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Thank you for reminding me of my project! I tried to get it to work with ChatGPT to no avail, but I might give it another go by giving text-davinci-003 a few-shot prompt with my ASCII sheet music blanks:
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1. if you are a very materialistic person, skip this article, i don't think you are going to like what it says.
2. if you don't have the music where you want it art-wise, you might want to go work on that, this article isn't going to help you much either. you will be better off by practicing and studying and working on your music instead. you will need to get the art pretty close to where you want it, before you should worry about making much of a living out of it.
3. determine if you are actually called to be a musician. if you aren't called, all the gyrations in the world, won't make it work. if you are called, no matter what you do, it's going to work. this determination will solve most of the problems you are going to encounter.
b. however, don't be a cheapskate. tithe or donate faithfully whatever your heart tells you to do. pay your band as much as you can. never withhold a laborers wages. tip well. give street musicians money. become involved in charity work.
c. be totally square on your taxes. render unto caesar that which is caesar's. if you try to fudge on this, it will come back to bite you every time. get receipts for everything, 1099 everyone no matter what, unless they are a corporation. be totally on top of this or you are burning money in a pile on the lawn. claim every dollar you make and take every deduction. otherwise you are a drag on the system. keep perfect records.
e. if you are going into a deal with any entity, seek two things:
1. the arrangement must be win/win. win/lose is ultimately lose/lose. avoid that.
2. make an agreement that either one of you can walk away at any time and everything is cool.
g. don't be afraid to do other things to make money in the short term. this can be a very rewarding experience. historically musicians have been barbers and bartenders and all kinds of stuff to make ends meet. this is totally fine. don't worry about it. it's cool. do what you need to do. waiting tables will give you lots of stuff to write songs about. i used to call myself the king of the part time job, because i could get up out of my chair at any time and go get a job of some sort. not that it would be the greatest job of course, but i could go and get something going. i've cleaned pools, painted apartments, done maintenance work, taught music, worked in a factory, threw newspapers, drove a delivery truck, cooked, all kinds of stuff, and none of it killed me. through it all i was able to keep practicing and writing music and studying what i was doing. bills? hey no problem, go flip a few burgers and i can pay that and get back to playing the banjo. get a job in a dance band whatever i have to do. just live within your means and you can avoid so many hassles. hassles interrupt your practice routine.
i. avoid the performance mentality. i know this sounds ridiculous in a performance based industry. but think about this. here is a recipe for disaster.
my value = my performance + other people's opinions
the reason why, is that someday, you are going to have an off day and/or someone is going to criticize you. if you put your value in the world like that, you are going to have a bad time of it. i speak from experience. i only learned this at the age of 46. finding my true value fixed this for me. [write me if you want to know what it is.] but establish your value outside of how well you did on the gig and what the papers said about you. otherwise you are going to be miserable and you are going to make everyone else miserable. somedays you play better than others. this doesn't make you a great person. somedays you make lots of errors, this doesn't make you a bad person.
k. record labels. they can help or they can drag you down. here's the scoop. if they expect you to be the primary distributor of the product, don't sign the deal. the typical deal is a 90/10 split, you get the ten minus every expense related to the project. thus you are paying for everything and giving the label 90 percent of the gross. read that sentence again.
if they aren't really really offering you something good in terms of promotion, or something....some tangible quantitized tie-in to something bigger, skip it. you can hire that stuff yourself easier. talk to other artists on the roster and ask them what they think. any more, if you are an emerging artist, it's going to be hard to find a label home. they are losing so much dough they only want for sure money makers or somewhat less money losers on the roster, and they are dropping folks right and left. this is all good for you. take heart. it's a 90/10 deal and you get the 10 and they want you to be the primary distributor of the product plus pay for the whole deal, those are not very good terms. in addition they will charge you eight bucks plus shipping for your own cds that you can make for either zero or one dollar. and they might complain about every little detail. again if they really have an idea for a bang up thing they are thinking of, by all means have a go. if they are motivated and have a track record and have ideas and are workable, they can really help. however, you might want to have an out. have an out clause in there. shooting from the hip, i'd tell you to avoid the whole thing and do it yourself. it's very likely that the person that brings your act into the label fold will get fired. then you can get stuck with four years left on the deal and no one will return your calls. then they just hope you will get another deal and someone will buy out the rest of the contract. lots of bands close up shop at this point.
there are some labels that operate with different models. i have had very good success with them. they tend to be more punk rock style outfits. you might want to investigate that. the standard deal referred to in the preceeding paragraph is pretty hard to profit from unless the contract is on your letterhead. the punk rock deal goes something like this, all the black ink goes in a list, all the red ink goes in a list, find the difference, split what's left if it's a positive number. fifty fifty. these are really the only deals i ever made money on. the point is, there are some other ways to look at stuff contractually. if the deal is win/win, great. if it's win/lose, skip it. if the label in question is locked into doing contractual things a certain way, this won't be for your benefit. you are creative, your business arrangements can be creative.
l. the main business strategy is to build your own audience. if you have a draw, agents, labels or investors [which i do not recommend] and stuff will come to you. if you skip this step and start trying to talk to industry people and you don't have a draw yet, you are going to be sorry [unless you are really hot looking or have a famous parent and/or willing to sign away the rights to the whole thing of course]. build your own audience. if you can sell your own records that you make yourself and do your own shows, you can attract the attention of industry folks and get your calls returned. then you probably won't need them unless you want them. that's a better bargaining position for you. work on your draw.
if you don't have a draw, these are some likely things to look at:
where you are playing isn't the right place
the music isn't there yet
the time isn't right
n. you may not want to hire sidemen that get too worked up about money, it can be hard to make these folks happy. also when it comes to hiring musicians, you may have to live with them at arm's length for a long time and be involved with them about emotional issues like money and life problems and stuff. you may want a person that's easy to get along with even if they are a little less sharp musically. of course getting both is best, but if you have to take one or the other, take the one you get along with a little better. if you are in a place where you don't have a lot of choice, you may be forced into hiring someone that's tough to be around. replace them when you can. really the best players i know are also the nicest folks. except for one or two. many times, in that world of musicians that are struggling to make a living, but haven't really gotten there yet with the music or with the people skills or what have you, they will be the most difficult to deal with. they over-compensate by talking too much, or acting like they know everything, or showing up drunk or being really critical or whatever. when folks have it together, they are at ease and play great, and know when to lay out and stuff. they are also more expensive.
it's totally fine and many times necessary to use different players on the recordings than in the shows. if you are a leader, do this with no guilt. if you are a sideman, get ready for it and don't complain. it has to be this way. if you don't believe it, try putting out your own record. you'll soon see why when you go to record. sidemen, you can always practice and take lessons and get your tuning and timing together.
leaders again, get their tax id and report every dollar that transacts. if someone is upset about this, you can't use them. period. never fudge on taxes.
o. you really won't be able to work that much in the town where you live. and there will probably be a morass of musicians in your hometown that aren't really committed to the lifestyle that haven't really developed their art that will be complaining loudly about how hard it is to make a living and whatnot and you can easily get sucked into their trip. you'll be better off traveling to various places and developing that. use local shows to try out new stuff, play with different folks, have fun, play for the home town crowd, etc. but typically you won't be able to work that often at home. maybe twice a year or something. don't worry about that. your market is the whole world, not your hometown. negativity is a sign to alter the course. 0852c4b9a8
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