John Braheny Archive on the Craft and Business of Songwriting

A John Braheny Songmine column from the archives…

Accession Number: C000000137-027-001 Document/Digital File, “Songmine: Tips for the Hard Core Showcaser by John Braheny”, OCR converted text under same Accession Number

(Digitally converted text. Some errors may occur)

Songmine by John Braheny

Tips !or The Hard core Showcaser

The first thing to ask yourself in preparing for an audition or showcase is: What’s the purpose of this performance? If it’s to get a gig in a club, here are the questions to ask. What does the club owner want? All current Top 40 stuff? Top 40 standards? Top 40 with some originals? Who is the club’s audience? Under 18? A singles’ bar drinking crowd? Pick a club that wants the kind of music you enjoy playing or you’re wasting your time. The audience won’t like you and the gig will get old very fast. The attitude “we’ll make them dig what we do” is admirably ambitious but chances are the owner knows the audience better than you do.

If you’re auditioning for record companies, it’s imperative that you perform primarily original material. They’re not interested in the way you do “Proud Mary.” If you’re working a Top 40 gig, make sure to check with the owner to see if you can throw in a set made up predominantly of originals to play when you know the company reps will be there. Make sure the companies know what time you’ll be doing your original set. Hopefully, you’ve developed a mailing list of music industry people who should be invited. Get handbills printed. If you’re workirig a regular gig at the cluI, try to get the owner to kick in some bucks for the handbills. Tell him you’ll distribute them. Hopefully, you’re working at a club that has a mailing list of it’s own. If not, try to get the club owner to put one together by having his patrons sign a list. If they like you, they’ll then know when you’re playing there again.

If you’re doing a one shot, one night showcase at a club you haven’t played before: 1)Make sure your appearance is listed on their mailer if the club has one. 2)Check with the people who run the showcase for any tips that will help you come off well in their club. Remember, they’ve seen lots of acts win or lose in their place and that perspective can be very valuable to you. 3)If there is a house P.A. system, speak to whomever runs it. Generally, if you have a sound person you work with regularly (who knows your music) and the house system is adequate, it’s better for him or her to work with the club’s sound person who’s used to getting the best sound out of the room. If the house sound system isn’t adequate and you bring in your own, the procedure is riskier. Your sound person had better be one who doesn’t operate by rote and can tailor the sound output to the room with the right E.Q. (treble/bass adjustments) and speaker placement and who is willing to accept advice from the club’s sound person. I’ve seem some good groups empty the house because they wouldn’t listen to advice and played too loudly for the room. Volume must be tailored according to the size and shape of the room and whether the walls are reflective or absorbent. If you’re doing a record company showcase, being able to hear clean vocals is important, so start there and mix around it. 4)Make sure you have a sound check to work out all the problems and to set your instrument levels. 5)Show up on time for sound checks and performances. 6)Be cooperative to everyone at the club, including the waitresses. It’s the difference between coming back to the club or not, and having the employees tell everyone to come and see you or telling everyone you’re losers. 7)Talk with the owner about guest lists and guest policies beforehand so you’ll know where you and your guests stand. This will avoid bad scenes created at the door with your guests who you want to be in a receptive state of mind toward your group. 8)Dress with some conscious thought about how you look as a group, on stage. No matter what you decide to wear, make it a calculated choice rather than looking like you just got off work as a mechanic and didn’t bring along a change. 9)Plan your sets carefully, considering the length of the set, pacing, and where you should place your strongest material. Generally, if you have a potential hit single or other very commercial material, begin and end with it. If you’re going to be the last set, put it at the beginning of your performance. Record people frequently have other places to go and are anxious to leave. If you play a couple of less commercial tunes to open with and think you’ll ‘finish strong,’ you’ll find when you hit the heavy ones that they have already gone. 10)Make sure all information concerning the showcase is conveyed to the whole group. Good luck!!

JANUARY 24 – FEBRUARY 6

Previously in the Songmine Collection:

• Songmine: Looking at the 80’s Part Two by John Braheny
• Songmine: Looking at the 80’s Part One by John Braheny
• Songmine: Publishing Yourself: Developing a Filing System by John Braheny
• Songmine: Administration Deals & Starting Your Own Company by John Braheny
• Songmine: Tough Enough To Publish Yourself? by John Braheny
• Songmine: The Nashville/LA Barrier Crumbles by John Braheny
• Songmine: Message Songs Part 2 by John Braheny
• Songmine: Message Songs Part 1 by John Braheny
• Songmine: Rhyme by John Braheny
• Songmine: “The Knack” A 3rd Point of View by John Braheny
• Songmine: For the non-writing artist: Where do you find original material? by John Braheny
• Songmine: For the non-writing artist: Why you need original material by John Braheny
• Songmine: Scoring Films on a Low Budget Part 6 by John Braheny
• Scoring Films on a Low Budget Part 5 by John Braheny
• Songmine: Scoring Films on a Low Budget Part 4 by John Braheny
• Songmine: Scoring Films on a Low Budget Part 3 by John Braheny
• Songmine: Scoring Films on a Low Budget Part 2: Research and Spotting
• Songmine: Scoring Films on a Low Budget Part 1
• Songmine: The Chances for Advances by John Braheny
• Songmine: What a Record Company Needs to Know – Part 6: Attorneys by John Braheny
• Songmine: What a Record Company Needs to Know – Part 5: The Professional Team by John Braheny
• Songmine: What a Record Company Needs to Know – Part 4: What Makes This Act Marketable? by John Braheny
• Songmine: What A Record Company Needs to Know : Part 3
• Songmine: What A Record Company Needs to Know: Part 2 by John Braheny
• Songmine: What A Record Company Needs to Know: Part 1 by John Braheny
• Songmine: Getting the Most from the Trades Part 4 
• Songmine: Getting the Most from the Trades Part 3 by John Braheny
• Getting the Most from the Trades
• Songmine: Publishing III 
• Songmine: Leave Your Ego at the Door
• Songmine: “Feedback: Why some publishers won’t give it”
• Songmine: Dealing with Rejection by John Braheny
• “Music in Print” – A Songmine Column from Music Connection Magazine March 19-April 1, 1981

About Songmine and Music Connection Magazine:

John Braheny met Eric Bettelli and Michael Dolan right before they were going to publish Music Connection magazine. Eric and Michael wanted to get their publication out to as many songwriters as they could. They had already heard of the LA Songwriters Showcase, and of John and his partner, Len Chandler. John’s goal was to advertise the schedule of guest speakers and performers at the weekly Showcase… so they made a deal. 

They published John’s Songmine column (he had never before written a magazine article!) in their very first edition, in November 1977. Trading out the column for advertising, this arrangement continued for many years. Plus, Eric and Michael came to the Showcase each week and distributed free copies to the songwriters!

Those articles became so popular that (book agent and editor) Ronny Schiff offered John’s articles to F&W Media, where they became the backbone of John’s textbook, The Craft and Business of Songwriting. As a follow-up, Dan Kimpel (author, songwriter, teacher), who had also worked at LASS, took on the Songwriting column at Music Connection magazine which continues to this day! You can subscribe to get either hard copies or online.

A John Braheny Songmine column from the archives…

Accession Number: C000000137-026-002 Document/Digital File, “Looking at the 80’s Part Two”, OCR converted text under same Accession Number

(Digitally converted text. Some errors may occur)

JANUARY 10 – JANUARY 23

Songmine
Looking At The 80’s by John Braheny

PART TWO

Last issue I wrote about the effect of audio-visual technology on performers. There are some products and developments we can look forward to in the 80’s that will influence both our time and ability to be creative.Mass manufacture of miniature electronic circuitry has given us progressively more compact and less expensive toys. We see capitalism at its best in the intense competition to bring us the smallest, most versatile, high performance, reasonably priced electronic gadgetry the world has seen,and it’s only beginning.Here are some more innovations:

Personal computers — Fifteen years ago if someone said they had their own computer at home I would have visualized an enormous machine costing a million dollars with lots of people feeding it programs and data. Now you can go to Radio Shack and get one the size of a typewriter for $600.00 (last time I looked) and the competition among manufacturers is heavy. People are now learning computer programming like they learned to type and are turning out lots of valuable programs (software) for every conceivable use. Among the musicians developing computer programs is Jim Gordon who will be interviewed at the Songwriters Showcase on February 6. Jim has created a program to help in composing film scores which does the conversions from feet and frames to seconds and computes click track timing and bars of music necessary. He’s also created one to figure out recording budgets. If you can’t type and have difficulty in math it will save you hours of work. There is a music writing program available that plays the notes as you press the typewriter-styled keys so you can hear and see the note simultaneously. This would allow writers to store melodies they create — a definite advantage if you’re a terrible singer. There is another side benefit to this type of program. As you continue to use it you gradually learn to write the music yourself and don’t have to wait to get to your computer.The range of possibilities for useful programs is limited only by your imagination and programming skill.

Communications Satellites — More and more companies are either putting in orbit their own satellites or leasing access to existing ones. There is now some controversy brewing about some cable TV stations who, by virtue to their access to satellites, can beam their shows over half the earth. This is upsetting to the major networks because it’s possible for a little station somewhere in Iowa to reach as many people as NBC. They can also do it very cheaply and the cost of both the earth stations and satellites is dropping fast. There is fantastic potential for performers because there are so many unused cable channels available and therefore plenty of opportunity for new and established artists to be heard and seen. It would be possible to have a new talent channel that would continuously showcase new acts. Imagine calling a booking agent in Chicago or Podunk and saying, “I’ll be in your area in a couple of months and I’d like to play your circuit. I’ll be on the talent network at 2 p.m. your time. Have a look and call me back.” On the other end the booker checks out your show or, if he’s busy, he sets up his programmable video cassette recorder to tape it automatically, then he shows it to club owners to get you gigs in his area. You can see the possibilities are mind-boggling. Plays and musical theatre pieces could find backers and producers; songwriters and publishers could pitch songs; producers could shop acts; etc., etc.

There’s much more to these new developments than I have space to deal with here. If you’re interested I’d like to recommend a book called “The Wired Society—A Challenge for Tomorrow” by the world’s foremost systems author, James Martin. It’s a brilliant and visionary book that explores the future ramifications of the telecommunications revolution. After reading it your mind will be buzzing with ways these changes will benefit you as a performer. It will make you look forward to the 80’s with hope and excitement!

Previously in the Songmine Collection:

• Songmine: Looking at the 80’s Part One by John Braheny
• Songmine: Publishing Yourself: Developing a Filing System by John Braheny
• Songmine: Administration Deals & Starting Your Own Company by John Braheny
• Songmine: Tough Enough To Publish Yourself? by John Braheny
• Songmine: The Nashville/LA Barrier Crumbles by John Braheny
• Songmine: Message Songs Part 2 by John Braheny
• Songmine: Message Songs Part 1 by John Braheny
• Songmine: Rhyme by John Braheny
• Songmine: “The Knack” A 3rd Point of View by John Braheny
• Songmine: For the non-writing artist: Where do you find original material? by John Braheny
• Songmine: For the non-writing artist: Why you need original material by John Braheny
• Songmine: Scoring Films on a Low Budget Part 6 by John Braheny
• Scoring Films on a Low Budget Part 5 by John Braheny
• Songmine: Scoring Films on a Low Budget Part 4 by John Braheny
• Songmine: Scoring Films on a Low Budget Part 3 by John Braheny
• Songmine: Scoring Films on a Low Budget Part 2: Research and Spotting
• Songmine: Scoring Films on a Low Budget Part 1
• Songmine: The Chances for Advances by John Braheny
• Songmine: What a Record Company Needs to Know – Part 6: Attorneys by John Braheny
• Songmine: What a Record Company Needs to Know – Part 5: The Professional Team by John Braheny
• Songmine: What a Record Company Needs to Know – Part 4: What Makes This Act Marketable? by John Braheny
• Songmine: What A Record Company Needs to Know : Part 3
• Songmine: What A Record Company Needs to Know: Part 2 by John Braheny
• Songmine: What A Record Company Needs to Know: Part 1 by John Braheny
• Songmine: Getting the Most from the Trades Part 4 
• Songmine: Getting the Most from the Trades Part 3 by John Braheny
• Getting the Most from the Trades
• Songmine: Publishing III 
• Songmine: Leave Your Ego at the Door
• Songmine: “Feedback: Why some publishers won’t give it”
• Songmine: Dealing with Rejection by John Braheny
• “Music in Print” – A Songmine Column from Music Connection Magazine March 19-April 1, 1981

About Songmine and Music Connection Magazine:

John Braheny met Eric Bettelli and Michael Dolan right before they were going to publish Music Connection magazine. Eric and Michael wanted to get their publication out to as many songwriters as they could. They had already heard of the LA Songwriters Showcase, and of John and his partner, Len Chandler. John’s goal was to advertise the schedule of guest speakers and performers at the weekly Showcase… so they made a deal. 

They published John’s Songmine column (he had never before written a magazine article!) in their very first edition, in November 1977. Trading out the column for advertising, this arrangement continued for many years. Plus, Eric and Michael came to the Showcase each week and distributed free copies to the songwriters!

Those articles became so popular that (book agent and editor) Ronny Schiff offered John’s articles to F&W Media, where they became the backbone of John’s textbook, The Craft and Business of Songwriting. As a follow-up, Dan Kimpel (author, songwriter, teacher), who had also worked at LASS, took on the Songwriting column at Music Connection magazine which continues to this day! You can subscribe to get either hard copies or online.

A John Braheny Songmine column from the archives…

Accession Number: C000000137-026-001 Document/Digital File, “Publishing Yourself: Developing a Filing System”, OCR converted text under same Accession Number

(Digitally converted text. Some errors may occur)

DECEMBER 20 — JANUARY 9

Songmine by John Braheny

Looking At The 80’s Part One

The 70’s have shown us glimpses of what we can expect in the 80’s. Some of the most exciting developments include the further miniaturization and mass production of integrated circuits (IC chips) and other electronic components and the advancement of audio-vi-sual technology. Here’s a look at some new developments and how they affect performers and songwriters.

The new video recorder/playback machine is getting more and more sophisticated. We now get more time per tape, easier programming in our absence and therefore more convenience. A more recent product is the videodisc. It takes up less storage space than video tape, is indestructable, has quality which doesn’t suffer with repeated use and is cheap. The major problem with the disc, which I’m sure is an inventor’s priority now, is that you can’t record on it. For a songwriter or recording artist there’s an obvious advantage to not being able to home record on videodisc. It means you’ll get paid for your performance or for the use of the song through the sale of the disc and, assuming people don’t have a video tape recorder, your Rock Concert or Midnight Special performance (assuming they’re still around) won’t be taped at home.

The subject of how performers will be affected by mass video merchandising of their performances is fraught with many legal and career questions. Will an artist get over-exposed? Will people wtill go to concerts if they can be seen at home on a big screen without using the gas or spending the ticket money? If fewer people go to concerts will promoters have to raise prices? Will artists stop touring and spend the time and money cranking out new and exciting audio-visual product? I don’t think a live performance will ever be replaced as a social event. There will be more pressure on performers though to do shows that are not carbon copies of their video performances. The more unpredictable the performers, the more people will look forward to seeing them. On the other hand I suppose it could be argued that people are disappointed if an artist doesn’t sound the same in his/her live performance as on record. Time will tell.

There are some special benefits which certain types of performers will reap in this video evolution. It’s very frustrating to hear record execs say, “He’s too cabaret, a club performer. It’d never work in concert.” Most of the time I think that’s just another excuse but in some cases I’m sure there is some validity in it. Maybe a performer has a subtle kind of intimacy with an audience, an expressive face that communicates strongly up close but is lost past the first 20 rows. Video projections have been used in concerts with great effect but it’s often difficult to get good angles on the artist without interferring with audience sightlines. Video tapes or discs that are studio produced, possibly with live audiences, would be a great avenue of exposure for this type of artist.

There are also many writer/artists who are charismatic, exciting performers but who don’t write songs that are mainstream pop/MOR/disco/Top 40 in style. Their songs may not come across well on record and may not contain the dynamics necessary for AM radio songs to be successful. They may have a limited audience by virtue of an as yet unpopularized point of view. Record companies are rarely inspired to gamble on that type of artist even though they’re great live performers. The hope of videodiscs is that artists who communicate as much with their bodies and personal magnetism as they do with their songs can gain the exposure they need to be able to build profitable careers. Comedians would obviously benefit from audio-visual presentations. Performers who like to mix graphic images and dance with their shows could do mind-blowing effects using new video technology.

Despite all the downers happening in the world as we head into the 80’s it’s still possible to maintain optimism and excitement about the fantastic playground we’re building for artists. More about it next issue.

Previously in the Songmine Collection:

• Songmine: Publishing Yourself: Developing a Filing System by John Braheny
• Songmine: Administration Deals & Starting Your Own Company by John Braheny
• Songmine: Tough Enough To Publish Yourself? by John Braheny
• Songmine: The Nashville/LA Barrier Crumbles by John Braheny
• Songmine: Message Songs Part 2 by John Braheny
• Songmine: Message Songs Part 1 by John Braheny
• Songmine: Rhyme by John Braheny
• Songmine: “The Knack” A 3rd Point of View by John Braheny
• Songmine: For the non-writing artist: Where do you find original material? by John Braheny
• Songmine: For the non-writing artist: Why you need original material by John Braheny
• Songmine: Scoring Films on a Low Budget Part 6 by John Braheny
• Scoring Films on a Low Budget Part 5 by John Braheny
• Songmine: Scoring Films on a Low Budget Part 4 by John Braheny
• Songmine: Scoring Films on a Low Budget Part 3 by John Braheny
• Songmine: Scoring Films on a Low Budget Part 2: Research and Spotting
• Songmine: Scoring Films on a Low Budget Part 1
• Songmine: The Chances for Advances by John Braheny
• Songmine: What a Record Company Needs to Know – Part 6: Attorneys by John Braheny
• Songmine: What a Record Company Needs to Know – Part 5: The Professional Team by John Braheny
• Songmine: What a Record Company Needs to Know – Part 4: What Makes This Act Marketable? by John Braheny
• Songmine: What A Record Company Needs to Know : Part 3
• Songmine: What A Record Company Needs to Know: Part 2 by John Braheny
• Songmine: What A Record Company Needs to Know: Part 1 by John Braheny
• Songmine: Getting the Most from the Trades Part 4 
• Songmine: Getting the Most from the Trades Part 3 by John Braheny
• Getting the Most from the Trades
• Songmine: Publishing III 
• Songmine: Leave Your Ego at the Door
• Songmine: “Feedback: Why some publishers won’t give it”
• Songmine: Dealing with Rejection by John Braheny
• “Music in Print” – A Songmine Column from Music Connection Magazine March 19-April 1, 1981

About Songmine and Music Connection Magazine:

John Braheny met Eric Bettelli and Michael Dolan right before they were going to publish Music Connection magazine. Eric and Michael wanted to get their publication out to as many songwriters as they could. They had already heard of the LA Songwriters Showcase, and of John and his partner, Len Chandler. John’s goal was to advertise the schedule of guest speakers and performers at the weekly Showcase… so they made a deal. 

They published John’s Songmine column (he had never before written a magazine article!) in their very first edition, in November 1977. Trading out the column for advertising, this arrangement continued for many years. Plus, Eric and Michael came to the Showcase each week and distributed free copies to the songwriters!

Those articles became so popular that (book agent and editor) Ronny Schiff offered John’s articles to F&W Media, where they became the backbone of John’s textbook, The Craft and Business of Songwriting. As a follow-up, Dan Kimpel (author, songwriter, teacher), who had also worked at LASS, took on the Songwriting column at Music Connection magazine which continues to this day! You can subscribe to get either hard copies or online.

A John Braheny Songmine column from the archives…

Accession Number: C000000137-025-002 Document/Digital File, “Publishing Yourself: Developing a Filing System”, OCR converted text under same Accession Number

(Digitally converted text. Some errors may occur)

Songmine by John Braheny

PUBLISHING YOURSELF: Developing a filing system

If you plan to be actively “plugging” your own songs it’s important to keep track of what’s going on. You’ll need to develop a list of producers and recording artists for whom your songs may be appropriate. Keep a running file on each of them so that every time you make contact you can note who they’re producing (for producers), what type of material they need for the upcoming LP, where they’re recording, what kind of demos they prefer, whether they usually ask for a percentage of publishing, etc.

Info on the artist should include vocal range, what style he/she prefers and information about personal idiosyncracies like “hates sexist songs” or “positive lyrics only.” This information can be obtained from the producer, consumer and trade magazines, radio and TV interviews or, if you’re more fortunate, from the artist.

It’s also wise to keep a record of personal items about the producer, such as “plays golf,” “anti-nuke activist,” “just had a baby,” “going to England in August,” etc. This type of info is useful in all businesses where personal contact is important. It allows you an instant recap and reminder when you call them or set up a meeting, gives you an idea for opening conversation to break the ice, and lets them know that you’re concerned about them as people. It doesn’t take the place of having good songs, though, since many producers have little time for “small talk” and are best served by a brief presentation of your material. It can, however, create a better climate for you to get feedback on your songs and help you develop as both writer and publisher.

After every meeting or phone call notes should be made regarding the outcome, such as “loved ‘Don’t Take It Away,’ doesn’t feel it’s right for (artist) but wants to keep the tape for future reference – remind him,” “didn’t like ‘Do It Again’ but maybe if the hook was stronger – rewrite,” “will be producing (artist) in Sept. -start writing.” Aside from those personal notes, keep another file on the songs. It should tell you who has demos on each of them, when they received the demos, dates of follow-up calls and what was discussed or decided, etc. The value of these records will become apparent after you’ve called about 30 producers and are preparing for another call or visit when you discover you can’t remember whether it was producer X or Y who hates cassettes or whether he’s already “passed” on the song you intend to present.

You should also have a ready file of lead sheets and tape copies on all the songs you’re currently pitching so you don’t need to delay if someone asks you for a copy.

It’s a good idea to have 3X5 cards with you at all times so you can write down any info you pick up on the street. The cards are better than little scraps of paper or matchbook covers because they don’t get lost as easily and are easily filed. The street information you pick up is usually about who’s recording now or a new producer with an unknown act who might give you the opportunity to get in on the ground floor.

For tax purposes make sure you keep track of all expenses incurred in doing business. They include lunches (must be documented as business), demo costs, tape copies, lead sheets, trade magazines, night-clubbing (looking for new talent), auto expenses, telephone calls, all musical instrument purchases and repairs, sound equipment, records and tapes (to keep up with what’s happening).

Remember that all of this takes a lot of discipline but once you get in the habit it becomes easier. If you don’t get in the habit you could seriously jeopardize your chances of success.

Previously in the Songmine Collection:

• Songmine: Administration Deals & Starting Your Own Company by John Braheny
• Songmine: Tough Enough To Publish Yourself? by John Braheny
• Songmine: The Nashville/LA Barrier Crumbles by John Braheny
• Songmine: Message Songs Part 2 by John Braheny
• Songmine: Message Songs Part 1 by John Braheny
• Songmine: Rhyme by John Braheny
• Songmine: “The Knack” A 3rd Point of View by John Braheny
• Songmine: For the non-writing artist: Where do you find original material? by John Braheny
• Songmine: For the non-writing artist: Why you need original material by John Braheny
• Songmine: Scoring Films on a Low Budget Part 6 by John Braheny
• Scoring Films on a Low Budget Part 5 by John Braheny
• Songmine: Scoring Films on a Low Budget Part 4 by John Braheny
• Songmine: Scoring Films on a Low Budget Part 3 by John Braheny
• Songmine: Scoring Films on a Low Budget Part 2: Research and Spotting
• Songmine: Scoring Films on a Low Budget Part 1
• Songmine: The Chances for Advances by John Braheny
• Songmine: What a Record Company Needs to Know – Part 6: Attorneys by John Braheny
• Songmine: What a Record Company Needs to Know – Part 5: The Professional Team by John Braheny
• Songmine: What a Record Company Needs to Know – Part 4: What Makes This Act Marketable? by John Braheny
• Songmine: What A Record Company Needs to Know : Part 3
• Songmine: What A Record Company Needs to Know: Part 2 by John Braheny
• Songmine: What A Record Company Needs to Know: Part 1 by John Braheny
• Songmine: Getting the Most from the Trades Part 4 
• Songmine: Getting the Most from the Trades Part 3 by John Braheny
• Getting the Most from the Trades
• Songmine: Publishing III 
• Songmine: Leave Your Ego at the Door
• Songmine: “Feedback: Why some publishers won’t give it”
• Songmine: Dealing with Rejection by John Braheny
• “Music in Print” – A Songmine Column from Music Connection Magazine March 19-April 1, 1981

About Songmine and Music Connection Magazine:

John Braheny met Eric Bettelli and Michael Dolan right before they were going to publish Music Connection magazine. Eric and Michael wanted to get their publication out to as many songwriters as they could. They had already heard of the LA Songwriters Showcase, and of John and his partner, Len Chandler. John’s goal was to advertise the schedule of guest speakers and performers at the weekly Showcase… so they made a deal. 

They published John’s Songmine column (he had never before written a magazine article!) in their very first edition, in November 1977. Trading out the column for advertising, this arrangement continued for many years. Plus, Eric and Michael came to the Showcase each week and distributed free copies to the songwriters!

Those articles became so popular that (book agent and editor) Ronny Schiff offered John’s articles to F&W Media, where they became the backbone of John’s textbook, The Craft and Business of Songwriting. As a follow-up, Dan Kimpel (author, songwriter, teacher), who had also worked at LASS, took on the Songwriting column at Music Connection magazine which continues to this day! You can subscribe to get either hard copies or online.

A John Braheny Songmine column from the archives…

Accession Number: C000000137-025-002 Document/Digital File, “Songmine: Administration Deals & Starting Your Own Company by John Braheny”, OCR converted text under same Accession Number

(Digitally converted text. Some errors may occur)

Songmine by John Braheny

Administration Deals & Starting Your Own Company

I. PUBLISHING ADMINISTRATION- If you have a catalogue of recorded works or a record deal as a writer/artist or group, and want to set up your own company, you’d do well to shop for an administration situation. You need to already have some recording action happening because an administrator doesn’t own any of your copyrights (one of the advantages), and depends on the 15% of the songs’ income as a fee. If there is nothing to generate income, they receive nothing for their paperwork. Administrators do the following things to varying degrees: (1.( The paperwork and negotiations of granting recording and synchronization licenses (film/T.V.) and registering copyrights. (2.) Digging up royalties that you may never have received from previous recordings of your songs. (3.) Sub-publishing – setting up publishing or administration affiliates in foreign countries who can pitch your songs locally and assist in royalty collections there. (4.) Collecting money in the U.S. and Canada from record companies. Some affiliate with the Harry Fox Collection Agency and some do the collections themselves. Fox gets three and a half percent. (5.) Pitch your songs to producers and artists. Some administrators won’t do this at all and are basically acocunting firms. Others consider that the more action they generate on your catalogue, the bigger their 15% becomes and since they don’t own any of the publishing rights, they can’t look down the road and say, “Someday this tune will get recorded and make me a lot of money.” They’re working for you on maybe a two year contract and need to make these songs pay off now. (6). Follow-up – if you’re being your own publisher and making the contacts with producers or artists but want to preserve the friendships without having to negotiate with or hassle your friends with follow-ups, the administrator should handle it. If an administrator wants more than ‘15% you should be assured that you’ll receive more benefits and they should be able to explain them thoroughly to you. Please shop those deals. BMI or ASCAP can refer you to a list of administration companies.

II. STARTING YOUR OWN PUBLISHING COMPANY- Assuming that you feel your best play of action is to start your own company, here’s how to proceed: (1). You must have a song recorded and a release date of the record in order for BMI or ASCAP to process the paperwork. They adopted that policy because thousands of people wanted their own companies but never had a recording; consequen-tly, no airplay, nothing to collect and a lot of wasted time and effort on their part. (2.) Clear publishing company titles with BMI, ASCAP, or SESAC. Remember that you can’t have a company with the same name affiliated with more than one performance rights organization. Unless you intend to publish the songs of other writers who may belong to other performance rights organizations, you need only set up a company with the one you’re affiliated with as a writer. Give them three alternate titles. Pick something unusual. Remem-ber, they have thousands. (3.) Once the name has been cleared, call the Metropolitan News, 205 South Broadway, L.A., Calif. 90012, 213 628-4384, and ask them to send you the forms for a DBA (Doing Business As.) They will send you the forms and tell you how to pay for it (the total cost is $35.00), then they will print, in a local paper, a notice that you’re doing business under the fictitious name of ‘Crass Commercial Publishing Co.’ or whatever the name is. (4.) Copyright the songs being recorded in the name of your publishing company and get all the forms you need from BMI or ASCAP, whichever you’re affiliated with. They’ll explain their use. (5.) If you know that you will be hiring people to work for you, then you will have to go to the Internal Revenue Service and get a business tax number. Also be sure to contact the State Board of Human Resources and get a State and Federal tax number.

Previously in the Songmine Collection:

• Songmine: Tough Enough To Publish Yourself? by John Braheny
• Songmine: The Nashville/LA Barrier Crumbles by John Braheny
• Songmine: Message Songs Part 2 by John Braheny
• Songmine: Message Songs Part 1 by John Braheny
• Songmine: Rhyme by John Braheny
• Songmine: “The Knack” A 3rd Point of View by John Braheny
• Songmine: For the non-writing artist: Where do you find original material? by John Braheny
• Songmine: For the non-writing artist: Why you need original material by John Braheny
• Songmine: Scoring Films on a Low Budget Part 6 by John Braheny
• Scoring Films on a Low Budget Part 5 by John Braheny
• Songmine: Scoring Films on a Low Budget Part 4 by John Braheny
• Songmine: Scoring Films on a Low Budget Part 3 by John Braheny
• Songmine: Scoring Films on a Low Budget Part 2: Research and Spotting
• Songmine: Scoring Films on a Low Budget Part 1
• Songmine: The Chances for Advances by John Braheny
• Songmine: What a Record Company Needs to Know – Part 6: Attorneys by John Braheny
• Songmine: What a Record Company Needs to Know – Part 5: The Professional Team by John Braheny
• Songmine: What a Record Company Needs to Know – Part 4: What Makes This Act Marketable? by John Braheny
• Songmine: What A Record Company Needs to Know : Part 3
• Songmine: What A Record Company Needs to Know: Part 2 by John Braheny
• Songmine: What A Record Company Needs to Know: Part 1 by John Braheny
• Songmine: Getting the Most from the Trades Part 4 
• Songmine: Getting the Most from the Trades Part 3 by John Braheny
• Getting the Most from the Trades
• Songmine: Publishing III 
• Songmine: Leave Your Ego at the Door
• Songmine: “Feedback: Why some publishers won’t give it”
• Songmine: Dealing with Rejection by John Braheny
• “Music in Print” – A Songmine Column from Music Connection Magazine March 19-April 1, 1981

About Songmine and Music Connection Magazine:

John Braheny met Eric Bettelli and Michael Dolan right before they were going to publish Music Connection magazine. Eric and Michael wanted to get their publication out to as many songwriters as they could. They had already heard of the LA Songwriters Showcase, and of John and his partner, Len Chandler. John’s goal was to advertise the schedule of guest speakers and performers at the weekly Showcase… so they made a deal. 

They published John’s Songmine column (he had never before written a magazine article!) in their very first edition, in November 1977. Trading out the column for advertising, this arrangement continued for many years. Plus, Eric and Michael came to the Showcase each week and distributed free copies to the songwriters!

Those articles became so popular that (book agent and editor) Ronny Schiff offered John’s articles to F&W Media, where they became the backbone of John’s textbook, The Craft and Business of Songwriting. As a follow-up, Dan Kimpel (author, songwriter, teacher), who had also worked at LASS, took on the Songwriting column at Music Connection magazine which continues to this day! You can subscribe to get either hard copies or online.