Featured panelists:

Ric Ross, Southeast/National Field Director, Capitol Music
Aaron Arnold, CEO, Music is My Business, LLC
Angela J. Henry, President/ CEO The Alegna Group, Inc.
Lori Landew, Landew Entertainment Business Associates, LLC
Julia Price, Director of Creative Development, Mountain Entertainment and Corey Smith Touring.

Many people feel inspired enough by idols in the music industry to think, “hey! I would love a job doing that, but what individuals need to realize include several of the points made at this year’s Atlantis Music Conference panel.

The first thing panelists recommended for anyone so inspired to take on lots of hard work, unpaid internships and long hours was to pursue a degree and finish regardless of the degree. Following a marketing or business path should remain fairly universal as far as getting a job in the music industry, but a journalism major should continue to the end. What individuals need to ask themselves is, “what specifically do you want to do in music business?” The answer to this question will help narrow down what can be done to accomplish becoming either a manager for a band, a promoter or even a musician.

Practical experience in the real world helps garner changing ideas into new positions in music. The industry is constantly changing and the people who market and sell themselves will create new jobs in music. Staying independent and doing the grunt work of big business in a small way leads to bridging the gap between big and little people. Attendees asked questions concerning how to manage time efficiently while promoting, interning and holding a day job. The common answer was that in this business one must be willing and able as well as passionate and creative about what they choose to do with their time.

Promoting a band using MySpace and YouTube remains beneficial, but developing networking skills like an “elevator” or 30-second pitch will provide valuable resources when the time comes in front of agents who can help further a career. Becoming a promoter can be as simple as promoting 2 to 3 bands and building a resume, so the key to finding work in the music business is deciding what angle one wants to pursue and working creatively toward that goal. As Ric Ross of Capitol Music said, “In the record industry there is no 30 years and a pat on the back with a pension and a gold watch at the end. You have to do this because you love it and feel passionately about it.”

For its final day of panels and music, Atlantis Music Conference was a gracious host to Target Audience Magazine. This event presented various discussion panels and showcased new music from various artists, plus marketed for various companies involved with the music industry. On the last day of this event, Target Audience attended the 1.) “On the Road Again”, 2.) “Making Money in the Music Industry”, and 3.) “How I Wrote That Song” panels. Before, after, and between seminars, Target Audience met with numerous high-level persons working in the music industry including Cory Anziano the owner of Anziano Entertainment, Sonic Bids Marketing Manager Jen D'Angora, attorney Glen Litwak of Litwak & Havkin, and three-time Grammy-winning songwriter Adonis Shropshire. In between educating discussions, Target Audience was graced with an interview by platinum-selling producer, artist, and entrepreneur Ike Dirty.

In the first panel, moderator Cory Anziano presented questions to a group of industry experts, and at times paused to let attendees take the mic and ask questions. The panel had various recommendations for artists including getting letters of recommendations from at least three persons who have heard their works. Panelist Shirley Kennedy of SJK Public Relations encouraged people who perform to “keep playing those same markets till you're sick of them,” and be persistent. She said,

The panel stressed the importance of understanding that the number of hits on a website does not necessarily equate with successful sales for an artist.

Cory Anziano suggested these steps for getting started:

Be polite:
You want people to like you and listen to you.

Buy a van or bus to tour:
You'll need it to haul gear and possibly sleep in.

Don't play for beer.
Don't be an idiot. Ask for gas money instead, or at least get paid.

Eat lots of Ramen Noodles:
They're cheap, quick 'n easy to make, and they fill you up.

Play at least five shows a week after starting a tour:
You'll need the money.

Let the lead singer rest:
He or she fronts the band and represents the group. You want that person to look and sound great.

Don't search for A&R:
Represent yourself. If your product is good, and people like you, it will sell itself.

Don't suck.

Lastly, the "On the Road Again" panel suggested that musicians and those involved in the industry should join various organizations of support and continue to attend conferences like Atlantis while networking with others in the industry. Panelist Brad Broadrick referred to NACA and the companies of the panelists as “excellent” ways to get support.

This panel was a wealth of knowledge about how to make money in the music industry. The seminar was moderated by Jonathan Alexander.
The group of panelists focused heavily on exposure and how to market products.

Target Audience Magazine had the mic for a moment and asked the panelists what things are available in the industry to help protect the intellectual property rights of artists. Jen D'Angora shared about the “poor man's copyright.” She said that mailing copies of your work to the copyright office with a return receipt would suffice, but added that it is copyrighted the moment you complete the work.
However, Mr. Litwak added his recommendation that one still needs to actually pay the $45 fee and register with the Copyright Office in Washington DC in order to be fully protected, but in the meantime until one can afford the fees, just mail copies to yourself with a receipt. Target Audience clarified the question and the panel suggested joining support groups and attending conferences, just as the previous panel did. Mr. Liwak said there are various groups who help support each artist and protect the rights of musicians. He said Future Risic is a good organization for support. He suggested attending CMJ's college and indie conference, performing and vending at Bonnaroo, or attending the MIDM Conference.
Jeff Beal recommended paying for services such as SonicBids and getting demo CDs made to include with a press kit. He said “people want the touchy-feely, the hard copy.”
Beal said it's important to have something you can hand folks, so they don't have to take the time to look it up online. As for marketing and gaining expose, Mr. Beal said each individual artist should be a “cultural-access point.” He or she needs to represent where it is he or she is coming from and should bring people together.

Aaron Arnold, CEO of Music is My Business, said he has a “one in 3 billion success rate.” He said he doesn't copy styles and prefers originality.
For managers and promoters Arnold said “the artist is your child and you are their coach.” Final creative suggestions by the panel included making bracelets with USB drives attached to them, that each contain songs fans can download onto their computers. In return, consumers would wear the bracelets on their wrists and get into future gigs the band plays for free. Also noteworthy was Target Audience's brief discussion afterwards with Jen D'Angora and her sharing of how she is familiar with this magazine and its affiliation to SonicBids. She shared that she is from Boston like the artist Cookie Cutter Girl who Target Audience has interviewed and partnered with for advertising.

The “How I Wrote That Song” panel contained a group of men seated together onstage in a horizontal line facing the audience. Each artist in the panel took turns speaking to the audience with the mic and sharing experiences from making songs. Audience members raised their hands at times and asked questions, just as they did with other panels at this conference.

The artists, Rock City, Adonis Shropshire, and The Clutch, Clay Cook, Kendrick “Wyld Card” Dean, and John Stringer comprised this panel. This group of industry experts recommended each attendee “find out what fulfills” his or herself. They said that anything could be an inspiration for them, and even demonstrated this to the audience by making up songs and performing those songs as an example.

The panel shared the importance of each artist finding the methods of composing that work for that individual. “Musicians can be tired and worn out, but they can have second winds and get inspired,” the panel said. Therefore the panel recommended keeping a pen and paper available for writing down lyrics and song ideas.
All of the panel generally concurred that what style of music one writes or performs is not necessarily as important as it is to be true to one's self.

Adonis Shropshire shared about how his faith and being a “PK” (preacher's kid) helped inspire him to write.

Following the panel, State of Man's lead vocalist, John Stringer, spoke with Target Audience. He recommended honest, hard work, persistence, and networking with other artists. He said it's important for artists to “just be themselves” and to develop their own identities.

In closing, this was an eventful and informative day for a key music industry conference. Target Audience Magazine's interview with industry icon Ike Dirty can be found on others pages of this issue or on the web. Atlantis Music Conference is highly recommended for artist self improvement, creative ideas, learning marketing strategies, and relevant music education.