Political medling in Education and Health

On listening to the various reports from the party political conferences over the past few weeks what struck me was the amount of ideas that seemed to be there for the sake of it.

The problem with politicians is they want to make their mark by changing things even if something is working on some level. There is a fixation that there is a perfect solution, well maybe there is not; maybe something that empowers people would be better.

The amount of money that has been wasted in reorganising the NHS and the education system in this country is truly staggering and probably would have been better spent in other ways but somehow this wastage of tax payers’ money is covered by a veneer of statistics that hide the waste.

We are getting to a point where people are disillusioned with politics, as shown in voter numbers, we need another way. I am not sure what, but maybe start with government getting out of like education and health. This is a tall order because on the face of it they should be involved however where do you draw the line between the national interest and the prestige of politics which is all too evident in the ‘ let us make some policy changes’ fiasco.

The cuts in funding the arts is causing very serious problems for musicians incomes around the world and although this may create innovation because necessity is the Mother of Invention you still need to pay the bills will you are inventing.

In the world of teaching is there is an opportunity in the alternative view that education is about opening the mind and not just ticking boxes and that music maybe one of the few ways of achieving that. Let’s face it there are many that want to do music and it is not being fully satisfied at school.

I also see an opportunity to ride that wave of discontent in the music that is written and performed which takes us back to elements of the 60’s and 70’s a useful back-lash to X factor and politics I think

 

Vic

 

 

 

 

 

 

How to Make Money in Music Publishing

Original from http://www.ehow.com/how_5783307_make-money-music-publishing.html

X

Ralph Heibutzki

Specializing in cultural and musical articles, Heibutzki has written for over 17 years. He has appeared in the "All Music Guide," "Goldmine," "Guitar Player" and "Vintage Guitar." He is also the author of "Unfinished Business: The Life & Times Of Danny Gatton" and holds a journalism degree from Michigan State University.

By Ralph Heibutzki, eHow Contributor

Live concerts remain the glamorous face of today's music scene. However, the real money lies in the ownership and licensing of the songs themselves. Whether you sign with an established publisher, or opt to handle the job yourself, some basic business knowledge and administrative skills are needed to succeed.

Other People Are Reading

• How Music Publishing Companies Generate Money
• How to Run a Music Publishing Company

 

Things You'll Need

• Business license
• Checking account in publishing company's name
• Computer
• Internet access
• Publisher's application
• Songwriter's Market
• Tax identification number
• Writer's application

Show (5) More

Instructions

1. Learn How Publishing Works

   • 1
     Learn the basics of music publishing. As taxi.com explains, the writer of a song automatically owns all the copyright and publishing rights. Music publishing income, in turn, is divided into writer's and publisher's shares. If you keep your copyright and publishing rights, the songwriting money is all yours--meaning, if the royalties are $100,000, you collect $100,000.
   • 2
     Sign with an established music publishing firm if you don't feel you have the knowledge or networking contacts to market your material. Use music industry reference guides like "The Songwriter's Market" to get contact information, and whether or not a company accepts unsolicited material. Unsolicited material is material that has not been requested by the publisher either through an agent or as the result of a query letter sent to them. Unsolicited material cannot be submitted without permission from the publisher.
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   • 3
     Study how co-publishing agreements work, taxi.com advises. If a publisher accepts your song, you own 75 percent of the writer's share, plus 25 percent of the publisher's share. If your royalties are $100,000, then you get $75,000. If you transfer all publishing rights, everything is split evenly, and you'll only collect $50,000. The publisher only earns their percentage to market your material--so, if they don't expect any profit, you probably won't get a deal.
   • 4
     Make it your business to understand all potential revenue sources. Although radio play, music and TV licenses are the most visible--and most common--avenues, don't overlook lesser-known sources, such as sheet music, Internet downloads and cell phone ringtones, which are rapidly becoming an alternative income stream for performers.

   Set Up Your Own Company

   • 5
     Evaluate your career honestly before becoming your own music publisher. Without consistent airplay or licensing income, setting up your own music publishing company makes little sense. On the other hand, if you're seeking movie or TV placements, signing up with a well-connected publisher is the way to go.
   • 6
     Join one of the three main performing rights organizations--ASCAP, BMI, or SESAC--as a songwriter and publisher, since you'll wear both hats. Otherwise, if you only join as a songwriter, you'll effectively miss out on half the income that you may have coming.
   • 7
     Request a publisher's application from ASCAP, BMI or SESAC, music-law.com advises. If your bandmates aren't members, request writer's applications for them, too. Fill in the name of your new company and information for each band member, which is required to show how your band exists as a legal entity.
   • 8
     Return the form and any required fees. Once your company is accepted, music-law.com advises to apply for a new business license and tax identification number. These will differ from the ones made out for your band, which exists as a separate legal entity. Once you have those details, submit them to the organization that reviewed your publisher's application.
   • 9
     Think carefully before deciding on an equal split with your bandmates, no matter who wrote the song. That's because copyright protection exists for an author's lifetime, plus 70 years, and can transfer to heirs. This can be a major sticking point once your band is no longer active, according to entertainment attorney Joy Butler.

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Tips & Warnings

• If you set up your own music publishing, have another company act as an administrator. This places the burden of collecting and distributing potential income on someone else's shoulders.
• Don't forget to create a checking account in your new company's name. Royalty checks will be made out to your publishing company, not the people running it.
• Do an online search to determine if your potential publishing company's name is taken. Have several alternatives ready to go, just in case.
• If you have a band, work out ground rules for song ownership. If a bandmate contributes a part, you're still the copyright owner. However, if someone changes lyrics, or adds other distinct musical elements, they may have grounds for arguing co-ownership of your song copyright.
• Never sign agreements without understanding the terms. If you're not sure about the implications of signing with a particular publisher, have an entertainment law attorney review the agreement.

Read more: How to Make Money in Music Publishing | eHow.com http://www.ehow.com/how_5783307_make-money-music-publishing.html#ixzz29N28eaJb

Keep the country happy play guitar

Keep the country happy play guitar

At the RGT conference recently I was talking to a number of teachers and the question that seemed to keep coming up was how much work everyone had and to everyone’s surprise the pupil numbers had actually gone up for most which considering the economic climate was not what you would expected.

I had written about this a while ago after having a discussion with someone high up in a teaching organisation who was of the opinion that we were going to hell in a hand cart and my point was that even in the war people were learning musical instruments and therefore there is something else happening inspiring the public to learn.

There is often a self-fulfilling prophecy at work when the economy is ‘talked down’ by the experts and, as a friend of mine calls them ‘sheeple’, follow the instructions to the letter. However some arrive at the point of thinking ‘what the hell I want to do something interesting like learn an instrument’ and therefore problem times can throw up anomalies in human behaviour some of which are very positive for music teachers.

The more we focus on the positive outcome the more chance it has to manifest because you begin to notice opportunity around you that is how the mind is wired; to see things that match and confirm your thoughts.

In NLP there is a term for people who do the opposite to the expected reaction, the term ‘polarity responder’ would apply to the character who will change direction simply to be different from the crowd. These people are good for rock guitar because ALL of the early guitar greats where polarity responders because the guitar was the instrument for the social subversive and even though there is an abundance of college courses it is still looked upon as socially different to be a working musician. 

So the best advice for you in these times if the numbers are not stable or going up look at how you can attract new customers by offering group lessons and get them involved having fun playing. Focus on the enjoyment aspect of playing an instrument and make customers feel good about themselves. As there is scant little about to make anyone full of cheer making your music happiness enhancing will create a good USP for the business whether you are teaching or playing gigs.

Vic