God booking sucks. I’ve been trying to book a cross-country tour and I just had half of it fall through because three shows in the Midwest got ‘cancelled’. There’s a bigger band touring the same route at the same time and we got bumped from the bills. Now I have to start all over and push the tour back a month, again. Booking can suck my ballsack. So can those clubs. My dirty, veiny, scraggly ballsack.

Booking your own shows and tours is one of the more inexact, patience testing things a band can do in the world of indie music. Mostly, booking is thankless and time consuming, ask Jrod’s balls. Trying to coordinate and communicate with musicians on the road and with venues where more than one person books is like trying to hit a fly with a dart that’s thrown from a moving car. (And you’re eating a burrito while you are throwing the dart. Salsa juice spills and there’s traffic. The fly is agile, it lands on your burrito, then shits on it.)

Solid booking agents and agencies are golden, but hard to come by. It’s been said that getting a booking agent is harder to do than getting on a label. Best thing for the self-bookers to do is start planning and contacting clubs and other bands as early as you possibly can.

Three things in booking are certain: Everyone wants a good bill, the bands all want the money slot, and everyone wants to get paid. Miscommunication happens often. Shows are set up, then changed, and changed again. Bands get bumped and line-ups shift. At some point, the shows need to be finalized so ads can be made and promotion done.

One booker advises:

Do everything on email and save your threads. Print them out. When clubs or other bookers try to change something on you that’s already been decided, show them the email where they originally agreed. The paper trail is good to have. It’s funny how the guarantees can all the sudden change the night of the show. If you’ve got a paper trail to back you up, you’re one step ahead of the game.

-The theme of the night was to "grow" Seattle as a city of music, according to Nickels, who took the stage with a mic for what I guess was the formal part of the presentation. He said Seattle is a "great place to make music" and he wants to make it a "great place to make a living making music." He then rattled off a list of non-music-related Seattle based business, and told the story about his mom dropping him off for a date at a Rolling Stones concert. He claimed, dubiously, that "Austin has nothing on Seattle."

-The 12-year plan has three fronts: music education, music venues, and music businesses. The idea is to foster all three of those things, although the specifics of how to do that were still pretty vague.

-James Keblas argued that Seattle's strength was that it's "not LA or NY," to say nothing of Austin.

-Growing the music business in Seattle seemed to hinge on growing the wider economy, a rising tide and ships and all that, which is bad news given how the actual economy is going, although the guy from the chamber of commerce lost me when he started talking about "specialty beverages." He was one of three guys in suits, including Nickels, to invoke the word "soul" (not one of them accompanied the invocation with a black power fist, sadly).

-Tom Mara from KEXP told us that the station's CD collection could more than fill two accordion-style metro busses, and that he hopes to see it fill three someday.

-Megan Jasper from Sub Pop and Josh Rosenfeld from Barsuk were the first people to acknowledge that times are actually kind of grim for the music business right now, to say nothing of the wider economic meltdown. Returning to the theme of Seattle's exceptionalism, Rosenfeld said that there isn't another city where everything comes together as it does in Seattle.

-It really is bizarre to hear that voice come out of Vince Mira's body.

-The New Faces look like the Jonas Brothers and sound like Interpol. They'll probably be huge.

-Somewhat depressingly, the goal for music education is primarily just to restore all the programs and funding to historic levels. One speakers called music education a "race and social justice issue." The Seattle Rotary wants you to donate musical instruments to them to give to schools.

-The VERA Project's Dustin Fujikawa was probably the most engaging and animated speaker of the night, and he brought up some serious issues—gentrification, health care, a living wage—that I'm not entirely sure this plan can really address.

-Things were dragging on, so we skipped the last round of speeches, about music venues.

-The goals of the plan are great, of course, and, as a parasite on the music industry, I absolutely hope that Seattle remains and improves as a City of Music. But there was not much in the way of specifics last night, and it really seems like fostering music education and music businesses is going to be challenging in a time of economic downturn. There are some cost-effective things that could be done to make Seattle more hospitable to music venues, but most of them involve reversing the clampdowns—noise ordinances, nightclub stings—that this very administration has initiated, or else things that are out of the Mayor and the City's jurisdiction, such as the WSLCB's puritanical regulations (in Austin, LA, and NY, I'm pretty sure you can drink a beer onstage). Still, there are some really good people behind this thing; I remain tentatively hopeful that some concrete good will come out of this.

-Oh, also, the official "Seattle City of Music" website that I couldn't get to load yesterday is up and running now, and while it's, again, long on goals and short on specifics, it has a more detailed list of, really, pretty inspiring goals than I was able to jot down from last night's speeches. Check it out.

For nearly a year, my bands have been practicing in my living room in the Fremont neighborhood. Yesterday some poor fool plopped down the $495,000 needed to buy the cracker box shaped town home next door.

What are my options? We practice twice a week. We're always finished before 10 PM We're not THAT loud, in fact standing on the street in front of the house you can hear the drums, but it doesn't sound much louder than a stereo.

What are the laws concerning decibel levels and the cutoff time for noise complaints?

I'm hoping nothing happens and no one complains, but should they decide to raise a stink what can I tell them and how can I deal should the cops be called.

Initial thoughts are that if they aren’t that loud and they’re finished by 10, they should be OK. If the police are called, they will come by to give a warning before anything. But that means that the police will be coming by. Always use "Sir" and "Ma'am" when dealing with the police.

Another option is to put on tighty-whities, cover yourselves in Vaseline, stand on the edge of the neighbor’s yard, and play with Smurfs.

King County Noise Ordinance

Seattle Municipal Code - Noise Control

Disturbing the Peace

There only are a limited number of ways you could make money. It's advertising, it's subscriptions, it's e-commerce and then its using the data for smart purposes [market research].

The interview is mainly about Last.fm verses Myspace, as the latter recently launched its new Myspace Music function.

One of the big stories with MySpace Music was whether streaming the music legally would be successful in driving song purchases via downloads. How's it fared for you?

When we launched free on-demand earlier on in this year in the States, the amount of e-commerce we were generating more then [sic] doubled. It definitely does work.

Legal, free streaming is a newer phenomenon on the Internet. What's the issue?

We always said to the labels, "You have to let us do this," because what's happening at the moment is people are getting the recommendations off of Last.fm and then they're just going to all the illegal peer-to-peer sites.

They're more than familiar with that problem. What's the state of the digital music business today?

I think what you've got with the Internet is the fact that the labels and the collective side have realized that they need to make sure there is proper sharing of all the revenues which are generated with all the content creators. And I think that's correct. I think the problem, though, is that there is a lot of posturing going on, on both sides, as to what the right model is to monetize that. The [potential] market is huge, but at the moment, it's all on the peer-to-peer networks.

The Copyright Royalty Board in Washington, D.C. is expected to rule Thursday on a request by the National Music Publishers' Association to increase royalty rates paid to its members on songs purchased from online music stores like iTunes. The publishers association wants rates raised from 9 cents to 15 cents a track - a 66% hike.

Apple (AAPL, Fortune 500) declined to discuss the board's pending decision. But it adamantly opposes the publishers' request. In a statement submitted to the board last year, iTunes vice president Eddy Cue said Apple might close its download store rather than raise its 99 cents a song price or absorb the higher royalty costs.

"If the [iTunes music store] was forced to absorb any increase in the ... royalty rate, the result would be to significantly increase the likelihood of the store operating at a financial loss - which is no alternative at all," Cue wrote. "Apple has repeatedly made it clear that it is in this business to make money, and most likely would not continue to operate [the iTunes music store] if it were no longer possible to do so profitably."

The Copyright Royalty Board is a three-judge panel that oversees statutory licenses granted under federal copyright law. That includes setting royalty rates for music sales. The current proceeding followed the expiration last year of a 1997 decision that had governed sales of so-called physical music products like CDs for a decade. The board's forthcoming decision, its first affecting digital sales, will set royalty rates for the next five years.

It's hard to believe that Apple will actually shut down iTunes if it doesn't get its way. Apple has shrewdly used the store to help sell iPods, its most popular product. Before the computer manufacturer opened the store in 2003, there was virtually no place for iPod owners to purchase digital music on the Internet. So iTunes helped grow the market for the device by appealing to people who didn't want to patronize illegal file-sharing services and risk a music industry lawsuit.

Publishers don't seem to be buying the bluff either.

They argue that the digital music market is growing and that they should get a higher rate because all parties in this squabble will ultimately prosper. "I think we established a case for an increase in the royalties," said David Israelite, president of the National Music Publishers Association.

Israelite said he opposed any attempt by companies like Apple and its record label allies to do away with the fixed royalty rate. "Apple may want to sell songs cheaply to sell iPods," he said. "We don't make a penny on the sale of an iPod."

Via money.cnn.com

Best Buy will be the exclusive retailer for Guns N' Roses' decade-plus-in-the-making new album "Chinese Democracy" before year's end, sources close to the situation tell Billboard. Some details of the deal are still being worked out, including the release date.

The news brings a semblance of closure to the bizarre history of
"Democracy," which Guns N' Roses has been working on since the mid-1990s.

Since then, every original member of the once-mighty group has left besides vocalist Axl Rose, and millions of dollars have been spent working on the new material.

"Democracy" was most recently on the Interscope release schedule in March 2007. The endless delays encountered by the project reached comic levels this spring, when soft drink manufacturer Dr. Pepper offered to send a free can of the beverage to "everyone in America" (excluding ex-GNR members Slash and Buckethead) if "Chinese Democracy" were to arrive anytime during the calendar year 2008.

Via billboard.com

As readers undoubtedly remember, last week Stranger columnists Ann and Nancy Wilson of Heart teamed up to write a dynamite open letter to John McCain, Cease and Desist, You Old Fart by Ann and Nancy Wilson of Heart.

Well, this week, Snopes.com—the Library of Congress of urban legends—investigates the Wilson sisters' Stranger work.

Thanks for the attention, Snopes-ers, but you've got it wrong wrong wrong. As I type this, Stranger columnists Ann and Nancy Willson of Heart are seated to my left, busily working on their next column, Picasso's Les Demoiselles d'Avignon is the Apotheosis of Modern Art by Ann and Nancy Wilson of Heart. (Actually, Ann's the one doing the work right now—Nancy's watching that hilarious Sarah Silverman video.) But thanks for playing!

MySpace Music Launches Without World’s Leading Independent Labels And Artists

Said Charles Caldas CEO Merlin, Global Rights Body For Independent Sector:
“It is incredibly disappointing that MySpace will launch their new service without having finalised a deal with the world’s most important independent labels and artists. It certainly makes Chris DeWolfe’s public statements, that the "indie bands are really the heart of MySpace", ring extremely hollow.
“What is absolutely clear, however, is that any independent deal struck without an equity component (as was done with the majors), will see independent labels face a situation whereby their major competitors will profit from the use of their repertoire without an appropriate upside opportunity being extended to them by MySpace Music and its Major Label equity partners.
“Whilst Merlin continues our negotiations, we remain extremely concerned that with MySpace Music the major record labels are acting not only as competitors, but through their equity stakes in the venture, as the clients/end user as well. Without an equitable participation by independents, that creates a situation that is both unhealthy and dangerous.
"Merlin, the global rights agency represents the largest basket of rights outside of the majors labels, with a US market share equivalent to that of the smallest majors”

SAN FRANCISCO (AP) — Make room, iTunes. MySpace is hoping to shake up the digital music scene.
In a bid to spruce up its popular online hangout, MySpace plans to flip the switch Thursday on a much-anticipated service that will give its roughly 120 million users free access to hundreds of thousands of songs from the world's largest recording labels.
The catch: the music can be played only on personal computers connected to the Internet and listeners have to tolerate advertising splashed across the screen. Anyone who wants to transfer a song to a portable device like Apple Inc.'s iPod will have to buy the music through Amazon.com Inc.'s year-old downloading service, which sells songs for as little as 79 cents apiece.
Unlike much of the material at Apple's iTunes store, the music sold through MySpace's new service won't contain the protections that limit how many times a track can be copied.
MySpace is hoping to set itself apart from iTunes even further by allowing its users to create an unlimited number of playlists containing up to 100 songs apiece — a sharing concept similar to music services already offered by Imeem and Last.fm.
If MySpace's plan pans out, people will regularly post different playlists on their profiles and expose their friends to new music.
The recording labels are betting these implicit recommendations will cultivate more interest in more songs and eventually generate revenue to help recoup some of the revenue that has evaporated as CD sales have plunged from $12 billion in 1999 to a projected $5 billion this year.

This sounds a day late and a dollar short to catch up to iTunes' dominance of the market.

Via The Associated Press

Hello friends,

Things are moving right along at the Crocodile, with all sorts of demolition taking place. It really is a bit of a mess right now, but I sure think you will be pleased with the results.

Before the rumor mill starts going bananas, I just want to give you all a heads up and let you know that Eli Anderson has been hired as the Talent Buyer for the club, and Roy Atizado has been hired as Director of Live Entertainment.

You might remember Eli from his days at Sonic Boom Records, where he not only helped folks pick and choose aural delights for four years, but also managed to snag the coveted title of “Seattle’s Sexiest Record Store Employee” in The Stranger’s annual poll. After a year in Boston, where he did not win any awards or titles, but managed to maintain his indie rock cred by working for Forced Exposure and at Great Scott, Eli returned to our fair city and was promptly hired to assist with booking and promotions at the Crocodile. Since the club’s closure last year, Eli has been working with Frank Nieto at 230 Publicity and doing part-time booking at Chop Suey.

Many of you know Roy from his long involvement in the music world. Dude has spent the last 20 years working in virtually every aspect of the business. He’s been a tour manager, an artist manager, and is very experienced on the production end of things. Roy has worked many a day and night on the behalf of artists — coordinating sales and marketing at the distribution level, and making sure all the T’s are crossed and I’s are dotted. Roy has spent the last three years at Chop Suey, where he has been General Manager for two years. He’ll also DJ for you, if you ask him nicely.

In addition to the fine local team of Eli and Roy, the Croc has also hooked up with the Doug Fir in Portland to help out with some of the booking. The Doug Fir will assist with national touring bands, and ensure that the Crocodile receives the same fine quality of booking that takes place in one of our all-time favorite Rose City rooms.

So, what does this mean? Will Eli be up and down I-5, more often than a serial killer? Will the Crocodile change its name to something more woodsy? Should bands send their press kits to the Doug Fir? In short: no, no, and no.

Bands should send their demos, press kits, and pretty pictures to the dynamic duo at 2nd & Blanchard. They’ll be working out of the office in October. Or, Rocktober if you prefer. The Crocodile will continue to be a room that is open to all — from baby bands playing their first shows, to major national artists. Eli and Roy look forward to working with the pool of talented booking agents and promoters in Seattle, and far beyond.

We’re still a long way off from opening the doors, but, if everything goes according to schedule, look for the grand opening to take place sometime in late January or early February, 2009. There are some good surprises in store, and I am confident that the room will sound great. I spent a good chunk of time talking with Jim Anderson this week, and he’s really giving it his all.

As always, I am here to answer any further questions you may have about the club, its staff, and how many mice I have seen in the space. Please note that this is not a “normal” sort of Press Release, and we aren’t making a big deal about this news. While the booking and organization of the club is important, the last thing we want to do is start inundating you with every bit of minutiae pertaining to the club.

But, y’all asked, and so y’all received.

Contact info below. I hope this finds you well, and happy.

Best regards,

Kerri

The agreement proposes a mechanical royalty rate of 10.5% of revenue, less any amounts owed for songwriter performance royalties, for digital service providers such that offer interactive streaming and limited downloads such as subscription and ad-supported services. When the settlement was first announced, details were kept confidential until they were submitted to the CopyRight Board in draft regulations.

In the settlement, the Recording Industry Association of America, the Digital Media Association, the National Music Publishers' Association, the Nashville Songwriters Association International and the Songwriters Guild of America have all agreed to the new rate.

The deal doesn't address rates for physical product, permanent music downloads or ringtones, but all of those issues, as well as today's agreement, are expected to be ruled on by Oct. 2 by the U.S. Copyright Royalty Judges.

For a good breakdown of what exactly Interactive Streaming and Limited Downloads entail, read this Los Angeles Times article.

Read the RIAA press release.

Via billboard.biz

To accomplish this, he proposed to waive the current 5-percent admissions tax on ticket sales for venues that meet the following qualifications:

1) capacity under 1,000
2) host/present live music on average at least three times weekly
3) hire at least 16 musicians weekly on average
4) have committed fewer than four violations of any one or more civil or criminal laws regarding health, noise, licensing, taxing or permitting in the last year.

The tax cut, which would take effect January 1, 2009, theoretically will create a more beneficial environment for new clubs to open and for existing clubs to “hire more musicians,” the mayor said. The ultimate goal, as Neumos co-owner Steven Severin stated at the press conference, is to “put more money in the pockets of local musicians.” He roughly estimated that the admissions tax can cost his club around $2,500 $3,500 a month from gross ticket sales. Severin also noted that this move may not necessarily translate into lower cover charges, as many variables factor into those prices.

Further, Nickels announced the inauguration of the music venue assistance program, which allows local businesses a single entry point to city government. The guidebook, overseen by Office of Film and Music head James Keblas, provides resources to help entrepreneurs attain success in the live-music industry. It can be accessed at www.seattle.gov/music/nightlife.

Representatives from Tula’s and Triple Door, as well as a Brazilian musician named Jovino Santos-Neto, the last of whom—somewhat oddly—waxed abstract and poetic about the power of music, supported the measure. Becca Minkoff of Triple Door asserted that the tax exemption will enable her business to take more risks and attract bigger acts.

One reporter asked Nickels if this measure was intended to counter the negative response to the city’s crackdown on some nightclubs. He replied that the reprimanded clubs were not live music venues and said that the city periodically needs to takes these actions to ensure a safe yet vibrant nightlife.

The Seattle Nightlife and Music Association (SNMA) approved of Nickels’ small-business-friendly initiative. SNMA President/Havana owner Quentin Ertel remarked, “This is a great step in the right direction. It shows that the Mayor is on the side of small business, but more importantly it shows that he is on the side of music."

Via Punknews.org:

After focusing on CD and digital releases for the past few years, Sony/Legacy has announced plans to begin releasing vinyl again. Beginning this month, the long-running major label will begin reissuing Columbia, Epic, and RCA releases.

The first batch of releases includes mainstream arists like Boston, Blue Oyster Cult, Jefferson Starship and Cheap Trick, but also Lou Reed's classic, Berlin, and Social Distortion's 1990 album, Social Distortion.

Good luck with that, Sony.