures that will stand up in any court; product return (the money-back guarantee known in the Industry as buy-back) that must be in the Bank and not dependent on a 'promise' from somebody out in the hinderlands; established bank-transfer and credit lines that can often be into the millions of dollars; and promotional endeavors for both the Artist and recorded product. The legalities in these areas alone are mind-boggling.

Then there's the Buyer's side of the story. First, the cost to establish, administer and maintain accounts by Main Line Chains and Major Wholesalers is usually far greater than the profit earned from independent labels who release only one or two projects a year, if that! Most are self-produced custom runs with only the Artist who owns it as the 'stable', known as "hip pocket" labels in the Industry. Second, a product that is not properly promoted has little chance to compete against product supported by any of the Super Six. Third, there is the liability factor, which includes all relevant clearances and licenses lest a product contain protected materials used without permission. Nobody wants to spend their narrow profit margins on Attorneys and Court costs because some wannabe is ignorant of mechanical or other use requirements and procedures.

Distribution, manufacturing and licensing are available at all the Super Six General Licensers. All, except Vandor, require at least TEN MILLION DOLLARS ($10,000,000.00) (USC) PER YEAR in sales. Or if you prefer being an Executive Producer and releasing on one of the relevant Flagship labels, you must be prepared to deliver not less than FOUR (4) PROJECTS per year at $2.5-Million (USC) each. Some of the Minor Majors (Independent Labels who license and distribute through one or more of the Super Six) may be under that amount if the Artist Development budget is enough to make up the difference. Even then, only Vandor will assist in getting you the necessary finances.

This (United States) issue lists the six General Licensers in alphabetical order:

BERTELSMANN MUSIC GROUP (BMG), 1540 Broadway, New York NY 10036; Tele: 212 930 4000; German owned, RCA and ARISTA are flagships. Distributes J Records, Vanguard, Jive, Mammoth, Ariola, Bad Boy, La Face, Volcano and BNA. [UPDATE: (2004) BMG has merged with SONY!]

CAPITOL/EMI (EMI), 810 7th Avenue 4th Floor, New York NY 10019; Tele: 212 603 8600; British owned, CAPITOL, EMI and TOWER are Flagships. LIBERTY and UNITED ARTISTS are no longer active except for Specialty Product of expected limited market value. Distributes Nettwerk, Artemis, Liquid 8, Heads Up, Acony, CarPort, London, FFRR, and Virgin as it moves from BMG.

SONY (GRG), 550 Madison Avenue, New York NY 10022; Tele: 212 833 8000; Japanese owned. CBS and COLUMBIA are flagships. Also owns Epic, Screen Gems. Distributes 550 Music, Immortal, American, Monument, Aware, Loud, MoTown on occasion, Blue Note, Legacy, Manifesto and So So Def. [UPDATE: (2004) SONY has merged with BMG!]

UNIVERSAL (MCA), 70 Universal City Plaza, Universal City CA 91608; Tele: 818 777 4000; Seagram's owned, MCA, DECCA and Universal are flagships, licenses MoTown, Geffen and Vocalion. Bought out Polygram in 1999 and merged(?) with Vivendi in 2001. Distributes A & M, Rounder, Wind Up, RadioActive, Republic, Almo Sounds, Lost Highway, Dreamworks, Peak, Concorde, Island, Lyric Street, Polydor, Mercury and sometimes Interscope.

VANDOR MUSIC GROUP (VMG), 1826 Poplar Lane SW, Albuquerque NM 87105; Tele: 505 247 4843 - Fax: 505 265 8942; Privately owned, VANDOR, JUKE RECORDS OF TENNESSEE, and VMG WORLD WIDE are flagships, licenses IceFire, Peony, FMC Ltd., Suddath, Nitram, and distributes more independent labels than all the other General Licensers combined. Pays the highest mechanical royalties, offers up to seventy five percent of initial promotion financial support and all follow-up distribution and licensing costs. Assists with project financing, including seed money. Contracts and licenses through its own Agents - from individual Executive Producers through full group companies. Has an impressive string of Platinum, Gold, and Chart records. Does not stock product until market demand justifies the expense reducing buy-back (product return) to a minimum.

WALT DISNEY COMPANY (WDC), 500 South Buena Vista Street, Burbank, CA 91521-9722, Tele: 818-560-1000 - Fax: 818-560-1930; primarily an entertainment Theme Park, motion pictures and television progams. Owns Buena Vista and Disney labels. Distributes DreamCatcher and Hollywood. Disney's interests are mostly with their own Themes and Program music and albums.

WARNER BROS. RECORDS, INC. (WEA), 3300 Warner Boulevard., Burbank, CA. 91505 - Tele: 818-846-9090; One of the world's largest companies, combined with America On-Line and owns CNN. Distributes Warner Bros., Atlantic, Elektra, Nonesuch, Reprise, Lava, Concord Jazz, EastWest on occasion, Sire, Tommy Boy, Geffen, Giant, Rhino and Maverick (owned by Madonna). (2003) Sold its manufacturing and distribution to CinRam, Canada.

Some labels move from one General Licenser to the other project by project, such as Virgin from BMG to EMI, MoTown from CRG to UMG, and InterScope sometimes with WEA and sometimes with UMG, so nothing is ever very permanent in recorded music. The reasons are usually economic rather than legal, creative or administrative differences. The Super Six always pool resources as profit dictates, and labels often have no other financial choice. The cash register can make some very harsh demands. And due to that cash register, the fact is you'll find that with the exception of Vandor, the rest of these doors are closed for all intents and purposes. Vandor is uniquely established to secure business investment and venture capital for proven clientele, Artist or Label, and is the only true General Licenser of the Super Six that is debt free.

Without the logistics and support of a General Licenser, marketing expertise, manufacturing, promotion and distribution, there is little, if any, hope of success for any record.

Getting financial support is easy enough if you don't expect someone else to pay all your bills! Pay your share and they'll all pay theirs, but none is going to lay out millions of dollars to anybody on the basis of a do-nothing and doing-nothing label or production. All the General Licensers need competent business associates, but none needs to finance any wannabe regardless of talent or originality. If you want to "be discovered" be prepared to wait a very long time, perhaps several lifetimes. But if you want action in this millenium, get your business house in order and contact any General Licenser.
END OF INTERNATIONAL INDUSTRIAL REVIEW ARTICLES
Printed by Permission.
ARTICLE 13
ASCAP, BMI, SESAC, - THE WHOLE SCAM AND HOW IT WORKS!

BMI - Broadcast Music, Incorporated
Guard Dog now raids the Chicken Coop!
Joins ASCAP in Multi-Billion Dollar Thievery & Extortion Scam!

The Chicken Coop = Songwriters and Publishers. Both too small and with too limited resources to track and collect from those who use their created and/or copyrighted materials for profit. In this instance - Songwriter's and Publisher's music - being used by broadcasters, live music nightclubs and other such concert venues where music is a part of the draw for profit. The entire licensing situation is much more complex than this, but I'm showing an example, not teaching credits for a Ph.D. in Entertainment. However, if you want a Ph.D. in being shafted then kiss the ass of the lying thieving bastards at ASCAP, BMI or SESAC!

The Guard Dog = Those organizations created to represent Songwriters and Publishers 'for a small fee' (there's no typeface or font that can put that statement in enough contempt!), to license users, collect and disburse the royalties 'fairly' (or that one either!). The big three are ASCAP, BMI and SESAC. Now that we know what the game is supposed to be, let's set the historical stage and expose what the game has become.

Back in 1940 ASCAP's (American Society of Composers, Authors and Publishers) abuse - Clique Paying, Price Fixing and other 'honest' endeavors of such Court-protected thieves - began to wear thin on the Broadcasters. Most radio stations at that time were single company business ventures although Networks were in existence. ASCAP's extortion policies began to put a real economic crimp into those Broadcasters, large and small alike, so the fun began. They first just flatly refused to play anything that wasn't Public Domain and told ASCAP to go straight to hell. Their actions created what was called "The Jeannie With The Light Brown Hair era" named after one of Stephen Foster's most popular songs.

ASCAP began in 1909, then formally organized in 1914, because the Music Publishers made fortunes while the songwriters, such as Stephen Foster literally starved to death! But since bastards will be bastards, ASCAP's eventual antics were no less out-right thievery (then and now) than the uncontrolled Publishers had been.

Then came SESAC, in 1930, reputedly the "Society of European Stage Authors and Composers", although I was told directly by SESAC that SESAC stood for SESAC and there was no such namesake about it. Primarily instituted to fleece GOSPEL music writers and publishers that ASCAP let fall through the cracks, they saw the greener fields of country - then called 'hillbilly' - and Black music as far more lucrative.

They certainly were not - and still ARE NOT - any improvement over ASCAP or the later version of self-appointed thieves to enter the fray: Broadcast Music, Incorporated, better known as BMI. More about BMI as we go.

Then in 1940, enter BMI to counter the damned thieveries of ASCAP and SESAC!

The major amount of license money at this stage of the game was (and still is) from Public Performance via broadcasters who use music to lure customers to hear commercials - where they make virtually all their income. It's called "Public Performance for Profit" and although any venue that uses music for profit - nightclubs, et ceteras - the determination of 'use' is broadcast 'surveys' and only those 'surveys' conducted by the damned thieves at ASCAP, BMI and SESAC!

Now understand that: ALL PUBLIC PERFORMANCE ROYALTIES ARE DETERMINED BY RADIO/TV AIRPLAY! What you sing/hear in a nightclub, or a Concert Stage, is paid for by 'license' ("extortion" is a far better term!) just like the radio stations - but doesn't credit one god-damned penny to either the songwriters or the publishers!

And here's the Court-Approved scam: The lying thieving bastards only MONITOR THOSE BROADCASTERS WHO AIR THEIR ELITE CLIQUE's MUSIC! That's why and how the vast majority of YOUR MONEY is paid to a very Elite Few! To be sure, ASCAP, BMI and SESAC scatter pennies to their respective Pittance elements, as I'll clearly document below. But it's only a paint job to disguise the real scam!

The issue was, and still is, that because ASCAP deliberately collected license fees on behalf of Black, Country and other Artists they considered to be non-entities, these same Black, Country and other Artists were never paid a damned thing simply because they were not in the ASCAP Kak-Clique! Because SESAC has long-shown they were no improvement, it was hoped that BMI would correct these injustices and restore some fairness to the Public Performance licensing game. In fact, all that happened was: ANOTHER CHANGE OF THIEVES!

I came on the scene in 1936, and as a child endured the perpetual repeats of the few Public Domain selections available to broadcasters - the "Jeanie With The Light Brown Hair era" - until BMI managed to formulate and gather a catalog. ASCAP then finally made a few concessions, all duly endorsed by the thoroughly corrupt United States District Court, Southern District of New York to whom they would be thrown en'toto in later years. In short, the thieves at ASCAP joined forces with the Thieves in Black Robes and their combined firepower (ASCAP-money and Government-oppression) kept many quiet who would have otherwise spoken out! Their only real problem is that I'm not afraid of the god-damned government - Court or otherwise! Such corrupt government and court antics have become so rampant, that if it isn't time to overthrow the socialist bastards and restore the Constitution and Justice, it's damned sure time to begin open and public consideration of doing so!

Once BMI began to gain membership and catalog, primarily from the Black and Country Music communities, none of whom were in the ASCAP Pay Clique, BMI's disdain for all those ASCAP Refugees became as ruthless as ASCAP always had been! Don't think so? Then ask the lying bastards "WHEN" they started paying Black, Country, et ceteras, THE SAME RATE THEY PAID THE ASCAP KAK-CLIQUE? You'll find that it was many years after BMI's formation and ASCAP didn't relent until the mid-1960's! The mealy-mouth excuse that they "improved distribution" does not erase the previous outright damned thieveries anymore than a bank robber giving the money back excuses Federal Bank Robbery criminal charges! Of course, it did with these bastards because they were all duly cloaked behind the Black Robes of that perpetually corrupt United States District Court, Southern District of New York!

The scam spreads and the courts get more corrupt!

Because BMI can and does act on the Court Precedents established by ASCAP, and vice versa, anyone who doesn't have sufficient money to buy the Justices of said United States District Court, Southern District of New York - and any other Federal District Court where a case may be moved - is beat before the case is ever called to trial. Whether the suit is against ASCAP, BMI or SESAC, doesn't matter. The case was decided long ago on some golf course, fishing trip or vacation bacchanal, and it was decided AGAINST YOU! All the antics in the court room are just so much public-show poppycock, staged for those stupid enough to believe it is anything else.

And if you don't think so: TRY IT! Sue the bastards and see how far you get. The stage is already set and courts are already in the other camp. Neither ASCAP, BMI nor SESAC can be taken into any court that will require them to deliver copies of their Payment Records for discovery! If any of the lying thieving bastards sue YOU, you'll have to present everything from multiple samples of your eyebrow dandruff to your Great-Grand Mother's gene test! And then you'll have to accept, without question, those same lying thieving bastard's decisions against you as final, irrevocable and without appeal! And that includes the choice of WHO gets to hear your complaint, if anyone!

A prime example is the recent SIGN AWAY YOUR RIGHT TO PROTEST - OR GET THROWN OUT scenario enacted by ASCAP during their 'renewal of membership contracts' of late 1995-early 1996. In short, if you didn't 'approve' the changes that welded ASCAP's decisions - about who and how much royalties to be paid them - in steel, TO WIT: their decision being final and without appeal; YOUR MEMBERSHIP WAS REFUSED! Such terms would be ILLEGAL in any other contract. So what did that god-damned corrupt United States District Court, Southern District of New York, do about it? ABSOLUTELY NOTHING except give it their utmost force of law!

The scam took the form or "Membership Extension Agreement" whereby anyone who does not fully agree to the 'new terms' simply will not be permitted to remain a Member of ASCAP. As with all such KAK-GENERATED scams, the Devil is in the Details. Those 'new terms' are, and I quote (copied verbatim from the ASCAP document):

With respect to the membership agreement ("the Agreement") entered into between us (hereinafter "Owner" and "Society" respectively) for periods through December 31, 1995, Owner and Society hereby agree to extend the Agreement for all purposes for a further period commencing January 1, 1996, subject to the following:

1. Paragraph 2 of the Agreement is hereby amended to read as follows: "2. The term of this Agreement shall be for a period commencing on the date hereof and continuing indefinitely thereafter unless terminated by either party in accordance with the Articles of Association."

2. The final clause of Paragraph 7 of the Agreement is hereby amended to read as follows: "7.... in accordance with the system of apportionment and distribution of royalties as determined by the Board of Directors in accordance with the Articles of Association as they may be amended from time to time."

3. Paragraph 8 of the Agreement is hereby amended to read as follows: "8. The Owner agrees that the apportionment and distribution of royalties as determined from time to time by the Board of Directors of the Society, in case of appeal by him, shall be final, conclusive and binding upon him.

--- The Society shall have the right to transfer the right of review of any apportionment and distribution of royalties from the Board of Directors to any other agency or instrumentality that in its discretion and good judgment it deems best adapted to assuring to the Society's membership a just, fair, equitable and accurate apportionment and distribution of royalties.

--- The Society shall have the right to adopt from time to time such systems, means, methods and formulae for the establishment of a member's apportionment and distribution of royalties as will assure a fair, just and equitable distribution of royalties among the membership."

And believe it or not - that god-damned corrupt United States District Court, Southern District Court of New York APPROVED IT - LOCK, STOCK AND KAK-BASTARDS!

Now that BMI has that pretty puppy to ride on, they can, and will, shaft everybody in sight with that same Court Precedent! ASCAP, BMI and SESAC funnel the lion's share of income into their respective PAY cliques, sprinkle a few pennies among their PITTANCE cliques, and legally rob everybody else! If any victim wants to protest - the lying thieving bastards at ASCAP, BMI and SESAC have the sole and exclusive authority to determine who gets to hear the complaint, IF ANYBODY! Now that BMI has ASCAP's duly documented illegal and unjust extortion clause in their membership contract, their feeding frenzy on those in the NO-PAY cliques will increase in quantum leaps. And if past conduct is any indication, here's what to expect, and a few points you can check for yourself. And please pay close attention to that "fair, just and equitable distribution of royalties" statement above.

In April, 1993, I released a series of songs by SABRINA PIKE, CHYLON and YOUNG COUNTRY! Both SABRINA and CHYLON hit the Top-50 the last week of May, 1993 - and were never out of the Top-50 for the next THREE YEARS!

Now comes the cold hard fact of outright thievery by BMI deliberately directed toward GENERAL BOBBY FARRELL! I just as deliberately tricked the lying thieving bastards!

I cleared all the music in YOUNG COUNTRY's album through Bobby Farrell International Music Publishing Company (BMI), with follow-up clearances by Johnny Winnett and Tom Lee - who are YOUNG COUNTRY - and deliberately let SABRINA PIKE clear her own music without listing me as the publisher!

SABRINA PIKE's "Talk To Me" stayed Number One in GSCMA's Hot-100 with YOUNG COUNTRY's "Sue, She Knows What I Like" at Number Two for a solid NINE MONTHS! Then they changed places with YOUNG COUNTRY holding Number One for the next TEN MONTHS with SABRINA staying at Number Two! That's a long haul for any release in the book.

BMI's payment record? A measly TEN DOLLARS for SABRINA at 200% (both composition and publishing) and neither YOUNG COUNTRY nor BOBBY FARRELL MUSIC ever received one god-damned penny for any of the other music! And the only difference was that SABRINA PIKE's songs were NOT cleared via BOBBY FARRELL INTERNATIONAL MUSIC and YOUNG COUNTRY's were!

CHYLON? She remained in the Hot-100 with her "All The World Loves A Lover" and "A Tell Her You Love Her" - both through FIREDRAGON (ASCAP) and not one god-damned penny out of them either!

The excuse? From both ASCAP and BMI - "NO SURVEYED PERFORMANCES!"

Three solid years in the Top-50 - a year and a half at Number One - hundreds of Radio and Satellite Reports certainly guarantees "non-existent PERFORMANCES!" When we proved massive performances, we heard the inevitable "that song wasn't cleared!" And so the scam continues.

Understand that! The only real differences between the damned liars and thieves at ASCAP. and the damned liars and thieves at BMI, and the damned liars and thieves at SESAC, are the telephone numbers, addresses and membership/victims list! You could have THE ORIGINAL SOUNDTRACK OF THE SECOND COMING OF CHRIST, the Attending Angels singing backup, Elijah on the Front, Moses doing Promotion, and a confirmed date, and not collect one god-damned penny unless you're in one of the respective PAY or PITTANCE cliques! It wouldn't matter if the only other sound on broadcast were Harp Interludes, and you could own them too! With that no-recourse extortion clause in the membership/victim contracts all duly legalized by the corrupt bastards in Black Robes on the bench of the United States District Court, Southern District of New York, any decision by the equally corrupt lying thieving bastards at ASCAP, BMI and SESAC is final and without appeal!

That's right! Unless the lying thieving bastards 'permit you to be logged as having been monitored', YOU HAVEN'T BEEN MONITORED! AND YOU DAMNED WELL WILL NOT BE PAID! The music above logged air all over the world - and only SABRINA PIKE, whom the lying thieving bastards at BMI didn't know was associated with me, - ever received even a pittance! If the lying thieving bastards claim your music "wasn't cleared," there's not a god-damned thing you can do about it. At least in a civilized manner. Their word is law, so saith the god-damned corrupt courts!

Needless to say, I'm about as popular with ASCAP, BMI, SESAC and those slimey bastards in Black Robes on the Bench as a pork chop at a Jewish wedding! And being of Jewish heritage myself, I can tell you on damned good authority, that's about as unpopular as it gets! If you contact any of the three, and mention my name, immediately after the defecation hemorrhage, they'll give you the damnedest run-a-round of a hundred thousand reasons why you shouldn't do business with BOBBY FARRELL or VANDOR MUSIC GROUP, which I no longer own.

Don't think so? Then ask the lying thieving bastards "WHAT IS THEIR PROBLEM WITH GENERAL BOBBY FARRELL?" And don't let them tell you they don't have one (or more!), because it's impossible for me to clear music with either ASCAP or BMI without it getting lost immediately. And I've been trying to affiliate with BMI as a writer since I left that bunch of damned thieves at ASCAP in 1977! TWENTY YEARS! Two full decades of perpetual stonewalling! The last (failed) attempt being in the final quarter of 2000. YES! I'll be more than happy to document! Once and AFTER this page became known to BMI, and I added their many email addresses to our communiques wherein they were mentioned, they DID finally get me the proper affiliation forms. But not until!

The truth is: GENERAL BOBBY FARRELL calls "a God-Damned Lying Thief" A GOD-DAMNED LYING THIEF, and that upsets the GOD-DAMNED LYING THIEVES AT ASCAP, BMI, SESAC AND THE UNITED STATES DISTRICT COURTS! Oh, yes. You may quote me!

If you decide to call any of the Thieving Three, especially for a recommendation of me, while you're at it there's something else you might want to ask the lying, thieving sons of bitches: "WHY CAN'T ANYBODY EXCEPT CLIQUE MEMBERS EVER GET AN ADVANCE ON ROYALTIES OR WIN ONE OF THEIR 'AWARDS'?"

When they tell you 'they don't give advances' - I'll clearly document they damned well do! IF YOU'RE IN THE "CLIQUE!"

When they tell you they do it 'fairly and honestly' - ask them "When and HOW MUCH did they ever award to BOBBY FARRELL?" Or any of his Songwriters or any of his Publishers or any of his Artists who write their own music?

The answer is: NOT A GOD-DAMNED PENNY! EVER! Not an advance - not an award! Not even a mention. When I applied to ASCAP because they had an 'award' for those whose music was being performed but were earning less than $15,000.00-Per-Year - I was told point-blank that I was the wrong color! If either ASCAP or BMI claims different: ask them for a copy of the check! There isn't any - and they damned well know it!

And they're absolutely right. I am the wrong color. It's called NOT YELLOW BELLIED!

Here are three links/articles you absolutely MUST read to get a full handle on the ASCAP, BMI, SESAC scandal ... make that SWINDLE ... and you'll probably have to use your BACK button to return:
http://www.shadoshea.com/services/royalties/index.php3
http://www.musics.com/PRASE/Coup_dASCAP.html
http://www.musics.com/PRASE/First_Copyright_Infringers
http://www.azoz.com/riaa/news/whine.html

[UPDATE: In accordance with:

3. Paragraph 8 of the Agreement is hereby amended to read as follows: "8. The Owner agrees that the apportionment and distribution of royalties as determined from time to time by the Board of Directors of the Society, in case of appeal by him, shall be final, conclusive and binding upon him.

--- The Society shall have the right to transfer the right of review of any apportionment and distribution of royalties from the Board of Directors to any other agency or instrumentality that in its discretion and good judgment it deems best adapted to assuring to the Society's membership a just, fair, equitable and accurate apportionment and distribution of royalties.

ASCAP finally swindled Mr. Sowell from court to court until all the 'review' personnel were IN-THE-PAY-CLIQUE people on the ASCAP payroll!

And THAT is the end of THAT! A perfect SWINDLE endorsed by that god damned KAK-JEW SOCIALIST-CORRECT 'court' of the Southern District of New York!

You just can't beat the slimey bastards except on their own money: and that's why they don't sue me!

General Bobby Farrell.]

It's a simple matter of proving a years-on-end pattern of Fraud, Grand Larceny and Larceny-by-Trick (as it's called in some states). And I have it fully documented. I'm going to present my confirmed clearances of music that ASCAP now says I don't have 'clearances' for - all being duly 'lost' - you know! Well before this, or any other due court date, the lying thieving bastards can "UN-lose" them! If they don't, my evidence stands on fact. If they do, their record of non-payment stands on fact! I just wonder how those lousy, slimy, sleazy, lying thieving bastards are going to like THEM APPLES!

One thing is sure and certain - ASCAP has the absolute protection, endorsement and enforcement of the United States District Court, Southern District of New York. Because those god-playing bastards are in on the graft! Right up to their god-damned black-robed eyebrows! The fact this ASCAP/BMI/SESAC swindle is decades old without so much as one whimper from those bench-sitting bastards is prima facie evidence that doesn't take a Brain Surgeon to see. And they're so damnably blatant, it does take a Proctologist to get past the smell.

How do I know? - Because I have copies of quarterly protests (as required via membership agreement, by-laws, et ceteras) - sent to that god-damned din of corrupt Black Robed bastards going back several years. Without one solitary action on the part of that jackass 'court'.

I'll keep you advised. But I want you to know right up front: I DON'T EXPECT A GOD-DAMNED THING out of this Court or any other 'court'! And I won't hold my breath until I see anything even approaching Justice. I don't look good in purple at all, and especially in the face!

For the record: ASCAP, BMI and SESAC all present a very HIGH POWERED - but nevertheless blatantly KAK-JEW RACIAL SUPREMACIST - front to impress everyone ignorant or stupid enough to buy their 'flash' as god, law and gospel. THEY ARE LYING, RAVAGING KAK-JEW RACIAL SUPREMACIST THIEVES! Period. Either you are JEW or JEW-CONTROLLED (or suspected as such for their Pittance Cliques) or you are OUT IN THE COLD! Yes! You may quote me. I'll be very happy to DOCUMENT any time the hook-nosed bastards want to drag me into ANY Court EXCEPT that bought-and-paid-for atrocity: United States District Court, Southern District of New York!

In closing, I want each and every reader to understand: I am not an exception to the outright court-protected thieveries, damned lies, and defamations of ASCAP, BMI and SESAC, I am just one of many thousands of their victims! I'd like to hear from those of you - victims, in or out of the Clique - who want to comment on this tight little revelation. But I won't hold my breath until I hear anything positive from the lying thieving bastards at ASCAP or BMI. . . . . or SESAC. That purple syndrome, you know. My email is: thegeneral@vmgworldwide.com.

Take a look at ASCAP's blunder of October, 1996, and have a good laugh with the rest of us.

http://vmgworldwide.com/ascapaku.htm

The following are other major Performing Rights Organizations, none of whom have one damned bit better reputation than ASCAP, BMI and SESAC.

APRA - Australasian Performing Right Association Limited - http://www.apra.co.au

ASCAP - American Society of Composers, Authors and Publishers - http://www.ascap.com

BCF - Baltimore Composers' Forum - http://www.baltimorecomposersforum.org

BMI - Broadcast Music, Incorpotated - http://www.bmi.com

CAL - Copyright Agency Limited - http://www.copyright.com.au

CISAC - International Confederation of Authors and Composers Societies - http://www.cisac.org

GEMA - German Authors' Rights Society - http://www.gema.ge

IMRO - Irish Music Rights Organisation - http://www.imro.ie

ISA - International Songwriters Association - http://www.songwriter.co.uk

MCPS - Mechanical Copyright Protection Society - http://www.mcps.co.uk

PRS - Performing Right Society - http://www.prs.co.uk

SESAC - Society of European Stage Authors and Composers - http://www.sesac.com

SOCAN - Society of Composers, Authors and Music Publishers of Canada - http://www.socan.ca

SODRAC - Canadian society for reproduction rights of authors, composers, music publishers and visual artists - http://www.sodrac.com

TONO - Norwegian Performing Right Society - http://www.tono.no

<ARTICLE 14
ASCAP's BERGMAN BUYS SENATOR ORRIN HATCH (R) UTAH
IN OPEN CONSPIRACY!


Calls for IMMEDIATE IMPEACHMENT of Marilyn Bergman, Chair, ASCAP,
and Senator Orrin Hatch (R) Utah,
on grounds of Conspiracy, Collusion, Conflict of Interest
and Abuse of Official Powers!

Full Report in The Journal of Copyright Information, Page 4, June 1997
"Will ASCAP Support of Senator Hatch's Music
Affect Legislation Pending in Congress?
The Journal of Copyright Information
Box 91773, Washington, D.C. 20090
Telephone: (202) 723 5004
Email: joci@erols.com

Set the Stage:

Marilyn Bergman, Chair (commonly known as "Chief Thief"), ASCAP;

ASCAP = American Society of Composers, Authors and Publishers. One of the Big Three SCAMS in the Recorded Music Industry - reputedly to license Public Performance of Member's works and properties and pay them on a "fair and equitable" basis. And that part is more laughable than all the comedians who ever lived!

Senator Orrin Hatch (R) Utah, Chairman, Senate Judiciary Committee.

One of those over-priced, always-felt, never-heard committees that put the Devils in the Details of all treasonous legislation - BUT in this case: ASCAP's proposed Intellectual Property EXTORTIONS!

Senator Hatch wrote some lyrics with one Janice Kapp Perry (Senator Hatch's daughter is married to J. K. Perry's cousin) -- Said lyrics were forwarded to Chief Thief Bergman at ASCAP, who forwarded them to SONY NASHVILLE! Something she damned well would not have done for any NON-PAY-CLIQUE Member!

And why did Chief Thief Bergman fall all over herself for Senator Hatch's 'lyrics'?

And she should damned well be IMPEACHED immediately! ASCAP's Pittance-Clique and NO-PAY-Clique Members cannot afford any more such 'honesty' or 'unbiased' considerations.

In communications with the Senate Judiciary Committee, August 15th, 1997, General Bobby Farrell confirmed that Senator Orrin Hatch will not recuse himself when matters of ASCAP's proposed legislations come up for review. AND THAT IS A BLATANT CONFLICT OF INTEREST AT LEAST, AND OUTRIGHT ORGANIZED CRIME PROTECTED BEHIND ABUSE OF OFFICIAL POWERS OF OFFICE! And Senator Hatch should also damned well be IMPEACHED immediately for being the common criminal his actions prove him to be!

You may file protests with ASCAP that will be totally ignored unless you're in the Pay-Clique (or United States Senate!): at Marilyn Bergman. It's a waste of time and email, but what the hell - they're ignoring you on YOUR MONEY! Make them earn some of it.

To be ignored by Senator Hatch & Cronies: you may call his Washington, D.C. office at (202) 224 5251, or Fax: (202) 224 6331. To be ignored by email: senator_hatch@hatch.senate.gov.

And, to be ignored by the Senate Judiciary Committee: their telephone is (202) 666 1555, with a Fax at: (202) 224 0192. Just remember, each and every word of High Treason legislated into law encounters this Committee's lack of morals - and receives their absolute support!

In closing, I would like to inform the lying, thieving bastards at ASCAP, the United States Senate and House of Representatives: "I expect your retaliation. Manufactured evidences and all. Expect mine in return, except I won't be manufacturing any evidences against you. I don't have to. You traitorous, lying, thieving, bastards create it everyday for me.

Your Totally Contemptuous Servant,

That Damned Akurian,
General Bobby Farrell,
thegeneral@vmgworldwide.com
ARTICLE 15
PROMO (DIGITAL MUSIC) LIBRARIES
ELECTRONIC MUSIC SERVICES
AND HOW THEY WORK!


Music Libraries in the Computer Age! Digital Quality sound, instant world wide delivery, to select subscribers!

Enter the Electronic Age.

Enter communications satellites. Transmitting Digital Signals everywhere within our Solar System is routine.

Enter affordable computers. Even the smallest companies and working people can interlink around the world.

Enter a New Age with new Market Demands and new Market Strategies. Don't print or manufacture anything until you have hard Market Analyses.

Digital Music Libraries (now known as Electronic Music Services (EMS) and/or PromoLibraries) = huge computers with various storage and download software.

Electronic Music Services/PromoLibraries = huge computers filled with MUSIC! Making their living by UPLOAD and DOWNLOAD subscription fees from clients around the world.

Subscribers include radio stations, background music providers, satellite syndicators, broadcast programmers and consultants, et ceteras, in virtually every country. Biggest single cost-factor is ANTI-COUNTERFEITING Codes and Measures.

Today (2005) individuals, music buyers and producers can log on, click through the various choices and titles, punch in our credit card/membership numbers/Ids and get just about any song in existence. Sony just put 300,000 titles online in Europe -- http://www.tasr.sk/indeng.php?mode=otssingle&id=MTYxMw -- with more on the way. This following several MILLION titles made available via EMS by all the majors a few years ago. More about that below.

Market Test your record before you blow a bundle on manufacturing and promotion. A manufactured record lives or dies on the success of the title (push) song. If that song doesn't sell the entire album investment is gone!

Load that "push" song into the (EMS) PromoLibraries! If the song hits, you've got a winner. If it dies, you've got the rest of your money to try something else!

Will they play your song? Maybe. Maybe not. The chances are the same as mailing them a record, and the cost is a whole lot less.

Cost? Less than most 500-1000 unit compilations (that won't get aired if they're not from one of the Super Six's major labels!) to reach some 7,000-8,000 download subscribers around the world at $600.00 per song (some Independent Service Brokers may charge less)! And it will stay downloaded for a full year even if it never logs a review, and will stay available as long as it logs. Let's see any compilation, other than a major, accomplish that!

You can check the World's 2,500 Top Records at Atlantic Satellite Marketing, Ltd and see who is really HOT and who is really 'not'. You'll have to use your BACK button to return, Atlantic does not have any "back" links.

WARNING! Your record just might "HIT!" We certainly hope so.

It's a fact that all PARANOID entertainment wanna-bes are so stupid they're still looking for the flush-handle in a three-hole out-house! And they are all alike - thinking and saying the same damned never-did-work stupidities! When you hear that ages-old broken record, you have no choice but to understand you're in the company of a damned fool. For that perpetual psychopathic element who can't find their ass with a squadron of grabbers, spewing their stupidities that promolibraries do not exist, what do you think the Super Six, Warner, Bertlesmann, Capitol, Universal, Sony and Disney, UPLOADED nearly eight million (8,000,000) titles to over the past three years?

SONY to Launch Electronic Music Service in Europe with 300,000 Titles (2004) and the fools just keep on passing by with their stupidity intact, claiming promolibraries aka EMS do not exist! One thing for sure and certain about the Recorded Music and Entertainment Industries: there's no shortage of abject ignorance, paranoia and outright stupidity! PromoLibrary? Try Song Hookers, Inc., or AVMR Electronic Music Service for starters. Either one is as good as any other. They have contracts on-line for you to download, print and use. We just hope they're still operational. If not, check the new link page at Atlantic Satellite.
ARTICLE 16
PREP 101 - HOW TO COPYRIGHT A SONG - BOOK - STAGEPLAY!
All contents are Public Domain.

WHAT WON'T WORK! - The so-called "poor man's copyright" - mailing a copy of your work to yourself, even by Registered Mail. It won't stand up in Court because the law requires a duly Registered Copyright! You can double bag it, you can notarize it, you can weld it airtight in a steel box, you can have it Postmarked at the Main Gates of Hell - but it won't stand up in Court! And every lawyer who takes your money to 'protect your copyright' damned well knows it!
The damned lies of ASCAP, BMI and SESAC notwithstanding!

There are several International Conventions for protection of copyrights and patents but not a damned one to protect such rights via any Postal Service!
The damned lies of ASCAP, BMI and SESAC notwithstanding!

There is only ONE process for quick protection - have a duly notarized copy of the work registered with the County Clerk! It's still not a copyright, but it is an iron clad "date" which does require any Court to take "Judicial Notice!" You still need a duly Registered Copyright, even if you claim copyright under Title E as is the common practice with news reports and features - which permits immediate exposure/use while the report is new and relevant and time to file the paperwork later.
The damned lies of ASCAP, BMI and SESAC notwithstanding!

The solid door-welder is a duly Registered Copyright. You can copyright a whole collection, everything you have created, with one copyright at the same time for one price. And you can use recordings, cassettes are fine, if you use the SR form rather than a PA form. Both are free from:

Register of Copyrights,
Library of Congress,
Washington, D.C. 20559
(202) 707 9100 to request forms and information.

The forms are easy to fill out - and anyone who reads English can do it. However, like all other jackass government agencies, they are slower than a water leak in hell, and every G-POG-P (God Player On Government Payroll!) who gets their hands on your submission will be lock, stock and barrel bent on building a Monument to their own STUPIDITY, so send your submission by Certified or Registered RETURN RECEIPT REQUESTED mail. On the INSIDE of the GREEN RECEIPT CARD be sure to list what you're copyrighting. When you get back the GREEN RECEIPT CARD you can move as though you already have a Copyright, at least with the LEGITIMATE agencies, publishers, producers, et ceteras.

Be sure to ask for the appropriate forms - they are different for Text Books, Drawings, Maps, Articles, et ceteras.
The damned lies of ASCAP, BMI and SESAC notwithstanding!

Secure yourself a duly Registered Copyright and you've avoided paying a lawyer and pre-empted any Court or Legal question of true ownership. However, NEVER under any conditions let that original copyright out of your hands! If you have to present it in court, then do so, but until then xeroxes/copies are all anybody else needs!
The damned lies of ASCAP, BMI and SESAC notwithstanding!

And don't copyright somebody else's creations unless you really want to go on trial charged with fraud, et ceteras.
The damned lies of ASCAP, BMI and SESAC notwithstanding!

Other vital Recorded Music Industry information is available at International Industrial Review, a three year research report covering virtually every aspect of Recorded Music and it's many scams. Starting with ASCAP, BMI, SESAC and their United States District Court-approved thieveries!
ARTICLE 17
KINDERGARTEN COURSE TO BECOME A RECORDING ARTIST

"Talent" is not required!

WHAT WON'T WORK! - The surest way to squander your life and spend it in abject poverty is to be idiotic enough to suppose that Record Companies "need talent" or finance pipe dreams. Being in the business of being a Recording Artist is being in the Business of BEING a Recording Artist! And if you can show any Record Company the garage General Motors gave to the mechanic - or the restaurant General Mills gave to the Chef - then that Record Company will give you a FREE Business of being a Recording Artist!
The damned lies of ASCAP, BMI and SESAC notwithstanding!

The next biggest blunder is thinking YOU can 'distribute' your own records! You can, with a few million bucks in the bank, but not Blivethead International Records from over next to the garbage dump. However, getting a release on a distributed label takes about ten minutes of common sense and ten thousand years of no paranoia! Details of exactly how to do that are linked below. You'll need to re-educate yourself out of the deliberately perpetuated Beer Joint Baritone delusions and into the real world of phonograph records. And EDUCATION in those realities is the key.
The damned lies of ASCAP, BMI and SESAC notwithstanding!

On a different level of the subject of Education: Nothing beats a good education, and that includes music, but having a Degree in Music doesn't guarantee a Recording Contract. It might guarantee a license to TEACH, but if you're thinking of a Music Career as a performer, as opposed to being a Conductor, then a Degree in Music is all but worthless. And you're going to have to make a financial investment to be in the Business of being a Recording Artist.
The damned lies of ASCAP, BMI and SESAC notwithstanding!

Publishing is FREE to songwriters! That's it! The entire freebie in existence. But being a songwriter does not entitle you to a FREE recording contract - and neither does anything else! If you contact the damned liars at ASCAP, BMI or SESAC, and ask about any monetary investment in music: they'll tell you that "spending any money is paying for publishing" - knowing damned well that being your own Executive Producer is not! NEVER pay a publisher! Not for 'lead sheets', not for 'better demos', not for anything else a Publisher needs or has to do to exploit a song!

And NEVER believe a god-damned thing the lying thieves at ASCAP, BMI or SESAC say about anything or anyone concerned with Recorded Music! They'll tell any lie, endorse any Beer Joint Baritone delusion, defame any honest offer, or commit virtually any other damnable act necessary to keep YOU or anyone else not in their respective 'Pay' or 'Pittance' Cliques out of this best-of-all businesses.

Even so, when any Record Company fronts any money - whether for recording (including demos), promotion, concert tours, whatever - each and every penny is taken out of the Artist's earnings with interest before the Artist is paid one red cent! And the entire debt must be repaid in full before the contract will expire. It's called "charge back" and there are no front money contracts without it!
The damned lies of ASCAP, BMI and SESAC notwithstanding!

You can avoid charge-back - double your mechanical royalties - retain 100% control of your Masters - retain 100% control of what to record and how to record it - and retain 100% control over your career - by being your own Executive Producer!
The damned lies of ASCAP, BMI and SESAC notwithstanding!

And, being your own Executive Producer avoids being paid LESS for your own music and being CHARGED EXTRA to use somebody else's! That's one of the big traps in record contracts - If you use your own compositions, the record company pays you less than if someone else were to record your songs - if you use somebody else's compositions, the record company deducts the full mechanical royalty and all the administrative costs to deduct and disburse it PLUS THE INTEREST from your already reduced rate royalties! The only record companies that don't do that are those affiliated with VANDOR MUSIC GROUP!
The damned lies of ASCAP, BMI and SESAC notwithstanding!

But before you blast off on some half-cocked emotional tangent - and blow your budget right down the commode - read the article hyperlinked below and learn how to produce a commercially acceptable record. It's raw, it's rough, and it's intended to be. Recorded Music is a raw and rough Industry, and neither the weak-kneed, namby-pambys, mealy-mouths, industry ignorants or paranoids can survive it, let alone profit in it.
The damned lies of ASCAP, BMI and SESAC notwithstanding!

You need to make a record! You don't need to go to Nashville, New York or Hollywood to do it. Anyone with more brains than a brick - and their stupidity on hold - can make a commercially acceptable recording. Read the article PRODUCTION, DO IT RIGHT THE FIRST TIME! and you'll learn all you really need to know except the electronics. Before you record one solitary note: You'll need an Executive Producers Record Release Agreement! Before you spend any money other than a practice-session demo (which are virtually worthless!) for the Record Company to hear you, get that ExP agreement.
The damned lies of ASCAP, BMI and SESAC notwithstanding!

You can make a perfectly acceptable demo in your living room, at any practice or live-play session - you do not need a studio demo - unless there's simply no other way to get one! And WHY is a 'demo' virtually worthless? Nothing is more ignorant than going to a studio to make a demo to send to a record company to send you to a studio to make a record! WHY didn't you make a RECORD while you were there?! And NEVER confuse a tape-recorder operator with being a Record Producer!
The damned lies of ASCAP, BMI and SESAC notwithstanding!

You'll need good industry advice to make a commercially acceptable record, and it's free from the Record Company once you're ready to do business. You'll know what to do, what to avoid, and the what-won't-works, by just reading through the links of this site. Make sure you read it all, study it all, and if you have legitimate questions, the Licenser or Label Representative will be glad to answer them.
The damned lies of ASCAP, BMI and SESAC notwithstanding!

DO NOT
MANUFACTURE YOUR FINISHED RECORDING
UNDER ANY CONDITIONS!


That blows the anti-counterfeiting all to hell and you've destroyed any protection against the counterfeiters cleaning your clock should you come up with a good selling record! The Record Company will do all the anti-counterfeiting and manufacturing - and everything else that needs doing.
The damned lies of ASCAP, BMI and SESAC notwithstanding!

Being your own Executive Producer (ExP) will double your royalties because you'll be paid for being both ExP and Artist, and give you 100% control over your music and your career. If you're an ExP and produce someone else as an Artist, you can deduct all your costs from just the Artist's earnings, including interest, before you have to pay them one red cent! It's done all the time, and especially by labels who 'front' any money. However, even if an Artist earns enough to pay all the bills in full - they still won't own the masters! Whoever paid for them originally still owns them.
The damned lies of ASCAP, BMI and SESAC notwithstanding!

It takes time to do all the preparation, manufacture and delivery, so don't call the Record Company every hour on the hour with your paranoia intact! The time they squander humoring your stupidity is time they can't spend handling your product - so be patient - your Executive will keep you up to date. And know from minute one: only ONE record out of EIGHT ever sells any copies at all! So don't go spending the money until after the checks clear.
The damned lies of ASCAP, BMI and SESAC notwithstanding!

The Chain of Events SHOULD be somewhere on this order:

Get your Business House in order;
Record a commercially acceptable product;
Market Test the product, via promolibraries;
IF the product fails, go back to the drawing board;
IF the product works, go for the gusto;
Prepare a business plan for investors;
Operate your career like the BUSINESS it is!

This is the Kindergarten Course. Linked below is the Ph.D. 909, so don't audit the class, get neck deep in it! It does not cover booking, concert tours, artist management, et ceteras, as that would fill another entire library. Suffice it to say, don't sign ANY contracts, management or otherwise until you need those services and expertise! By then you should have some idea of what constitutes an Idiot Element and what it takes to make money with your chosen profession. - The damned lies of ASCAP, BMI and SESAC notwithstanding!
ARTICLE 18
PREP 101 - HOW TO GET A RECORDING CONTRACT!

"Talent" is not required!

A properly MANAGED business IS!

WHAT WON'T WORK! - "Waiting to be discovered" and signing your soul away in a shelving/sweetheart contract. If you're idiotic enough for either, then the Industry wishes you a very sincere Good Riddance!
The damned lies of ASCAP, BMI and SESAC notwithstanding!

The particular Field of Music (Rock, Country, Pop, Blues, Jazz, Blue Grass, Rap, Gospel, Folk, Filk, Classical, Dixieland, Alternative, New Wave, et ceteras) really doesn't matter! The Rules are the same for everybody.
The damned lies of ASCAP, BMI and SESAC notwithstanding!

You have to be Industry Literate, and as promotion-rich as you are session-rich! If your music is really worth a million bucks the burden of proof is on YOU to document it! That takes both Industry KNOW-HOW (A properly MANAGED business!) and MONEY! It doesn't take a lot of either, but it does take a total lack of paranoia and half-cocked emotional tangents.
The damned lies of ASCAP, BMI and SESAC notwithstanding!

Manufacturing copies and shipping them is the absolute stupidest thing you can do!

First, the instant you manufacture you've totally destroyed all anti-counterfeiting possibilities! Second, all the Industry-Idiotic Blunders you've made will follow you for a lifetime: and there are a multitude of them! Improper credits - long-running times - clobber-copy - and the list goes on ... and on ...
The damned lies of ASCAP, BMI and SESAC notwithstanding!

Before you even begin to record you need to have a Record Release contract of some kind, the best being an "Executive Producer's Record Release Agreement" that doubles your mechanical royalties, eliminates charge-back, and lets you retain all rights to your Masters and just about everything else. The only compositions that are tied up are those actually in the project! And, you're going to have to spend some money.
The damned lies of ASCAP, BMI and SESAC notwithstanding!

Production advice as to HOW make a commercially acceptable record is free from the Record Company once you're ready to do business. And the links just below will give you more information than you ever knew existed, and tell you where to go next to get your music out in the Real World where it stands a chance to make money.
The damned lies of ASCAP, BMI and SESAC notwithstanding!

Take the time to study this entire site - there's more information in this one site than all the other sources put together! There is solid and very factual advice in many web pages, some of which are linked (see our linkpage) here, but none tells the whole story from songwriting and publishing to international promotion, distribution and licensing to getting paid while avoiding the Turkey List in the process.
The damned lies of ASCAP, BMI and SESAC notwithstanding!

Without any paranoia attached, once you're ready to do business, contact any of the Super Seven General Licensers and ask for an "Executive Producer's Record Release Agreement". If you get any run-a-round at all, it's probably because that Licenser is buried in buy-back of unsaleable product and just simply does not have the immediate available budget. Since 'talent' doesn't mean a damned thing in this Industry and MONEY does!
The damned lies of ASCAP, BMI and SESAC notwithstanding!

If you get a turn-down simply call the next General Licenser until you get an acceptance. If they all turn you down, except for Industry Ignorance or Paranoia on your part, wait ninety days and call them all again. They're in business TO MAKE MONEY and they need records to do that, but they don't need your Industry Ignorance or Paranoia in the process. So be ready to spend some money in your records over and above the costs of recording.
The damned lies of ASCAP, BMI and SESAC notwithstanding!

You may very well be required to PROVE the commercial acceptability of your product BEFORE any General Licenser will show any interest at all. It has NOTHING to do with your 'talent' or lack of it, it's a matter of BUSINESS! You wouldn't buy a rusted out old junk car to enter into the Indianapolis 500 - where some of those cars run $250,000.00-up EACH, not counting support and logistics - and INVESTORS, which includes General Licensers and Record Labels, want to see something on the table that WILL RUN with a CHANCE TO WIN too! Your best option to PROVE any record, even if you have an established following, is PROMOLIBRARY! That will get a song to about 8,000 subscribers around the world (your local stations may NOT be among of them), about seventy five to eighty percent (75-80%) of whom are RADIO BROADCASTERS, almost instantly, and at a cost far below the manufacture and mailing promocopies.

IF the product can log VIABLE air on its groove alone, you have the General Licenser's attention! If not, you still have the money to go back to the drawing board and produce something that does! Simple fact of simple business.

Once you have a release via an ExP contract, your records will be out in the world with everybody else, and you'll find out damned fast that the competition is also damned keen! Especially when it comes to the real source of selling records: MARKETING and PROMOTION! Let the record company hire the record promoters, when and if they need them. And face the fact that regardless of 'how good' you think your record is, and how hard the record company works on your behalf, the damned thing might not sell! Just remember that all Super Stars have far more flops than they do hits! And only ONE song out of 5,000 ever makes any real money at all.
The damned lies of ASCAP, BMI and SESAC notwithstanding!

So - for a re-cap and wrap-up - get an ExP agreement before you record and follow the Market Advice of your General Licenser Representative. Be ready to invest in yourself or don't waste anybody else's time! Don't sign any contracts, management or otherwise, until you are in a Market Demand league to require it. And don't think you can 'sell' one song to some 'star' and finance your career.
The damned lies of ASCAP, BMI and SESAC notwithstanding!
ARTICLE 19
EXACT PROCESS TO BECOME A RECORDING ARTIST!

SAVE or PRINT this entire article!

It's long, It's boring, It's abrasive, It's humorous, It's informative, and It's damned well dead-on-the-money! It's also been updated as of January 1st, 2005.

WHAT WON'T WORK! Believing so much as one God Damned thing you hear from ASCAP, BMI and SESAC!

Don't wait 'to be discovered' unless you have the documented genes of Methuselah, just so you'll live long enough. Think! Why should any record company spend the money to 'discover' anybody when someone with both budget and product is getting a busy signal? Any time a record company 'needs talent' or 'material' all they have to do is answer the phone or open the mail!

Get rid of the idiotic idea that "you can distribute your own records" without spending the money to become a DISTRIBUTED record label - in the business of being a Record Label - to the exclusion of being a Recording Artist, Recording Studio, Songwriter or Publisher! You can establish a Record Label, and get it distributed. It's done every day. It's a business. And like any other business, it must be financed and managed like any other business. And one of the great requirements of business, like money, is time, along with a very long shopping list of other requirements and expertise. So let's exclude all considerations other than being in the business of being a Recording Artist!

Now get rid of the idiotic idea that 'talent' means a damned thing in the Industry! If you think it takes 'talent' to make a record - TURN ON THE RADIO! The better part of today's radio fare sounds like a junkyard in an earthquake, an ape-fight in a boiler factory, a dying calf in a hail storm, a truck load of milk cans just hit a truck load of pigs, a cat-choir singing a siren serenade, or an artillery barrage that couldn't hit a bull in the ass with a handful of rice. And those are the love-songs. At least there's a variety! There IS some good music out there, in spite of the Beer Joint Baritones, hopefully yours will add to that collection.

WHAT WILL WORK! Don't believe a God Damned thing you hear from ASCAP, BMI and SESAC!

The first consideration of any recording project is BUDGET! How much money is this turkey going to take before it grows feathers? You can't blow the whole bucket in production and expect someone else to "take it from there" unless you're a damned fool. Such typical stupidity is known as "session-rich and promotion-poor" and only a damned fool does it. Once you know how much money you have to invest, that must pay for both production and promotion, you're ready for the next step. Determining what you're going to do with the product once it's finished.

And right here you have several solid choices.

First, be sure to make a mix of the MMV lest you have a hit on your hands, release it, and watch the legitimate reports, of which neither Billboard, R&R or Gavin [UPDATE: Gavin has folded! Another casualty of TRUTH in a hype-is-everything market!] qualify. If you can't get on the air, I don't give a damn if you've got the "Original SoundTrack of The Second Coming of Christ" and a confirmed date, whatever you're recording isn't going to sell! Period. End of comment.

PROMOLIBRARIES (Formerly DIGITAL LIBRARIES, and now being more commonly known as ELECTRONIC MUSIC SERVICES [EMS])

Since all Beer Joint Baritones have God on hold waiting for their instructions - let me enlighten the rest of you as to WHAT a Promo Library is! They are PROGRAM SERVICES where broadcasters, background music users, consultants, satellite syndicators, et ceteras, can get current product - review it - load it or trash it - without ever handling a manufactured record! And, to do so they must PAY (subscription) for the service! Promo Libraries serve about the same purpose as the Music Libraries of yesteryear (some still exist!) only in the real world of today's high technology. And for the absolute stupids among you - NO! They don't pay royalties any more than a record store does!

However, Promo Libraries are a god-send to everyone with more brains than a tire iron. A record uploaded into a Promo Library permits all their subscribers to download it instantly anywhere in the world without loss of quality, getting destroyed in the mail, taking forever to get there, et ceteras, and at a fraction of the cost to manufacture, package and ship! The big problem is anti-counterfeiting (piracy) measures, which is one of the major expenses of a Promo Library. Their precautions are elaborate and reasonably effective.

Can you imagine how much a pirate would pay for a first-generation digital master of a new release by any Super Star? I guarantee it's enough to buy your own brewery! So get off your paranoia and other related Beer Joint Baritone delusions and realize THIS IS A BUSINESS with a lot of parts, just like a locomotive, and they all have their place, their purpose, and their weaknesses as well as their strengths. And Promo Libraries are only one part that fools refuse to understand.

Case in point: First Question from the Jackass Element: "Where can I listen to a Promo Library?" YOU CAN'T! Unless you're a subscribing customer! And that may require being a broadcaster, background music user, et ceteras, with one hell of a sound credit rating and track record of credibility! And NO! They are NOT going to give you a list of their clientele, lest you have a 'buddy' at radio KWJACKASS who will pass on this week's password(s)! I just explained part of the security requirements in the previous two paragraphs, or didn't you read that far?

Case in point: Second Question from the Jackass Element: "How do I know they'll play my record?" YOU DON'T, YOU STUPID BASTARD! Anymore than you know a radio station will play it if you mail them a manufactured copy! Put something in the groove that doesn't sound like The National Anthem of The Totally Mentally Incapacitated and you might log some air.

The down-side of Promo Libraries is the fact their subscription users are scattered all over the place. That means: when someone does hear a song and wants to buy it, the BUYER's desk the order shows up on may not have enough orders to justify the cost of processing. If the cut-off is say 500 copies, and the orders in Ubangy aren't up to said 500, there won't be any orders in Ubangy! Even if there were enough in Utangie next door when combined with Ubangy's orders - unless the BUYER handles both countries under the same license. Even so, the positives far out-weigh the negatives.

The cost per-song to upload varies with the Promoter's service. The highest I've ever seen was still far less than manufacturing, packaging and shipping. For more information you can check out Promo Library Information, via AVMR Services, and for your convenience, there is a contract linked that can be printed and used. Be sure to send TWO copies at least.

PROMOLIBRARY UPDATE!

There's been hell to pay in High Places! News comes this morning (January 15th, 1998) that the Major Labels have issued an ultimatum to the Record Promoters to STOP uploading Indie labels and artists into the Promo Libraries or risk being denied future promotion accounts! It's the same blackmail the Majors used on broadcasters (either play our records and STOP playing Indies or you won't get our new releases ...) and Trade Publications, Billboard, Cashbox, et ceteras (either reserve the Top-40 for us and keep the Indies at the bottom or we'll stop buying advertising ....) to gut the small labels and gain total control over the entire Record Industry (1955-1960).

Why would they do this? Simple. MONEY! All of it. And the process has very lucrative future applications. First, the Majors financially bust the independent libraries; Second, they buy them up for a song; Third, they STOP mailing free promos to all radio stations; Fourth, the stations either buy a subscription to EACH the MAJOR's libraries - or BUY PROGRAMMING from some Consulting Service who does buy all those subscriptions - or do without new product! In either case, the new product they'll be doing without will include all Indies! And of course, with the absolute approval of Congress, the Courts, ASCAP, BMI and SESAC.

Blackmail? Extortion? Pure and simple. But when you own the courts and the legislators, you can do as you damned well please! And they'll have it all done by 2000! Remember, you read it here first.

However, some promoters won't be blackmailed, and their services are still available and linked to this site.

Now for the "SATELLITE" part of this crazy business. Satellites are communications devices in addition to having military and spy applications. The vast majority of ordinary telephone calls are routed via satellite because satellites are cheaper than telephone poles and wire! They also don't get torn up in storms or knocked down by drunk drivers, et ceteras. The phone lines between your phone and exchange might, but the satellite won't (at least until we have laws and violators 'orbiting under the influence'!). When a broadcaster, especially a 'remote' station, receives their programming from anywhere else but their own studio, the signal comes via satellite! Radio and Television NETWORKS use as much satellite long-distance as they do their own microwave systems!

Enter the Great Grand Pooba Jerk of the Jackass Element: "Where can I hear my song on satellite?" By listening to any broadcaster using satellite programming that will play your god damned record! Or, if your paranoia prefers, invest a few hundred thousand bucks in a DownLink (antennas, tracking systems, de-scramblers, et ceteras) and you can listen to all the satellites over your sector of the planet when ever you damned well want to.

To the absolute amazement of all fools and Beer Joint Baritones, virtually all satellite signals cover just about everyplace on that side of the planet! Otherwise, television dish systems wouldn't be worth a diddler's damn! Satellite signals can be beamed to cover only specific target areas, but most communications signals are very wide of necessity.

Second, and next in line for sometimes very limited coverage (just remember that all broadcasters do not subscribe to Satellite Syndicators and Promo Libraries are having a very rough time trying to survive the so-called 'major' label's attempts to dispose of them - so in promotion you need hard cost-effective coverage), are the legitimate compilations. Jackass compilations are worthless as tits on a tadpole and usually come with a Lifetime Membership on the Turkey List! Here's the Super List of the proven legitimate comps that have impeccable reputations for delivering both the numbers they claim and the recipients they advertise. The best comp depends on the Field of Music you're recording! Don't waste money trying to sell a Hard-Rock song in a Country-Gospel compilation their coverage is just too limited. Here's the list, in no particular order, and the respective Fields of Music they cater to.

There are other compilations out there, and some to avoid at all costs - because they exist to promote themselves on your money!

That's one of the big problems, and scams, in this Industry - people 'offering' some jackass, sub-standard 'service' in disguise of - and with the sole intent to - 'promote' their own career agenda: releasing 'their' music in hopes of 'being discovered' and given a million dollars!

If they had more brains than a brick, they'd know that any legitimate record company has enough problems with the 'liar-crook-thief' syndrome that comes with the woodwork of being in this Industry, and therefore are not going to associate themselves with anyone who has just bought a Front Page ad that they are an Industry Jerk or a damned liar-crook-thief or other disreputable jackass!

You're known by the company you keep - and your antics, whether Ignorant or Paranoid - and being associated with such scams is the absolute Kiss of Death in this business.

Gary Bradshaw's 'Western Heart Promotions', Glendale, AZ. A 'sound great' but crackpot go-nowhere scenario with equally crackpot do-nothing results;

Tracker Independent Country Chart, Nashville TN, their associated 'labels' and equally bogus 'compilations';

Capitol Entertainment, Robert Metzger, Nashville TN, tries to appear like Capitol/EMI records. IS NOT!

Pristine and Pleasure - Houston(?), Texas;

BjD and Wishing Away - Santa Fe, Texas;

Endeavor Starsong - Inkster, Michigan;

Trend - Smyrna, Georgia;

Willow Street - Stockton, California; and

Caprice International and Canadian American - Lititz, Pennsylvania.

Being associated with ANY of the above will Turkey List you faster than being born with feathers and lice intact! NONE - as in ZERO - of them have ever put an Artist any farther than they can throw them. Pusswilly 'charts' be damned. The REAL world requires something NONE of these 'entities' have: INTEGRITY and REAL INDUSTRY "KNOW HOW". NONE of them have legitimate DISTRIBUTION as required by the Main Stream Industry. NONE of them have global access to either licensers or manufacture. And NONE of them have ever made anybody a Star!

Deal with any of the above at the risk of your Career in the REAL world of Recorded Music and Entertainment. YOU HAVE BEEN WARNED!

We've received numerous complaints about all these comp 'organizations' - and if you've heard some of their product, you'd know why! This is not a blacklist, but if you've been shafted by any compilation, let us know and I'll be glad to add them to this list.

Now, if you're so damned certain your record is going to upset the entire universe - there are additional choices!

The next step up from compilation is your own album. You'll need a lot of support and expertise, not Beer Joint Baritone delusions, to get your product properly manufactured, promoted and distributed. Any of the Super Six General Licensers can - but may not - take on your project. And before you blast off on an emotional tangent that can't get interrupted for a commercial, read and learn the following Rules!

Rule Number One - DON'T BE STUPID!

Record Companies do not 'need' you, your song, your product, 'your talent', your money, your ignorance, or your paranoia! And they damned well won't tolerate any questioning of their creditability! If you "can't find" someone listed among the Super Six General Licensers or their Labels - it's because YOU don't know where to look - and wouldn't know what to look for if it ran over you at High Noon!

The youngest General Licenser in the business is the DREAMWORKS organization - and all the partners came to the table with decades of experience and track records under their respective belts. (Everyone inside the Industry knows DreamWorks is distributed through Walt Disney Company, but carrying their own weight, and none of the paranoids even know where to find that information!) [UPDATE: DreamWorks is now distributed by UNIVERSAL MUSIC GROUP, better known as Vivendi!] The other General Licensers are all decades old, and if you don't know "who" they are, or their track records, it's because YOU don't know a damned thing about this Industry! If the ignorance is yours, then keep it to yourself lest it become stupidity by exposure.

Rule Number Two - DON'T BE STUPID!

Get rid of the idea - and anyone in your association who maintains the delusion - that you can put any of the General Licensers, or their personnel, "on trial" for them to 'get your business'.

They'll tell you to go to hell so fast you'll think it came with your Birth Certificate!

If you want 'references', financial or otherwise, you're only asking the perpetually stupid "who have you done this for before?" and instantly identifying yourself as either industry-ignorant, paranoid, or both. (FYI, all legitimate Recording Contracts come with non-disclosure provisions, so neither Artists nor Companies can use one another for 'references' lest they risk giving the IRS information to slam everybody's doors!) If you have any doubts about who you're doing business with - then put your life on hold for the next few years - learn the Record Industry from the business side of the view - find out what to look for and where to find it - and you'll discover that all those 'references' you wanted were out in the open right under your nose all the time!

Rule Number Three - DON'T BE STUPID!

Be ready to accept or reject the company's offer - because you can't dictate a damned thing! If you're a Super Star you can write your own ticket because you're paying for it! If you're a Beer Joint Baritone (whether you play the dives or not!) trying to break in to this best-of-all Industries - or 'represent' somebody else who is, you're not in any position to set any half-cocked 'terms'. I don't give a damn if you've played every gig between here and the Main Gates of Hell and been on every Stupid Jerk label in existence! Record Companies only have so much money - they put together the best financial package that budget can afford - that package is as fair to all concerned as the market and business conditions will permit - and either you want it, or you don't. I assure you, nobody at the Record Company gives a good god-damn one way or the other because there's someone else on the line getting a busy signal who isn't as stupid!

You want a copy of their contract ... THE HELL YOU SAY! Ever hear tell of "LEGAL FEES"? Legitimate Record Companies are not going to 'give' you free copies of contracts that cost them untold thousands of dollars to prepare! For all they know, you're a record company and are too cheap to spend (or don't have) the money for that very necessary Legal Staff and Services! They'll tell you the general terms - which vary hour by hour on the market tide - and once you're ready to do business via product and cash in hand, they'll print and signature all the copies you need. In the mean time, and more often than not, they'll ask for a non-refundable deposit before they deliver a copy of those very expensive agreements. And, that deposit may - or may not - be deductible from their package price!

You'll find that all legitimate Record Companies use copyrighted contracts and they enforce those copyrights! They deal with copyrights and copyright thieves right along with daylight, and have no qualms about packing the full load into any thieving bastard's behind. And they damned well should! The only way to break up thievery is to KILL THE THIEVES!

Even so, VMG's ExP, Publishing and Promo contracts are on-line for your review - EXECUTIVE PRODUCER'S RECORD RELEASE AGREEMENT - Music Publisher's Agreement the ASCAP/BMI/SESAC are a find and replace - PromoLibrary and not that this agreement is at AVMR Services, the company that does all our paperwork. You can use any company you choose, it's YOUR money, YOUR music, and YOUR career!

Rule Number Four - DON'T BE STUPID!

Don't think you can 'intimidate' any legitimate Record Company by being presented by a lawyer, accountant, 'management' firm or any other such self-important jackass entity! Record Companies have more lawyers, accountants and managers on staff than you can imagine - all paid to protect the company - and they'd damned well better do just that! If you need legal advice - get the best money can buy - but never attempt to use a lawyer - or anyone else - to 'intimidate' a Record Company.

It's a simple - but cold, hard fact - that all legitimate Record Companies already KNOW the real and phony 'production' companies, 'management' agents and agencies, et ceteras, because they deal with them all the time! Every day. All day long. Week in and week out. And it's good business for them to do so, because those REAL people carry one hell of a load of administration and related decision services the average Beer Joint Baritone doesn't even know exists!

That is not to say that legitimate Record Company doors are closed to all new-comers. FAR FROM IT! But they damned sure don't have to tolerate the stupidities of some self-important know-nothing jackass to whom they have to teach the rudiments of kindergarten Entertainment Industry! And especially when it comes to the investment required with respect to phonograph records.

Point to Ponder: Did it ever occur to you that each and every "horror story" contract was duly approved by some Jackass Lawyer?

Rule Number Five - DON'T BE STUPID!

In all probability you cannot 'present' your racket 'in person' - simply because all legitimate Record Company Executives DO NOT HAVE THE TIME! They'll tell you the kind of demo and relevant information to submit - which they'll review on their schedule, not yours - and they'll get back with whatever deal they have, if any.

And don't maintain the Beer Joint Baritone delusion that you can hard sell 'your product' to any legitimate Record Company. Legitimate Record Companies will not be high-pressured into anything - so don't kill your chances by thinking 'you' are any exception to the rules. If you have a commercially acceptable product, and your share of the promotion budget, no 'hard sell' is necessary. If you're lacking either one, you're also wasting your god damned time!

And - if you have to 'go out and see' them - if their schedule permits, they'll welcome you with open arms. AND A CLOSED DOOR! You just bought the Front Page ad that you're a full blown industry-ignorant paranoid with all your stupidity intact! They often meet to sign contracts, but not always, and if you put them to the expense of time and money to meet - you'd damned well better sign and deliver your share of the budget in full - or you're going to be on that Great Turkey List so damned high that Number One will look like last-place! And you're going to stay on it until ten days the other side of hell's third re-freeze.

And damned well you should! The Industry has enough idiotic jackass elements already, and the sooner they're weeded out, the better.

Rule Number Six - DON'T BE STUPID!

Mad-Hog rushing into the studio and recording a bunch of totally unusable emotional nonsense - is prima-facie evidence that you lay awake nights thinking up new ways to be stupid the next day! Whatever is being "hyped" by the media as 'being hot' today is actually the trash that needs all the help it can get! If a product is really selling like hell over low brush, it sure doesn't need some super-charged campaign that doesn't do a damned thing but cost money! So rushing in to the studio to "get in on this trend" only displays stupidity - not Industry Ignorance - plain, everyday, numb-sculled stupidity!

The same is true with respect to any 'religious' or 'social' agenda. Not that these are irrelevant factors in our civilization, or that they don't need commentary, but all legitimate Record Companies have somebody's money invested for the sole and exclusive purpose of making a profit! Profit which the Record Company had damned well deliver - your 'religious' or 'social' convictions notwithstanding!

If you want to record a religious song - then do it! But only with selling the record in mind! You can do 'your ministry' on your own time and out of your own pocket. If the record helps, fine. If it doesn't sell, what else is new?

If you want to record a social statement - then do it! But only with selling the record in mind! You can do 'your own social agenda' on your own time and on your own money. If the record helps, maybe you'll win a point. And if it dies the death of damned foolishness, welcome to the Real World of Records.

All legitimate Record Companies are businesses! They are not 'churches', - they are not 'social' organizations - they are not 'political' parties or action committees - they are businesses in business for the sole and exclusive purpose of MAKING MONEY FOR THEIR INVESTORS! And either you are a part of that sole and exclusive profit factor or you and your product are trash can bound! Probably in the trash can next door since the Record Company doesn't want to contaminate their own.

The cold, hard, fact of life in the REAL World of Records is - it costs as much to produce and deliver a record that will sell to only some limited jackass 'genre' as it does to produce and deliver a record that will sell ten million copies world wide! And that, my darlings, is the position all legitimate Record Companies are in.

Rule Number Seven - DON'T BE STUPID!

The term is "RADIO FRIENDLY" - and you'd damned well better be!

You might want to hear yourself blast off incoherently on an expanded version of Encyclopedia Britannica set to Boss-ka-ninny's Fifth bowel Movement - but if you can't get it on the air - the entire investment is going to suck more than a Queer's Convention!

Any recording that exceeds 3:30 Total Running Time has cut its potential air time in half going right in the door!

If you're a Super Star - or have one hell of a huge promotion budget - you can get away with long-winded nonsense. But if you're still in the upward-mobility stage, you need to use every good "do" in the book - and avoid the "don'ts" like the plague.

There's nothing worse than trying to listen to a demo and be interrupted by two Birthday Parties - and both of them YOURS! And jackass elements will do it every time.

If what you're going to record requires more than 3:30 - intro, turn around, tag and all - due to 'the integrity of the song', then get another song! The competition is too keen to let such emotional stupidity get in the way of success. And if you have "all confidence" in a song - then by all means go for it. If it justifies your confidence everyone will be too rich to give a damn. However, if it falls flat in your face - double check that Total Running Time on your next release if you have enough money left to get one!

Rule Number Eight - DON'T BE STUPID!

A good musical instrument or piece of recording equipment won't work one damned bit better in a so-called Music Capitol address than it will anywhere else in the world, as long as whoever is handling it knows what in the hell they're doing! The only thing more idiotic than "going to a Music Capitol to get discovered" is going to a Music Capitol to record your 'hit'! To put it mildly, most 'recording studios' couldn't cut cold dung with a power saw nor mix a fog horn solo! There's one hell of a big difference between being able to make a commercially acceptable record and being a tape-recorder operator living under an assumed name!

And a Music Capitol "address" doesn't change that one damned bit.

Nor are legitimate Record Companies impressed with Music Capitol productions! They don't give a damn if you cut it in a squat-legged bathroom in Downwind Smellsville! If you've got a commercially acceptable product - that, and only that is the 'production' consideration.

Commercially acceptable product and your share of the budget - and you have all the ingredients to get a good Recording Contract! And, YES! There's room for you and your music too.

Rule Number Nine - DON'T BE STUPID!

Make up your own mind about which songs you're going to use, the instrumentation, and everything else about the product and the production! Incorporating the Record Company's advice is one thing - wanting them to do all your thinking for you - is another.

After all, this initial outlay is your money, not theirs. So you can call some of the shots. And if you want to establish yourself, on your own ground, rather than being a second-best copy of someone else who is going to become a "has been" - then you'd be well advised to keep your own counsel and make your own decisions once you know what the hell you're doing!

It may come as a shock, but Record Company Executives don't know a damned bit more about what John & Joan Q. Recordbuyer is going to like than you do! They know what to do and where to put it to find out, but they don't have even the slightest clue as to whether it will actually sell or not.

And neither does anybody else!

I've told untold thousands who've asked me which song of their's I liked best, "If I knew what songs John or Joan Q. Public would - or would not - buy, I'd only have one of two things. Either the ONLY Record Company on the Planet, or the damnedest consulting fees from the others ever printed in a pay check!"

Once you have some Market feed-back, you might want to change a lot of things, and the Record Executive will help you every step of the way. But until then, don't waste their time with your indecision, and be ready for whatever happens. Who knows? You damned well may be right!

Rule Number Ten - DON'T BE STUPID!

Get rid of anybody in your association that is idiotic enough to ask for "an advance"! And that includes anyone idiotic enough to think the Record Company is going to pay all the bills and then give them all the money!

There damned well may not BE any money! Only one record out of eight ever sells any commercial copies at all, so be prepared for record number TWO if record number ONE doesn't really set the world afire.

I've never paid an 'advance' to anybody, songwriter or recording artist, and never lost a contract because of it that ever made a damned thing! And the only times I've ever seen any such 'advances' being paid is when the Record Company had to shelve some jerk who was getting in the way of someone else who was making money. And never under any other conditions!

In fact, for THIRTY YEARS - from 1960 through 1990 - I offered TEN THOUSAND DOLLARS CASH - to anyone who could produce a legitimate 'advance' contract with either a publisher of note or a distributed Record Label that didn't have a CHARGE BACK clause that covered every penny - with interest!

And in all those THIRTY YEARS there were no takers!

Only a few phonies ever attempted the bait.

Now that you know what you're going to do with your record - and especially now that you know the format, running time, and other technical requirements - you can choose a song in the vein of what's happening now or attempt to make your song the happening. Be ready to spend some money in initial promotion - and distribution once you have a viable product.

And, unless you're filthy rich, Market Test your product with a LITTLE money, and spend BIG when you have a solid Market following. Blowing your entire budget on a pipe dream by flying off with your stupidity intact, is the best way I know of to lose your shirt!

However, those of you who think you can pay for your second record with the sales of your first, really don't have anything wrong with you that a brand new set of brains wouldn't cure! The same is true for songwriters who want 'some name' to record their song for free so they'll have enough money to buy themselves into the Recording Artist business. Just don't hold your breath. You don't look good in purple at all and especially in the face!

And right here I want you to stop until you fully understand the next cold, hard, fact of entertainment life: don't confuse RECORD promotion with ARTIST promotion! They are not the same thing. If a great record begins with the song (and it does!) then a Great Artist's career begins with a good record. And a "good record" begins with a sound business plan and proper production - then lives because the Public likes it, or dies either because they don't - or more often than not because of Beer Joint Baritone jackass promotion or interference (back-dooring!)!

There are a few other points you should know - what to look for in a contract, et ceteras - and all that is covered in the International Industrial Review (August 1994) pages linked below. But many people assume they are going to manufacture the records and the General Licenser is going to write them a big check. NOT AS LONG AS YOUR RECTUM POINTS DOWN! There's a small matter of anti-counterfeiting and the minute you manufacture any commercial copies at all, even in cassette, there's a First Generation MASTER of your production out there in the far reaches of oblivion, and each and every copy of a CD is one! General Licensers spend a huge amount of money protecting their products - and the damned fool that manufactures their own just blew any and all anti-counterfeiting potential - instantly making their product totally worthless to the Record Company.

The first thing to watch in any Recording Contract, even an Executive Producer's Record Release Agreement, is the royalty base. If you see any contract that starts all this 'percent of ....' malarkey, TRASH CAN THE DAMNED THING! Jackass lawyers love to write such long-winded and important-sounding legal instruments, but the bottom line is the bastards are robbing you blind! You want to see a flat PER-SONG PER-COPY SOLD royalty rate and at the current (United States Domestic Rate) of EIGHT and ONE HALF CENTS! (Vandor Music Group pays NINE CENTS per-song per-copy sold - the HIGHEST RATE IN THE INDUSTRY AND THE HIGHEST RATE IN HISTORY!)

If you're smart enough to be your own Executive Producer (ExP), you should see an ExP contract pay TWICE that rate - out of which you pay yourself as the ARTIST! That's right - $.09 to the ExP and $.09 to the Artist - per-song (not record!) per-copy sold.

Now the Idiot Elements (with stupid grin intact) think they can put twenty songs in an album and be rich! There are no blue-eyed people who think that. If you look deep in those eyes you'll see a deep dark brown. Because anyone who thinks that is full of condensed owl dung right up to their eyebrows! This is a business - a product delivered for a given price with profit the intent - like all other businesses, even if the "product" is a rendered service. Anyone who wants to survive in business must make sure their product or service has a value to the customer that does not exceed the price! In this instance the magic number is TEN (10) - ten songs in an album - even a Split-5 is a TEN selection product, and it pays a TEN song royalty! Now get that straight - TEN songs - no more, no less. John & Joan Q. Recordbuyer aren't going to pay the same money for less - and the Record Company can't afford to pay out more than the record will bring in!

I know, there's those super-stupid EPs ... Well, what that amounts to is half a product for the same price to manufacture! Beer Joint Baritones might move a few EPs at the Friday/Saturday night beer-sop (once they've sopped enough!), but the reality is there has never been a Gold or Platinum EP! And the reason is simple. There are FIXED COSTS in any product. To manufacture and ship, envelopes and postage, telephone and other et ceteras, costs the same for a Jackass Product as it does for a Gold Mine! Make no mistake, the record buying public is not going to pay full-price for half a product, and record companies are not going to handle anything they can't make a profit on. They'd both be damned fools if they did! The common sense point is - LESS than TEN songs, you're robbing the customer (or trying to) - MORE than TEN songs, the mechanical royalties eat the profit margin alive. And only a damned fool would do either one.

However, in the case of all Beer Joint Baritones - "because the Clap-Trap Squallers in the Skid Row Bar & Stale Vomit Grill on the corner made an EP and lost their ass, we've got to maintain that stupidity and make an EP just like it!" We can't have any jackass what-won't-work delusions being lost to mankind!

And at near closing, don't waste the time to 'put a band together' so your can 'make a record'. The Idiot Elements will eat your energies by the ton, and not contribute a god damned thing! Make up your mind what you're going to record, how you're going to record it, and either play it yourself or hire the people necessary to do it. Then, when and if, your record makes any real noise in the Industry, all those same energy-sapping bastards that will bleed you dry will come running out of the trash pile like a forked streak of double-geared lightening! And they still won't be worth a damn! But then you can take your choice of those who are, because they'll be there too.

Before you spend one penny in recorded music, or even in making a xerox copy of a lyric sheet, STOP RIGHT HERE and read the entire IIR report that is the major content of this WebSite. I guarantee, if you jump over any single point, some Record Executive is going to catch you. And if you're too damned ignorant to learn this Industry on your own, you're also too damned ignorant to survive in it!

I sincerely hope you've enjoyed reading this instructional - and for those of you who have made it this far - every "STUPID" above is solid fact. I know, I made every damned one of those stupid blunders in one form or another, and in just about that order. I managed to escape the Turkey List because I blew all those tires on my own money - and bought my way back dollar by hard-earned dollar.

If you didn't grab everything contained in this rage-page, take the time to re-read the entire International Industrial Review site - all twelve articles - and you'll be as up-to-date as anyone else in the entire Industry. All the links and returns are listed on our home page. And for those few paranoids who can't find the documentation they'd wade neck-deep in the Firepits of Hell for - read "HANK WILLIAMS, THE BIOGRAPHY" by Colen Escott. It clearly documents the absolute neglect of the so-called 'major' publications of the day when it came to any Field of Music that wasn't part of the Kak New York/Los Angeles Clique. And that included most Black contributions and virtually all the Country Artists who weren't owned.

Thanks for your time, I hope each of you make a million million!
ARTICLE 20
UNDERGROUND ARTISTS WANTED
ONLY INDIES HAVE ORIGINAL IDEAS!
VMG MAKES THEM MAIN STREAM!

Your record on an 'indie' label is totally worthless! Main Line Radio won't play it and Main Line Outlets won't stock it. However, the same record on a VMG Label doesn't have either problem. We're licensed and distributed world wide and ! Get the picture? Now, what are YOUR chances with a viable product "in the groove?"

Let's get you some cold, hard, facts: WHAT WON'T WORK! - If you're waiting 'to be discovered' and given a million dollars 'because you have talent' - put your brains in the commode and pull the handle! Being in the business of being a Recording Artist is BEING IN THE BUSINESS OF BEING A RECORDING ARTIST! - Emphasis on "BUSINESS" - and there are no free rides.
The damned lies of ASCAP, BMI and SESAC notwithstanding!

There are several very good sites on the web that clearly expose the financial and other rape of 'being signed', the absolute God-Send Grand Daddy of them all being Steve Albini's (NIRVANA). Read it, then hit your "RETURN".

The intent of this article is to break the mental stranglehold of trying to sell a few records to this or that 'genre' when the same investment can put the same records into the Main Stream! - In short, it costs just as much to make a record with the potential to sell 100 copies (maybe) as it does to make a record with the potential to sell 10,000,000 (with the same 'maybe')!
The damned lies of ASCAP, BMI and SESAC notwithstanding!

The difference is JACKASS or NON-JACKASS! If you think getting your record to 100 or so College stations (who may or may not play it!) is some kind of 'big deal', then consider the fact there are over 14,000 stations in the United States alone! So your 'one song' shot at the big time being played at 3:AM on Swampville College's own KW-JACKASS "where all the hop-heads are impressed" isn't worth a good god damn!
The damned lies of ASCAP, BMI and SESAC notwithstanding!

Most college stations try to air balanced programming, politics aside, and that leaves very little air time for each of the several Fields of Music. Contrary to the Beer Joint Baritone delusions, radio airplay is not infinite - it's FINITE to the tune of 336,000 hours per day at that 14,000 station mark IF they were all 24-'hour WHICH THEY ARE NOT! Now begin to subtract the TIME factor that MOST stations are not 24-hour, leaving and average radio airtime of 168,000 hours per day - then subtract the TIME factor for commercials, news, weather, traffic and commentary, which will cut radio airplay another fifty percent due to the popularity of Talk Radio and Religious programming. Now we're down to 84,000 hours. And that's the sum total of ALL the stations in the United States! But let's break that down to a given 24-hour station as a rule of the thumb for simplicity's sake.

A 24-hour station consuming HALF the day, 12-hours, in something other than music. If each song did not exceed 3:00 Total Running Time (and all Jackass Elements insist on 4:00-Plus!), that station could air a MAXIMUM of 240 songs per day, and it would take all day to do it. The actual number is closer to 180. Now factor in the ROTATION, how many times a day a record plays if and when it reaches the Play Rack!
The damned lies of ASCAP, BMI and SESAC notwithstanding!

The average rotation is EIGHT times a day (seven days a week for six weeks!) leaving room for only 22.5 (make that 23) songs radio airplay on that station! Twenty three songs? That's right! The "Top 20" and THREE Classics, Golden Oldies (usually one play each of eight or nine different songs), or your latest effort on Stupid Jerk Records from over in the swamp! Anybody want to guess which choice that one is going to be?
The damned lies of ASCAP, BMI and SESAC notwithstanding!

Radio Stations live or die on numbers - the number of listeners determines the number of DOLLARS they can charge for advertising commercials - and competition for Radio Listeners is fierce! Broadcasters have to pay a LICENSE FEE to ASCAP, BMI and SESAC (just to use the music) right off the top of their gross advertising revenue which puts them in one hell of a financial cramp going right in the door! Broadcasters cannot afford to squander radio airplay on products their listeners can't buy through the existing commercial distribution outlets, sub-standard QUALITY productions or manufacture, or any other 'my talent' nonsense whatsoever!
The damned lies of ASCAP, BMI and SESAC notwithstanding!

Now that you know the cream-level of what won't work and WHY, let's get to the real meat and potatoes of WHAT WILL WORK and how to do it.
The damned lies of ASCAP, BMI and SESAC notwithstanding!

You need Professional Industry and Financial help! (We all need "professional" help for being in this business to begin with! :-) THERE IS NO FREE LUNCH! Not in Recorded Music, not in the real world anywhere else.
The damned lies of ASCAP, BMI and SESAC notwithstanding!

If you're not ready to spend some money to be in your own business of your own choosing, then stop reading right here with our best wishes for whatever you make of your life. However, if you're not cut from such cloth, you have as good a chance at success as anybody else! But nobody is going to 'give' it to you. They'll pay their share but not one damned penny more! Only one record out of eight ever sells any commercial copies at all - when everything is done right! Jackass any one single element and the number is an instant and eternal ZERO!
The damned lies of ASCAP, BMI and SESAC notwithstanding!

Now how much money and WHO you spend it with become the vital factors. Before you squander one penny in some jackass emotional tangent - regardless of WHAT you think you know about the Recorded Music Industry - or 'how much you believe in the product' - you need to do TWO things: ONE: Find out what the parameters are to get radio airplay; and TWO: Determine the budget to make a product and get it delivered into the right hands.
The damned lies of ASCAP, BMI and SESAC notwithstanding!

Then, and only then, can you produce a Commercially Acceptable product in the correct manner to get it distributed! And without hard commercial distribution, any record is all-but totally worthless. Without hard commercial distribution, any record is little more than a Monument to Stupidity. And NO!, the record companies ARE NOT going to pay you a ton of money to distribute your product! Distribution is a service, and you pay for it just like you do everything else. And here is how to get it!
The damned lies of ASCAP, BMI and SESAC notwithstanding!

And, even with the best distribution money can buy (and that's how you get it, you buy it!) without proper PROMOTION that record is a dead issue. However, do not confuse the con-artist 'promoter' with being a DISTRIBUTOR! And for you Country Folk, Nashville is over-loaded with such con-artists! For the rest of you Rock, Filk, Folk, Jazz, Alternative, Gospel, Rap, R&B, Dance, Hip Hop, Urban, Adult Contemporary, MOR, whatever, Los Angeles, Chicago, New York, London, Berlin, Tokyo, New Delhi, Singapore, Rangoon, Hong Kong, Seoul, Lima, Monte Video, Brasilia, and dozens of other lesser Music Capitols all have their share of Music Industry thieves.
The damned lies of ASCAP, BMI and SESAC notwithstanding!

You can get your record released through an easy thousand locations, but only the Super Six General Licensers have the resources and connections to deliver the product anywhere and everywhere it needs to go! Mom&Pop Record Distributors, Glorified One-Stop, Sewer Service, Sidewalks Cleaned on Request, and Copies While-U-Wait - IS NOT COMMERCIAL DISTRIBUTION! IT'S JACKASS! They may carry your record (on consignment), but they can throw it farther than they can 'distribute' it. And so can you. However, VMG (Vandor Music Group) is quite another matter.
The damned lies of ASCAP, BMI and SESAC notwithstanding!

If you insist your record be in all the local stores, whether or not there are any confirmed orders, then all you have to do is PAY THAT COST! It runs somewhere between $140,000.00 and $1,500,000.00 to ship Gold (for just the United states) and it's written off entirely unless the outlet re-orders the record! VMG (Vandor Music Group) stocks product only on confirmed order and avoids that kind of expense at the out-set. If the record isn't selling, the why spend a bunch of money in it? Sound business principals, don't you think?
The damned lies of ASCAP, BMI and SESAC notwithstanding!

If you've already manufactured your record (which is a big "NO-NO!"), there IS a way to UN-DO the jackassing - details are FREE from any VMG Representative - or General Bobby Farrell himself - 505 247 4843 - at $2,500.00 per hour, but like everything else in this Industry, there are no guarantees. However, on the bright side, if your record should pick up on the far side of the moon the money would still spend! And who cares if a record takes off in Boo-dunky, Pah-flunky?! Selling records is the name of the game.
The damned lies of ASCAP, BMI and SESAC notwithstanding!

UNDERGROUNDers! Promotion, distribution and radio airplay are you too! You just have to stop the 'genre' what-won't-work stupidities and play the game the way the game is really played! There is an Industry between those of us who make records and those of them who buy records and it's called RADIO! And either your records fit their parameters - running time, content, distribution, et ceteras, to get radio airplay, or the damned thing is a total waste of money.
The damned lies of ASCAP, BMI and SESAC notwithstanding!

We know the odds. We know the risks. But multiply EIGHT POINT SIX CENTS ($.086) per song - times a TEN (10) song album = ($.86) - times just 50,000 units - and you're looking at a whopping FORTY THREE THOUSAND DOLLARS ($43,000.00) as the Artist and another whopping FORTY THREE THOUSAND DOLLARS ($43,000.00) as the Executive Producer! And at VMG that would be FORTY THREE THOUSAND DOLLARS ($43,000.00) EACH! And that's not counting the FIFTY PERCENT from the Publishers to the Songwriter(s) after they've recouped their initial investment! Nor is it counting the Public Performance earnings you may be able to blackmail ASCAP, BMI or SESAC out of!
The damned lies of ASCAP, BMI and SESAC notwithstanding!

Now how much did you make on your last 'underground' attempt? Something less than this small fortune, I'll wager. And remember - the above figures are for a 50K seller not a rampaging monster! The odds are one out of eight of selling any at all, but that ONE (1) that does sell moves an Industry average of 50,000 copies. We just want you to know what the game really is.
The damned lies of ASCAP, BMI and SESAC notwithstanding!

I can't speak for other Record Companies, but VMG (Vandor Music Group) will give you a fair listen when you're ready to do business! We're NOT going to finance your pipe dream, so don't waste your time and ours with any such 'discover me', review my website, or 'my song' nonsense. It's trash-can bound if you do!

We'll pay our share in full accordance with Industry Standards, as will our Labels and Publishers, but we do not take artists, songwriters, producers, arrangers, or Indie Labels to raise. We're in business, and if you expect to succeed in Recorded Music, you'd better be in business too!
The damned lies of ASCAP, BMI and SESAC notwithstanding!

There are THREE sites on the web you'll need to study from start to finish. Either take the time to do that or quit wasting your time in this Industry! The First site is fully linked below, of which this article is but one part. The Second is Major Labels, mirrored here for your convenience. It's the absolute tell-the-truth site about 'being signed' anywhere on the web. You may not like the language, but TRUTH is often harsh and without mercy. The Third site is http://www.atlantic-satellite.com, also linked below, the Top-2,500 Records in the world via their satellite transfers and without separation as to Field of Music. It's a real Market eye-opener.
The damned lies of ASCAP, BMI and SESAC notwithstanding!

Once you've been through all three of those mills, you'll have scads of questions. Email any VMG Representative, just DO NOT spam the Company! Email direct from the site or General Bobby Farrell, and I'll get you the best information and the best Recording Deal available. NOTE: if you choose to dialog with any VMG Rep DO NOT attempt to back-door them with any other VMG Rep! All legitimate Record Companies take a damned dim view of back-dooring, and it's the Kiss Of Death you can count on!
The damned lies of ASCAP, BMI and SESAC notwithstanding!

The ball is in your court. Either you want your music out in the hard world where it stands to make a Return on Investment (ROI), or you don't! Nobody is going to give a damn if you're conspicuous by your absence. But there's a few million record buyers out there who might give a damn about your presence if and when your records are available to them! And there's a lot of money to be made, even with underground productions.
The damned lies of ASCAP, BMI and SESAC notwithstanding!

You want a 'break'? READING THIS PAGE IS YOUR GOD DAMNED BREAK! Now all you have to do is have enough brains to take advantage of it.
The damned lies of ASCAP, BMI and SESAC notwithstanding!

Now, in closing - your specific Field of Music really doesn't matter - there's a Gold and Platinum Record available! But you have to do it right. Preparation, Production, Promotion, Distribution, everything, top to bottom, start to finish. And NO! The industry will not bend to fit anybody's half-cocked ideas! So either forget them or stop blaming 'the industry' for your life-long perpetual failures.
The damned lies of ASCAP, BMI and SESAC notwithstanding!

Your Obedient Servants,
The Staff and Management,
VANDOR MUSIC GROUP.
info@vmgworldwide.com
ARTICLE 21
PRODUCTION -- DO IT RIGHT THE FIRST TIME!

1. Either you want your music to make money or you don't!

2. Either your music logs AIR PLAY or it doesn't!

3. No radio air-play equals NO RECORD SALES!

4. Either your music is RADIO FRIENDLY or you're dead in the water!

5. Keep your arrangements UNDER 3:30 TOTAL RUNNING TIME until you're established like legendary Sheena Easton, Bett Midler, Michael Jackson, Garth Brooks, Madonna, Linda Ronstadt, et ceteras. When you can afford to spend ONE MILLION-PLU$ COLD HARD BUCK$ in PROMOTION you can crowd the RUNNING TIME ENVELOPE! Until then you're just one more set of TRACKS out there in Radio Land looking for a handout of airtime.

6. If the selection you're going to record requires more than 3:30 TOTAL RUNNING TIME due to 'the integrity of the song', record some other song before you blow your budget of this worst of all emotional tangents!

PREPARATION & PRIME!

A recording project is exactly like a court case: it's won or lost in preparation! Ask any attorney from the best to the most jackassed and they'll all confirm that court cases are neither won nor lost in the court room: they're won or lost in preparation! Recording sessions are neither won nor lost in the studio: they're won or lost in preparation!

1. Recognize the fact that making a record is a highly emotional endeavor for most artists. Never let that emotionalism interfere with common sense.

The only way you can produce an Artist without making them sound like everybody else is to HAVE A GOOD HARD STUDY ON THAT ARTIST! What is the actual quality and tone of their voice how do they phrase can they make each and every KEY word believable in the process of making the whole STANZA believable, even in recitation what is the nature of their diction do they pronounce in slang or accent et ceteras. Once you HAVE THAT STUDY you can make the musicians sound like they're in the same song at the same time with the singer. Without it, it's damned near impossible. As you read the rest of this treatise you'll see just how important that STUDY really is to everybody concerned with the project.

2. Here's the BIG SECRET to getting into record-prime for any given project used by all successful artists and producers and ignored by all the fools! It's so simple that anyone can do it, but idiot element know-it-alls constantly ignore it to their own (and everybody else's) detriment.

When preparing for a given session, regardless of what your specific job is: engineer, singer, drums, et ceteras; for as many hours (or days) prior to the session as possible, and especially on the days of production, LIMIT your exposure to any other music except demos or partials of the material you're going to record!

Idiot elements will claim "it makes no difference", but see how long it takes for them to not only lay down their part: but lay it down so that it sounds and feels like its there with the rest of the production and you'll know better! That TIME is expensive and for all intents and purposes WASTED! It burns everybody else's prime un-necessarily in addition to un-necessarily adding to production costs!

And the reason is simple: MUSIC IS INFECTIOUS! It had better be if you intend to sell it. But nobody can record "THE SOFTEST SWEETEST" while they're programmed to the eyebrows with "YEA! DANGY DANGY"!

3. Just as everyone must get themselves "primed" in the morning to go to work for whatever the day requires, artists and producers 'prime' themselves to perform! That mental prime is all-important to the success or failure of a project and only a fool burns that 'prime' off the artists or producers under any conditions. Therefore AVOID:

A: Un-necessary delays in production;

B: Un-necessary re-takes to find levels and settings: especially VOCALS; and

C: All alcohol or other 'stimuli'! (NOTE: Here's the first of many contradictions in this crazy business: ONE OF THE BEST Throat Savers is a cap-full of SOUTHERN COMFORT in a FULL CUP of hot Black Coffee! It's not enough to blaze somebody's mind and it's the absolute best to prevent a COUGHING FIT that can instantly blow a voice! Even so, make sure the person is not an alcoholic: that is just too dangerous and destructive to be worth any record!)

4. A singer may be able to perform for hours on end: but not at record quality! The best throat on the planet has about THIRTY MINUTES of record-quality! With a bit of common sense as explained above, that thirty minutes can be extended to about forty five minutes of actual recording time over the process of a day's recording. First: NEVER do any of the following:

A: Suck lemons to keep a throat clear;

B: Blow out a throat with high or loud passages; or

C: Perpetually repeat high or loud passages to obtain settings!

5. With respect to number 4., above, again preparation is the secret. Which KEY to record in is always up for grabs to those who haven't the slightest idea of what they're doing. Analyses of some FIFTY THOUSAND successful records that both played and sold reveal yet another simple production secret:

A: Always record in one of the FIVE (5) open chords on a guitar: A, C, D, E or G! That's right! Unless you're doing instrumentals always record in one of those FIVE keys! Nobody knows 'why', it just works. Just like the sun coming up, you can't do anything about it, so don't waste the energy to try. Determining WHICH of the five keys to use: it's yet one more simple process.

B: Find the KEY, sharp, flat or indifferent, that the LEAD VOCALIST can hit the LOWEST passage in under full control! Not 'hollowed' out or at 'whisper' volumes: but under full control! Then record in the next HIGHEST open chord on a guitar! For instance: If the singer can do the passage in F, the correct KEY should be G! Not only does that save the singer's throat, it makes the backup and harmony easier on everybody else! Regardless of where they're going to do it on stage: this is not a stage performance: it's a non-visual audio performance!

That is the secret that kept the late PATSY CLINE from screeching and gave her all that range to octave, yodel, moan, talk, growl, or whatever else she damned well wanted to do! And, that is the secret that permitted the late JIM REEVES to sing so rich and so smooth! It also gives the singer all that upper range to lean on as necessary!

ACTUAL PRODUCTION

1. Again, we're back to preparation! Once you have the music selected to record, determined the actual KEY to record in, the next step is to work up an arrangement! The following asininities are the absolute KISS OF DEATH even for most 'established' artists: Therefore AVOID:

A: Introductions that exceed FOUR BARS of music! Get into the damned song and say something when you do! Many computer review systems are auto-timed to :30 and few Broad-casters will spend more than that reviewing a new release so jackass elements have featured everybody in the band with their own introduction the reviewer has heard everything but the damned lyrics and the VOCALIST! and the jackass is astounded the record didn't sell.

B: Changing RHYTHMS anywhere in a song! The best way to blow somebody's concentration - and their continued tolerance of your music is to switch beats once it's running and the listener is IN to it! When combined with a VISUAL, such as television or motion pictures, you can get away with changing the beat: but a record is an AUDIO sensory and cannot be seen, ONLY HEARD!

C: Limit INSTRUMENTAL INTERLUDES as necessary to curtail TOTAL RUNNING TIME and don't 'humor' anybody's ego when you do determine the intros, interludes and tag!

2. Once you have the arrangement determined: lay down a scrap VOCAL and RHYTHM section with whatever instrumentation is necessary for the intro, interlude, and tag. SAVE THE LEAD SINGER'S VOICE! (**STOP HERE AND APPLY PARA 4., NEXT SECTION!)

A: When you get to laying down keeper tracks ALWAYS listen to the track being recorded at HIGHER VOLUME than the music that will accompany it in final mix! You can do that and still give the performer at the time whatever mix they need to lean on. But the record isn't made in the sound booth IT'S MADE IN THE CONTROL ROOM! So having the track being recorded loud and the rest of the production soft in the control room is the only way to get the tracks you need to produce a commercially acceptable product. There's no other way to hear the clams while you still have time to correct them.

B: If some jackass wants to hear "finished record sound" while your recording - THROW THE IDIOTIC BASTARD OUT while you can still save the production. Even if they're the Executive Producer who's paying the bills I TELL THEM ONCE! You don't need some Beer Joint Baritone diversion from the hard requirements while you're trying to accomplish those hard requirements. You can tolerate such stupidities only if you intend to be a party to a do-nothing record.

3. Whether you're producing with DIGITAL or ANALOG, study the production as you go! You need to be HEARING what does, and does not, fit with the sound of the LEAD VOCALIST's voice and their delivery. Therefore, as you're laying tracks:

A: CUT DRY, LISTEN WET! Never record special effects, reverb, echo, et ceteras, in the production track: always add it later! Once it's in the only way to take it out should it be even the slightest bit wrong is to record it again! That's not only un-necessarily expensive: it's stupid! You can make adjustments of special effects until hell freezes over with a dry track: but you have to live forever with a wet one recorded in! You can add the damned thing for study purposes AND YOU SHOULD but make sure it doesn't cover clams in the dry track in the process.

B: Polish all EQUALIZATIONS as you study the tracks GOING IN (Remember that STUDY OF THE SINGER mentioned above?), and avoid RE-EQing during mix! The wave bend will more than likely be excessive at that point and that track will have to be done again! You'll need to do some RE-EQing to be sure, but the least, the better.

C: EQ everything TO THE LEAD VOCALIST'S VOICE! NOT THE OTHER WAY AROUND! The instrumentation and back-up are there to SELL THE SINGER the singer is not there to sell everybody else! The singer's job is to SELL THE SONG, not the god-damned band! And to do that they need everybody else's efforts and sound towards that goal.

In fact, there has never been a "good" singer who could carry a "bad" band, but any competent band can carry the world's worst singer!

4. YOU CAN'T 'FIX IT WHEN YOU MIX IT'! Minor clams can be edited or covered over: but major boo-boos have to be RE-DONE and even minor clams should be corrected on the spot (Remember that part about the track being recorded being a whole lot LOUDER in the control room?), and they can be if you catch them! One of the biggest production boo-boos is to permit lead and fill instruments blast on incoherently! That requires a lot of knob-grabbing during mix and that's just plain stupid!

Require the musician to play their own dynamics, dropping volume down as needed behind the FRONT FEATURE and raising it again as needed isn't the end of the world!

A properly produced production should MIX start-to-finish without touching a knob! There's only one way you can come back to the exact electrical setting of a fader: and that's by blocking it in TOP AND BOTTOM with magnetic strips literally welded to the board! So any time you have to move a knob: you have an un-necessary problem! One knob blocked in is a livable; Two knobs and you're asking for two different mixes due to speed-of-fade, point of punch-in, et ceteras; Three knobs? Make somebody re-do a track your production is already jackassed!

SECRETS OF COMMERCIAL ACCEPTABILITY

1. ANALOG RECORDING Always EQ each and every track at just the edge of TOO BRIGHT! You'll gain BASS in transfer regardless of WHAT you're told, and one db over the bass edge (which smears clarity) and your record is dead! Therefore even if you're going to dump ANALOG to DIGITAL at some point in the production: EQ IT BRIGHT in the ANALOG stages! You'll need the EQ room for final mix.

DIGITAL RECORDING Don't sweat the transfer-loss the system is changing ONEs and ZEROES - not rising and falling sine waves. Even so EQ BRIGHT the system it's going to be heard on is add bass 99.9999% of the time and LOW VOLUME is the absolute killer of frequency response - therefore a BRIGHT recording will still sound GREAT regardless of the system and the volume!

2. RECORD all tracks with compensation to allow for the FINAL MIX to be as BRIGHT and CLEAN as possible! Signal processors are notorious for smearing the hell out of the BASS REGISTER, especially broadcast compressors and juke boxes that have a very LIMITED FREQUENCY RESPONSE to begin with. The best RADIO signal is only 55db down when it reaches the antenna and combined therein is all the local noise from miles around. Making sure your production SURVIVES that should be your primary production concern.

3. NEVER send more than ONE signal into any special effects unit. They're just not capable of RECORD QUALITY with more than one source signal at a time! They'll either 'fuzz' or distort both signals: and neither are acceptable, especially with respect to VOCALS!

4. Getting a consistent live/mike track is simple: and it doesn't matter whether you're recording an instrument or a voice:

A: If you've done your STUDY OF THE SINGER or as much as you can glean from the Lead Vocal SCRAP track as you produced everything else to wrap it in: you should have the EQs set to give that Lead Vocalist the best sound going in that the equipment is capable of.

B: Set the microphone stand where you want it and mark the floor at its base with ordinary VISIBLE tape. Should you have to move the stand for any reason, it can be re-positioned which can be critical for acoustics! You will NEVER be too exact in re-setting a mike, so the tighter you make the position marks, the better.

C: MARK THE FOOT AND TOE POINTS of the singer by making a "T" on the floor with two strips of tape. STRIP ONE determines the DISTANCE from the mike and WHERE the singer's TOES should be during each vocal attempt! STRIP TWO determines WHERE the singer's feet should be right or left! Between those two positions the singer can always come back to the exact same point of PRESENCE!

D: Should there be a loud passage, add an additional "T" BAR where the singer can put ONE FOOT to rock back on during that passage! You'll be amazed how EASY it is to get a good clear signal without wrapping the needle around the peg!

E: Record the KEEPER Lead Vocal Track LAST so they have all the backup they need to lean on! PUNCH IN line at a time if necessary, a record must be many times more perfect than any live performance!

THE FINAL MIX

1. When you're doing final polish one any track: SHUT EVERYTHING ELSE OFF UNTIL YOU GET THE PRELIMINARIES DONE!

2. After you have the Vocal Track properly recorded, getting that great vocal sound in the FINAL MIX is simple, but it takes a little time. Considering that you've gotten all the other tracks to sound like they're in the same song at the same time with the lead singer: follow this simple process:

A: SHUT OFF EVERYTHING EXCEPT THE LEAD VOCAL!

B: Pan the track until it reads with equal volume in both the left and right channels keep it dry at this point! Raise the level until the VOCAL track peaks on the zero! Block in the fader with magnetic strips!

C: EQ the LEAD VOCAL until you have the best quality of the voice as possible! Re-set the volume as necessary to attain zero. The track should be within a few db start to finish, including the loud passages. If you've done your STUDY of the voice as advised, the EQ and LEVEL setting at this point should be negligible.

D: Now take either an echo or reverb: you're going to need both with nothing else in them but this vocal track during the mix! Put them in a separate channel by themselves and patch/assign the lead vocal to them. If you've done some experimenting in this arena while you were laying down instrument tracks and the final VOCAL, you should have the better part of this process already established. You should only need to polish.

E: Pan the first effect forty five degrees which effect doesn't matter and which side doesn't matter but for this explanation we'll begin with echo.

F: Now set the echo on its minimum setting or the factory set and listen! Lower the fader to the bottom and bring it up until the voice "sweetens"! Repeat the process with different settings until you have the correct delay, EQ, et ceteras, each time fading down all the way and bringing it back up until the voice sweetens! Once you have the settings, including the fader block it in tight with magnetic strips and turn off the echo!

G: Now pan the reverb forty five degrees to the opposite channel from the echo! Repeat the exact same process lowest or factory settings listening, and bringing the fader up from zero with each test until you have the voice sweetened! And block it in with magnetic strips! Some jerk will want to play jackass if you don't!

Now comes the hard part!

H: Turn on the echo which like the reverb should still be set at forty five degrees one right and one left and adjust the pan until the delay, or signal drop, in one is filled by the other! It's not a matter of volume it's a matter of pan degree! The norm is usually a lesser than forty five degrees when finished, and sometimes there is a need to fine tune the volume, but do that as a last resort. And remember to reset the magnetic strips to keep the production where you set it!

6. Now that you have the LEAD VOCAL as good as it's going to get, the next instrument to consider is the BASS! A: SHUT OFF EVERYTHING EXCEPT THE BASS! B: PAN the BASS until it reads with equal volume in both the left and right channels. C: TURN ON THE LEAD VOCAL, EFFECTS AND ALL!

D: EQ the BASS to compliment the LEAD VOCAL and set the LEVEL to where the two sound as much like a finished product as possible. BLOCK IT IN!

7. Now that you have the LEAD VOCAL and the BASS combines as close as possible at this point, the next instrument to consider are the DRUMS!

A: SHUT OFF EVERYTHING EXCEPT THE DRUMS!

B: PAN the BASS DRUM until it reads with equal volume in both the left and right channels.

C: PAN the SNARE DRUM until it reads with equal volume in both the left and right channels.

D: PAN the RIDE HI-HAT until it reads with equal volume in both the left and right channels.

E: NOW RE-PAN the SNARE and HI_HAT until they are in solid stereo balance with each other! Which is right or left is a matter of choice, just make sure that NEITHER is all-right or all-left.

F: NOW bring up each of the other percussions and set their LEVELS and PAN until it sounds like a live drum set during rolls, et ceteras.

G: TURN ON THE LEAD VOCAL, EFFECTS AND ALL, and the BASS.

H: EQ the BASS DRUM to compliment the LEAD VOCAL and set the LEVEL to where the three VOCAL, BASS, and BASS DRUM, sound as much like a finished product as possible.

I: Add the SNARE and repeat the EQ process to make it compliment the VOCAL.

J: Add the HI_HAT and repeat the EQ process to make it compliment the VOCAL.

K: Add the other parts of the DRUM SET one at a time and in any order and repeat the EQ process on each in turn to make it compliment the VOCAL,

FIRST RULE OF THE THUMB:

EQ each instrument to the LEAD VOCAL (and NOT the other way around!) to make them BLEND as much as possible. It's not a matter of 'how good' a given instrument sounds by itself, it's a matter of 'how good' does it sound with the LEAD VOCAL which is the all-important factor! ONCE YOU HAVE THEM SET BLOCK THEM IN!

8. Now that you have the LEAD VOCAL, BASS and DRUMS combined to this point, the next instrument to consider is your choice! Just get all the instruments done by following the same process for each before you attempt the harmonies and back-up vocals.

A: If you're using any instrument track with an effects of any kind be sure to solo/duet it with the VOCAL to avoid clash! Echo/Reverb on lead guitars and harmony vocals are notorious for clashing with LEAD VOCAL effects, so set the instrument or harmony effects to fit the VOCAL DO NOT CHANGE THE VOCAL EFFECTS SETTINGS!

B: After each instrument addition you'll need to fine tune the drums again! AND: WHATEVER YOU'VE JUST FINISHED WITH: BLOCK IT IN!

9. PIANO: The good producer's secret: PAN the LEFT hand FORTY FIVE DEGREES to one channel and the RIGHT HAND not more than FIFTEEN DEGREES to the other! Then when the PIANO takes the LEAD it's both in stereo and UP FRONT on that all-important RIGHT hand! BLOCK IT IN!

10. AVOID CHANNEL OVER-LOAD BY SHIFTING THE DEGREE OF PAN ON THE OFFENDING INSTRUMENT OR VOICE!

SECOND RULE OF THE THUMB: Everything can't be in the center, and neither the right or left channel can be 'heavy': so a good producer will take the LEFT hand of a piano and balance it by PANNING the BASS (in a few-piece production) or the BASS DRUM (in a more complex production) in the opposite channel just enough to BALANCE the production!

In the REAL WORLD OF RECORDING, there is actually only one rule: whatever works! Keeping a production CLEAN and UNCLUTTERED is easy enough, but always keep in mind that NO TWO PRODUCTIONS ARE EXACTLY ALIKE! But any set of properly produced music beds can virtually always be RE-EQed to fit any additional artist who sings that song in the same KEY! And when the final mix is finished, it'll sound like an entirely different production.

THIRD RULE OF THE THUMB: Making final production/mix decisions is easy: EITHER IT COMPLIMENTS (sounds good!) WITH THE LEAD VOCAL OR IT DOESN'T! If it doesn't: then change it or eliminate it and record something that does!

And always remember the initial admonition about emotionalism there comes a point where "doing it better" is really only "doing it different" and that's the time to shut down and let your ears readjust.

11. And now the most critical element of all THE KARAOKE TRACKS called MMVs inside the Industry and TRAX by the kids. Once you have the Final Mix on any given selection STOP! Stop right there before any jackass gets their hands on the board:

A:. Rewind the Studio Master --

B: Kill the LEAD VOCAL ONLY and all the effects on the LEAD VOCAL only --

C: ON A SEPARATE Master, make one more EXACT copy without that LEAD VOCAL ONLY!

D: Jackass elements will kill ALL THE VOCALS, and that sucks! LEAD VOCAL ONLY

E: REPEAT - LEAD VOCAL ONLY!

The more-exact those lead-vocalless music-beds are, the better! And, contrary to all the damned liars: you cannot 'go back and get it later'! And, if you don't think so, try it! Just be prepared to re-mix the main-take all over again. Even a delay of an hour when the humidity and/or the barometric pressure has changed that song will sound different and there's not a damned thing you can do to restore it!

So, make those damned MMVs while you're at it and THEN you can go to the next song with your potential money secured. Should a song really take off, those MMVs will just about DOUBLE the initial record sales and then top off the project with about a whopping 400% over that in sales! Kids love those TRAX and so do the KARAOKE licensers!

For someone who only read the short course in Studio Production you've become a pretty damned good producer!

Now that you know how to produce a commercially acceptable record contact any of the VPs and Producers below and get your product on the air, promoted, distributed and licensed World Wide. And do it before you blow your budget! If you're close enough to any of them, you might want to use their Production Facilities and certainly get the benefit of their expertise.
ARTICLE 22
WHERE THE MONEY REALLY IS IN RECORDED MUSIC!

Here are a few of the Year 2000's Biggest Earning Stars:
Tina Turner - $80,200,00.00
'N Sync - $76,400,000.00
Dave Matthews - $68,200,000.00
Kiss - $62,700,000.00
Tim McGraw/Faith Hill - $48,800,000.00
Dixie Chicks - $47,300,000.00
Bruce Springsteen - $45,900,000.00
Crosby, Stills, Nash & Young - $42,100,000.00
Metallica - $42,000,000.00
Britney Spears - $40,500,000.00
Ricky Martin - $37,200,000.00
Red Hot Chili Peppers - $31,300,000.00
Sting - $28,900,000.00
Barbara Streisand - $27,000,000.00
Creed - $26,200,000.00
Santana - $26,100,000.00
Backstreet Boys - $25,800,000.00
Jimmy Buffett - $24,100,000.00
Up In Smoke Tour - $22,200,000.00
Phish $21,400,000.00;

And for 2001 ...

U2 - $109,700,000.00
'N Sync - $86,800,000.00
Backstreet Boys - $82,100,000.00
Dave Matthews Band - $60,500,000.00
Elton John and Billy Joel - $57,200,000.00
Madonna - $54,700,000.00
Aerosmith - $49,300,000.00
Janet Jackson - $42,100,000.00
Eric Clapton - $38,800,000.00
Neil Diamond - $35,400,000.00
Matchbox Twenty - $28,400,000.00
Rod Stewart - $27,200,000.00
Jimmy Buffett - $26,900,000.00
Andrea Bocelli - $26,800,000.00
Ozzfest 2001 - $26,400,000.00
Sade - $26,200,000.00
Tim McGraw - $24,900,000.00
Britney Spears - $23,700,000.00
James Taylor - $23,000,000.00
Tool - $20,400,000.00

and that is just the Concert Tour (gate) income!

And here's how they did it, and how YOU can do it too. Using a combination of FOUR WALLS (FOUR WALLS is an inside Booking Industry term meaning - DIY - pay your own bills and do your own thing!) and Concert Producer venues!

FIRST, GET RID OF THE DELUSION: the vast majority of money made in Recorded Music is earned from record sales.

IT IS NOT! - REPEAT - IT IS NOT!

THE FACT IS, RECORDS ARE NOTHING MORE THAN AUDIO BUSINESS CARDS! We just happen to be in the only business where we can SELL our business cards, and sometimes at a profit.

Second, GET INTO THE IDEA: the vast majority of the money is made in the Live Concert Venues!

One more time: THE VAST MAJORITY OF THE MONEY MADE IN RECORDED MUSIC IS EARNED IN LIVE CONCERT VENUES! In short, the bookings.

Crunch the numbers yourself: VMG mechanicals = $.086 per song X (times) 10 songs (= $.86) per album sold; X the active parties: ExP = $.86 + (plus) Artist = $.86 = $1.80 per album sold; and Songwriter(s) = $.43 (50% of Publisher's Royalties) for a whopping $2.15 per 10 song album to the ExP/Artist/Songwriter! That's a lot of money, right?

Now factor in the point: THE INDUSTRY AVERAGE IS SEVEN (7) OUT OF EIGHT (8) ALBUMS RELEASED NEVER SELL A SINGLE COMMERCIAL COPY! Not a one.

Then factor in the COST of production and promotion of those SEVEN duds before you get that Industry Average winner, IF you ever do. And factor in the Industry Average that WHEN an album DOES sell, IT SELLS AN AVERAGE OF 50,000 COMMERCIAL COPIES.

However, 50,000 X $2.15 = $107,500.00 - and while that's a lot of money, ONE properly prepared and managed Concert can gross $280,000.00 - and net about 50% or $140,000.00 - for what amounts to ONE DAY'S WORK! (And many days preparation!) So we can see in an instant that ONE Industry Average Concert can pay $32,500.00 more hard cash PROFIT in one day than an Industry Average album (that happens to be that elusive ONE out of EIGHT) does in an Industry Average TIME FRAME of about one year. That's a lot of money and a very different TIME FRAME. For the record, TIME is also MONEY, and especially in this Industry.

We need some BASE figures that apply ONLY to making the points of this process clear. They ARE NOT the actual working numbers, which are much higher.

Let's take an INDUSTRY AVERAGE figure of $16,800,000.00 per year per act! That's right, a new - beginning - Act that is doing this Best Of All Industries THE REAL WAY this Best Of All Industries is REALLY DONE - grosses an AVERAGE of $16,800,000.00 per year in LIVE CONCERT PERFORMANCES!

And that figure DOES NOT include any record (mechanical) royalties paid by the Label/General Licenser.

Nor does it include public performance (airplay) royalties (if you can blackmail your PRO out of them).

And it does NOT include any MERCHANDISING (T-Shirts, Dolls, Toys, Posters, Plaques, Photos, et ceteras) income either.

DID YOU GET THAT? . . . $16,800,000.00 for 60 DAYS WORK on the Stage!

Again, crunch some more numbers: A good working band plays an average of TEN DAYS PER MONTH - EVERY OTHER MONTH! That means SIXTY (60) DAYS PER YEAR. The average show paying the above $280,000.00 before expenses.

We'll cover the HOW TO GET THAT $16,800,000.00 - LOGISTICS AND ALL! Don't worry about that for now - when the time comes VMG will get you on the Investor's Desk for the many more millions you're going to need.

First, you need to put your BUSINESS HOUSE in order! Being in ANY business is being IN business. Businesses exist for one purpose, TO MAKE MONEY! The product/service doesn't matter. And being IN the BUSINESS of being a Recording Artist/Entertainer is no different. You need EXACTLY the same administrative organization, INVESTMENT and MANAGEMENT as any other BUSINESS operation, from the corner barber shop/beauty parlor, auto service, et ceteras, to the huge employer manufacturers, shopping malls, fast food chains, and every other SUCCESSFUL venture.

Second, you need PROVEN product. Something, anything, that will log viable COMMERCIAL radio airplay. You don't need to manufacture - and in fact should not manufacture - in order to PROVE a product in today's technology. (If you've already made the mistake of manufacturing, it can be undone, but that is another story.) It's as simple as getting your music into any of the promolibraries! Indie 'compilations' WILL NOT WORK! Even the LEGITIMATE indie comps do not have sufficient coverage to satisfy the demands of COMMERCIAL radio airplay, and especially when it comes to have sufficient PROVEN product to influence INVESTORS. The MAJOR company composites do, the indies don't.

Third, that PROVEN PRODUCT needs to be PROVEN through any of the legitimate DISTRIBUTED Labels licensed with any of the Super Six General Licensers, or one of the limited (national/international) Licensers, such as Koch in Canada. Jackass Records from over in the swamp absolutely WILL NOT qualify for the INVESTORS! Period. Nitwilly Record Productions, Sewers Cleaned, Cement Contractor & Shine Parlor regardless of where-the-hell they're 'located', can only manage to throw your record just about as far as you can, AND NOTHING ELSE!

Your own 'label' or some equally 'renown' parallel is EQUALLY WORTHLESS at achieving COMMERCIAL radio airplay and EQUALLY WORTHLESS for getting the investment MONEY to take advantage of any given release.

Fifth, YOU NEED MONEY! You need a lot of it to exploit your PROVEN PRODUCT success! And once you have PROVEN PRODUCT AND YOUR BUSINESS HOUSE IN ORDER, we can and will put you on the desk of those INVESTORS who supply such funding/financial support. They're not interested in your glory trip, THEY ARE INTERESTED IN MAKING MONEY ON THEIR MONEY and anything even remotely jackass DOES NOT QUALIFY and will get your proposal TRASH CANNED then and there!

Fourth, (NO! These numbers are NOT out of order) to be able to GET THE MONEY in point five, above, you need a QUALIFIED BUSINESS PLAN that will influence the INVESTORS and that you can LIVE WITH once it's funded! Not some jackass 'explanation' of your 'talented glory trip' DELUSIONS, but a clear and concise presentation in accordance with SOUND BUSINESS PRINCIPALS!

To Wit: HOW much money is needed? WHERE it will be invested? WHO is going to do WHAT? HOW MUCH profit is expected? HOW LONG are all these processes going to take? And that's just for starters.

But here's how that process, and its logistics, actually works:

IN SPITE OF THE FACT only one record out of eight will sell any COMMERCIAL copies at all, with the PROPER PROMOTION the best air-playing song can draw thousands of people to the Artist's Concerts! That's Right! Each and every time a broadcaster plays your record, it's the same thing as a BROADCAST COMMERCIAL for your music, your record, and your LIVE CONCERTS!

While the general public assumes (and all the fools think) the record is selling like a house afire (even though THEY aren't buying it) they'll pay top dollar to see the Artist in LIVE CONCERT! The age of everyday LIVE MUSIC clubs for the Week End Star is NOTHING compared to a few years ago, and now is not even a viable consideration.

Now BEFORE you blast-off incoherently on an "I've-already-got-that!" scenario, which you really don't with all the right devils in the right details, let's count up some money, starting from the END of the venture and working backwards.

The current (2000) RAGE in Concert Venues are those AmpiTheatres built with TAX DOLLARS for the benefit of a VERY SELECT FEW private individuals. They seat an average of 8,500 people with a Park Area capable of another 3,000/5,000 people, not counting the parking lot. Check the nearest TicketMaster or Internet Concert Ticket Sales outlet and you'll find the AVERAGE PRICE IS $35.00 (USC) PER for the average Artist, and the 20 Stars mentioned above averaged a very generous $43.75 per ticket. True, the lessers don't get that, and some of the REAL Stars, like Barbara Streisand, get a whole lot more. But make no mistake, THE $35.00 FIGURE IS A VERY CONSERVATIVE AVERAGE!

A NON-sell-out of the seats alone, at 8,000 times $35.00 per is a very generous $280,000.00 gross per concert - again being VERY CONSERVATIVE. And these are the figures mentioned above.

8,000 TICKETS - (X) TIMES $35.00 EACH = $280,000.00

You should be booking TEN (10) days a month for no less than SIX (6) months a year = 60 Concerts. 60 X $280,000.00 equals a BLAZING $16,800,000.00 GROSS INCOME for those 60 days on the road scattered over that year!

60 CONCERTS - (X) TIMES $280,000.00 = $16,800,000.00

However, before you get any idiotic ideas that UNKNOWNS can book HIGH-DOLLAR VENUES, think again. Don't think so? Then answer this question: "How many never-wases have booked the AstroDome?

YOU CAN NOT GET THOSE HIGH DOLLAR VENUES WITHOUT A SOLID COMMERCIAL PRODUCT! Period. You flatly are not going to get the INVESTMENT to book the Astrodome with a Jackass Productions record from over next to the freight yard. ANYONE WHO THINKS THEY CAN IS A DAMNED FOOL, AND ANYONE WHO SAYS THEY CAN IS A DAMNED LIAR!

It takes a KNOWN somebody, and in music that requires COMMERCIALLY ACCEPTABLE and properly produced, financed, manufactured, promoted, licensed and distributed PHONOGRAPH RECORDS! Which instantly excludes any and all 'indie' product that Main Line Radio won't play and Main Line Outlets won't stock. And, NO!, mp3.jackass won't work either.

So, you need a COMMERCIALLY ACCEPTABLE record - on a COMMERCIALLY ACCEPTABLE label - licensed and distributed by a COMMERCIALLY ACCEPTABLE licenser. Get it? Anything less is pure and unvarnished POPPYCOCK!

Now THAT isn't as hard to get as you would think unless you're living under the DELIBERATELY PERPETUATED Beer Joint Baritone DELUSION that 'someone' is going to finance your pipe dream because you 'have talent'. If you're still THAT STUPID you're wasting your time reading this, or any other, legitimate information.

THE FINANCIAL FACTS ARE: once you have a PROVEN (Commercially Acceptable) PRODUCT and YOUR BUSINESS HOUSE in order, INVESTORS are willing to look at and perhaps INVEST the amount of MONEY it takes to PROMOTE such high paying Venues. But not until.

But let's break that whopping $16,800,000.00 estimate down a bit, and into the REALITIES of Business.

First, that is the ESTIMATED GROSS! There are all the EXPENSES to come out of it. So let's use a close estimate that each of those $280,000.00 Concerts actually COST you 50% ($140,000.00) to produce: rent, advertising, security, insurance, sound, lights, travel, communications, clean-up, et ceteras. Suddenly your NET begins to take on the aura of reality.

It's now down to $8,400,000.00 per that 60-SHOW YEAR - and that's still a lot of cold, hard, pleasure buying loot!

But we're not done yet. There's the little matter of the INITIAL INVESTMENT to repay. And let's venture that INITIAL INVESTMENT was $5,000,000.00 upon acceptance of your BUSINESS PLAN and funding thereof by the INVESTORS. There's going to be ACCRUED INTEREST. Everybody is in business to make money, and the ROI (Return On Investment) for the FINANCIERS is no exception. So you minus the $5,000,000.00 plus an interest of $1,000,000.00 leaving you with a tidy $2,400,000.00 before taxes.

THE FIGURES ARE EXAMPLES ONLY, and the actual numbers will be far more precise. Even so, even these numbers ask the question:

Are YOU ready to begin the process to earn that $2,400,000.00 the first year in Recorded Music?

Right here, most people, and all Beer Joint Baritones who are scared to death of a Million Dollars find every excuse under the Sun to escape. They neither want, nor can they handle, such responsibility. Nobody will blame them for walking. But then and there such actions clearly show to any and all the real value of their 'talent'.

But YOU are ready to take the plunge! First Step: PROVE THE MUSIC. - How?

It's a simple matter of MARKET TESTING your product to determine if it will LOG VIABLE COMMERCIAL RADIO AIRPLAY. If it logs VIABLE COMMERCIAL airplay, you've got the one-and-only indicator to invest more money into the product. If not, cut your losses on THAT production and try something else. Now having said that one more time, let's cut to the PROVEN PRODUCT chase - once you get it.

The current best-bang-for-the-buck are promolibraries. Promolibraries don't solve all the problems, but they're the quickest and lowest-cost quality test available in today's market.

Second, is to get the BEST song out of the promolibrary results into one of the MAJOR LABEL composites. Most Majors won't even consider anything they don't own lock, stock and tadpoles, but VMG does! More about that later.

Or (and this is YOUR choice) once you get satisfactory results from the promolibraries to indicate your product will LOG SUFFICIENT COMMERCIAL RADIO AIRPLAY, you might want to consider going directly for an album. If promolibrary results are deemed sufficient to justify the expense/investment.

PROOF, is Proof, is proof, and you're still going to need a hard product BEFORE you can even consider getting on the desk of the INVESTORS! So, now that we have A PROVEN SOMETHING:

We take TEN (10) songs, no more, all RADIO FRIENDLY, and release an album. NOT through Jackass Productions, Manure Hauling and Goat Currying, but via the General Licenser you uploaded your promolibrary product through! And we release it World Wide. Now, WIN, LOSE or DRAW, we have the PROVEN product to go to step three.

Three, WITH YOUR PROVEN PRODUCT AND YOUR BUSINESS HOUSE IN ORDER, we can put you on the desk of those INVESTORS who can shell out the $5 to $10+Million long-green you'll need to BUY the services and logistics to get those HUGE Venues we spoke of just a few paragraphs above.

You'll have to meet a few logistical standards, beside your Business House being in order, but the average investment loan is ONE (1) TO TEN (10) MILLION DOLLARS! And not one penny of it released to party! Every penny is already dedicated. Every cent is allocated to the facilities, equipment, salaries, insurances and administrative logistics you're going to need to deliver those performances. And to get it you also need a SOUND BUSINESS PLAN. What you're going to do with the money, how long it's going to take to do it, how much ROI (Return On Investment) the INVESTORS are going to be repaid, et ceteras, as mentioned above. However, for this explanation we'll split the average and base our figures on a $5,000,000.00 investment.

So, you've got a Business House in Order, sufficient PROVEN product, and FIVE MILLION DOLLARS that will be spent properly and in exact accordance with your Business Plan, and you are about this business in no un-certain terms.

$5-Million Bucks. Owed to the Investors/Lenders. BUT THAT IS PEANUTS!

IF - REPEAT - IF you are about the BUSINESS OF THE BUSINESS you're going to book that 60 Concerts - make that $16.8+Million - PAY BACK THOSE INVESTORS - and BE IN THIS BUSINESS right up-with and along-side everybody else who is any body else, you need to know the START UP COSTS.

INITIAL START UP INVESTMENTS = promolibrary uploads are $600.00 per song at VMG. Other companies charge their own prices, which includes those independent promolibrary operations now coming alive on the net. Some of those operations will do a full service for about $450.00 - and some even less - so you'll have to seek them out. If you have a question as to their legitimacy, ask us.

How many songs will it take before you have a solid air-logger? Nobody knows. FOUR (4) out of FIVE (5) songs released never log one split second of COMMERCIAL Radio Airplay!

And that's why you DO NOT - REPEAT - DO NOT blow your wad on an album at the get-go! Only an INDUSTRY IGNORANT does that. They've documented their own INDUSTRY IGNORANCE by releasing a product that doesn't have any Market Test on it and therefore NO MARKET FOR IT! And it's done everyday by those who buy-into the WHAT-NEVER-DID-WORK myths and delusions of the Beer Joint Baritone community.

And WHERE can you get your product into the promoliobraries?

You have several choices. First, there are Independent PromoLibraries (some on the internet), and they'll have the best prices. Some Independents upload through one or more of the General Licensers, while others just trade out (like they all do). The Major Labels offer the service (if they'll take your product), and their prices are usually higher than Independents, but IT PUTS THAT LABEL IN YOUR POCKET should you produce any viable success. And last, are the Super Six General Licensers direct, only at a huge increase in cost over the Labels and way-above the Independents, IF - REPEAT - IF you can get them to accept your product to begin with.

The few Major Labels and Independents will upload anything and everything, but NOT because of the money! Those Majors and Independents WILL NOT SIT IN JUDGMENT as to whether your product will air or not - but the Major Labels might not want product out of their dedicated line. Nobody really knows whether your product will succeed or not, so the Independents upload it and find out. In either instance, success is success is success and EVERYBODY WANTS IN ON IT ONCE YOU HAVE IT!

Do you want THAT kind of a deal and opportunity?

Well, THAT and ONLY THAT is what VMG reaches for every time.

Contact any VMG VP/Rep. Just don't spam the company. We TRASH spammers at the outset.
ADDENDUM TO THE ABOVE ARTICLE - VMG NEWS UPDATE

Edited from the issue as emailed to VMG's exclusive subscription list.

-----------------------------------------------------------

EXPOSED: THE REAL PURPOSE BEHIND VMG's WEB SITE AND BB/MESSAGE BOARD

Everyone who really knows GENERAL BOBBY FARRELL fully understands he might be a lot of things, but "stupid" IS NOT ONE OF THEM!

You can check all the 'how to' books written by 'experts' who've NEVER done it themselves, surf the net until you're over loaded with TOTALLY USELESS urls, and talk to every Beer Joint Baritone between here and the moon, AND STILL NOT GET THE ACCURATE INFORMATION CONTAINED IN ONE CURSORY READING OF THE VMG WEB SITE - http://www.vmgworldwide.com - and then check the Top 2,500 Records In The World Chart at - http://www.atlantic-satellite.com - and see the results for yourself.

VMG's site is the NUMBER ONE SITE IN THE WORLD for Recorded Music information! ACCURATE information. Cold, hard, right-between-the-eyes information. Information used EVERY DAY by all the other Major Companies and the PROs! The cookies don't lie, and they clearly show the track record. In addition, with those cookies safely secured - AND NOT ONE LAW SUIT FOR EITHER DEFAMATION OR LIBEL IN THE FOUR-PLUS YEARS IT'S BEEN ON-LINE - can it be assumed that GENERAL BOBBY FARRELL is telling the WHOLE TRUTH, AND NOTHING BUT THE TRUTH, SO HELP HIM, GOD?

YOU'RE DAMNED RIGHT IT DOES!

But what does THAT have to do with the REAL purpose for the existence of both the site and the BB/Message Board? EVERYTHING! Unlike all the other Major Label sites, the VMG site DOES NOT contain page after page of Artist's bios spewing perpetual hype about releases that AREN'T SELLING EITHER! All the other Major Label sites are filled with HYPE, Hype and more hype. GENERAL BOBBY FARRELL's VMG site is the ONLY site that contains the HOW TO DO IT and the WHAT WON'T WORK information for both established and beginner artists, songwriters, producers, studios, labels and publishers. AND IT CONTAINS THE WHOLE TRUTH IN ALL CATEGORIES!

If the site CONTAINS THE TRUTH - AND IT DOES - and there are those EXPOSED therein who dare not sue - AND THERE ARE - then what does THAT say to all VMG Personnel about those who have a tizzy over the contents of the site? IT SAYS THEY'RE JACKASS, THAT'S WHAT! And if they're JACKASS, they're also LOSERS who will not, and indeed cannot, make it or survive in this Industry. Therefore it also says THEY'RE NOT WORTH ANY EFFORT on the part of any VMG Representative!

FACT: In the years since the VMG site has been on-line in 1995, there HAS NOT been so much as ONE negative word from ANYBODY WHO HAS BEEN THERE and KNOWS from First Hand Experience! And the communications from KNOWN artists, producers, songwriters, publishers, studios, booking agents, FINANCIERS and everybody else is constant. All the whining and nonsense-spewing has been from the NEVER-WASes and AIN'T-NEVER-GOING-TO-BE crowd. Nobody else.

And the BB/Message Board?

It actually shows the PARANOIDS, PSYCHOPATHS, IDIOT ELEMENTS and BEER JOINT BARITONES with their life-long DELUSIONS, in real time!

READ IT! You'll find the SAME poppycock from the SAME ninny-group as every other BB on the net. BUT HERE VMG DOESN'T CUT THEM ANY SLACK!

If they scream "lie" - VMG simply requires them to CUT AND PASTE IT! And there have been NO TAKERS any where on the net. THERE ARE NO LIES ANYWHERE IN THE SITE! Simple as that.

If they scream "scam" - VMG simply require them to produce so much as ONE victim! NO TAKERS there either. BECAUSE THERE AREN'T ANY! Simple as that too.

The VMG site and BB/Message Board are there for all to use. Register and post. Any LEGITIMATE questions will be answered by someone who has BEEN THERE and KNOWS from First Hand Experience. You may not like the answer, but you can damned sure take it to the bank. If you take the time to get ACCURATE/TRUTHFUL INFORMATION and then FAIL to use it in good time, your failure IS NOT at the feet of GENERAL BOBBY FARRELL or VMG - IT'S TIED UP IN YOUR OWN SHOE LACES!

So, our Beloved GENERAL BOBBY FARRELL, the TRUTH is out on you, the VMG site, and the BB/Message Board. YOU SET BOTH THE SITE AND THE BB/MESSAGE BOARD UP TO WEED THE JACKASSES OUT OF THE FEEDING FIELD! And, you set the JACKASSES up to buy their own ads AGAINST themselves in the process!

And, as usual, you did another Master Piece Job! Now go and enjoy your retirement (until we need you again ... probably within the hour!)

Arnold & Amanda Repprucht,
Atlantic Satellite Marketing, Ltd.
counter@atlantic-satellite.com
-----------------------------------------------------------

MONEY IN MUSIC

Everybody knows of the many MILLIONS OF DOLLARS in Entertainment and Recorded Music.

HOW IT WORKS and HOW TO GET IT are the two big questions! WHAT WON'T WORK is the perpetual Kiss Of Death. In this issue, we're going to cover all three.

It always starts with the song.

Schlock, regardless of how 'emotional' and/or 'trendy' will always Die the Death of Damned Foolishness long before the final money is counted. The 'real cool' nonsense is doomed to jackass while a KISS-Factor (Keep It Simple, Stupid!) song will still be there and will make more long-term money - WHEN DONE RIGHT - than all the 'real cool' idiocies ever invested in.

You've got the song (hopefully a LOT of them, 10 at least). A retarded brick can produce a COMMERCIALLY ACCEPTABLE record if they have enough sense to leave the 'emotional' stupidities out and put the HARD LISTEN in. Producing a record is done primarily in PREPARATION, just about like everything else. Got ninnies who think it's a party?; who think your record is some kind of a do-nothing big joke?; or facilities that can't deliver the bottom line of a FINISHED EDITED CD ready for final mastering? THEN FLUSH THE LOT OF THEM! Not sure? Then ask somebody WHO KNOWS, you're closest VMG Representative, for example. If they don't know, they damned sure know WHO DOES! And they'll get that info for you asap.

You've got your song(s) DONE RIGHT ... now what? BEFORE you jackass your project, the first thing is to DETERMINE the COMMERCIAL ACCEPTABILITY (if any) of what you've put in the groove. You're going to need to know BEFORE you can make the MONEY your investment is intended to return.

You've only got one - three - five - songs. Fine. Put them into any legitimate PROMOLIBRARY and wait for the results. DON'T JACKASS THE GAME WITH ANY KIND OF HYPE! Leave it alone so you'll have a handle on the ACTUAL market acceptance, if any. None? That's fine too. Now you KNOW and can move on to something else/better and you haven't blown your wad on a "what wouldn't work". Action? GREAT! Now go for an album WHILE YOUR MUSIC IS WARM TO THE TOUCH! It might not get any hotter, and is going to cool considerably unless you DO SOMETHING with it.

Got TEN songs and need to work? Then let's cut to the chase in TODAY'S MARKET! Do an album. The cost NORMALLY varies between $40,000.00 and $60,000.00 TOTAL BUDGET (VMG has SEVENTY FIVE PERCENT - 75% - of that) and the call is YOURS!

What happens: VMG loads ALL TEN songs into the PROMOLIBRARIES. By the time we're through preparing the album - anticounterfeiting, label and traycard artwork, clearances, et ceteras - we should have RESULTS of WHICH (if any) of those TEN SONGS are getting the most notice. The SONG(s) WITH THE MOST ACTION BECOMES THE "PUSH" SONG FOR THE ALBUM. We print that into the info, and on the mailers/envelopes.

Action? As disgusting as it is: in TODAY's MARKET a record will play BECAUSE OF THE LABEL! Any label DISTRIBUTED via any of the SUPER SIX GENERAL LICENSERS can log air on the same songs that are TOTALLY IGNORED on any and all 'indie' releases. Shouldn't be that way, BUT IT IS! And YES (for the terminal idiot element) VMG IS ONE OF THOSE SUPER SIX MAJORS!

FACT: 4 out of 5 songs NEVER log airplay - 7 out of 8 albums released NEVER sell any commercial copies. Got that, everybody? Then:

HOW CAN ANYBODY MAKE ANY MONEY?

BY PLAYING THE LIVE CONCERTS IT TAKES A GOOD PLAYING RECORD TO GET!

Anybody miss the point in that statement?

"PLAYING" record! NOT 'selling' record.

Playing(?) record? RIGHT! PLAYING record. And here's HOW WE DO THAT! Upon release of the ALBUM, being "PUSHED" by the most COMMERCIALLY ACCEPTABLE music in it, there's a good chance the record will PROVE! Either via actual sales OR continued airplay! Either one will work! WE hope for BOTH, but we'll settle for either.

Remember a PLAYING record is the SAME THING for the ARTIST as a bought-and-paid-for COMMERCIAL is for the Car Dealer, Computer Company, Cold Remedy cum Cure-It-All Medicals, Breweries, et ceteras, AND ALL OTHER COMMERCIAL ADVERTISERS! And HOW do we get that HARD COMMERCIAL Main Line airplay? JUST LIKE EVERYBODY ELSE, WE BUY IT!

Buy it? Yep. BUY IT! Legally, without payola!

You see, in this industry there are REALITIES. One is that RADIO/BROADCAST is an entire industry BETWEEN those of us who MAKE records and those (the public) we want to BUY them. Another is, that radio lives or dies on it's COMMERCIAL INCOME or lack of it. Aaaaannnnddddd .... RADIO, like all other businesses NEED BUSINESS ADVICE, and they get it from CONSULTANTS! Broadcast CONSULTANTS. Who often offer PROGRAMMING to insure a solid LISTENER base for the TARGET MARKET of the RADIO station. Read that last line again. IT'S IMPORTANT!

Another REALITY is that RECORD COMPANIES also need and use MARKETING CONSULTANTS!

The real kicker is: CONSULTANTS CONTROL SCADS OF MAIN LINE RADIO - AND ALL THE REPUTED MAIN LINE CHARTS - BILLBOARD, RADIO AND RECORDS, AND GAVIN [UPDATE: GAVIN HAS FOLDED! ANOTHER CASUALTY OF TRUTH IN A HYPE-IS-EVERYTHING MARKET!]! (And BTW, heavy-hitter INVESTORS require such CONTROL in their presentations. More below.)

It's a 'CRONIES-IN-LAW" situation. RADIO needs CONSULTANTS and RECORD COMPANIES need CONSULTANTS. Enter the CRONIES-IN-LAW factor! ConsultiCRONY who does RADIO 'selects' the music for the station's playrack. ConsultiCRONY who does RECORDS 'selects' the stations for the record. In fact, RECORD-ConsultiCRONY simply contacts RADI0-ConsultiCRONY and BUYS THE AIRTIME on behalf of the RECORD COMPANY!

Now you've got the picture ... RECORD-ConsultiCRONY and RADIO-ConsultiCRONY are CRONIES-IN-LAW in business!

Because ALL stations ARE NOT consultant-programmed, VMG lets you TEST your product (via promolibraries) BEFORE squandering a fortune (or your limited budget) - then offers up to SEVENTY FIVE PERCENT (75%) of the INITIAL PROMOTION BUDGET to release an album - and then offers the assistance necessary to get you ON THE DESK of the INVESTORS who can put up the MONEY to BUY THE CONSULTANTS AND AIRTIME that will deliver those HUGE-PAYING CONCERT VENUES! Now take that one again, one bite at a time.

Now get this point clear: ALL stations ARE NOT consultant-programmed and ALL stations ARE NOT promolibrary-programmed - and YOU NEED BOTH! And you can AFFORD them in the proper order.

VMG offers the necessary MARKET TESTING via PROMOLIBRARY;

VMG offers the necessary FINANCIAL SUPPORT to release an album;

VMG offers the necessary BUSINESS EXPERTISE to secure the SUPER FUNDING (on PROVEN product) to BUY the rest of the RADIO market and BUY (Four Wall) those SUPER-PAYING VENUES at a very nice and hefty profit for everybody concerned!

Contact any VMG Representative. You'll be glad you did.

-----------------------------------------------------------

The Staff and Management

Vandor Motion Pictures, Phonorecords and Music Publishing Group
ARTICLE 23
WORLD WIDE DISTRIBUTION FOR YOUR LABEL!
HERE'S HOW TO GET IT!

First, most people who start their own labels do so simply because they are musicians themselves and the doors to all other labels are either closed, are outright scam operations, or totally without the means to throw a record any farther than the nearest trash can.

And that won't work.

A music 'capitol' (Nashville, Hollywood ... ) address won't change that fact one iota! Ask anybody who has been there and came home with their fleecing intact and their budget gone.

Second, most people who start their own labels have no idea that Main Line Radio won't play 'indie' product, and Main Line Outlets won't stock 'indie' product, effectively making their investment totally worthless.

And that won't work.

It's a simple matter broadcasters and merchants absolutely cannot afford to! The competition for listeners and customers is fierce, and even the illusion/perception of anything shoddy/substandard must be avoided at all costs. Your product might not be shoddy/substandard, but it's in the same bucket with the rest who are!

Third, most people who start their own labels have absolutely no expertise in business, administrative or marketing the real world of record promotion or distribution, other than that deliberately perpetuated by all the fools who never did it themselves either.

And that won't work.

With the broadcast and record store doors closed to 'indies' at the outset, attempting to ship 'indie' records to everybody in sight hoping someone will want a bazillion copies by some 'magical' process is sheer ignorance at best, and business stupidity at worst.

Fourth, most people who start their own labels think getting distribution is a free and clear million dollars from the distributor.

And that isn't going to happen.

Distribution is a service. Just like utilities in your home or office, gas, water, electricity, garbage collection, et ceteras. You pay for it or you don't have it. Somebody paid a lot of money to be in the business of distribution, and they're going to get paid on that investment. That's why they made the investment to begin with.

Fifth, most people who start their own labels have no idea of the investment required by publishers who own the copyrights to the music involved.

And that is not a freebie!

The one and only full truth out of ASCAP, BMI and SESAC (and Foreign PROs) is the fact that publishing is a business and requires both expertise and investment. Exploiting copyrights is not a something for nothing endeavor.

Sixth, most people who start their own labels think they can manufacture their own records and the distributor will buy them up front.

Don't hold your breath.

Distributors don't need your product under any conditions. In fact, they're up to their eyebrows with product they can't sell as it is. Seven (7) out of eight (8) records released never sell a single commercial copy at all!

Seventh, most people who start their own labels think they can manufacture their own records and supply them to the distributors outlets on some sort of 'commission' cum 'consignment' basis.

There's no way in hell.

Somebody has to guarantee product (buy-back - as in money-back guarantee) return in cold hard cash, and distributors are not going to permit some ignoramus to ship a bunch of unsellable/unwanted product to their customers/outlets the distributor is going to have to eat!

Eighth, most people who start their own labels think they can do all the public relations on behalf of the distributors and everybody is going to make millions and be satisfied.

No way in hell with that one, either.

Distributors don't need to upset their outlets with somebody's irresponsible 'promises' behind their back. The reason is simple. It takes a lot of time and investment to build customer confidence, and that is what a distributor's outlets are: customers! In short, distributors can't afford to have anyone speaking for them that they don't control! And neither can any other business.

Ninth, most people who start their own labels think the product they have to offer is solid gold without any other consideration than the fact it exists.

If they didn't, they should have recorded something else!

But records are not bought. They are sold! Just like any other product. And that's where distribution becomes the all-important consideration. Without it, the record buying public is not going to have access to the product. Period.

Tenth, most people who start their own labels think there's millions of dollars to be earned from record sales and thousands of dollars to be earned from performances.

The exact opposite is true.

Records are audio business cards. Nothing more. It's just that those in recorded music can sometimes sell their business cards at a profit. No other business on earth can do that.

Now that we have most of the misperceptions out of the way, how is distribution secured?: and how much does it cost?

The first, "How is distribution secured?", is the easiest to answer.

Vandor Motion Pictures, Phonorecords and Music Publishing Group, VMG for short, is one of the Super Six General Licensers who manufacture, license and distribute world wide. The other five and some of their labels are: Time-Warner (WEA, Warner Bros., Atlantic, Elektra, Asylum, Tommy Boy, Maverick and Vandor's manufacturer); SONY (CRG, Columbia, Epic, Screen Gems, MoTown); Bertlesmann (BMG, RCA, Arista, BNA, Ariola, Virgin); Universal (UMG, MCA, Decca, Mercury, Polygram, Polydor); and Walt Disney Company (WDC, Buena Vista, TouchStone). [UPDATE: EFA (Europe) is now defunct. BMG (Europe) and SONY (Japan) have 'merged' and now constitute one General Licenser although each still operates independently of the other.].

With enough money - or - with enough product sales ($10,000,000.00 per annum is the minimum) - you can contract any of that final six and get a distribution deal.

We think VMG has the best price to deliver the same service.

Why? Because we do things a whole lot different, business wise, than the other five because we structured differently on day one and we can afford to.

VMG does not, and never will, own anybody's masters! Did you get that? The client retains total ownership of their Masters! Including film and videos.

VMG offers full cooperation with the label's Artist Promotion endeavors! We have in-house World Wide Concert Tour booking and administrative support (venues, travel arrangements, advertising, et ceteras).

And the second question, "How much does it cost?", depends on how much financial support your product needs. And that can vary from release to release.

Let's make that a bit more simple. Any product in a Main Line Field: Country, Adult Contemporary, Rock, Classical, R&B, Urban, Jazz, et ceteras, requires far more broadcast coverage (promotion) than the Secondary Line Fields: Bluegrass, Dixie Land, Gospel, et ceteras, and therefore requires a larger budget. A product with crossover potential can enlarge even these budgets, or the product is not being properly promoted or exploited for profit.

Now that we know nothing is welded in steel until we get down to the actual cases, what is the rule-of-the-thumb cost?

With respect to "in-advance-of-orders" copies stocked in outlets: a five-color CD label, with a four-color tray card insert (booklets and folders are extra), in a standard jewel box, shrinkwrapped and delivered to the dock (U.S.) is $2.85 (USC) per copy - with a minimum run of 50,000 copies. And VMG advises NOT to make such investments until the public demand for the act justifies it.

CDs will contain VMG's exclusive distribution and licensing logo, without which your product neither gets on Main Line Radio nor on Main Line Store shelves. Without solid commercial radio airplay any record is totally worthless for anything but a demo. We'll cover that later.

CDs will contain VMG's exclusive anti-counterfeiting codes and measures, without which your product can be pirated (counterfeited). Did you know those copies you've already manufactured are all first-generation masters? Nothing can stop all pirating any more than cameras, guards, police and prisons stop all bank robberies, but it is a required deterrent and helps to find and prosecute the violators.

CDs will be the sole and exclusive property of the client, who is also responsible for any and all record promotion, Artist Development and Promotion, royalties and product return.

There are other details too complex to be given here. We're open to any and all questions.

Can VMG offer your label manufacturing, promotion, distribution and licensing?

YES!

Does VMG offer world wide promotion?

YES!

Record Promotion is an entirely different endeavor, with it's own set of rules, and with it's own costs and expenses. VMG is not interested in any 'local cum regional' releases whatsoever. It the product isn't suitable for International Coverage, it is simply not worth our time or investment. As stated above, the promotion of any given release is exclusive to that release and will be detailed after due consideration.

Will VMG accept you and/or your label as a client?

MAYBE!

The fact is, VMG turns down well over NINETY EIGHT PERCENT (98%) of all projects brought to us.

The NUMBER ONE (1) reason is actually two: Paranoia and Industry Ignorance. Both are tied for first place, even though neither is excusable.

The NUMBER TWO (2) reasons are listed above as First, through Tenth, and everything else falls somewhere beneath.

VMG is not the only General Licenser offering these services. And, none of the Super Six will 'bid' against any other General Licenser for your business! If you're 'talking' with some other General Licenser, VMG wishes you the best of luck. Just don't waste VMG's time until you're through 'talking' with whoever.

One closing word of advice, if you're 'talking' to anybody about multi-International or Global distribution WHO IS NOT one of the Super Six General Licensers (mentioned above), you're wasting your time and you're going to lose your money. Nobody else has the facilities or resources in-house to deliver on a multi-International or Global basis.

Thanks for reading.

Sincerely,

Your Obedient Servants,
The Staff and Management,
VMG World Wide
info@vmgworldwide.com
ARTICLE 24
VANDOR MUSIC GROUP, DEBT FREE AND GROWING!

VANDOR MUSIC GROUP can get you an Executive Producer's Record Release Agreement regardless of your Field of Music, and investing Publisher(s) and Label(s) who are about the business of selling records everywhere phonorecords are sold.

At VMG the Executive Producer (ExP), individual, company or group, retains 100% ownership of their Masters. Artists who are their own ExPs, thus retain total control of their career! Songwriters retain 100% of any and all composition rights. The only music tied up are those five or ten songs contained in and duly contracted to the release. That's right! All your other compositions, past, present, or future, remain under your control!

SORRY! We do not "get publishers" for music that isn't already a part of a Record Project! Executive Producers decide the music and arrangements contained in their releases. NO! We don't get "freebie" Recording Contracts for Artists either! - We're NOT into Song Sharking and NightMare record deals. YOU can be your own Executive Producer - 98.9% of all Recording Artists earning $100,000.00 or more per year are their own Executive Producers - read the label credits and see for yourself!

Either you want your record promoted, licensed and distributed, or you don't! And either you want your record properly promoted, licensed and distributed, or you don't. Even before you record, these are the TWO foremost critical business decisions. And only you can make them. Below are a few more details.

VMG will promote and distribute your Label if you're ready to make that kind of investment and business risk. As an affiliated label, you will also be responsible for the Executive Producer's share of promotion, except when we solicit you for Label Budget on behalf of other ExPs - on a very set and long rotation basis. You'll also be required to release one project per-year to remain active.

Call our nearest Vice President or Producer and make arrangements for their FREE AUDITION of your material! If they're busy, leave a message. They'll call you back. They'll hear your production from end-to-end (but not on your schedule), make their decision and let you know ASAP! However, even ASAP can take two or three weeks - but we won't leave you hanging for months on end. And NO!, our VPs can't take time off from current commitments to permit each hopeful to present their product in person! Nice idea, but time just does not permit it. Don't forget to ask about Digital Library releases - the best Market Test anywhere before investing in an album.

Before you contact any of the Executives listed below, read the entire site and LEARN THE COLD HARD FACTS OF THIS BUSINESS! As with all legitimate Record Companies, the people you'll be in communications with WILL NOT waste their time 'explaining' kindergarten to you, nor will they be 'put on trial' to get your business. If you want a career in music - then educate yourself in your chosen profession, just like any other Professional.

This website contains all the foundation blocks to build, control, enjoy and profit in a musical career from the perpetually repeated "what-won't-work" jackass scenarios, the major scams and con-games, and the EXACT "How to do it RIGHT the First Time" from songwriting through recording and getting your product licensed and distributed World Wide. All you have to do is learn these elements and apply them!

And finally, don't spam the company! All our contracts are the same! Nobody is going to 'get you a better deal'. VMG is endeavoring to locate our Representatives for your convenience, but you may choose any VMG Representative for your project.
ARTICLE 25
AREA/NATIONAL VICE PRESIDENTS
RECORD PRODUCERS & PRODUCTION STUDIOS
WANTED TO JOIN A GROWING COMPANY!

OFFER THE HOTTEST PROMOTION PACKAGES IN THE INDUSTRY!
VMG IS SIGNING NEW AND ESTABLISHED ARTISTS!

VANDOR MUSIC GROUP is looking Area/National VICE PRESIDENTS to represent VANDOR MOTION PICTURES, PHONORECORDS AND MUSIC PUBLISHING GROUP and our new division VMG World Wide. High volume producers only. Vandor offers up to seventy five percent (75%) of Initial Promotion Budgets to qualified Executive Producers - and 100 Percent of all follow-up licensing and distribution! Contact General Bobby Farrell for full details.

VANDOR MUSIC GROUP is looking for a few good Record Producers who either own, or have affordable access to, Production Studios to directly contract and produce commercially acceptable Acts for release on VANDOR, International; VMG; JUKE Records of Tennessee; or one of our many other Record Labels. Whether Individual, Partnership or Company, we're looking for Independent Contractors WHO CAN PRODUCE THE REQUIRED NUMBERS to join our growing Vandor, International family.

VANDOR MUSIC GROUP releases product in all Fields of Music. As a VMG President, Vice President, Producer or Production Company you will be authorized to GUARANTEE sure and certain release, on a VMG Label, and with VMG Publishers, for any commercially acceptable product!

VANDOR MUSIC GROUP promotes, licenses and distributes World Wide, but we do not stock or ship wholesale or retail product prior to confirmed orders, and only then to approved accounts. To protect our clientele, Artists, Songwriters, et ceteras, any and all information, other than authorized publicity and advertising, is kept in strictest confidence in accordance with the terms and provisions of our contracts.

VANDOR MUSIC GROUP does not require an initial franchise fee or purchase requirement to become a VMG Vice President, Producer or Production Company! You must either own, or have immediate access to, production facilities capable of delivering commercially acceptable Masters in CDR format. What you earn for the actual recording and such related services is yours, over and above VMG earnings.

There are legal requirements that VMG is not mis-represented, and technical standards that must be met. VMG provides technical production and current market advice, but your business remains YOURS!

VANDOR MUSIC GROUP provides all Executive Producer's Record Release Agreements and Music Publisher's contracts. Our contracts are such that mechanical royalty increases are automatic - as Industry Standards dictate - and technical configurations are implemented as the market and confirmed orders require. We pay the current highest rate of both mechanicals and licenses, and as timely as prudent administration will permit.

VANDOR MUSIC GROUP will consider applications on a first-come first-served basis.

You want to offer your clients a promotion, licensing and distribution package second to none. Their records are all-but worthless without it, and if you don't, somebody else will! You'll still be able to offer custom and independent record packages for local and non-distributed product. VMG knows and understands every record and every budget is not suited for distribution on a National or International scale.

VANDOR MUSIC GROUP is looking for those very few Vice Presidents, Producers and Studios that can deliver new, fresh, and original commercially acceptable product. If you're of the opinion you can meet or beat, the current competition, either in production, content or quality, here's an open door to offer your ideas and improvements.

Read and RE-READ the entire IIR Report, which are the first twelve articles (above) of this WebSite, before you apply for further information and details! After you have read and fully understand the ramifications of the IIR Report, and have some idea of how the Recorded Music Industry actually operates, contact any VMG Representative or General Bobby Farrell.

DO NOT SPAM THE COMPANY! All contracts and deals are the same for all Fields of Music!
DO NOT SPAM THE COMPANY! All VMG Representatives and Personnel are capable of handling all questions via our Company Process!
DO NOT SPAM THE COMPANY!

Unless you like feathers .....
VANDOR COMPANY DIRECTORY
ARTICLE 26
INVESTING IN A PERFORMING ARTIST!
$$$ HUGE PROFITS TO BE MADE $$$
WITH NO MORE THAN NORMAL BUSINESS RISKS!


Knowing what you do now, would YOU have invested in Elvis Presley or The Beatles when they were unknowns? Of course you would. They made MILLIONS! And are STILL making MILLIONS!

But HOW do you find out which acts are going to be profitable and which are born losers from day one?

EXCELLENT QUESTION! And we're going to answer it right here.

In spite of awesome 'talent', most artists are virtually brain-dead when it comes to BUSINESS or the FINANCIAL realities of this Best Of All Industries. They've bought in to all the ages-old never-did-work poppycock, suffer more paranoia than government socialists, and compound their ignorance with a mind so narrow they can look through a key hole with both eyes!

Now that we have a handle on the general situation, it's a whole lot easier to cut through the idiot elements and select those FEW with whom an investor can make some real money, and make the Artist equally well off in the process. Without the Artist, there is NOTHING! At VMG, we DO NOT permit the Artist to be scammed or exploited out of their fair share of earnings. If you've got any ideas about doing that, STOP reading right here and search out the fools some place else.

Before we go any farther, make sure you understand that ANY Artist can make a ton of money – all it takes is a good PLAYING record to draw people to the HIGH DOLLAR venues! And nobody can get into the HIGH DOLLAR venues WITHOUT a GOOD PLAYING record. That takes PROPER management and PROPER investment from Day One.

At VMG, the first thing we look for in an Artist is the absence or presence of HEADUS RECTUMITIS, industry ignorance and paranoia. The presence of any one of the three is justifiable cause for us to FLUSH, and not waste anybody's time, money or effort. Any one of the three is a SURE AND CERTAIN KISS OF DEATH for any and all the investment, and the Project, without exception. In my sixty-plus years in the industry, and forty-five-plus in the business of VANDOR/VMG World Wide, I've NEVER seen it fail.

Sometimes it takes a while to determine the presence of any given one, and THAT is why we invest very carefully: to be able to FLUSH any idiot and NOT destroy ourselves or a Project in the process. Nobody bats a thousand in ANY business, entertainment included, so by applying SOUND BUSINESS PRINCIPALS we determine the rejects and make a good profit on the remainder. And HOW do we do that?

We glean hundreds of potentials, and eliminate those who expose their incompatibility IMMEDIATELY. The survivors, seldom more than one (1) out of one hundred (100), we take to the next step. We release a series of their recordings via Electronic Music/Media Services (EMS), generally known as PromoLibraries, sit back and watch the results. No Hype! Nothing. We want to KNOW if their "groove" will work on its own, and WHAT they are going to do either way the release goes.

It charts ... do they blast off on some idiotic cum prima-donna tangent? Do they refine themselves to ADAPT themselves TO the market? What?

It doesn't chart ... do they begin a paranoid "everything-is-a-scam" campaign? Do they go into depression? Again, WHAT?

We're watching. And we're watching every move. Right here we'll do another separation of the fools from the finalists.

By now we've probably went through a thousand (1,000) or more "wannabes". Most are well-intentioned, honest, and sincere, but just WILL NOT learn the cold, hard realities of this industry. And in such cases, there's really NOTHING more anyone can do for them. They've locked the doors against themselves, and that decision is THEIRS!

What we have left at this point are those who have:

1. Put their business house in order;
2. Have some idea of WHAT they hell they're doing as a business and a product;
3. Are in the process of adapting themselves TO the market; and
4. Ridding themselves of any clutter that will potentially harm or restrict their endeavors.

Even at this stage of the game, we're NOT ready to throw scads of money to the winds, but we ARE ready to consider a more substantial investment.

Artists who reach this level generally HAVE a product they've recorded. Very few such products are technically up-to-date, and ALL of them need processing into COMMERCIALLY ACCEPTABLE Masters suitable for the processing and manufacture of an album.

Singles cost damned near as much as LPs, with only the administration of clearances, licenses, et cetera, being less and the FIXED costs being the same. Knowing that albums outsell singles about ten (10) to one (1), it makes little sense to release a single UNLESS there is no other choice! Example: You get a hard and irrevocable HIT with one of the releases, and DO NOT have an album ready to go. Rare, but it does happen.

And what kind of investment are we talking about?

To take the average Artist, who are perpetually session-rich and promotion-poor, do the EMS with NOT LESS THAN five (5) songs, and you have an initial investment PER-ARTIST of Twenty Two Hundred and Fifty Dollars ($2,250.00) (USC). And it's all risk. There are no guarantees that even the best recording in existence will do a damned thing. And NOBODY knows why, and NOBODY can predict. Only the damned liars and equally damned fools say or think differently.

To play the numbers, going for that one (1) out of ten (10) Artists that VMG has gleaned from the obvious losers, the MINIMUM investment is Twenty Two THOUSAND Five Hundred bucks ($22,500.00), and crossover can require a proportionate increase above that. And YES, you can bring your own Artists to the table, and they won't do any better or worse than ours. The object here is to either further refine the Artists VMG has already brought this far or to begin the process with new Artists from your stable. The odds and the money-math are the same for first timers. The only advantage is, the VMG Artists have already invested in themselves, at least to some degree.

Now that we've been through the EMS TEST mill, and we have both COMMERCIALLY ACCEPTABLE music on the "groove" alone, and an Artist who isn't doing handsprings into on-coming traffic. Well now, it's time to consider an album, AND THE ARTIST PROMOTION LOGISTICS TO GO WITH IT!

And $$$ how $$$ much $$$ is $$$ that $$$ going $$$ to $$$ take? $$$ $$$ ... $$$ ...???

Depends on the ACTUAL product. Let's start at the INITIAL RECORD RELEASE AND PROMOTION.

Once the product is recorded – and that can cost anywhere from $1,000.00 to $500,000.00 – depending on how PRUDENT or STUPID you want to be – and the necessary content of the Masters, the initial promotion budget will depend largely on the CROSS OVER potential of the album, if any. Let's break that down a bit ...

Let's say you've got Hillbilly Harmon, and his music is right between the eyes of the dirty pickup truck driving, Caterpillar Equipment ball cap wearing, warm Budweiser beer drinking, red neck .. there isn't a hell of a lot of use sending THAT product to a hard rock, sidewalk slamming broadcaster! It's a waste of money and you're going to look like a damned fool in the process.

Fine. You only need to hit the hard hillbilly – as opposed to 'modern' Country (which is neither) – stations and outlet buyers. As a DISTRIBUTED product, and regardless of the Field of Music, you still have to release world wide or the counterfeiters (pirates) are going to give you a massive royal cleaning should there actually be any real sales. But Hillbilly Harmon doesn't need promotion to cover more industrial area than his determined market.

Now let's consider that somewhere in the pile, there's a cut that just MIGHT do a tad in Southern Rock. "Why" is unimportant, we hear it, it's there, and we'd damned well better not fail to attempt to exploit it. There are about 800 stations in the US that air Southern Rock – regardless of the Artist's reputed Field – so we've just added 800 promo mailers to the cost! Does that require adding more potential outlets too? You're damned right it does! And UP goes the promotion budget accordingly.

The current (2005) album initial promotion budget for any SINGLE main stream Field of Music is $100,000.00 (USC) split equally between the Executive Producer, Record Label, Music Publisher(s) and General Licenser - and DOES NOT include putting product in the stores – "in-advance-of-orders" or otherwise, nor does it include BOUGHT RADIO AIRPLAY, better known as legalized payola. Those are additional costs, and are considered ARTIST promotion in this day and age.

Therefore, the initial album release budget for an investing Executive Producer would be $25,000.00 (USC) unless there is the aforesaid cross over potential – and THAT can easily double the capital requirement. We don't know until we TEST the product, and BEFORE any decision is made beyond the testing stage. In any instance, that budget is limited to Domestic (US) promotion only, even though the product will have been released world wide to avoid counterfeiting. EMS usually sets the stage for Foreign Licensing and sales, and Foreign sales usually set the stage for Foreign Tours.

And THIS is where we START!

We're a long way from buying out Microsoft & Holdings, and there's still risk involved, even if reduced to that of any other business venture.

Right out of the box is the fact we need enough money to FINISH a successful project at the outset. Things move faster than a forked streak of double-geared lightning in this industry, and anyone who pauses to move as necessary has just lost their entire investment in the same instant! So, we require investors to lay the loot on the line, no ifs, ands, buts or maybes. There is a HOWEVER, in case the project dies at or shortly following birth! It takes no longer than NINETY (90) DAYS following release of a record to KNOW with a NINETY NINE PERCENT (99%) certainty the record is NOT going to sell commercially at the time. No ifs, ands, buts or maybes about that either!

In such event, we REFUND the remaining money EXCEPT our costs up to that point. There's no use in pouring more good money into what has proven itself to be a dead horse. Simple and sound business principals. The Artist isn't tied up, they can still go about their career, it's just that ONE of their records didn't set the world afire. Will VMG do another record with them? YOU'RE DAMNED RIGHT WE WILL! We know that MOST records die at the outset and even more die on the vine. We also know that when a record DOES take off like an old fashioned Fourth of July, there is money to be made like no tomorrow!

It is VANDOR/VMG's position that ONE dead record does not a total-extermination make! We go back to the drawing board, market test a NEW product, and go for that Gold again. Because the TRUTH is: you can't miss them all either! In theory, it's only a matter of time until the Artist finds something that works: and now the PROFIT is there for the taking ...

What $$$ else $$$ are $$$ we $$$ going $$$ to $$$ need? $$$ ... $$$ ...

For starters at least one (1) tractor-trailer rig, and enough equipment to overflow it!

Sound, lights, special effects, and the PERSONNEL who can handle all that COMPETENTLY and without jackass! You don't need another "The Station", West Warwick, Rhode Island, February, 2003, disaster.

Tour Busses, to road the Artist, Band and Stage Crew; and an office somewhere to house whoever is going to answer the phone while your baby is on the stage somewhere out there, and all the administrative logistics of booking, accounting, payroll, communications, insurances, taxes (there's that 'word' again), et cetera.

A new tractor-trailer rig with an eight (8) thousand pound lift can still be bought – state of the art – for about $150,000.00 (USC); and someone to competently and safely drive it is going to be extra, as part of the Crew. Tour Busses can be outrageous, and leases come with company drivers – or else – and the cost can be $2.60+ per mile. In the current manufactured gas-gouging squeeze, you'll have to do your own math on that one. Just don't forget that tractor-trailer rigs are thirsty too, and seldom get more than about eight (8) miles to the gallon. With the current socialist-manipulated oil 'crisis', your guess is a good as anybody else's, just be prepared for some HUGE increases when you need it least.

A quick look at the startup and 1st year administration should be somewhere around $2,500,000.00 (USC).
PER-ARTIST initial preparation, initial promotion, et cetera, should average about $1,500,000.00 (USC).
Lights, sound, tractor-trailer, incidental air travel, rehearsal support will add another $1,500,000.00 (USC).
Band, competent Show Crew, Security, et cetera, will top out at something near $1,600,000.00 (USC).

That's a rule of the thumb figure of some $7,100,000.00 (USC) and you haven't booked a show yet.

Four Walls is the only way to go, where you pay all the costs and KEEP most of the money. A decent 8,000 seat venue with all the necessary trimmings will cost about $180,000.00 (USC) per show – and with any solid (quality) merchandise – return the investment and about $150,000.00 profit. And that isn't Super Star, that's just about any competent Artist with more brains than an oyster who conducts themselves properly.

Now for a quick answer, multiply that $150,000.00 per show by 200 shows per year – and you're looking in the neighborhood of THIRTY MILLION DOLLARS ($30,000,000.00) (USC) profit before taxes! The last time anyone checked, $30-Mil was one hell of a nice neighborhood ...

Can your chosen Artist achieve the same Super Stardom as Elvis Presley, The Beatles, or several others in that category? YOU'RE DAMNED RIGHT THEY CAN! It's a matter of PROPER management, with PROPER investment, and PROPER conduct on the part of everybody involved. Super Stardom IS FOR SALE! It's not a matter of 'talent', it's a matter of BUSINESS!

The same is true of investing in Motion Pictures the VMG way. Film is a whole lot more complicated, but we'll be glad to provide specifics of any project we have in the hopper at the moment.

Want to talk about it? Fine. Send me a letter via regular post, on your letterhead, stating your interest and requesting information. No obligation. There will be more paperwork should you decide to follow through, but at this stage your letter will be enough, and we'll do all the chatting on my dime.

I sincerely hope the contents of this Article 26 will help everyone who reads it, from the "wannabe" Artist to the well-established; to the investors and investment groups looking for sound business ventures; to all those who want a career somewhere in this Best Of All Industries.

Your Obedient Servant,

General Bobby Farrell.

ARTICLE 27
VMG IS SIGNING NEW AND ESTABLISHED ARTISTS!
Details are linked below - read all 30+ articles!
It's not a matter of "Artist" new or legend, it's a matter of LABEL!
"Indie" product can't log main line radio airplay
or get main line sales distribution.
VMG offers both.
And we're licensed, manufactured, promoted and distributed world wide!
Distribution! Promotion! Foreign Licensing! Publishing! Record Label! These are the FIVE brick walls in Recorded Music and anyone who doesn't understand the difference between them is doomed to waste their money, their lives, their career, and lose the Lion's Share of their royalties and live performance earnings!

Let's start at the BOTTOM, and take a cold hard look at the BOTTOM LINE:

COLD, HARD, INDUSTRY FACT NUMBER ONE: If you're not on a Major Record Label you're not going to log much, if any Main Line Radio Airplay because Main Line Radio won't play 'indies'! Even those few 'indies' with 'name' Artists (who usually own their own label) can't log Main Line Radio Airplay. Period. VMG World Wide is a MAJOR LABEL! We just do things differently than the others.

COLD, HARD, INDUSTRY FACT NUMBER TWO: If you're not on a Distributed Record Label you're not going to sell many, if any copies to Main Line Record Outlets because Main Line Record Outlets won't buy 'indies'! Even those few 'indies' with 'name' Artists (who usually own their own label) can't get Main Line Record Outlets to handle their product. Period. VMG World Wide is a MAJOR LABEL! We just do things differently than the others.

COLD, HARD, INDUSTRY FACT NUMBER THREE: The average quantity record-sell for that ONE (1) out of EIGHT (8) records that does sell, is 50,000 copies! Did you get that? "IF" a record generates any sales at all, the Industry AVERAGE is 50,000 copies! And at VMG, a domestic album of TEN (10) songs would pay an ExP/Artist/Songwriter mechanical earnings of EIGHT POINT SIX CENTS ($.086) PER SONG PER COPY SOLD, for a figure of ONE HUNDRED SEVEN THOUSAND FIVE HUNDRED DOLLARS ($107,500.00) (USC)! A Gold Album would pay ONE MILLION SEVENTY FIVE THOUSAND DOLLARS ($1,075,000.00) (USC) and VMG's contracts DO NOT HAVE ANY CHARGE-BACK! We told you VMG does things differently than the other Major Labels.

COLD, HARD, INDUSTRY FACT NUMBER FOUR: The vast majority of the money earned by a Recording Artist is from Concert/Live Performances! All records, whether "hits" or not, eventually become Audio Business Cards. Some sooner than others! Even so, without a good-playing or good-selling record, there isn't going to be any Concert or Live Performances! Especially HIGH PAYING ones.

COLD, HARD, INDUSTRY FACT NUMBER FIVE: Consider the fact that full Albums cost one hell of a lot of money! BEFORE anyone (other than a complete Industry Idiot) blows that kind of money, they Market Test the product - Artist - Song - Production and all. They take ONE SONG and find out if it will log viable commercial Radio Airplay! If it does, they move to the next step. If it doesn't, they re-group and test another song! They still have MONEY left to do that because they didn't blow it all on an unproven product.

COLD, HARD, INDUSTRY FACT NUMBER SIX: There are TWO ways to Market Test a song, PromoLibraries, that came on-line in 1992 and have been used by all the Major Labels ever since! The REAL Shakers and Movers in this Industry use PromoLibraries, and most 'indies' don't even know they exist. VMG damned sure does! Again, we told you VMG does things differently than other Major Labels.

COLD, HARD, INDUSTRY FACT NUMBER SEVEN: It's a simple fact of life that any Artist who isn't logging viable commercial Radio Airplay isn't going to get paid very much for bookings if they can book at all! And any Artist that is stuck in a going-no-where 'contract', regardless of the Label needs to get their own act in gear and force the Label to either deliver or cut them loose so they can proceed with their career!

COLD, HARD, INDUSTRY FACT NUMBER EIGHT: A good-playing record can do that in damned short order! Most Artists don't know that regardless of any contract provisions whatsoever, the Artist still has the right to promote themselves, and they can use their records REGARDLESS OF THE LABEL to do that! They just can't manufacture those records for sale, but they can damned sure take any other measures - specifically but not limited to: RADIO AIRPLAY in those self-promotion endeavors.

Now that you have a production that is logging viable commercial Radio Airplay, you need to move to the next step - a full album with world wide promotion, distribution and licensing.

If any Artist gets a good-playing song, even a TurnTable Hit, all the concert venue promoters with sufficient budget are going to come out of the wood work to book them! And any Artist, established, Legend, or new kid on the block, that gets a good-playing song, is going to get a lot more booking offers and a lot better money! Simple as that.

How Do We Do That? In short, "What is the next step?"

Depends on your Industry Status.

So let's start with a NEW-COMER: whether you've made your own Album, EP, Single, CD, Cassette, or otherwise, and regardless of the Field of Music. Your best, and lowest cost, first effort is to UPLOAD your most commercial song to the PromoLibraries. Our current information indicates they reach some 8,000 DOWNLOAD subscribers around the world, mainly Radio Broadcasters but including Program Syndicators, Background Music Marketers, et cetera. However, if you're a full time working band, or trying to be, then your best effort is to get your most commercial song(s) into a VMG World Wide release. Full details about that are given below. And YES! VMG is interested in having you on our label. Check our site and our contract, then contact us direct.

Established Artist/INDUSTRY LEGEND: whether or not you've been shelved, dropped, or anything else if you intend to continue working for TOP DOLLAR, then you should consider getting either your most signature song, or something else you like better, into a VMG World Wide release. And YES! VMG is interested in having you on our label. Check our site and our contract, then contact us at your leisure.

VMG World Wide family of labels support all Fields of Music: Adult Contemporary, Country, Rock, Jazz, Urban, R&B, Hip Hop, Dance, Blue Grass, Dixie Land, Folk, Ethnic Language, and Gospel in all its Fields too. VMG World Wide is open to all legitimate Executive Producers, Artist Managers and Labels and all Fields of Music. Only RIAA Broadcast Standard CDRs, Red or Orange Book Masters are acceptable. NO EXCEPTIONS! Rules for inclusion of any product in any release of VMG World Wide are normal Industry Standards.

Coverage includes all relevant (U.S. domestic average is 3,000-Plus for all Fields of Main Line music) broadcasters, program producers, program consultants, program syndicators and music users currently listed as such. Neither VMG nor any assign thereof can guarantee sure and certain success or airplay of any release based on the groove alone. Four (4) out of five (5) records released, regardless of the label, do not log any airplay at all. And seven (7) out of eight (8) albums released do not sell any commercial copies at all! However, with proper financial support, any song can be bought into Main Line broadcast, just like any other commercial. More about that at Where The Money Really Is In Music.

Upon any VMG release achieving any recognized Music Industry Chart, VMG World Wide will present to client a then-current VANDOR MUSIC GROUP Executive Producers Record Release Agreement with respect to follow-up album product. Client is under no obligation to accept or enter into said Agreement, and may contract with and/or release on any other label at any time. That's right, AGAIN! You can sign with anyone you want, any time you want. Get a "HIT", Get a CONTRACT! GUARANTEED!

Does not embind the MASTER beyond the selling life of the work. All MASTERS are and remain the property of ExP, and are returned to ExP as soon as possible. Once released, VMG will attempt to keep the work on the air and selling as long as possible.

VMG World Wide reserves the right to refuse any submission for any reason. Upon said refusal, VMG World Wide will return said submission with fee in-full as immediate thereafter as feasible. Recorded Music has its rules. Some technical, some ethical. And VMG will not knowingly be in violation of either, even by association.

The full text of the current VMG Executive Producer's Record Release Agreement - that VMG will present as stated above in Paragraph 5., above, - is available for your review at ExP. You'll probably have to save the file and print it out, about 25-30 pages depending on how you have your printer set up. You may contact me direct at 505 247 4843. If I'm not available, leave a message – REPEAT THE PHONE NUMBER TWICE - and I'll get back.

Or, contact any of the authorized VANDOR MUSIC GROUP Representatives below.

Your Obedient Servant,
General Bobby Farrell

ARTICLE 28
Mr. Boeser,

First of all, and I quote directly from http://bmi.com/licensing/business/rights.asp - YOUR WEBSITE!

A "performing right" is granted by the U.S. Copyright Act to owners of musical works to license those works for public performance. Businesses which typically license music include broadcast radio and TV stations, cable radio and TV stations, places such as nightclubs, hotels, discos, and other establishments that use music in an effort to enhance their business.

Some of those establishments use Satellite Feeds! If you don’t know that, YOU Damned well should! Maybe it is a case that you are ignorant – Let me educate you! They are music users for profit too!

Secondly, and I quote directly from http://bmi.com/licensing/business/rights.asp - YOUR WEBSITE!


There are hundreds of thousands of establishments - radio and television stations, nightclubs, hotels, amusement parks and the like - in the U.S. where music is publicly performed. It would be virtually impossible for individuals to monitor these music users themselves. Therefore, BMI acquires rights from writers and publishers and in turn grants licenses to use its entire repertoire to users of music. BMI collects license fees from each user of music BMI licenses, and distributes to its writers and publishers all the money collected, other than what is needed for operating expenses.

You people acquired the rights from Songwriters/Publishers and claim to collect license fees from “each” user of music to use the ENTIRE BMI repertoire to users of music. Some of those users are Satellite Channels. Now that I’ve educated you, you’ll see how much of a Stupid Idiot, Liar and Thief you are, working for the KNOWING Lying and Thieving Organization you do!

Satellite Music users – interesting that you don’t specifically mention them. Nevertheless you people damned well know that Satellite programmers are ALSO users of music for profit and license fees are collected according to your claim.

Either you people are NOT doing the job of collecting the license fees from some of those hundreds and thousands of music users for profit OR you people are the Damned Liars and Thieves that Bobby Farrell and Vandor Music Group – see http://www.vmgworldwide.com has ALWAYS called you! Of course, even IF you collected the fees, you damned well know that ONLY those in your pay clique would receive any money.

See http://www.atlantic-satellite.com for the list of satellite channels THEY monitor (I’ve also copied the list below). BDS is supposedly the world’s leading provider for Airplay Tracking. They claim to employ a Patented Digital Pattern Recognition Technology (See http://www.bdsonline.com). Atlantic-Satellite and BDS are TWO entities that are able to use digital technology to count. Why in the hell can’t BMI?

We’ve all been waiting for your lying explanation of what happened with Pete Townshend and his royalties. Hell has a better chance of freezing over before that one is forthcoming. I guess the award you gave him helped diffuse (bought him off to keep him quiet) the situation. Of course, he was also tagged with a Child Pornography charge around the same time to cast a black eye, filthy stain or whatever other ugliness on his integrity and reputation. Was that something someone in your organization covertly and insidiously set him up with so that he couldn’t talk further about with respect to your Damned Lies and Thievery? The timing sure works well. Don’t tell me or anyone else that is beyond your organizations ability to endeavor some Corrupt, Vile, and/or Putrid deed.

You people CLAIM that you do the job of BIG-DEAL monitoring with your 500,000 hours of it. 500,000 hours sounds like a pretty good sized number of hours to people who don’t have a clue as to what the total amount of time available to monitor and you deliberately make a mountain out of that molehill but the TRUTH of the matter is that it is less than 1% of all the time available to monitor. 1% isn’t enough to make your sampling rate of disbursement fair, honest, or statistically valid. Any student in a first year statistics course knows that. Your stupidity, lies, and thievery is appalling. The fact is 500,000 is less than 60 radio stations with 24 hour monitoring; 57.08 stations carried to the hundredths place to be a bit more exact!

You people also know that you don’t require radio stations to provide you with their playlists. You people also stop radio stations from posting them. Meaning if the radio stations don’t have to keep a record of what is being played on their radio stations, that STONE-WALLS songwriters/publishers from getting the EXACT information that YOUR letter asks for.

Do I dare step into the extortion you charge bars? Yes I think I will. Even though I know you will claim it isn’t your department, jurisdiction, or any other lame excuse you will think of. You people damned well know that you cannot possibly pay the rightful owners of the music played in venue unless of course it is one that you need to use to pay off someone in your pay clique.

Mr. Boeser,

By asking Russell Jackson to know what stations product is being played on and in what countries PROVES that you don’t know what in the hell your own Damned organization is all about – meaning YOU are working for a Lying and Thieving agency AND your letter CONFIRMS that BMI is the Lying and Thieving organization that Bobby Farrell and Vandor Music Group has always called you! See http://www.vmgworldwide.com/fullsite.htm. You are an accessory to their Lies and Thievery. Sue me Thief/Liar!

You Damned well know that no Artist (who may not be the songwriter to get paid by public performance) can monitor a work performed and all you will do is send them on wild goose chases that accomplish nothing. You have no intention whatsoever to pay a legitimate songwriter (who may NOT be the same as the Artist – another deliberate mis-lead) or publisher! Furthermore, your own response suggests that you don’t even know this difference yourself.

You and your company have absolutely no intention whatsoever in seeing any legitimate songwriters/publishers who has been performing their own material (they should get a piece of that action because the venue paid the bill to you or rather you EXTORTED it from them) in venue and you have no intention of seeing that the songwriters/publishers get their rightful due because you will ALWAYS claim that there were no logged performances – the less than 1% of monitored time sure leaves you with the perfected excuse.

Of course, the others excuses ALWAYS happen. Such as, you cannot find the documentation, please send it again. And, when the Songwriters/Publishers do just that, the processing time takes months and another reporting period goes by meaning you have another reporting period with no airplay as an excuse. Meanwhile, generally the first person talked to is no longer available. Someone else has to LEARN that workload and can’t because they are overwhelmed. Should they learn it, another reporting period has gone by meaning that you have another excuse to use for not paying royalties due the songwriters/publishers.

Of course, when the songwriter/publisher wants to be responsible and appropriately follow up with someone from your organization, it usually starts out with some idiotic and lame letter from someone such as yourself asking that THEY (the Songwriter) do the job that YOUR agency should! Other follow-ups are slow in coming and IF the songwriter/publisher is able to get through in that interim, generally they are provided with additional excuses such as the person is out of town, sick, on vacation, the position was vacated and it hasn’t been filled, we will look into it and then you have some flunky do the job, and the list goes on.

Do you fire your employees when they do find evidence of airplay that your lying and thieving company says isn’t there? Or is it a case that you promote the employee to continue to bury that information and the raise is BMI’s payoff to keep mouths shut?

Below is a cut and paste of the communication exchanges between you and Russell Jackson.


-----Original Message-----
From: "Boeser, Michael"
Sent: Jul 12, 2004 4:45 PM
To: rhapsodysing@earthlink.net
Subject: International Performance

Dear Mr. Jackson,

I am receipt of your letter dated June 25th 2004 addressed to Mrs. Musicaro. (why couldn’t SHE deal with it – the usual excuses?) Please be advised that we will need additional information in order to proceed with your inquiry. (What additional information should be provided since YOU claim this is something YOU do – see your claim on your own Damned website) For each work in questioned, please provide us with the country, broadcasting station, and performance period in which your work had performed. Without this information foreign societies are unable to research and fulfill your inquiry. (Again, this is something YOU claim that YOU do AND you damned well know it)

If you have any further questions please feel free to contact me. (You’ve been contacted and won’t do a Damned thing and you Damned well know it – who is the buck going to get to this next time?)

Thank you,
Michael Boeser
Performing Rights
BMI

-----Forwarded Message-----
From: rhapsodysing@earthlink.net
Sent: Jul 12, 2004 5:56 PM
To: "Boeser,Michael"
Subject: Re: International Performance

Mr. Boeser,

Our business associate Mr. Freddie Scott (Hey Girl) fame is a very good friend of Mr. Marty Feldman. Mr. Feldman was given the UPC number in conjuction with the songs that are in question. Mr. Boeser with all due respect, I don't know how you can expect an artist to know what stations their product is being played on and countries when there were no royalties that were paid. Also it seems BMI would have better access to these stations than anyone. Don't you people survey satellite performances of songs to radio stations worldwide?

The product is still on the International Charts as we stated in our letter to you along with the address of the site on the internet. The UPC code number is 766659400850. The record company is Nitram Records/Vandor Music Group. The product has been on the Atlantic Satellite Chart www.atlantic-statellite.com for 27 months as of this month. The songs are Story Book Romance, Third Last Chance At Love, Purple and Blue, Love Song Gone Wrong, I Need To Know and I Won't Let You Go. All were written by Sheldon Liebman of 7 Capri Gate, Plainview, N. Y. 11803. The artist that is performing all of the songs is RHAPSODY. As stated in our letter three of the songs were nominated for grammys this past February.

Russell Jackson, Vice Pres.

Provided below is the List of Channels that are monitored by Atlantic-Satellite. If Atlantic-Satellite can monitor and compile a monthly Chart of the top 2500, how come YOU can’t!? Well I already know. You are Damned Liars and Thieves!

So who is going to be out of the office, unavailable, the position isn’t filled yet, we have to talk to some other person who’ll repeat the process of runaround this time?

This response is posted on the VMG website and sent to ALL on our mailing list in its entirety! It is at http://www.vmgworldwide.com/LiarsAndThieves-Boeser.htm. The links to Pete Townshend’s BMI problem of not getting paid and the information including Pete Townshend’s BMI award are available to all. Additionally, other links EXPOSING the Lies and thievery will be there too! See them at: http://www.vmgworldwide.com/LiarsAndThievesDocumentation.htm Sincerely,

Chylon Budagher
Vandor Music Group
Ice Fire International Records

And on behalf of the THOUSANDS of Songwriters and Publishers that you’ve lied to and stolen from!

Below is a list of the Satellite Channels monitored (see http://www.atlantic-satellite.com). If they can get an honest and legitimate count, why in the royal boiled hell can’t you?!


ABRIXAS - ACRIMSAT - ACTS - ADEOS - AFRISTAR - ALOUETTE 1 (S-27) - AMOS 1 - AMSC 1 - ANIK E1 - ANIK E2 - ANIK F1 - AO-10 - AO-16 - AO-21 - AO-27 - AO-37 - AO-40 - APSTAR 1 - APSTAR 2R - APSTAR A1 - ARABSAT 2A - ARABSAT 2B - ARABSAT 3A - ARGOS - ARIANE 4 R/B - ARIANE 44LP R/B - ARTEMIS - ASIASAT 1 - ASIASAT 2 - ASIASAT 3S - ASIASTAR - ASTEX 1 - ASTRA 1A - ASTRA 1B - ASTRA 1C - ASTRA 1D - ASTRA 1E - ASTRA 1F - ASTRA 1G - ASTRA 1H - ASTRA 2B - ASTRA 2D - ASTRA-2A - ASTRID 2 - ASUSAT - ATLANTIC BIRD 2 - ATLAS CENTAUR 2 - ATLAS CENTAUR R/B - ATS 1 - ATS 3 - AUREOLE 1 R/B - AUREOLE 2 R/B - B-SAT 1A - B-SAT 1B - B-SAT 2A - BEIDOU 1 - BEIDOU 1B - BONUM 1 - BRASILSAT 1 - BRASILSAT 2 - BRASILSAT B1 - BRASILSAT B2 - BRASILSAT B3 - BRAZILSAT B4 - BS-3N - CAKRAWARTA 1 - CALSPHERE 1 - CALSPHERE 2 - CALSPHERE 4(A) - CBERS-1 - CELESTIS-01 - CELESTIS-02 - CELESTIS-03 - CERISE - CHAMP - CHINASTAR 1 - CLEMENTINE - CLUSTER II/FM5 - CLUSTER II/FM6 - CLUSTER II/FM7 - CLUSTER II/FM8 - COBE - COBE R/B - COLUMBIA 515 - COMSTAR 4 - CORONAS F - COSMOS 100 - COSMOS 1043 R/B - COSMOS 1063 - COSMOS 1063 R/B - COSMOS 1076 R/B - COSMOS 1140 R/B - COSMOS 1151 R/B - COSMOS 1206 R/B - COSMOS 1220 - COSMOS 1238 R/B - COSMOS 1263 R/B - COSMOS 1271 R/B - COSMOS 1315 R/B - COSMOS 1340 R/B - COSMOS 1356 R/B - COSMOS 1383 - COSMOS 1400 - COSMOS 1400 R/B - COSMOS 1447 - COSMOS 1484 - COSMOS 1484 R/B - COSMOS 1500 - COSMOS 1508 R/B - COSMOS 1536 - COSMOS 1544 - COSMOS 1544 R/B - COSMOS 1574 - COSMOS 158 R/B - COSMOS 1602 - COSMOS 1656 R/B(2) - COSMOS 1674 R/B - COSMOS 1689 R/B - COSMOS 1697 R/B - COSMOS 1726 R/B - COSMOS 1766 - COSMOS 1766 R/B - COSMOS 1791 - COSMOS 1812 - COSMOS 1825 R/B - COSMOS 1833 - COSMOS 1833 R/B - COSMOS 1844 - COSMOS 185 R/B - COSMOS 1862 R/B - COSMOS 1867 - COSMOS 1908 R/B - COSMOS 1933 - COSMOS 1939 R/B - COSMOS 1943 R/B - COSMOS 1953 - COSMOS 1954 R/B - COSMOS 1975 - COSMOS 1975 R/B - COSMOS 1980 R/B - COSMOS 1985 DEB - COSMOS 2053 R/B - COSMOS 2058 - COSMOS 2058 R/B - COSMOS 2074 - COSMOS 2082 R/B - COSMOS 2084 - COSMOS 2084 R/B(2) - COSMOS 2085 - COSMOS 2098 R/B - COSMOS 2106 R/B - COSMOS 2123 - COSMOS 2133 - COSMOS 2142 - COSMOS 2151 - COSMOS 2151 R/B - COSMOS 2154 - COSMOS 2172 - COSMOS 2173 - COSMOS 2180 - COSMOS 2180 R/B - COSMOS 2181 - COSMOS 2184 - COSMOS 2184 R/B - COSMOS 220 R/B - COSMOS 2218 - COSMOS 2219 R/B - COSMOS 2224 - COSMOS 2227 R/B - COSMOS 2228 - COSMOS 2230 - COSMOS 2233 - COSMOS 2237 R/B - COSMOS 2239 - COSMOS 2242 - COSMOS 2263 R/B - COSMOS 2265 - COSMOS 2266 - COSMOS 2278 - COSMOS 2278 R/B - COSMOS 2279 - COSMOS 2282 - COSMOS 2291 - COSMOS 2297 R/B - COSMOS 2310 - COSMOS 2315 - COSMOS 2319 - COSMOS 2327 - COSMOS 2332 - COSMOS 2334 - COSMOS 2336 - COSMOS 2341 - COSMOS 2345 - COSMOS 2346 - COSMOS 2350 - COSMOS 2361 - COSMOS 2366 - COSMOS 2371 - COSMOS 2374 (783) - COSMOS 2375 (787) - COSMOS 2376 (788) - COSMOS 2379 - COSMOS 389 - COSMOS 389 R/B - COSMOS 405 R/B - COSMOS 426 R/B - COSMOS 482 DEB - COSMOS 660 R/B - COSMOS 80 7 R/B - COSMOS 955 R/B - COSPAS 4 (NADEZHDA 1) - COSPAS 6 (NADEZHDA 3) - COSPAS 8 (NADEZHDA 5) - CRRES - CSL-04 R/B - CXO - DBS - DBS 3 - DEBUT (ORIZURU) - DELTA 1 R/B - DELTA 2 R/B(1) - DELTA R/B(1) - DFH 3-F2 - DFS 3 - DIRECTV 1-R - DIRECTV 2 - DIRECTV 4S - DO-17 - DUMMY MASS 1 - DUMMY MASS 2 - ECHOSTAR 1 - ECHOSTAR 2 - ECHOSTAR 3 - ECHOSTAR 4 - ECHOSTAR 5 - ECHOSTAR 6 - EGP - EKRAN 20 - EKRAN 21 - ELEKTRO (GOMS) - EO-1 - ERBS - EROS-A1 - ERS 2 - ERS-1 - ERS-1 R/B - ERS-2 - ETS 7 - EUROBIRD - EUROPE*STAR F1 - EUTELSAT 1-F4 (ECS 4) - EUTELSAT 2-F1 - EUTELSAT 2-F2 - EUTELSAT 2-F3 - EUTELSAT 2-F4 - EUTELSAT W1 - EUTELSAT W2 - EUTELSAT W3 - EUTELSAT W4 - EUVE - EXOS D (AKEBONO) - EXPRESS 1 - EXPRESS 2 - EXPRESS 2A - EXPRESS 3A - FAISAT 2V - FALCONSAT - FASAT-B - FAST - FENGYUN 1B - FENGYUN 1C - FENGYUN 2A - FENGYUN 2B - FO-20 - FO-29 - FUSE - FY-2 - GALAXY 10R - GALAXY 11 - GALAXY 1R - GALAXY 3R - GALAXY 4R - GALAXY 5 - GALAXY 6 - GALAXY 8I - GALAXY 9 - GALS 1 - GALS 2 - GARUDA 1 - GE 1A - GE 3 - GE 4 - GE 5 - GE 6 - GE 7 - GE 8 - GE-1 - GE-2 - GLOBALSTAR M001 - GLOBALSTAR M002 - GLOBALSTAR M003 - GLOBALSTAR M004 - GLOBALSTAR M006 - GLOBALSTAR M008 - GLOBALSTAR M014 - GLOBALSTAR M015 - GLOBALSTAR M019 - GLOBALSTAR M022 - GLOBALSTAR M023 - GLOBALSTAR M024 - GLOBALSTAR M025 - GLOBALSTAR M026 - GLOBALSTAR M027 - GLOBALSTAR M028 - GLOBALSTAR M029 - GLOBALSTAR M030 - GLOBALSTAR M031 - GLOBALSTAR M032 - GLOBALSTAR M033 - GLOBALSTAR M034 - GLOBALSTAR M035 - GLOBALSTAR M036 - GLOBALSTAR M037 - GLOBALSTAR M038 - GLOBALSTAR M039 - GLOBALSTAR M040 - GLOBALSTAR M041 - GLOBALSTAR M042 - GLOBALSTAR M043 - GLOBALSTAR M044 - GLOBALSTAR M045 - GLOBALSTAR M046 - GLOBALSTAR M047 - GLOBALSTAR M048 - GLOBALSTAR M049 - GLOBALSTAR M050 - GLOBALSTAR M051 - GLOBALSTAR M052 - GLOBALSTAR M053 - GLOBALSTAR M054 - GLOBALSTAR M055 - GLOBALSTAR M056 - GLOBALSTAR M057 - GLOBALSTAR M058 - GLOBALSTAR M059 - GLOBALSTAR M060 - GLOBALSTAR M061 - GLOBALSTAR M062 - GLOBALSTAR M063 - GLOBALSTAR M0 64 - GLONASS 79 (782) - GLONASS 80 (786) - GLONASS 81 (784) - GLONASS 82 (779) - GMS 5 - GO-32 - GOES 10 - GOES 11 - GOES 12 - GOES 2 - GOES 3 - GOES 6 - GOES 7 - GOES 8 - GOES 9 - GORIZONT 20 - GORIZONT 25 - GORIZONT 26 - GORIZONT 27 - GORIZONT 28 - GORIZONT 29 - GORIZONT 30 - GORIZONT 31 - GORIZONT 32 - GORIZONT 33 - GPS BII-02 (PRN 02) - GPS BII-05 (PRN 17) - GPS BII-08 (PRN 21) - GPS BII-09 (PRN 15) - GPS BIIA-10 (PRN 23) - GPS BIIA-11 (PRN 24) - GPS BIIA-12 (PRN 25) - GPS BIIA-14 (PRN 26) - GPS BIIA-15 (PRN 27) - GPS BIIA-16 (PRN 01) - GPS BIIA-17 (PRN 29) - GPS BIIA-18 (PRN 22) - GPS BIIA-19 (PRN 31) - GPS BIIA-20 (PRN 07) - GPS BIIA-21 (PRN 09) - GPS BIIA-22 (PRN 05) - GPS BIIA-23 (PRN 04) - GPS BIIA-24 (PRN 06) - GPS BIIA-25 (PRN 03) - GPS BIIA-26 (PRN 10) - GPS BIIA-27 (PRN 30) - GPS BIIA-28 (PRN 08) - GPS BIIR-02 (PRN 13) - GPS BIIR-03 (PRN 11) - GPS BIIR-04 (PRN 20) - GPS BIIR-05 (PRN 28) - GPS BIIR-06 (PRN 14) - GPS BIIR-07 (PRN 18) - GSTAR 1 - GSTAR 3 - GSTAR 4 - HEAL THSAT 1 - HELIOS 1A - HELIOS 1B - HETE-2 - HISPASAT 1A - HISPASAT 1B - HISPASAT 1C - HOT BIRD 1 - HOT BIRD 2 - HOT BIRD 3 - HOT BIRD 4 - HOTBIRD 5 - HST - IKONOS-2 - IMAGE - INFORMATOR 1 R/B - INMARSAT 2-F1 - INMARSAT 2-F2 - INMARSAT 2-F3 - INMARSAT 2-F4 - INMARSAT 3-F1 - INMARSAT 3-F2 - INMARSAT 3-F3 - INMARSAT 3-F4 - INMARSAT 3-F5 - INSAT 1D - INSAT 2A - INSAT 2B - INSAT 2C - INSAT 2DR - INSAT 2E - INSAT 3B - INTELSAT 511 - INTELSAT 513 - INTELSAT 515 - INTELSAT 601 - INTELSAT 602 - INTELSAT 603 - INTELSAT 604 - INTELSAT 605 - INTELSAT 701 - INTELSAT 702 - INTELSAT 703 - INTELSAT 704 - INTELSAT 705 - INTELSAT 706 - INTELSAT 707 - INTELSAT 709 - INTELSAT 801 - INTELSAT 802 - INTELSAT 803 - INTELSAT 804 - INTELSAT 805 - INTELSAT 806 - INTELSAT 901 - INTELSAT 902 - INTELSAT K - INTERCOSMOS 19 - INTERCOSMOS 19 R/B - INTERCOSMOS 24 - INTERCOSMOS 24 R/B - INTERCOSMOS 25 - INTERCOSMOS 25 R/B - IO-26 - IRAS - IRIDIUM 10 - IRIDIUM 11 - IRIDIUM 12 - IRIDIUM 13 - IRIDIUM 14 - IRIDIUM 15 - IRIDIUM 16 - IRIDIUM 17 - IRIDIUM 18 - IRIDIUM 19 - IRIDIUM 2 - IRIDIUM 20 - IRIDIUM 21 - IRIDIUM 22 - IRIDIUM 23 - IRIDIUM 24 - IRIDIUM 25 - IRIDIUM 26 - IRIDIUM 27 - IRIDIUM 28 - IRIDIUM 29 - IRIDIUM 3 - IRIDIUM 30 - IRIDIUM 31 - IRIDIUM 32 - IRIDIUM 33 - IRIDIUM 34 - IRIDIUM 35 - IRIDIUM 36 - IRIDIUM 37 - IRIDIUM 38 - IRIDIUM 39 - IRIDIUM 4 - IRIDIUM 40 - IRIDIUM 41 - IRIDIUM 42 - IRIDIUM 43 - IRIDIUM 44 - IRIDIUM 45 - IRIDIUM 46 - IRIDIUM 47 - IRIDIUM 49 - IRIDIUM 5 - IRIDIUM 50 - IRIDIUM 51 - IRIDIUM 52 - IRIDIUM 53 - IRIDIUM 54 - IRIDIUM 55 - IRIDIUM 56 - IRIDIUM 57 - IRIDIUM 58 - IRIDIUM 59 - IRIDIUM 6 - IRIDIUM 60 - IRIDIUM 61 - IRIDIUM 62 - IRIDIUM 63 - IRIDIUM 64 - IRIDIUM 65 - IRIDIUM 66 - IRIDIUM 67 - IRIDIUM 68 - IRIDIUM 69 - IRIDIUM 7 - IRIDIUM 70 - IRIDIUM 71 - IRIDIUM 72 - IRIDIUM 73 - IRIDIUM 74 - IRIDIUM 75 - IRIDIUM 76 - IRIDIUM 77 - IRIDIUM 8 - IRIDIUM 80 - IRIDIUM 81 - IRIDIUM 82 - IRIDIUM 83 - IRIDIUM 84 - IRIDIUM 86 - IRIDIUM 9 - IRIDIUM 911 - IRIDIUM 914 - IRIDIUM 920 - IRIDIUM 921 - IRS-1A - IRS-1B - IRS-1C - IRS-1D - IRS-P2 - IRS-P3 - ISIS 1 - ISS (ZARYA) - ITALSAT F2 - IUE - JAWSAT - JCSAT 06 - JCSAT 2 - JCSAT 3 - JCSAT 4 - JCSAT 5 - JERS-1 - KITSAT-3 - KO-23 - KO-25 - KOMPSAT - KOREASAT 1 - KOREASAT 2 - KOREASAT 3 - LAGEOS 1 - LAGEOS 2 - LANDSAT 4 - LANDSAT 5 - LANDSAT 7 - LCS 1 - LEASAT 5 - LES 9 - LMI-1 - LO-19 - LUCH - LUCH 1 - MABUHAY - MACSAT 2 (M 2) - MAQSAT B - MAQSAT H - MARECS B2 - MARISAT 2 - MEASAT 1 - MEASAT 2 - MEGSAT - MEGSAT-1 - METEOR 1-1 - METEOR 1-2 - METEOR 1-28 R/B - METEOR 1-4 - METEOR 1-7 - METEOR 2-21 - METEOR 3-5 - METEOR PRIRODA - METEOSAT 5 (MOP 2) - METEOSAT 6 - METEOSAT 7 - MIGHTYSAT II.1 - MINISAT 01 - MO-30 - MOLNIYA 1-77 - MOLNIYA 1-78 - MOLNIYA 1-79 - MOLNIYA 1-80 - MOLNIYA 1-81 - MOLNIYA 1-82 - MOLNIYA 1-83 - MOLNIYA 1-84 - MOLNIYA 1-85 - MOLNIYA 1-86 - MOLNIYA 1-87 - MOLNIYA 1-88 - MOLNIYA 1-89 - MOLNIYA 1-91 - MOLNIYA 3-35 - MOLNIYA 3-37 - MOLNIYA 3-38 - MOLNIYA 3-39 - MOLNIYA 3-40 - MOLNIYA 3- 41 - MOLNIYA 3-42 - MOLNIYA 3-43 - MOLNIYA 3-44 - MOLNIYA 3-45 - MOLNIYA 3-46 - MOLNIYA 3-47 - MOLNIYA 3-48 - MOLNIYA 3-49 - MOLNIYA 3-50 - MOLNIYA 3-51 - MOLNIYA-1T - MORELOS 2 - MOS 1A (MOMO 1) - MOS 1B (MOMO 1B) - MSAT-M1 - MTI - MUBLCOM - MUNIN - N STAR B - N-STAR-A - NADEZHDA 2 - NADEZHDA 3 - NADEZHDA 4 - NADEZHDA 5 - NADEZHDA 6 - NAHUEL 1A - NAHUEL I1 (ANIK C1) - NATO 3D - NATO 4A - NATO 4B - NILESAT - NILESAT 102 - NIMIQ 1 - NNSS 19 - NNSS O-20 - NOAA 10 - NOAA 11 - NOAA 12 - NOAA 14 - NOAA 15 - NOAA 16 - NOAA 9 - NOVA 11 - NOVA 3 - NOVA I - NSAT 110 - NSS 513 - NSS 703 - NSS 803 - NSS 806 - NSS K - OAO 2 - OAO 3 (COPERNICUS) - OCEANSAT - ODIN - OKEAN 1 - OKEAN 1-7 - OKEAN 2 - OKEAN 2 R/B - OKEAN 3 - OKEAN O - OKEAN-O - OO-38 - OPAL - OPS 5712 (P/L 153) - OPS 8180 (RADCAT) - OPTUS A2 (AUSSAT 2) - OPTUS A3 (AUSSAT 3) - OPTUS B1 (AUSSAT B1) - OPTUS B3 - ORBCOMM FM 1 - ORBCOMM FM 10 - ORBCOMM FM 11 - ORBCOMM FM 12 - ORBCOMM FM 13 - ORBCOMM FM 14 - ORBCOMM FM 15 - ORBCOMM FM 16 - ORBCOMM FM 17 - ORBCOMM FM 18 - ORBCOMM FM 19 - ORBCOMM FM 2 - ORBCOMM FM 20 - ORBCOMM FM 21 - ORBCOMM FM 22 - ORBCOMM FM 23 - ORBCOMM FM 24 - ORBCOMM FM 25 - ORBCOMM FM 26 - ORBCOMM FM 27 - ORBCOMM FM 28 - ORBCOMM FM 3 - ORBCOMM FM 30 - ORBCOMM FM 31 - ORBCOMM FM 32 - ORBCOMM FM 33 - ORBCOMM FM 34 - ORBCOMM FM 35 - ORBCOMM FM 36 - ORBCOMM FM 4 - ORBCOMM FM 5 - ORBCOMM FM 6 - ORBCOMM FM 7 - ORBCOMM FM 8 - ORBCOMM FM 9 - ORBCOMM-X - ORBVIEW 1 (MICROLAB) - ORBVIEW 2 (SEASTAR) - ORION 1 - ORION 2 - ORSTED - OSCAR 23 - OSCAR 24 - OSCAR 25 - OSCAR 27 - OSCAR 29 - OSCAR 30 - OSCAR 31 - OSCAR 32 - PALAPA B2R - PALAPA B4 - PALAPA C1 - PALAPA C2 - PANAMSAT 22 - PANAMSAT 3R - PAS 10 - PAS 1R - PAS 2 - PAS 4 - PAS 5 - PAS 6 - PAS 6B - PAS 7 - PAS 8 - PAS 9 - PCSAT - PICOSAT 1&2 (TETHERED) - PICOSAT 3 - PICOSAT 4 - PICOSAT 5 - PICOSAT 6 - PICOSAT 9 - PO-34 - POLAR BEAR - POSAT - PROBA 1 - PROGRESS-M 45 - PROGRESS-M1 7 - QUIKSCAT - RADARSAT - RADCAL - RADCAT - RADUGA 1-3 - RADUGA 1-4 - RADUGA 1-5 - RADUGA 1-6 - RADUGA 27 - RADUGA 28 - RADUGA 29 - RADUGA 30 - RADUGA 31 - RADUGA 32 - RESURS O1 R/B - RESURS O1-3 - RESURS O1-N4 - REX 2 - RIGIDSPHERE 2 (LCS 4) - ROCSAT-1 - ROSAT - RS-10/11 - RS-12/13 - RS-15 - S80/T - SAC C - SAC-B/HETE/PEGASUS - SAFIR 2 - SAMPEX - SAPPHIRE - SARA - SARSAT 3 (NOAA 10) - SARSAT 4 (NOAA 11) - SARSAT 6 (NOAA 14) - SARSAT 7 (NOAA 15) - SAT MEX 5 - SATCOM 5 - SATCOM C1 - SATCOM C3 - SATCOM C4 - SATCOM K2 - SAUDISAT 1A - SAUDISAT 1B - SAX - SBS 4 - SBS 6 - SEASAT 1 - SERT 2 - SESAT - SICH-1 - SICRAL 1 - SINOSAT 1 - SIRIUS (MARCOPOLO 1) - SIRIUS 2 - SIRIUS 3 - SIRIUS-1 - SIRIUS-2 - SIRIUS-3 - SKYNET 4A - SKYNET 4C - SKYNET 4D - SKYNET 4E - SKYNET 4F - SL-08 R/B - SL-14 R/B - SL-16 R/B - SL-3 R/B - SL-4 R/B - SL-8 R/B - SNAP 1 - SNOE - SO-33 - SO-35 - SO-41 - SO-42 - SOLAR A (YOHKOH) - SOLIDARIDAD 1 - SOLIDARIDAD 2 - SOYUZ-TM 33 - SPACENET 4 (ASC 2) - SPOT 1 - SPOT 2 - SPOT 3 - SPOT 3 R/B - SPOT 4 - ST-1 - STARLETTE - STARSHINE 3 - STELLA - STRV 1A - STRV 1B - STRV 1C - SUNSAT - SUPERBIRD 4 - SUPERBIRD A1 - SUPERBIRD C - SURCAL 150B - SWAS - TDRS 1 - TDRS 3 - TDRS 4 - TDRS 5 - TDRS 6 - TDRS 7 - TDRS 8 - TDRS F6 - TDRS F7 - TEAMSAT - TECHSAT 1B - TELECOM 2A - TELECOM 2B - TELECOM 2C - TELECOM 2D - TELKOM 1 - TELSTAR 402R - TELSTAR 5 - TELSTAR 6 - TELSTAR 7 - TEMPO 2 - TEMPSAT 1 - TERRA - TERRIERS - THAICOM 1 - THAICOM 2 - THAICOM 3 - THOR 1 (MARCOPOLO 2) - THOR 2A - THOR 3 - THOR AGENA D R/B - THURAYA 1 - TITAN IV R/B - TIUNGSAT 1 - TMSAT - TO-31 - TOMS-EP - TOPEX - TOPEX/POSEIDON - TRACE - TRANSAT - TRMM - TSIKADA - TUBSAT - TUBSAT A - TUBSAT B - TUBSAT N - TURKSAT 1B - TURKSAT 1C - TURKSAT-2A - UARS - UFO 10 (USA 146) - UNISAT - UO-11 - UO-14 - UO-15 - UO-22 - UO-36 - UOSAT-12 - UPM/LBSAT - WESTPAC - WIRE - WO-18 - WO-39 - XM-1 - XM-2 - XMM - XTE - YAMAL 102 - ZHONGXING-22 - 1967-048A - 1967-092A - 1968-012A

1124 Montclaire Dr NE
Albuquerque, NM 87110
http://www.vmgworldwide.com



ARTICLE 29

Pete Townshend and BMI - Please note where Pete said he didn't get paid and the money went to Nashville. It's in the second paragraph.

Pete Townshend's BMI award - Make sure you review the timeline. Did Pete complain and they give him the award to keep him silent?

ASCAP and BMI -- Protectors of Artists or Shadowy Thieves? By Harvey Reid

Be sure to review what BOTH ASCAP and BMI have to say about the matter. Their websites are: http://www.ascap.com and http://www.bmi.com

ASCAP Promotes Bill Thomas to Assistant Vice President/Chief of Staff, Office of the Chief Executive Officer by the way they also fired him. A little research on http://www.velvetrope.com will confirm his termination and it will also reveal that he NEVER answered any questions about how come songwriters and publishers who could prove Public Performance ever got paid.

We were also blocked from posting on that website. The reason is shown below.

We weren't aware of Velvet Rope's PSYCHIC abilities, since we hadn't posted anything! Great anti-goyim (anti-gentile), don't you think?


Something to be Alarmed about Page 1. Something to be Alarmed about Page 2. It was ALARMING then as it still is now. Make sure you read BOTH pages. These pages lean towards BMI but the truth applies to ASCAP as well.

Tiffany Barsotti Page 1. Tiffany Barsotti Page 2. Tiffany Barsotti Page 3. These pages lean toward ASCAP but the truth applies to BMI as well.

Thinking of Starting a Publishing Company Page 1. Thinking of Starting a Publishing Company Page 2 Typical of dealing with any of the Performing Rights Organizations . The bottom line is they are Liars and Thieves! It hasn't changed.

ASCAP the Scam Revealed - ASCAP the Scam Part II - a little hard to read. It is nevertheless a real-world experience of someone who dealt with ASCAP and had some success.

Talk to us: VMG World Wide.


A casual shot of some of our past and current credits, including
Patsy Cline, Marty Robbins, Elvis Presley, Linda Ronstadt
and a few others.

Then take a look at the Photo and Article below!
ARTICLE 30

LIAR AND THIEF, M Spoddig (ASCAP)

(Reprints of original emails.)


To: "Underground Visions Records...snip... com>,
MSpoddig@ascap.com
From: Chylon
Subject: Re: I DISPUTE ASCAP'S STATEMENT
Cc: local389@afm.org,dgabriel@afm.org,cmoore@afm.org

Diane,

As you know, I have been biting my tongue for months with respect to this issue that you’ve been discussing with MSpoddig of that Damned Lying and Thieving, Contemptible Organization known as ASCAP!

You are nothing more than another VICTIM of the Liars and Thieves of ASCAP and MSpoddig is nothing more than an abject incompetent and/or an Accessory to those Liars and Thieves. It should be imprison-able to commit such Lies and Thievery – but with the full approval of the court (as General Bobby Farrell and Vandor Music Group has stated for years on the VMG website – see http://www.vmgworldwide.com/fullsite.htm), it won’t happen.

I quote directly from the ASCAP website (see http://www.ascap.com/about/ascapadvantage.html) “ASCAP collects significantly more money from music users for performing rights than any other organization in the world. Every penny we collect, less operating costs, is distributed to our members. Nearly 86¢ of each dollar we collect goes right back to our members in royalties. That is the highest distribution ratio in the U.S.”

And yet, MSpoddig has no clue about any monies collected from Satellite Channels and/or their Affiliates who’ve used your music for profit (see A HREF="http://www.atlantic-satellite.com">http://www.atlantic-satellite.com for a very comprehensive list of channels monitored) for years. This means that she and ASCAP are clearly lying – either they aren’t collecting the funds from these users as they claim and/or collecting the funds and not distributing the money as they claim to do! ASCAP's and BMI's claims to pay on BROADCAST monitors only, does not excuse the fact that your music has been, and is still being, HEARD AROUND THE WORLD!

MSpoddig is supposed to know about these things because she can read that Damned Lying and Thieving website too. If she doesn’t know, then it is proof that she is abjectly incompetent aka Kak (meaning - Infinitely Unqualified) and/or her hands are tied!

This letter should educate her and elucidate the matter and leave her without excuse regarding her disgusting and contemptible Kak incompetence. If her hands are tied, then it is proof that she is an Accessory to their Damned Lies and Thievery because she facilitates and perpetuates it!

If the nearly .86 cents of each supposed dollar is to be paid to the songwriters/publishers then clearly the money for those logged performances should be due you. You didn’t get paid because the money was thefted to those in the Pay/Pittance Clique! MSpoddig is doing nothing more than facilitating your issue to re-direct your energies in a false hope that won’t get you paid your rightful due and make you spin your wheels that will go no where in the process – also known as a ‘wild goose chase’!

Diane – I know you have performed your material at several venues. By the way, I have performed your material, as well as my own, at several venues. Those venues pay ASCAP (or shall I say ASCAP extorts the money from them) because they use music for profit in their establishments! That issue hasn’t even been addressed in any of your communications. You should be paid for that too, but you haven’t and won’t! Of course, this issue would bring on another myriad of excuses/lies for additional thievery! And again, it will not get you paid your rightful due!

Again, quoting from the ASCAP website at http://www.ascap.com/about/ascapadvantage.html, “ASCAP’s books are open to all. ASCAP is the only U.S. performing rights organization to provide full financial disclosure to our members and the public.” And that is a Damned Lie! Bobby Farrell and VMG have asked for those 'disclosures' for years! To no avail. Dennis Sowell asked for them during his attempt to collect, and was REFUSED!

Request MSpoddig to have the Liars and Thieves at ASCAP put that full financial disclosure of that information ONLINE so that EVERYONE will be able to see the same information for the looking and not what ASCAP selectively determines that one should see or not! I’m formally requesting that again – the Accessory Liar and Thief and/or Kak (Infinitely Unqualified) Incompetent will receive a copy of this email. Have her and that Damned Lying and Thieving Organization tell the WHOLE story from the absolutely despicable formula (I’ll bet that even MSpoddig cannot figure it out either) that determines the royalty rate, the checks paid and to who, the number of hours monitored, where and when monitored, and the determination of royalty payment to the songwriters and publishers from venues that pay it, the formula used to extort the rate the venues MUST pay the Liars and Thieves to have music in their establishments, etc. – tell the WHOLE FINANCIAL story and put it online so that EVERYONE can see it and get the SAME story at the SAME time for the looking! They extort enough money from venues such as bars and coffeehouses to pay for it and get it done! Either the books are open or they are not!

It is a case that these open books would show EXACTLY what Bobby Farrell and VMG has been saying all along that those who do get paid any sizable amounts are Jewish and/or Jewish controlled, with the rest getting tiny pittances, if any, tossed about to everyone else? Of course, MSpoddig could go and ask Marilyn Bergman herself what she told Bobby Farrell about why he didn’t get paid - he is not Jew – Mspoddig’s own innate would confirm the truth should she truly want to know which is doubtful! 

***Will there be anyone betting the books showing that Full and Open Disclosure will become available online?***

Then too, since the books are supposedly ‘open’, MSpoddig could go look for herself and find this to be true that only those that are Jewish and/or Jewish controlled get the ‘big bucks’. Those in the ‘pittance’ clique, get ‘just enough’ to keep them at bay! One can only imagine what would happen IF the TRUTH about such Lies and Thievery would come out.

***Side note to all the others who will receive a copy of this email and/or – anyone want to take bets as to what will happen?***

Diane - my advice to you, and everyone else, is to call these Liars and Thieves into account for “Who” and “What” they truly are – Anti-Goyim/Anti-Gentile (derogatory terms used to describe anyone NOT Jewish)! Do NOT let them confuse, confound, distort, obfuscate, twist, alter, or change the truth regarding the issue being Anti-Semitic because it is not and their own supposedly ‘open’ despicable and despise-able records would confirm this truth! Tell everyone you know to request the Full and Formal Disclosure of those supposed open books that are available to members and the public and put them online so that everyone would see the truth too and know it for what it is – Lies and Thievery that should be imprison-able! If they are refused, report it with all documentation to General Bobby Farrell and Vandor Music Group (VMG) at thegeneral@vmgworldwide.com as soon as possible. Their Lies and Thievery will come to court sooner or later. General Farrell and VMG will make sure it gets a full review, if not in the courts, then in the public ears!

Of course, IF I am lying, then I would be committing Slander and Defamation as this will be posted on various websites and emailed to everyone I can – see http://www.avmrnetwork.com/LiarAndThief-MSpoddig.html and http://www.vmgworldwide.com/LiarAndThief-MSpoddig.htm along with the link at http://www.vmgworldwide.com/LiarAndThief-Boeser.htm (The Accessory Liar and Thief at BMI assuming he is still there – encourage everyone to read those links too). Tell the Accessory Liar and Thief MSpoddig and that Liar and Thief ASCAP to Sue Me!

By the way, the Liars and Thieves at BMI had the same opportunity to sue. And please note – they haven’t sued me, VMG, and/or General Bobby Farrell because the Truth is a PERFECT DEFENSE!

Specific to MSpoddig – I make no apologies to you and/or ASCAP for what is contained in this email! You and your Damned Lying and Thieving Organization have stolen MILLIONS of DOLLARS from General Bobby Farrell, Vandor Music Group, Firedragon, our Songwriters and Affiliated Publishers, as well as the thousands of other honest and hard-working individuals that are not affiliated with Vandor Music Group! 

It is IMPOSSIBLE to keep civil when dealing with SCUM that has committed such atrocities against those who’ve earned them – whether they are Affiliated with Vandor Music Group or NOT! 

Wouldn’t YOU PERSONALLY want justice and what was right if such wrongs were done to YOU? Of course you would! 

The difference between us is you’d ‘pass the buck’ and let someone else get dirty in the process! Just like you ‘passed the buck’ to have Diane’s additional music sent to you so you could give it to someone else. Which for most people, gives them false hope that maybe they’ll get paid! It is a despicable and rotten trick that you've perpetrated on people that wastes their time and energy and you Damned well know it!

What you’ve done is NOT something that we’ve seen for the first time! That is why we know it is the equivalent of a ‘wild goose chase’ and anyone who believes that you’ll do something right, honest, and honorable, is foolish, because you won’t. You’ll have to do what’s right, honest, and honorable for all and that is something you're not capable of doing!

By the way – no one at VMG wants the penny that rightfully belongs to another. All we want is what is and always was rightfully ours! 

ASCAP, itself, passed the buck to those who’ve received an unrightfully amount of money. ASCAP has made them guilty of receiving stolen money because that money should have been disbursed and distributed to EVERYONE who EARNED it! Those recipients may or may not even KNOW (as in have knowledge of) that is what was done by the SCUM of ASCAP and you are a part of it!

It is a crime, whether caught or not, to be the recipient of Stolen Goods/Property, but that is what ASCAP has done to people it has paid wrongfully high amounts! Another way of saying it is ‘passed the buck’ for ASCAP’s guilt! What a dirty scenario that one means! Don’t you agree?

Specifically to everyone else who gets a copy of this email. You are encouraged to READ, STUDY, and LEARN the building blocks contained in the links below to find out EXACTLY the justification and foundation for which this email is built on in addition to what is contained in the VMG website! It should make you just as angry for the atrocities committed! By the way, I have Semitic blood running through my veins. My problem is that I'm not Jewish (of the House of Judah) or Levite (of the House of Levi) and I'm affiliated with Bobby Farrell and Vandor Music Group which means I haven't been paid either from the Liars and Thieves from ASCAP or BMI!

References:

ASCAP
http://www.ascap.com/about/ascapadvantage.html

BMI
http://www.bmi.com

“Protocols of Zion” and read them all:
http://www.aztlan.net/protocols.htm#preface
http://www.biblebelievers.org.au/przion1.htm
http://www.adl.org/PresRele/ASUS_12/2615_12.as

“Goyim”
http://www.faqs.org/faqs/judaism/FAQ/11-Miscellaneous/section-6.html
http://library.flawlesslogic.com/goyim.htm
http://www.revisionisthistory.org/palestine14.html
http://www.radioislam.org/judaism/satank3.htm

Look for the coming – “The Anointed, The Elect, and The Damned!”

At 04:08 PM 4/17/2005, Underground Visions Records re: STIFFFF KITTIES wrote:

Maragret,

The music you requested should be on it's way, as well as the list of songs from the publisher, FIREDRAGON. Also... I just received ASCAP's statement.

Obviously, I dispute it.

Besides that...I'm furious. I'm thinking a press release is in order...with a title like "ASCAP STIFFFFS THE STIFFFF KITTIES!!!".

I understand and appreciate that you are trying to help me, but in turn must understand what it must be like to be in my shoes. When I saw that statement...grrrrrrrrrr!!!

extremely upset!

Diane D Meinke

Visit the Official Stiffff Kitties Web Site & preview the bands animation videos: http://www.stiffffkitties.com

THANKS FOR READING!
May be copied and reprinted in whole or in part.
Exchange LINKS welcomed. If you can stand the heat!
Animation Logos by Diane D. Meinke.
WebPage Site & Design by That Damned Akurian, General Bobby Farrell,
a years-on-end ASCAP and BMI robbery victim!


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