RockStar Machine » Guest Posts

How to Spot Legitimate Music Management Agencies – by Joe Taylor Jr.

RSM Admin — Fri, 21 Sep 2007 10:00:08 +0000

As a professional writer and occasional music manager, I often encounter bands and solo musicians that work very hard to attract attention from music management agencies. Unfortunately, a legion of grifters uses the raw desire for success against many smart, talented music professionals. If a representative from a music management agency contacts you, use these three guidelines to determine whether they’re on the level:

1. Real music management agencies will never, ever ask you for money up front. Managers make commission on their clients’ earnings, and experienced managers understand that an unknown artist doesn’t have much money. By taking on “developmental clients,” music management agencies cultivate both business and goodwill that they hope will pay off when an artist enjoys a modest breakthrough. On the other hand, fly-by-night music management agencies run by rip-off artists know that there are plenty of talented people who are willing to believe that a fee of a few hundred dollars will get them attention from record labels and from radio stations. While it’s legitimate for a very small music management agency to ask for a small retainer to cover overhead expenses, this fee should be negotiated in advance and should be billed after the agency has done some work on a client’s behalf.

2. Real music management agencies can point you in the direction of successful clients, or can admit that they’re still so new that they haven’t had any breakout stars on their roster. Believe it or not, some of the most influential music managers of the last five decades had little or no experience in the music business. They just had the drive and the stamina to do great work for equally talented clients.

Meanwhile, you can tell most rip-off music management agencies by looking at their web sites or at their offices. If your potential managers seem to have collected hundreds of “grip and grin” photographs of themselves with some major stars, ask whether the manager did any actual work with that artist, or whether the just love to snap photos at industry “meet and greet” events. Many Nashville con artists stuff their offices full of artist photos to deliberately overwhelm the senses – and the judgment – of potential victims.

3. Real music management agencies handle business at the office, not at the gig. Professional music managers understand that live shows are the best possible marketing opportunities for bands to grow their audience and sell their merchandise. After all, the more money a band makes, the more money a music manager makes. Professional managers will, most often, grab some contact information from a band member or from the merchandise table, so they can make contact during business hours.

Unfortunately, many bands get taken in by the rip-off music manager that trades on the adrenaline rush after a live set. These scam artists often slide up to the stage right after a set, buying drinks (or even supplying drugs) to their targets. They play off the notion that many musicians love to party, and that signing with their (bogus) music management agency can lead to plenty more party nights. Before long, the so-called manager has snagged a hefty retainer, which they usually use to fund parties with their new marks.

Remember, professional music management agencies recruit new clients based on measurable results, not just based on a band’s performance at one club night or at one music conference. Just as sporting talent scouts keep an eye on potential pro athletes throughout their high school and college careers, real music management agencies may be watching your band grow from a distance. In the meantime, rely on your friends, your family, and your street team to provide the foundation you need to attract the right professional manager for your career.

About The Author

Joe Taylor Jr. has written four books about the music business for aspiring musicians, including Music Management for the Rest of Us. You can learn more about finding professional music management agencies at: http://www.musicmanagementfortherestofus.com/agencies/

Develop Music Industry Skills Through Music Forums – by Artistopia

RSM Admin — Tue, 18 Sep 2007 10:00:15 +0000

Internet forums and discussion boards have become a valuable medium for establishing an online presence, building a reputation, networking with peers, and getting feedback on relevant topics and ideas. With that said, there are many forums and discussion boards on the Internet specific to music artists, musicians, and songwriters. These music forums are packed with wisdom that thriving artists can leverage for their professional development advantage. By becoming actively involved in music forum communities, artists can find themselves absorbing an abundance of music industry knowledge that can help in furthering their respective career agendas.

Registration at music forum communities is generally free, however, the more prominent and private communities charge nominal fees for memberships. To find the right forum community for you, we suggest you go to a popular search engine like Google (www.google.com) or Yahoo (www.yahoo.com) and perform a search on “music forums”. Browse the search engine results one by one, and keep in mind that each forum community has its own mission, theme, guidelines, and attitude. After visiting a few music forum communities, you will quickly learn that not all music forums are the same. Taking your time in finding the right community is key because you will want time spent to be an investment and not a waste. To help you find the right music forums for your needs, Artistopia offers the below suggestions. Note that at the end of each suggestion below, an explanation is provided on how it applies to the development and maturing process of an artist in the music industry.

1. Carefully select a forum community you can settle into for the long haul. Take your time researching them by reading existing posts, and making sure conversations, and music styles, meet your learning goals and objectives before making your selection. Relation to professional development: Finding the right music company or business that will develop you thoroughly is key to helping you mature in the business properly. Always know that haste makes waste.

2. Focus on building a well-respected reputation within the forum community. A reputation in any forum community is earned by a member’s cumulative interactions and contributions over time, and not within a few posts. Keep your reputation untarnished because repairing any damage done to it is always twice as hard as building it in the first place. Relation to professional development: Your reputation as an artist in the music industry is your integrity, and tarnishing it could lead to alienation and possible ousting. Wounded lions drag the rest of the pride down.

3. Keep your posts clean, respectful, and productive no matter what direction the conversation or message thread takes. It will be tough to contain yourself at times, but learn to exercise patience and calculated response tactics. Misunderstandings often happen in forums, and when they do, you will need to know when to respond and when not to. Relation to professional development: Being an artist in a multi-billion dollar music industry is a job and not a party. Learn to be professional at all times and costs.

4. Be careful not to offend senior members and administrators. Forums tend to foster loyalty amongst the members, so measure each word in your posts and focus on being productive, not destructive. Egos and arrogance need not apply because no one knows it all. Smooth over the senior members with wit and intelligence, and you will receive a warm welcome. Relation to professional development: Simple, offend the wrong music professional and it could mean your career. Be open to constructive criticism and always yearn to learn from all those around you.

5. Use the forums to “subtly” promote your personal website or Artistopia profile, which will give you more exposure (brand name building) and help drive your overall numbers (song downloads, profile views, etc.). Most forum administrators frown upon direct promotions and blatant advertising, but they will allow you to represent the website you are from. Always consider yourself a visitor and respect the guidelines set forth because administrators will ban without hesitation. Relation to professional development: Identify and exercise all marketing opportunities that will promote your artistic talent without igniting a turf war. Know your boundaries and how far you can push it by thinking with your head, and not with your heart.

6. Make full use of the signature functionality in forum communities to brand yourself, especially by putting a slogan, a quote, a banner, or a link that points to your Artistopia profile or personal website. This is permissible at most music forum communities, and is helpful for others in learning more about you when reading your posts. Relation to professional development: Every professional artist is known for a signature of some sort, even if itâ€™s lyrics, beats, looks, or wardrobe amongst many other aspects of branding. Start thinking of yourself as a brand that sells and start establishing your market or niche. Become known for something distinct and keep building on it.

7. Engage the readers by articulating your ideas intelligently, making sure your posts are flawless of grammar and spelling mistakes, leaving out slang terms and not using excessive caps, and ensuring your writing flows smoothly. Readers are quick to place judgments based on your ability to write and communicate your thoughts effectively. Relation to professional development: The music industry is about building your fan base and keeping them. Gain their confidence by displaying the ability to walk the walk and talk the talk, professionally and effectively. Let them know through actions that your position in the industry was earned and not handed to you overnight.

8. Frequent the forums and post messages on regular basis. Appearing often will demonstrate your loyalty to the community, and your resolve to building your name and reputation. More importantly, you will be consistently marketing yourself time and time again. Members that disappear for long periods of time are perceived for not being focused or serious about their agenda in the community. Relation to professional development: Half of the battle to making it in the music industry is keeping your brand afloat and marketable. Being a star is the farthest thing from a walk in the park or a picnic. Stars have to do many performances, appearances, interviews, and anything else that will put them in front of a camera to keeping their brand alive. Absence will deplete your popularity.

9. Network, collaborate, and create as many contacts as possible. Do not be afraid to step out of the forum community box and work in-person on projects with fellow artists, musicians, and songwriters you meet in these forums. More importantly, always fish out and befriend members that you feel will further your agenda. Do not hesitate to share your ideas with other members, because if you donâ€™t you will be isolating yourself. Relation to professional development: The music business is about who you know and being at the right place at the right time. To increase your chances of unearthing opportunities, collaborate with as many peers and professionals as you can. You never know who will open the door for you.

10. Do not spread yourself too thin by participating in more than 2 forum communities. Stay focused on establishing your presence and building a reputation in a few places only. Diligent research up-front will lead to wise decisions on the forums you elect to settle in with. Relation to professional development: Productivity is key, especially when you aren’t getting paid. Start small and build your way up. Every single decision you make, no matter how small, will impact your overall progress. Learn the politics of the music business and use them to perfection.

Building a presence in any forum community can challenge the most open-minded socialite mankind can offer. However, by exercising the above suggestions, you can be sure you are not marching in blindly. Exercise each of these suggestions in moderation, be patient as it will take time to build up your reputation, and always act professional so others can respect you. Forums will ultimately teach you people skills and politics.

Once you perfect the above forum tactics, then it is time to move on and fish out real life music circles by attending networking happy hours, conventions and conferences, and any other gatherings that congregate music artists and professionals in one place. Most important is for you to keep in mind that being a music artist in this business is a job and not a party. Good luck and tread safe!

About The Author

Artistopia – The Ultimate Artist Development Resource http://www.artistopia.com is an artist development and community on the web providing music artists, songwriters and bands all the tools needed for displaying their talent, music business collaboration, marketing and networking. Online since 2003, Artistopia develops advanced technology solutions that leverage the Internet to both the music artist and music companies respective advantage.

Tips For The Solo Musician: Get Paid For Practicing? by Kevin Brown

RSM Admin — Wed, 12 Sep 2007 10:00:08 +0000

Here’s a fun article that I found on practicing on the street and getting paid as a street musician and getting paid for it. If you don’t already know, I live just outside New York and have seen street musicians all of my life. A recent development (within the past few years anyway) has been that they are actually scheduling musicians and bands to play in various subway stations . The bands are allowed to put up signs or banners with their name and collect money from passing commuters. Anyway, it’s a cool article.

Pat, RSM

Hi, my name is Kevin Brown. In this article I would like to address the subject of practice, and how to get paid for it. Sounds funny?…well, when I finish, you will have a different view about this idea.

We have all heard the statement, “Practice Makes Perfect”,…and it is a proven fact that this is so very true. There are many different ways, and technical aspects of just how one should practice. I am going to talk about the solo single line musician, and what you can do to get all the practice you need, and how to get paid for your efforts. When I say single line solo musician, I mean those musician who play woodwinds, brass, violins, cello, any instrument that does not have the advantage of making chords.

In this article, I will use my real life experiences to demonstrate the fact that this does work. To what degree depends upon the individuals efforts, and desire to succeed.

First,…The one thing that we all need, and want, is a joyous life, and abundant living. One of the main questions that we ask ourselves when taking this journey through life is,…Just how can I make a living, and enjoy what I do? One answer I know is true, is to find that talent that one has been blessed with, nurture it, pursue it, build on it, and it will take care of you, and the question of a joyous life, and abundant living will be answered.

To begin, I will use my life, and experiences as a basis, and outline for this article and show just how to, “Get Paid For Practicing”.

For starters,…I am a blind individual,… I play saxophone,…and that is what I know how to do well. I have been playing the saxophone for 40 years, 36 of those professionally. As I dont consider myself an awesome musician, I absolutely love to play! I love to hear other musicians,whom I consider awesome, play. I can tell, as well as any music lover can tell, when some one has spent the time, and effort, and many, many hours in the practice shed.

Practice is an absolute must, if you want to be a successful musician. There is no way around it. I cant tell you just how many thousands of hours I put into practicing, not because I was made to,…but, because I loved it.

I went through high school, and attended Berklee College of Music, in Boston,…in the pursuit of a career in music. It was while I attended Berklee that I discovered the princible of getting payed for practice.

I remember being dirt poor, as most musicians were at that time, having no food, no job, not knowing what to do. So…I called my cousin, who lived about 40 minutes outside Boston at that time, and asking her if she could bring me some food, and money. She said,…”you had better take your horn, and go out on the street and play somewhere”! I was completely shocked!…I could not believe she said that to me!…How could she? I said,…”Are you Kidding”? You cant be serious? She said,…Yes, I am,…I hear musicians playing every day, and I know that you can do just as well, if not better than a lot of them. That moment right there, was a turning point in my life.

So, I did what she suggested,…I found a spot that I thought was acceptable, took my sax, and set out to make some money. I realized very quickly that there was more to this street playing than just dropping on a spot, and just making some noise. First: I didn’t have a clue on what to play,…What did people actually like to hear? So, the first time I did this, I just played scales. Can you believe that?…I played scales! I made about $20, just playing scales! I couldn’t believe it!…I just could not believe it. Out of all the songs that I knew, the only thing I could think of to play were scales.

One thing lead to another, and I learned to pick, and choose the songs that people liked to hear. I also learned that being a single line instrument took a lot of work. It is very hard to play by yourself, without chords, and have people understand what song you are playing. So, I started to invest in play-a-longs to help me build a song list by which to continue this new found source of income. I would get a new play-a-long as my finances permitted, and build my song list, which in turn put more money in my pocket.

It wasn’t until later that I got an idea from this guy that used to play his guitar while roller skating up and down Boylston street with a battery powered amplifier strapped to his back. I thought,…Boy, it would be great if I could get a battery powered amp like that,… and play all of those play-a-longs, That I have acumulated, through it while I am out playing. So, that’s what I did. As soon as money permitted,…I bought a battery powered amp,…a Peavey KB15, got a cassette player,…and proceeded to play with my new play-a-long band. You know what!…It worked!…It really worked!

Not only was it better playing,…people really liked it! I could last longer,…and I made more money!…A Lot More Money. There were many benefits that I had not considered. 1. I made money 2. I got more gigs 3. I made a name for myself 4. It made my chopps a lot stronger 5. I met other musicians to play with 6. It was steady work, at my own hours 7. It has lasted a lifetime, even to today

I was literally getting paid for practicing! So,…if you are a solo musician, and you live in a major city, or even a small town,…consider this example. Take advantage of every opportunity to further your musical career. there are many ways to make a living as a musician if you look for it. Check around in your area,…look for places were you can play,…you will be surprised at the response you get when you do things right.

This followed me through my whole career. I have played all over the world,…in all kinds of venues,…in all styles of music,…in all kinds of bands, and orchestras. I have not regretted that very first time I set out to play on the street in that place called, “The Bean Town”, Boston”.

Note: 1. A great source for jazz play-a-longs is : http://www.jajazz.com

2. Listen to my music: http://www.cursebustersound.com

3. Promote your music on line: http://cursebuster.linkscout.com

About The Author
Kevin Brown is a blind, jazz saxophonist. His intense, improvive style of playing is both soothing, and captivating to the listener. You can hear, and contact Kevin at: http://www.cursebustersound.com

Musicians and Performance Anxiety by Kevin Sinclair

RSM Admin — Tue, 11 Sep 2007 10:00:03 +0000

Have you ever faced your time to shine, and felt overcome with an intense hesitation or worry about an upcoming performance? As the time nears for you to address your audience, do you suffer from sweaty palms? Is there a lump in your throat? Do you experience tremors, tension, stuttering, upset stomach or loss of focus? All of these symptoms are a sign that you may suffer from performance anxiety, which is a common problem that requires a little mental rewiring to get you on the right track.

Music performance anxiety develops from the thoughts, feelings and habits of a musician. The level of anxiety that one has will affect a musician’s desire to perform, as well as their ability. In order to deliver a high-quality performance, a musician must overcome the mental obstacles that create a barrier between wanting to perform and actually completing the act. When you feel anxious, pressure begins to build up that makes it impossible to pick up an instrument or sing a song.

Main Types of Performance Anxiety

There are three main kinds of performance anxiety that musicians encounter. The first occurs before a performance date is even mentioned. Fear of rejection or self-doubt regarding their abilities may hinder a musicians attempt to arrange a showing of their talents. The anxiety sometimes mounts to the point where a musician never feels they are truly ready to perform in front of others.

The second type of anxiety occurs during an actual performance. Gripped by fear of what the audience thinks of them, a musician’s body might tremble. Sweat may form on their forehead, nose, neck or hands. These bodily reactions may also impact the way an instrument is played. Voices become tight or locked, emitting cracked, flat or quivering notes. The anxiety of a musician might be so high that they may actually self-sabotage their performance without even knowing it.

Anxious musicians often become quite distracted by the slightest movement or noise during a performance. They might take this opportunity to blame their inability to complete their set because of outside interruptions. This is just an excuse. Within themselves, they do not feel completely adequate to continue their performance. Musicians with performance anxiety often exhibit poor concentration, as well as loss of focus.

After a performance, the anxiety madness continues, which is seen through a harsh, unforgiving critique of their presentation. The musician will nit-pick every aspect of their set and despite positive encouragement and comments, they will continue to downplay and dismantle their ability.

Tips On Managing Performance Anxiety

When it comes to getting over the hump of performance anxiety, there are numerous ways to combat the fears and doubt that come with presentation. Below are five aspects of performing that a musician suffering from anxiety should take into consideration:

1) Self-Assessment

When you get to know the ins and outs of yourself as an individual, as well as a musician, you are inching your way towards overcoming performance anxiety. Knowing what makes you tick both inside and outside musical circles will help you to better deal with the problems you face before, during and after a performance. A musician should analyze their performance goals, personal capabilities and limitations.

Musicians should also know that everyone has to start somewhere with infinite room for improvement. It is quite important for a musician to perform to the best of their abilities, as well as learn from mistakes and peer criticism.

2) Exposure: Baby Steps

Musicians should take the opportunity to gradually expose themselves to varying levels of performing. One moment a full-length mirror becomes a suitable audience, while the next could be a crowd of five friends. Testing low, medium and high levels of stressful performance situations will help musicians slowly overcome the issues faced in regards to performing. Additional suggestions include practice performances in an empty theater, dress rehearsals with friends and taping acts, then viewing them with family and friends.

3) Preparation

In anything that we do, preparation is an important component for achieving success. A good performance is one that has been thought out, thoroughly visualized and played over and over again in the mind. Once the mental preparation is complete, the physical part of the process involves sufficient practice and specific rehearsing for the particular venue you may perform at. Before a performance, a musician should enter this moment with a clear head. Meditation, yoga and other muscle relaxation techniques can create the right state of mind.

4) During a Performance

Every musician at some point in their lives will feel the flutter of butterflies before, during or after a performance. This is a normal occurrence that just takes some longer to get over. When it comes to the audience, you shouldn’t focus on blocking them out, but instead embrace them as support. If you go into a performance thinking that no one likes you or during a presentation focus on scowling faces, you will surely surrender to your flight or fight performance anxiety tactics.

Try to put anxiety in the backseat and attempt to stay calm. If you make a mistake, such as tickle the wrong piano keys, simply move on and do not dwell on small imperfections that pale in comparison to the overall scheme of things. Sometimes, if you don’t wear your disappointment or errors on your face, the audience is less apt to remember or care about mistakes. Breathing techniques will also come in handy once you get into the thick of performing and feel a touch of anxiety.

5) After the Performance

After each performance, take the time to assess yourself before relying on the approval or criticism of others. No one but you truly knows all of the hard work and preparation that went into your performance. Take the time to give yourself a mental pat on the back. Next, combine outside comments with your gut feeling to decide on what you can do next time. Regardless if you had the performance of your life or tanked on your first break, there are always aspects of your musical craft that you can still shape and mold for the future.

About The Author

Kevin Sinclair is the publisher and editor of http://musicianhome.com. Visit here for more tips on learning to sing.

Community and Music – How to Showcase and Get Noticed by Mason Clay

RSM Admin — Tue, 04 Sep 2007 10:00:21 +0000

You know me. I know you. You know someone else. I know someone different. We all know each other. These are our networks and communities.

In a band or music sense, network and community is essentially what it’s all about, when it comes time to share your music around.

You or your band writes, performs, and records music true, but unless you’re a real purist, and enjoy your music for yourself, for the music, for your own CD rack at home alone then, at some point in time you may want to let others know about your band, your performances, and your music.

We know we are a band, and we know that we want to share our music. What you need next is Exposure.

It’s no good lining your best coat with your CD’s to wander the streets and flash passers by, as this only gives you limited exposure, except in the case that you are not wearing anything underneath your coat, in which case, there is too much exposure of the wrong kind.

You have to expose yourself to people that are receptive to what your exposing them to. Remember, I know you, you know me. I don’t know what’s under your coat!

Your friends and community is the best place to start presenting your offering. These are the people you can start exposing yourself to that will give you the best response!

Hey hang on a second; We are a band, we do want to share our music, we are willing to expose ourselves, but we do not really have a community apart from Jim’s girlfriend, and the guy over the fence who keeps complaining that the noise is too loud when we jam!

Get your own community. It’s not as hard as it may sound, especially these days with the abundance of communication power at your finger tips in the Internet. You can use the internet to reach out and communicate with millions upon millions of people all over the planet with the click of a button.

Click.

“Hey you! This is me and this is what I have got!”
“Hey back! This is me, and I like what you’ve got!”
“Hey you! – Come join my community and we can talk”

There are plenty of web based community sites out there well worth exploring, and you should join more than one! This is because there is not just one single community web site out there that will reach everyone. Your best chances in exposure is to have your presence, music and community groups all happening in a few of them. Once you have done that then you can link them all up together to get the best coverage.

In all of these existing web based communities, the best potentials for maximum exposure take time. You have to build your name and community size.

The likes of Myspace in my opinion are good, and worth while having a presence in, but it will take time to get noticed in amongst the millions of other exposure seekers. It’s a hard nut to crack. There are simply so many other people trying to expose themselves that you get lost in the wash of those who are already established, and it is difficult to get noticed.

The very best opportunities come when you can get into communities at the start. Be the first in. Get a great foot hold. Get your own name. Be active, and get the exposure that you are after.

You want attention, go to where you will be easily noticed!

Mobzing is another name to explore. The new beast on the block web based community site. Sure, the exposure may not yet be in line with Myspace, but when it grows, when it builds as it is and surely will, you will be established as one of the founding members and be getting all of the attention.

As I said, to get maximum exposure you have to be involved in a few community sites, then link them all together. Here is a short list in my opinion of a few worth while web based contenders to start with, to network in, and to check out.

http://www.myspace.com
http://www.mobzing.com
http://www.friendster.com

You know me. I know you. You know someone else. I know someone different. We all know each other. These are our networks and communities. In a band or music sense, network and community is essentially what it’s all about, when it comes time to share your music around.

About The Author

Mason Clay provides regular commentary on the communications and technology industry. To get a free ringtone for your cell phone please visit http://www.hiptonez.com.

The Musician’s Guide On How To Copyright Music by Richard Cunningham

RSM Admin — Tue, 28 Aug 2007 10:00:42 +0000

Music is copyrighted as soon as you present it in a fixed form. It doesn’t matter whether that fixed form is written sheet music or a recording. Most people who copyright music do so for the extra legal protection. Even though a copyright is good to have, it is essentially worthless unless you’ve registered your copyright with the Library of Congress. You will need to fill out an application, pay a fee, and provide a copy of your music. As far as government dealings go, this is one of the least painful. Even the application fee is marginal when you consider the fact you are protecting potential future profits and royalties from your music.Even if you aren’t a talented performer, it doesn’t mean your music will never be seen or heard, nor does it mean you should not bother copyrighting your music. One day you might find yourself more in demand for your talents than you ever dreamed possible. It is important to protect your music now more than ever before in history due to widespread music piracy and illegal music file-sharing.

Once you understand how to copyright music, you should copyright every sheet of music which you have produced. This involves registering each and every piece of music with the Library of Congress. Even if you must copyright one piece at a time until you manage to copyright all of them, it is much better to be safe than sorry should you ever go to trial in a copyright infringement case.

Copyright Music, Consecutive Notes, and Fair Use

Copyright music, consecutive notes, and lyrics are all covered under the blanket of copyright protection. Once you’ve registered your copyright you have legal recourse should someone steal or “borrow” any part of your music without permission. Many websites which publish lyrics to your favorite song are actually infringing on the copyright of the author and the recording artist. It is not legal to use any part of the song that isn’t covered by Fair Use without the express permission of the holder of the copyright. Sometimes it is difficult to distinguish between Fair Use and copyright infringement. Copyrighted music pays musicians royalties, while Fair Use will not take those future payments from the authors for the sake of personal entertainment.

Fair Use was once thought to mean that if you weren’t making money from the copy or use of materials then it was allowable. This is one of the arguments that was used when defending massive file sharing servers; the defense, however, falls flat of the law. It is illegal to share copyright music, consecutive notes, lyrics, tabs, chords, or any other part of the music. The only case in which copying of music is clearly allowable is when used for non-profit education and educational research, for the purpose of criticism, commentary, and news reporting. According to copyright law, ripping your CDs is an infringement of copyright.

The result of massive file sharing has prompted new laws to address the problem and provide a clearer definition of what is not allowable. According to recent amendments, you must have the express permission of the performer to fix the sounds or images into any type of phonorecord, to transmit these sounds to others, or to offer to distribute, sell, or rent any of the copyrighted material. That about sums up file sharing in a nutshell and clearly establishes the practice as illegal.

Many musicians and artists copyright music, lyrics, and performances to protect those things from abuse, misuse, and to protect their interests. While some may be artists who perform for the sake of the art, most of them are not independently wealthy and need the income that results from the sales of their music. Many have families to feed as well as fabulous lifestyles. Regardless of their inherent needs for the funds, they’ve provided a service (entertainment) that we place a certain value on and they deserve to get paid for the services they provide.

About The Author

Richard Cunningham is a freelance journalist who covers copyright law for http://www.ResearchCopyright.com. Download his free e-book, “Copyright Basics” at http://ResearchCopyright.com.