In the wonderous land of America, there is an overdrawn saying that is used by community members and professional musicians alike.  Our community supports the arts.  There you have it folks.  Everyone supports the arts.  

However, look at any statistics of programs and community development, and you'll find something a little different.  Maybe it's that we don't understand what support means around here, but the true arts... and artists... may not be receiving the community support that is needed.

I'll refer to some personal examples that I have.  For instance, I was invited to give some classes and seminars on the arts in a school.  Two days before I'm invited in, I'm asked to pay for the space.  Now, if I would go in, it would be showing that they support the arts, right?  However, they really aren't, considering that I now have to pay for something they invited me to do.

Let's take another example.  I'm looking into spaces in order to offer the same classes and seminars.  The people that have these certain buildings are the ones in charge of community arts and are a part of a development program.  What do they want to do?  Not get back to me about the building, not allow me a time and space to rent the area... then over charge me.  

Here's my favorite.  People that walk in the door... and say that they want to take lessons.  Then, they complain about the price (which I'm actually cheap compared to most).  And no, it doesn't stop there.  They complain when they have to get a book or an instrument or put time into coming.  I had a student show up once who couldn't pay me $20 because her mom ended up spending $2,000 at a mall.  I've even had a student complain because I wouldn't give her a lesson 2 hours after her regular time, because I should accommodate to those who want to learn. 

Support of the community arts, my friends, means this.  Respect.  Plain and simple.  Stepping up and standing by the side of musicians, artists and others that you see working in order to get something done.  And, I don't just mean standing up and saying you are supporting the person by half offering them something.  I mean offering them something to truly offer them a step forward in their career.  It doesn't have to be with money or space.  Well, sometimes it does.  But it isn't everything.  Usually that is just a reflection that you believe in what the musician is doing.  Most of the time, it's showing that you are pro-active in the concept of art.  Actually, the best support I have had is when one of my students offered me a piano bench when I broke mine.  That is true support.  It was genuine, respectful and was because he believed in what I was doing. 

We can't rely on the government, programs, scholarships or funds to do the work of the community.  The community has to do it.   

Okay, let me take another side of this.  I have a good friend who lives in a different part of the world that I always work with.  He's also a musician.  In the matter of 3 -  4 months that I know him, he's developed an entire portal for artists, combined with compositions, training programs and other necessities for musicians.  He's in the same situation as me... but the difference is... he has about 20 people who stepped up to help him.  Not for money, space or anything else, but because they can see his vision and believe in it.  The same amount of things that he has done, it has taken me 4 years to develop because there are few people here that will be as accommodating as his acquaintances.  Actually, he has offered me more support than most that are in the same zip code.

So, next time you show up for a lesson, inquire about music or are interested in musical concepts, think of how you are supporting that person in the arts.  That's true community development.  

Want to ask me questions or hear more?  Contact me at www.apollomusicstudios.com or www.coachingmusician.com. 

I heard the greatest thing a couple of weeks ago. An eager singer came to see the studio. She had a great voice and a great desire to become a musician. But, as she spoke she ended up telling me this. I don't know how to make that leap into being a musician full time. It's hard to give up the life that you built so that music becomes your profession.

Well, I didn't really respond, because I'm not completely a full time musician either, but I know plenty of individuals who are, and I could be if I had the desire. Then, I started thinking about it. 

What's the fear?

Being a musician is a little bit different than a regular job. It's not a 9-5 and most likely, it doesn't come with benefits.  But, if you have a voice, are supposed to be doing music or have a desire to hit the stage, what's stopping you?

The only thing that prevents anyone from being a full time musician is what they believe in themselves and the fear and belief system that has been built off of being in music.  It means that someone is too afraid to take the step, to have the desire and to make up their mind to actually build a profession off of one of the best professions in the world.

For some reason, music has this bad rap of anyone who joins the profession is going to be a starving artist.  That's the first fear you have GOT to get rid of.  It doesn't.  As a matter of fact, I know quite a few full time musicians who are feeding their family off of a comfortable set of wages, plus some.  That's combined with all of these other fears and thought processes that are stopping you from making the leap.  That's all it takes.

That doesn't mean that you should go out and quit your job and say you are a musician.  Practically, you will have to work up to it.  Meaning you will need to do both for a while in order to study, build up your craft and to start working towards getting the gigs.  But, there is a point to that, and it's actually a benefit.  By keeping your outside job and learning to work into being a musician, you will learn to love what you are doing. 

You will learn to breathe the language, live the language and love what it has to offer, and once you do that, then your mind can work you into being a full time musician and you can get rid of the false belief patterns that have come with it as you are learning to develop this other side.

So, if you have some fear about doing what you are supposed to in music, it's time to switch off the button and get some studying done. And, that goes for everyone.  Even after playing for 22 years I still study, almost constantly, trying to find new ways to approach things, new methods and to revisit the dead guys that know more than me.  That way, I can continue to live the lifestyle of being a musician and don't have to live in fear of whether I'm good enough or not.  I'm always in progress to be better, do better and to build more with the concept of being in music.

Want to hear more about building your music profession? Contact me about my entertainment coaching or professional musician development. The e-mail is info@apollomusicstudios.com and the number is 303-657-2717.  Or, visit my websites at www.apollomusicstudios.com or www.coachingmusician.com.  

Whether you call yourself a diva or a producer, you can't just decide to work alone.  There is still the need to work together nicely. Okay, let's start this by me telling you a story. I was working with a singer for a rock band at one point in my life. She was a great person. A little bit out there, but really just wanted her songs sung.

Unfortunately, the collaboration thing didn't work so well. While she was putting together her first CD she made the mistake of firing almost the entire band – one by one. By the end of it, she had also fired the one that was recording the music for her. She still got the CD, but she said it was her learning experience.

Here was the problem. She forgot to recognize the talent that she was working with and the jobs that they were supposed to carry. Whether you are the front or the back person, know what everyone's role in the band is. I know that you know the cliché. Every member in the band has a specific part that allows for everyone to harmonize. (Something like that).

Others say that sometimes collaboration is just about the connection. Maybe, but maybe not. Really, it's about knowing how to accompany each other and balance each other out. I've worked with many a people that, as people, they've totally bothered me, but we could make great music together. It's really about knowing how to work out the music together. Once that is the real focus, collaboration gets easier, maybe even fun.

Here's another hint. Know when to take leadership and when to back off. That really just comes down to communication and playing your part. If you feel like there isn't enough leadership, step up. If there is too much from someone else, know when you can or can't step up to the plate. Eventually, everyone will take their places.

What it comes down to is a combination of intention and integrity as well as respect for everyone's music.

One more principle for you to ponder. Have fun! If you're not, it's probably not worth it.  

Want to talk more? Give me a ring 303-657-2717 or e-mail me at info@apollomusicstudios.com.  Or, check out my websites at www.apollomusicstudios.com or www.coachingmusician.com.  

I know, the pieces of paper – just sign on the dotted line. Oh, if it were so easy. If you are setting contracts as a musician, congratulations! You should be oh so proud of getting that far. If you aren't signing contracts, set up your own so that you have what you require in order to get the job done right.

Whether I'm playing at a wedding or a large venue, I have a contract in my notebook to get signed. It's a simple work for hire agreement that the person paying you signs, saying that they will pay you, and how much. For most venues, that means that they get a certain percentage of your sales, but it shouldn't be much more than 5%. It also states the designated times, hours, etc. that you get. Make sure you have an understanding if you have to pay over and make sure that your breaks are in there. Check for things like sound checks, available resources, etc. If you see any clauses, check what they are. It depends on the venue, but typically, clauses shouldn't be necessary for a gig.

If you are a composer or arranger, do the same thing. There are plenty of sample contracts available that you can use to get the work done right. Even a simple agreement will do. Make sure you include ASCAP or BMI policies on it about lease programs and what is needed. Take some time to study the expectations so that you don't get yourself stuck in a rut.

If there are legal terms, read through them. That's my best advice. You want to know the nuts and bolts; the legal items are typically just to support that in a legal way. If you don't understand it, find out how to or develop your own contract that makes more sense. Don't sign the dotted line until you know what it is about.

There you have it. The idea of reading into contracts is to simply read it and to set your own guidelines. Want to know more about contracts? Contact me at info@apollomusicstudios.com or 720-277-2652.

I believe that there are a wide variety of musicians in the world, all that are able to play on different types of stages. Some of these are international, some of them are local, some of them are something in between. But, no matter what type of musician you are, it's time to start thinking from both sides of your brain.

Look, this is the bottom line of it. As a musician, you are claiming your right as a musician among thousands of others. All of the musicians are a part of this system that is required to depend on each other in order to create the best for all musicians. This is what I mean. If you play at a venue and request something, the venue owner remembers. Say that I go there and request something completely differently. The venue owner might not respect my request because someone else did not request it or did things differently. All of the musicians that come after end up loosing out.

I said that to say this. As musicians, we have to think as a business. We have to think about how our prices, our style and our approach towards our profession effects others. If we start demanding professional responses, venue owners will have no other choice than to respect the wishes of treating all musicians fairly. It goes for money, respect, time requests, demands, everything.

So, when I say think like a business, I mean think about what the demands that venue owners and others should know about. Present yourself with integrity and demand respect. It pays off in the long run, whether you are playing at the park or at Carnegie Hall.

And, I didn't say it was easy. I know how hard it is. I work too. (smile). But, it is necessary if we want musicians to have some better options.

Want to know more about my business approach for musicians? Become a part of my Professional Music Development Program or my Entertainment Coaching! Shoot me an e-mail at info@apollomusicstudios.com or call 303-657-2717 or my cell at 720-277-2652.