As we have previously discussed, the owner of the copyright in a work has certain exclusive rights in that work. Anyone who violates the exclusive rights of the copyright owner is an infringer of that copyright.
To establish copyright infringement, you must establish that you own a valid copyright in the work and that:
Remember when you first started making music, how every show, every new fan, every kind word, or t-shirt bought made you feel like you were on top of the world? Somewhere along the way as you began to grasp the business side of the industry, you lost that sense of excitement and wonder at every opportunity or win that came your way—no matter how big or small. But learning to embrace and celebrate the small wins, leads to a slew of positive outcomes—including helping you accomplish your stretch goals even after.
So how do you begin to turn small wins into huge successes?
Professional college radio campaigns are one of the best ways to introduce your music to attentive new audiences, but they’re not cheap. Depending on the size, length, and nature of the campaign, hiring a radio promotion company to send your release to college radio stations could cost you anywhere from $2,000-$10,000. And if you’re financing the recording, production, and promotion of your record all by yourself, it might not be possible to devote that kind of cash to a college radio campaign.
If this sounds like you, don’t despair. You can create an impactful college radio campaign in-house. Here’s how to get started:
In cities like LA, New York and London, you can’t throw a stone without hitting a musician intent on finding fame and fortune through making music. Despite existing in an oversaturated industry built on its workforce making less and less money, the idea that you could pump out a couple of hits and start making as much money as Kanye West is one that seems to persist despite mounting evidence that proves otherwise. If money is the motivating force behind why you create music, you might want to reconsider.
We’ve done plenty of articles on how to craft the perfect pitch, DIY your PR campaign, and land a feature. But what about when you finally do land that interview—how do you give answers that are going to spark new interest in your band, and engage readers so that they actually want to check out your music?
If you’re preparing to send out your next pitch email to a slew of music journalists, there are a few boxes to check before you blast your carefully crafted message. Our hope, as writers, is that you’ve already thought through most of the things below, but, unfortunately, each one of these elements gets overlooked more than you might think.
Some pitch preparation is mental and some is material, but to make sure you have your bases covered, keep these six things in mind before pitching a music journalist.
If you’re a serious songwriter, you’re probably used to wrestling with the beasts of routine and boredom every so often. Even songwriters brimming with talent and promise have fruitless writing sessions sometimes. It’s all part of the process. But when a songwriter experiences weeks, months or even years of uninspired frustration with their work, it’s an entirely different story. If this sounds like you, I’ve got some practical guidance that can help break you out of your songwriting rut.
He’s been described as a “15-year-old folk hero of the future,” a “wunderkind,” and an “Americana prodigy,” while simultaneously holding on to his teenager-ness; hanging with friends, playing video games, and skateboarding different spots. Sammy Brue just released his debut album, I Am Nice, on Friday, June 16th, and the Portland, Oregon native is undoubtedly about to become a household name. We spent some time with him, asking questions about life as a young artist, musical inspiration, and the grabbing inside scoop on that infamous hat of his.