Recently the CMC had a chance to speak with Jim Donio, President of NARM (National Association of Recording Merchandisers), which has an upcoming Crash Course and Convention in Chicago May 14 – 17.  Among the topics discussed:

• A Brief history of NARM
  • When NARM started
  • How the music industry landscape has changed in that time
  • How NARM has adapted to those changes
• An overview of the upcoming Crash Course/Convention in Chicago
  • What the convention offers to the various areas of the music industry
  • The Crash Course in conjunction with A2IM
  • where to get all the information and register for the Crash Course/Convention

In addition, Jim shared a ‘CMC only’ discount code for the Crash Course and/or Convention. Listen in to hear how generous a discount it is; use the code cmc2010 when you register.

Visit NARM.com to learn more and the registration webpage for the Crash Course/Convention.

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We discussed using Social Media to build fan relationships. Developing a strategy that helps you choose how to use the available services and networks. Getting the most for your effort in growing and maintaining your fan base. Setting expectations and converting those relationships into real-time results.

Moderator:
Jim Goodrich – Chicago Music Commission

Panelists:
Jeffrey David Goldford -  The Everyday People
Miriam Brosseau – Stereo Sinai
Alan Jay Sufrin – Stereo Sinai
Matt Ryd – Singer/Songwriter
Tim Toomey – Assault, Inc.

The PowerPoint presentation used during the Forum (opens in a new window).

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Recorded Monday,  October 19, 2009

We discussed  the legal and business decisions you have to make when setting up a business. These included choice of business entity, partnership agreements, ownership of equipment and songs, and record keeping necessary to help make your business life easier!

Moderator:
Marci A. Rolnik – Legal Director Lawyers for the Creative Arts

Panelists:
Lisa Malina – Certified Public Accountant
Shawn Murphy – Music Publishing 101 / Columbia College
Steven Wiser – Attorney
David Silbaugh – Talent buyer, Summerfest, A&R for Banshee Music, and Secretary of the Chicago Chapter of NARAS

All documents discussed in this forum can be downloaded here.

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We explore the process of putting together a show-

• Advancing the show
• Preparing equipment and set list
• Merchandise and mailing list materials
• How to deal with the venue
• How to do a soundcheck

Moderator:
Paul Natkin Chicago Music Commission

Panel:
Jesse Ewan FOH Engineer / Head of Production  Double Door
Phil Kosch Booking   Double Door
Alex White Independent Musician
Alisa Baum Director of concert production Old Town School of Folk Music

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A discussion of how the relationship between musician and press works. We will explore the best ways of approaching press – what to send and how to send it. The discussion also extends to how to set up a press kit, what should be in it and in what form it should be sent.
Moderator:
Martin Atkins, Musician, Author and Educator
Panelists:
Jim DeRogatis, Chicago Sun Times and Sound Opinions
Aaron Cohen, Associate Editor, Downbeat
Jenny Lizik, Metro publicist
Paul Natkin, Chicago Music Commission

*This episode of the Musicians at Work Forum contains explicit language that may be considered unsuitable for certain audiences.

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CMC is glad advocates like Illinois Arts Alliance are working to prioritize these arts infrastructure, and arts funding, as our new governments in Washington and in Springfield push us through this economic storm.

Our point was that as music community advocates, it’s our job to give voice to those of identified scenes, but also those who are not always part of these scenes–and, ideally, to help generate community-driven development on the ground that helps create new scenes.   These research tools are but a (significant) part of that effort, of course.

CMC encourages more research like Professor Currid and others are now undertaking.  In Chicago we’ve got one of the nation’s leading cultural research institutions at the U of C’s Cultural Policy Center leading in just this kind of work.   We look forward to seeing what they produce.

Keep the comments coming.

Noting how art is not given its proper due in policy and political circles, the author of the piece faults what he considers arts advocates’ failed strategies:  talking about the economic and job-generating value of arts, or of art’s power in cultural diplomacy, or of art as powerful entertainment.  He then argues that “…amid all the demands for better funding for the arts, hardly anybody addresses the graver shortfall, which is for better thinking about the arts.”

Arts communities have clearly failed to develop a broad consensus about their importance and value.  And new and persuasive thinking is surely in order to make the case that art matters.  Just as we cannot reduce music to just an economic force, we also cannot rely on the emotional power and historical resonance of music in making our case that music matters.   We must come up with better “frames” with which to make our case, now more than ever.

But we should also not rely on just making the abstract case for art through framing.  Art is generated from communities, whether hyper-local ones or national ones.  We must work to support these communities.  We must make it easier and more rewarding to participate in these communities.  And we must articulate why these communities are fundamental to our national success.  

To do this, we can use community organizing tools to give artists a place at the policy making table.  We can develop music-friendly policies and laws and hold lawmakers accountable for their support–or lack thereof–of them.  This is the kind of hard work that CMC is doing now, and we think it’s the most effective way to give support to the wonderful advocates like Wynton Marsalis, who put into sound the value and power of art of everyday.

At CMC, we’re not quite sure what to make of this kind of research.  On the one hand, we in the music community need to develop “facts on the ground” that support our now well documented assertion that music is a serious economic player in Chicago.  Identifying and mapping where that music is happening is a large part of that effort.  The sophisticated mapping techniques supporting this research are very important and can be a very effective tool as the music community makes its case to policy makers.  On the other hand, this kind of research seems to stumble into the same problems as other attempts to quantify cultural output have–it fosters “district”-like thinking about music and the arts, thereby encouraging planning techniques that don’t encourage city-wide, inclusive music friendly policies and practices that break down barriers to participation in the music community.

How can researchers best measure a broad, diverse community’s cultural ‘production’?  And can you measure what areas in a metropolitan fabric contribute to developing creativity and building a “creative class”?  This research starts to answer these questions.  CMC hopes more research continues, and shines a brighter light on the “value” of Chicago music to the city at large.

Music blogs have become influential in terms of breaking new music to casual listeners, other musicians and tastemakers alike. People tune in to these blogs and podcasts largely to be exposed to new bands. Are these blogs and podcasts helpful to musicians in a real, tangible way? Our panel of experts explore the issue and advise musicians on simple ways to set up and operate their own blogs and podcasts.
Moderator:
Jocelyn Michelle Brown
Panelists:
Fred Wells             Market Frenzy
Jim Goodrich        With a Voice Like This
Graham Sanford   Gapers’ Block / Hai Karate! / Panzer Bebop
Jason Heath          Doublebassblog.org

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The essentials you need to know if you want to license your music for commercial use. Learn form the experts how music is licensed for movies, television, video games and more.
Moderator:
Paul Natkin- Chicago Music Commission
Panelists:
Sean Murphy- Music Publishing101
Tom Leavens – Attorney at law
Rich Carle, Head of audio group Midway Gaming
Kate McComb – Creative director – Commercial music licensing Warner Music Group
Shelby Hoffman- Victory Records

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• The aforementioned “Seattle City of Music” site and supporting campaign.
• Robust office of Arts and Cultural Affairs (much like Chicago)
• A sixteen member Seattle Arts Commission appointed by the Mayor and City Council.
• Creative engagement with music community to address shared public safety concerns
• Mayor’s Office music blog providing consistent communication from the Mayor’s Office to Seattle residents (and Seattle music fans elsewhere) on day-to-day Seattle music issues, includinwww.chicago-music.orgnews stories to music listings to policy and legislative announcements.
• Mayor’s Office-presented “happy hour”, a City-sponsored monthly film and music industry networking opportunity at different Seattle music venues
• City-sponsored free noontime music performances year round at City Hall.
• Seattle On Hold plays music by Seattle musicians on the City phone system and website.
• Prioritization of music in Seattle economic development strategies (and see here).

Others have noticed this work:  Mayor Nickels was awarded the 2009 Award for Local Arts Leadership jointly by the United States Conference of Mayors’ and Americans for the Arts.

Some of these initiatives don’t make sense for Chicago, others we’d be wise to emulate (and in some areas Chicago’s kicking-butt where Seattle isn’t doing much). But as hope we’re making clear w/these posts, as the independent advocate for Chicago’s music community, CMC is working to see what other music cities are doing, learn from them, develop our own innovative strategies, and thereby improve Chicago.  

And yes, we do realize Austin is the temporary center of the music universe right now with SXSW.  Like we said, Chicago’s music community can learn from others…

So we suggest in our statement a detailed proposal that if acted on will allow the music community to continue to thrive, add no new regulatory burdens (or significant costs) for working Chicago music community members, and ensure greater accountability and transparency of promoter’s conduct in Chicago: no new license, more sunshine on the promoter community, and, we think, a win-win.

Here’s the basic outline of our proposal:

• With the music community, develop “self-help measures” that the community can implement on its own.  The music community has not been given a chance to fix what the City finds so concerning about music promotion in Chicago.  Many in the music community are not even aware of what specific conduct the City is attempting to address with this proposed ordinance. Let’s engage industry leaders—including small promoters—to identify best practices.

• Amend the PPA/Special Events code (which regulates music venues) so that the venue owner (PPA licensee) would be required to clearly and unequivocally control—and be responsible for—all that happens at the venue, including conduct of the promoter and insurance coverage of promoter conduct. 

• Commission an independent survey of the promoter industry to accurately determine who is in fact “in the business of promotion” and assess current industry practices, identify best practices, and make clear where public safety problems are occurring.  

• Create a pilot City-managed registry for promoters that would require registered promoters to provide the City with their contact information and which events they will promote. 

• Adjust the PPA code to require PPA licensees to only do business with registered promoters, rather than creating a new licensing class as this ordinance does.

A few things worth nothing here—CMC is under no illusion that this proposal is air-tight.  We want you to comment here with your thoughts.  And we will seek music community input beyond this blog. But for now, since no one is discussing alternatives to the ordinance and a new class of license for promoters, we feel it’s necessary to get the conversation moving away from a back-and forth on the particulars of promoter ordinance language, and towards a more expansive—and productive—discussion on what will work best for Chicago music and the general public alike.

We know us posting this isn’t how things are usually done in Chicago, but as you are probably aware, this ordinance is generating a lot of discussion once again in the music community (it first was raised by the City in 2007).  CMC posted this in the interest of providing the music community and the general public with as much information as possible prior to the Chicago City Council taking the ordinance up for a vote.

From media sources, we understand that the ordinance is not yet scheduled for a vote by the City Council’s License and Consumer Protection Committee, and that this ordinance may be redrafted again prior to any vote (could be soon, could be a long way off).  So please take the ordinance with a grain of salt–it may change again before it’s voted on.  

We think there has been too little public discussion of this issue, so we are also posting a “frequently asked questions” document about the ordinance prepared by the City this past September (to the best of CMC’s knowledge the most current such document from the City), and the Chicago Independent Review Panel of Building Safety Enforcement Powers’ 2003 report that the City cites in this version of the ordinance.  If you make it all the way through the ordinance, towards the end of the doc you’ll see that the City has prepared some helpful detailing of the changes they’ve made to the ordinance since they first tabled it in 2007.  We think these docs help explain the City’s positions and also answer some commonly asked questions (like “will I be covered by the ordinance?”).

You can jump to CMC’s dedicated event promoter ordinance page here.

Stay tuned to this site for more information about this important issue.

EDIT:  while the outcome of this merger (approved, rejected or modified w/concessions) will ultimately impact Chicago music, the specific focus of the Senate hearings is on how the proposed merged company will affect “market competition”.  Which market(s)?  Well, you antitrust scholars out there:) know that defining the “market” at issue is the be-all and and end-all for antitrust cases. Ticketmaster is arguing that they only play in the ticket sales market, and Live Nation is arguing that they only play in the promotion market, and to a lesser extent in the venue-ownership market.  If this merger is challenged by the Obama Department of Justice, it will try to define the market at issue as broadly as possible (saying the merged Ticketmaster-Live Nation company will play in venue ownership, ticket sales, promotion) and that the merged Live Nation-Ticketmaster entity will use its dominant market power in that large market to unfairly compete against others, resulting in a bad deal for consumers.   

So we’re kicking off here an informal, irregular set of posts taking a snapshot look at interesting efforts other city governments are undertaking to support their music communities.   These snapshots are not scientific—we’re grabbing what we think are noteworthy initiatives.  We’ll hopefully delve into the details on some of these efforts in future posts.  In any event, please let us know what innovative/effective efforts you know about that we don’t mention. 

 First up:  Austin, Texas.

• Government-supported music community branding campaign (“Live Music Capitol of the World”)
• Live Austin music at all Austin City Council meetings
• An average of eleven performances per week of live Austin music at Austin’s airport
• “Live From the Plaza”, a live showcase of Austin music every spring and fall Friday outside of Austin City Hall
• 24/7 city funded television (“ME TV”) showcasing Austin music
• Creating and support of Austin Music Memorial, honoring individuals who have had significant impact on Austin’s music community
• “Creative industries loan guarantee program”, assisting performers and music companies
• “Cultural contracts fund”, helping music-related nonprofits
• Creating of dedicated music-only loading/unloading zones on 6th Street (a main music/entertainment thoroughfare) that allow bands to park and load/unload their equipment for a short period of time without being fined
• Creation and support of Austin Music Commission (and here), a group of volunteer Austin citizens, all of whom are appointed by the City Council, to advise the City Council on music-related matters
• Sponsorship of SXSW, annual world-wide music festival in Austin generating approximately $95 million in revenue for the city.  City’s sponsorship allows for various fees to be waived that have been valued at $90,000.
• City Council-created “Live Music Task Force” to make recommendations to the City Council about ways to support and enhance live music in Austin, including pushing the creation of a city music department, the development of more music venues, and a city-lead campaign to lure music industry firms such as publishing houses, managers, record labels and digital distributors.

 Next up:  Seattle

It remains unclear at this time what if any of this stimulus will be directed to Chicago music.

Chicago’s music community and industry are ready to be part of the solution to the national economic crisis. As has been documented in the CMC-sponsored economic impact study, “Chicago: Music City”, conducted by the University of Chicago’s Cultural Policy Center, and elsewhere, Chicago’s music economy generates hundreds of millions of dollars in economic activity and provides jobs for 53,000 people. Moreover, the health of Chicago music community and Chicago music economy affect not just those members of the music industry, but also the city at-large.

This is because Chicago music fosters a “creative class” that improves Chicagoans’ quality of life, increases the attractiveness of the area to businesses and individuals, and generates millions of dollars in tourism and tax revenue. In fact, Chicago music is a leading export in Chicago’s economy.

The fundamental objective of President Obama’s stimulus proposal is to inject money into state and local economies to generate economic growth. By spending a portion of the billions that will be allocated to Chicago on Chicago’s music economy and its creative class, our city will see a ripple effect that generates economic activity for the larger Chicago economy.

Our elected officials must understand the need to support Chicago’s music community by providing more funding during this economic crisis and beyond. Our leaders need to hear from us that the stimulus dollars in the two bills now moving towards a consensus package in Washington must benefit Chicago music.

And locally, we need a policy and legislative environment that encourages our world-class music community to create more music, especially during these tough economic times.

Please contact your elected officials to convey your support Chicago music and your commitment to jump-starting our local and national economy by supporting Chicago’s music community. Please click here locate your elected officials and to send them a message that you know how important the arts are to our economy.

Before we get too far down the road, we want to make sure we’re all on the same page about commenting policy.  It’s the standard fare.  In short, we welcome any and all comments to posts.  But please know we screen all comments before publishing and while we value differing opinions, we won’t publish abusive and/or vulgar language.  While we’re not afraid of a heated debate–we welcome it, in fact–we’re the judge and jury on this; if we think it’s over the line, we won’t publish it.   However, we’re not going to edit comments that are published.  It’s either goes up in full or gets removed in full.

We think there has been too little conversation about Chicago music, so we’re looking for a vibrant, spirited dialogue. Thank you for your interest in Chicago music.

Being with the right label can make all the difference – find out why it might be better to to sign with an small independent label versus a major label, what a label deal looks like in terms of the money you get, and keep at the end of the day and also what kind of artistic and business decision remain yours versus being taken away from your band. During your career you can expect to make the journey from one label to another, sometimes by choice and sometimes not – when and how to approach this decision.

Moderator: Rob Miller – Bloodshot Records
Panelists:
Alex White
Steve Smith- Aware Records
Jesse Woghin – Flameshovel Records
Shala – Movement Worldwide

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Now matter how much technology changes, musicians of all sorts still need to record their music. There are bargains to be had at all different levels of recording: from the DYI home studio, to live recordings, to more elaborate studios. All of your choices regarding setting, equipment, personnel, and technology contribute to the overall cost of the finished product. Hear from the experts all about the resources in Chicago available to the beginner, as well as the seasoned professional, and get advice on how to budget your time, how to make the right choices so you can get the most recording for your dollar.

Moderator: Eddie Blazonczyk Jr. – Versatones
Panelists:
Larry Sturm – Pressure Point Recording
Dave Spector- League of Creative Musicians
Dan Dietrich- Wall to Wall recording
Michael Freeman- Coachhouse Music
Reid Hyams – X-Art Entertainment Group

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Learn from the pros about how get bookings in the venue that works best for your act, and hear about what’s the latest scoop on new spaces and unconventional booking opportunities in Chicago.

Moderator: Tim Tuten – The Hideout
Panelists:
David Chavez – Uncommon Ground
Erin Molloy-Bauer – Mayor’s Office of Special Events
Brendan Joyce – Reggie’s Music Club
Fred Brennan – Chicago Special Events Management
Allan Curtis – Skokie Theater

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Chicago musicians will learn about the relationship between a music act and a performance venue, such as knowing if the venue is the “right” fit for the band and what to expect, including compensation. The panelists will also discuss how to prepare for a gig, once booked. This includes knowing where to park, where to load in, how long to play, the show time, when to arrive, and more. Other important venue matters include knowing if the venue has a relationship with a local radio station, record store, publication, press, or other promotional outlets.

Moderator: Paul Natkin – photographer and tour manager, Photo Reserve
Panelists:
Justin Baron – vocalist/bassist, The Redwalls
Jessica Glau- Satellite Booking
Mary Jones – Mary Jones Managment, Road Jones Booking
Brendan Joyce- Booking for Reggies

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The panel discussed the basics of publicity, promotion and marketing, focused on building an audience for music. Topics included the following: getting first gigs; making first recordings; creating an identity and an online presence through tools such as MySpace, YouTube and merchandise; using public appearances to build and grow an audience; retaining an audience; growing an audience in other cities; and using new marketing tools to connect with existing and future audiences.

Moderator: Martin Atkins – musician and producer, Invisible Records and Mattress Factory Studio

Panelists:
Shala Akintunde – producer and performing artist, The Movement Worldwide
Anita Chase – guitarist and singer, Half Mad Poet
Nelson Colon II – brand/marketing manager, The Cool Kids
Matt Dufour – co-owner, En Prise Management
Meg Santisi – owner, Street Flyers

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Learn from the pros:

• Replacing band members
• Keeping a band together
• Dealing with band-related start up business issues
• Establishing a business structure
• Navigating creative differences
• Splitting credits and sales among band members
• Figuring out band or individual ownership of equipment

Learn about the best way to form your band as an artistic and business entity from what kind of legal entity to choose, to finding collaborators, and how to go about replacing band members, what are some ways to help to keep your band together, how to best deal with band-related start up business issues, establishing a business structure for your band, dealing with changes in your band, learn how to set things up within your band so that changes in personnel or an unplanned incident or personal crisis doesn’t end your band, rehearsing and building your show together as a band, navigating creative differences successfully, how a solo artist can best approach building a backing or touring band, how to split credits and sales among band members, figuring out band or individual ownership of equipment, dividing up and delegating the work without burning out the leader who takes on the, defining all the different jobs within a band and assigning responsibility without encountering burnout from the leadership.

Moderator: Steve Frisbie (of Frisbie)

Panelists:
Doug Lefrak – Feisty Management
Lisa Malina – Certified Public Accountant
Jonny Basofin – The Changes
Dylan Rice – Dylan Rice Band

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There is increasing recognition that work in the arts can involve health risks such as exposures to toxic materials and hazardous physical conditions. Injuries and repetitive motion disorders can also result from practice and from work in the arts. Musicians, specifically, face many health hazards – from hearing loss and vocal cord injury to the stresses of travel and health care. This forum focuses on preventing some of the most common and disabling problems for musicians.

Moderator: Dave Hinkamp – Co-Director of the Health in the Arts Program at UIC
Confirmed Panelists:
Chris Lyons – Product Marketing Manager at Shure Microphones.
Michael Santucci – President of Sensaphonics.
Laura Kessler – creative career coach, music director, teacher, writer and performer.
Alex Maiolo – HINT Project Coordinator, Future of Music Coalition.

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Everything’s gone green – including the music world. Learn from the experts how musicians and the music industry can reduce their negative impacts on the environment. The panel will discuss what cutting edge approaches are now being used to conserve energy, use renewable resources, recycle, and decrease emissions and pollution throughout many phases of the music industry including at venues and festivals, on tour, backstage, in the studio, and in the manufacturing and distribution process.

Moderator: Lynn Peemoeller
Confirmed Panelists:
Ken Dunn – Resource Center
Hans Fedderke – Live It Green and Tunes for Trees
Paul Natkin – Photo Reserve

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How you come across on stage, on line, on your product and in print all play a role in getting your music heard and seen by the industry and the public. Learn how to work within a budget to achieve professional looking results for costumes, stage presentation, photo shoots, and coverage on stage and at other live events. DIY or professionals, barter and trade, agreements at venues, electronic press kits, latest digital resources.

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Once you book the gigs – how do you handle all the planning, logistics, and business of playing out of town? How to arrange a tour – yourself or have someone else do it for you. Getting your music and band ready for a gig or a tour date. What to bring on tour. How to pack your equipment for a tour. What equipment do you have to bring on tour? How to “advance” your out of town gig. What should you do when you arrive at the location of your out of town gig? What should you do between arrival, set up, sound check and show time? Why should you and how do you coordinate with other acts also on your tour or play at your same gig. The dos and don’ts of club/crew/staff/merchandise relationships at out of town shows and venues.

Moderator: Paul Natkin
Panelists:
Susan Voelz – Poi Dog Pondering
Martin Adkins – Nine Inch Nails
Ken Waagner – Wilco Webmaster
Paul Wargaski – Tangleweed

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So you want to make a record? This panel will focus on what you need to know and the practical nuts-and-bolts of how to get the actual product made. Learn what are the essential pre-production steps, tips on production and recording, options for how and where to get discs made, tips on how to and when to design and produce the CD artwork, advice on what should be in your insert or booklet, choosing the packaging and jewel boxes, and the basics on designing and producing related merchandise such as posters and t-shirts.

Moderator: Julie Burros
Panelists:
Bettina Richards – Thrill Jockey Records
Steve Albini – Producer-Engineer
Joe Guyette- Breakthrough Audio
Al Brandtner - Art Director /Free Lance Designer indy blues rock
Andres Meneses – Latin Indy label owner

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For the musicians and bands just starting, to those making a living from music, learn the best way to set up your music business, and how avoid common money-related problems. Panelists will cover accounting and record-keeping, to how to handle the flow of money coming in and going out for expenses, the best way to pay your band, what are the best form of money to use, dealing with taxes, avoiding penalties, and handling royalties. Documents for download (in PDF format):

bca210 - formpai - formsri

Moderator: Laura Kessler, music management consultant
Panelists: Shaun Murphy, ASCAP
Lisa Malina, Accountant
Hillel Frankel, Attorney

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The second part of a two-part series, this session is focused on getting noticed by the music industry. Panelists will discuss the elements of a press kit and the difference between what is expected for each channel of media (print/broadcast/radio/internet). Panelists will discuss the elements of a promotional package and the difference between what is expected when you market to different segments of the music and entertainment industry – such as to booking agents, venues, record labels, publishing companies, and marketing your music for commercial licensing, television and film production companies. Panelists will also advise on the best way to use electronic media for music industry promotional purposes and building your level of exposure.

Moderator: Paul Natkin
Panelists: Richard Milne WXRT DJ
Chris Baronner Talent Buyer (2001 – Present) Metro
Jerry Bryant Host/Owner JBTV
Ira Antelis, Director of Music at Leo Burnett advertising

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Build relationships with your audience to create fans, and do the marketing yourself. Panelists will advise on the growing array of direct marketing tools artists may find effective to gain fans and attract new audiences.

Panelists will discuss their experiences making the best use of internet sites like MySpace, Email newsletters, Music Downloads/Podcasting, self-distribution and sales of music as well as managing your website as the hub for all of these activities. In addition, the panel will discuss how to integrate the new methods with traditional marketing such merchandise, street teams, flyers, posters, cds, performing live, attracting media coverage and commercial music distribution.

Moderator: Mark Roth (CenterstageChicago.com)
Panelists: Jim Kopeny, Chicagoist
Jay Prasad, Pure Entertainment
Doug LeFrak, Feisty Management

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All around town there are festivals, private parties, book stores, record stores, cafés, restaurants, special events, and street fairs that hire musicians and bands to perform

Learn from the experts how to find out about opportunities to play in all kinds of spaces and places that are not the traditional club or venue, including the opportunities with the Chicago Department of Cultural Affairs and the Mayor’s Office of Special Events.
Experts will also advise on how and when to submit your materials, where to look for listings and calls, the proper protocol for different places, expectations in terms of pay or contracts, equipment, staff support, sound quality, and audiences.

Moderator: Julie Burros
Panelists: Brian Keigher DCA
Jeneene Brown-Mosley MOSE
Laurie Hile Border’s Books and Music
Fred Brennan Chicago Special Events Management

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An all-star line up of songwriting talent discussing the craft of songwriting and surrounding issues.
Topics include:

• Songwriting techniques
• Tips on collaboration
• Writing for advertising
• How to copyright and register songs
• How to get your song heard
• How to get proper credit and payment.

Moderator:Jon Langford – Mekons, Waco Brothers, Pine Valley Cosmonauts, etc.
Panelists: Kurt Elling – Grammy nominated jazz vocalist
Percy Bady – Grammy nominated gospel songwriter
Joel Corelitz – Steve Ford Music, advertising jingles
Jim Peterik – author of Songwriting for Dummies, “Eye of the Tiger”

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Various legal issues relevant to musicians, bands and songwriters, such as where to find the help you need, how to establish and protect your ownership and copyrights, what you need to know about music downloads, publishing and licensing; and what to expect or look for in various contracts.

Moderator:Paul Natkin (Photo Reserve)
Panelists:William Rattner (Chicago Lawyers for the Creative Arts)
Shaun Murphy (ASCAP)
Bob DePugh (Alligator Records)
Joy O’Shell (Music Now)
Heather Nelson (music attorney)

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Various aspects of producing and recording your music including: making live recordings, aspects of do-it-yourself recording, when do you need to bring in the professionals and where to find them, making the most of your time in a studio, and how to create recorded product that fits both your style of music as well as your budget.

Moderator: Chris Schneider (Pressure Point Recording Studios)
Panelists: Timothy Powell (Metro Mobile Location Recording)
Larry Sturm (Recording Engineer)
Johnny K (Groovemaster Studio)
Bob Lizik (Brian Wilson band)
Chris Sheppard (Recording Engineer)

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What differentiates an independent label from a major corporate label, how to determine what a label does, and if it is the right label for that particular musician. Participants also learn how to get signed to a label, what to expect when that happens, and what it takes to start your own record label.

Moderator: Bruce Iglauer (Alligator Records)
Panelists: Nan Warshaw (Bloodshot)
Jim Powers (Minty Fresh)
Tony Brummell (Victory Records)
Mike Friedman (Premonition Records)

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How to gain coverage from the media. Participants learn how to create a press kit, find the right placement for their story, who to contact, and what are reasonable expectations from the press with respect to reviews, features, listings, and profiles.

Moderator: Greg Kot – Chicago Tribune
Panelists: Alejandro Rivera – Hoy
Antonia Simigis – Time Out Chicago
Monica Eng – Chicago Tribune
Thomas Conner – Chicago Sun-Times
David Jakubiak – Chicago Sun-Times
Peter Margasak – Chicago Reader
Scott Plagenhoef – Pitchfork Media

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All the aspects booking an act and performing in the most suitable venues. Participants learn what venue is right for their act, what is needed to know before making the call, how to go about contacting the right person, and what to ask them.

Moderator: Tim Tuten – Hideout
Panelists:
Colleen Miller – Old Town School of Folk Music
Joe Bryll – Sonotheque
Badger Cudahay – House of Blues
Matt Rucins – Schubas
Carolyn Albritton – Columbia College
Fred Brennon – Chicago Special Events
Amy Butterer – Billions Corporation

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