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      "body": "My name is Oluwafemi Lawal aka Femi. Megapoints. I’m a music business consultant and double as director of A&R for 2Digits Record,Nigeria’s 1st independent digital record label as well as being a publicist.\n\n \n\nWell, it’s no secret that the music business has totally changed in the last few years, since most business around the world today has started operating from the internet.\n\n \n\nBy God grace i am a co-founder of Mega Points International(Africa’s Independent A&R/Promotion Company),MD Music2Deal Nigeria(www.music2deal.com) and i so much believe in the power of the internet. My publication “The Music Industry Newsletter”, a  free 100,000 copies publication focusing on the business side of music also preaches a lots on different advantages the internet has to offer.\n\n \n\nI remember years back, artistes don’t really believe in online promotion, when i tell artistes or labels about internet promotion they will say ; bros, it can’t work here. Now it’s one of the most powerful means of breaking songs.\n\n \n\nThe internet has now taken over, yes we are in the digital age and many things are happening and changes are taking place. I applaud this development because it has given birth to many new innovative ideas and technology advancement.\n\n \n\nDon’t get left behind because many things is happening. Below is an overview of the whole process about web radio promotion and it opportunities. Take your time to go through this and join the league of those major celebrated artists you’ve always dream to be like or more than.\n\n \n\nStop Paying Much To Get Your Song Play on Radio If Can’t Afford It,Use Digital Music Promotion As A Supportive Option.\n\n \n\nDo you know millions listen to Internet radio every second using not only computer audio player, but also on a wide variety of other devices, including iPhones, Blackberrys and Windows smartphones via mobile apps.\n\n \n\n \n\nMajor musicians lead this evolution of Internet promotion and music sales, wise up and join the league now. Have you asked yourself the question, why is my song not as big as these major artistes but i promote on the internet too? Yes you promote on the internet but how are you promoting your song online matters. Its beyond just featuring your song on music blogs or download portals. Many of you artistes ignored the power of internet radio. I have clients in the past that have get played on international radio stations from just getting on web radio and making rotation.\n\n \n\nBelieve it now, web radio is your gateway to  millions of dedicated music fans cross the globe. With over 500  Nigerian owned web radio stations streaming live on the internet across the globe and via mobile apps. Don”t Get Left Behind, it”s a matter of choice.\n\n \n\nWith 40% of internet radio stations now operating with iPhone,Blackberry and Android phone Apps streaming supported on many other mobile devices you can be sure your song will also get it way into million of music fans mobile phone via internet radio station with mobile apps and streaming supports .\n\n \n\nMore About Internet Radio :\n\nInternet being reachable to different places in the world, so does Internet radio. It has expanded enormously with an estimated 15,000 stations currently available, including many traditional FM /AM simulcasting their content over the Internet. It is estimated that the number of people listening to Internet radio will grow 200% to 158.5 million by 2014.\n\n \n\n \n\nA Little Perspective on Internet Radio\n\nImagine a Internet radio station with an averages 2000 visitors per hour, 24 hours per day, the station will be bringing in almost 1.5 MILLION visitors per month. Now if you figure that the average person listens to the radio for 1.5 hours per day (and that’s regular radio – it”s hard to listen to Internet radio on your morning drive) Can you see the difference between the two.\n\n \n\nWe can estimate that 32,000 unique visitors frequently on web radio sites every day. If we establish a very conservative listener ratio of 1:3 (meaning the average listener listens for 1.5 hours over 3 days – ie, most don”t listen on the weekends or every single day, some do, some only listen once or twice per week, nobody listens 24 hours per day), that gives you around 96,000 regular listeners per a major internet radio station times the figure with like 2000 major internet radio stations out of the 15,000 internet stations confirmed and currently available, including many traditional FM /AM simulcasting their content over the Internet like Eko fm,Beat fm & other traditional FM stations.\n\nWith the current internet radio growth, you really need to understand how much important the internet radio promotion is than just blogs placement couple with how much international major musicians and record labels including some of our major acts like Psquare,Wizkids etc that are making use of the internet to promo their materials, distribute their album and make sales with the help internet radio hype and presence aside blogs and other social media.\n\n \n\nBelieve it or not, currently across Europe and the US the album sales on the internet is higher than the sales of album on cd offline. Have you ask yourself WHY? The answer is simple the business of music has being revolutionized, the digital age is taken over and only the serious music entrepreneur can compete in this era. Don’t be left out, join the league now.\n\n \n\nI will be available to help anyone who need help with getting their materials on web radio. I can refer you to web radio that seeks new songs every day to play.  Quick note to DJs, there are many web radio seeking djs to take up mixshow slots on their stations. You can get in touch let me connect you. I am also working out something for every interested djs to join the Hype Blast DJs network mixshows dj lists. We have MusicNestRadio supporting already on this.\n\n \n\nTo all independent artistes and labels, don’t miss my points. I am not saying promoting on radio is not good. I promote my artistes songs on radio too but my point is web radio helps a lots in getting massive exposure for your songs.\n\n \n\nBe a good business man, act like a professional music business entrepreneur. Join the league of the major labels and artistes making music doing music. Some web radio pay royalties for playing your songs on sponsored programs.\n\n \n\nI know what it cost to run an offline radio promotion. My advice is if you don’t have much you can use few offline radio stations you can afford based on your promotional budget and support it up with online radios and other online promotional platform.There is no secret about getting famous or breaking record but using the business of music and how to do things right with proper planning.",
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      "body": "1) DON'T TRUST PEOPLE: \nNowadays, people say what they don't mean. Actions speaks louder than words. Honesty is a very expensive gift don't expect it from cheap people. Real situation exposes fake friends.\n\n2) Your HAPPINESS IS IMPORTANT: \nDo away with friends, job or relationship that threatens your happiness. \nHave lost friends and gained very important ones. It's called growth. If you ain't motivating me or encouraging me to be a better person. Then it means we are no longer on the same page. Life is too short to deal with dramas. \n\n3) LEARN A SKILL: You ain't too old to acquire a skill. You job isn't permanent. Well except, your parent is the CEO. \nSkills learnt remain stock in your brain for life. It is for your personal use. \nYou can make money from it in the future. Turn your hobby into a money making venture. Don't be idle \n\n4) BE SELF EMPLOYED : It's not a must you resign from your place of work. But please ensure you have a second source of income. Invest wisely in a profitable business. *Eccl 11vs 2 says Invest in seven ventures, Yes, in eight, you do not know what disaster may come upon the land*\n\n5) DONT BACK OUT WHEN FACED WITH CHALLENGES:\nLife isnt all rosy. Being self employed ain't no joke. Have cried, shouted, got pissed off and smiled. Yet I'm still gonna push forward. 2018 is my year. So help me God. \n\n6) TAKE A BREAK FROM SOCIAL MEDIA : \nIf I had invested the number of hours I spent on social media in learning a skill or acquiring an online degree my life would have been better.\n\n7) EVERYBODY IS HAPPY WITH YOU UNTIL IT'S OBVIOUS YOU'VE STARTED DOING WELL WITH YOUR LIFE: \n\nYour parents are the only people who truly wish to see you prosper. Don't feel bad when friends envy you.\nTo all my friends who didn't support me. I forgive you.\n\nWORSHIP GOD IN SPIRIT AND IN TRUTH: And life will be easy for you. No one runs to God and comes back empty handed. \n\n9) SAVE: I say Save. And then again Save your money. Start a DIY Money Box Savings (Kolo. It's just 200 in the market) from Jan 1. .\nYou will be suprised how much you gonna get at the end of 2018.\nBe consistent with the saving program. I backed out along the way and here I am wishing I had money .\n\n10) MAKE FRIENDS WITH PEOPLE WHO INSPIRE AND MOTIVATE YOU TO DO BETTER: \n\nIt's better you have just one friend than 10 friends who only encourage you to spend unwisely . Flee from friends who only encourage you to slay and pepper dem gang. \n\n11) EXPECTATION IS THE ROOT OF ALL EVIL: It ain't any family member duty to help you. Don't expect favours from anybody. It's not your Right. Work and earn your own money. Most importantly, pray to God to send your personal helper to you.\n\n13) DON'T DATE ANY DICK AND HARRY THAT PROFESS LOVE TO YOU : Be watchful and always trust your instinct. \nIts better to be single than be in a hopeless relationship. \n\n14) Keep your secrets secret. No lecture on that. \n\n15) CALL YOUR PARENTS OFTEN: \nDon't be far from them. Don't get carried away with youthful exuberance. They are your only true friends.\n\n16) FORGIVE THOSE WHO HURT YOU: Even if they didn't ask for forgiveness. It's a self cleansing attitude. Also, be open minded that people will definitely offend you. Forgive anyway.",
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      "body": "1. Make friends with successful people and occasionally buy them gifts and surpri'se them with lunch because successful people always give and hardly get, so when you give them, they value the gift a lot.\n\n2. Get a mentor and follow his instructions and respect the relationship. Never beg your mentor for money or disrespect his or her privacy.\n\n3. Make new positive friends as often as possible and ensure you keep the communication line open. Create a network of friends and not just connections.\n\n5. Show kindness to everyone. Some small boys today will be big boys tomorrow. The biggest dog in the neighbourhood was once a puppy. And keep the information/secret to yourself.\n\n6. Always plan ahead and be proactive. He that plans the future work less in the future.\n\n7. Listen to speeches and messages from great teachers. Both religious and educational.\n\n8. Attend seminars and training on any area you need to improve yourself. Train the trainer, personal development, public speaking, sales etc.\n\n9. Have the habit of keeping a pen and a writing pad handy because ideas come in the form of flashes. The smallest pen is bigger and better than the biggest brain.\n\n10. Make sure at every point in time you are reading a book. If you spend 20 minutes reading daily, for 52 weeks you would have consumed 1,000,000 words.\n\n11.Stay away from television as much as possible. You can watch educational channels. Men with big TV sit in front of them to watch men with big library.\n\n12 Put control over your mouth, never say evil of any man, what you are not certain of should not be said. Say good of all men.\n\n13. Always show appreciation for any good deed you received.\n\n14. Always help someone in need.\n\n15. Live a debt free life. What you can’t pay cash for is not your size.\n\n16. Give out loans that you can part with as gift, so that you don’t destroy your business and relationship.\n\n17. Create legitimate multiple sources of income.\n\n18. Save at least 10 percent of your income.\n\n19. Invest a portion of your income. And be patient to see it grow. If what you have in your hands is not good to be called a harvest then it’s a seed, sow it.\n\n20. Keep a good financial record of all income and expenses, so you won’t ask later “where did my money go”\n\n21. Be involved in community service. Control traffic, free lesson class for students etc.\n\n22. Keep getting better on your daily goals and dream, develop yourself on them and make sure you get to the top 10 % of your industry.\n\n23. Make sure you engage in exercise. It keeps your brain alert and your body fit to enjoy your success.\n\n24. Pray often, and know that for every success, God made it possible.\n\nWishing you the very best. I tell you, this will keep you going in life if you practice what you just read.",
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      "body": "At least a dozen times a day, I receive a phone call or an email inquiry from an artist asking: \"how do I find a manager to represent me?\" or \"do you know any managers in (pick a state) who can manage me?\" or \"how do I go about finding a manager?\" I often respond that the appropriate question is: \"when should I consider being represented by a manager?\" Since I get the (wrong) questions asked so frequently, I decided to write an article on management for artists.\n\nWhat exactly a manager is or does is a topic that's discussed frequently in music industry circles. There is no precise description of what a manager is or definition of what a manager does that everyone can agree on. Ten different people will have ten different opinions on the subject. In addition, the job of the manager is fairly complex and can differ from situation to situation; depending on the stage of the artist's career and the areas that the artist needs help in (e.g. image development, publicity, label shopping, touring, recording, publishing, songwriting, licensing, merchandising, sponsorship acquisition, etc.).\n\nThere are generally four types of music managers that an artist may encounter at some point in their musical lives: personal managers, business managers, tour managers, and road managers. For this discussion, we will be concentrating mainly on the personal manager.\n\nA personal manager (here after called simply \"manager\") is an advisor, confidant, counselor, organizer, industry \"buffer\", cheerleader, protector, and \"honorary\" member of the band. A manager sees things from a different perspective than the band/artist (the \"big picture\"), and helps to devise a master plan that the band or artist can follow in order to achieve their goals. A manager is usually able to make difficult decisions without taking things personally. A manager plays an extremely important role in negotiations because they understand the long-term goals of the artist and can make sure that all contracts that are offered address the long-term needs of the artist, even when an attorney is involved. A manager plays a very important role in corresponding with record labels, publishers, booking agents, publicists, music media, and promoters, and in making sure that things get done on time and in the manner promised. An artist can easily get lost in the shuffle on a large record label roster, especially if the A&R rep that signed them is no longer with the company. The manager helps keep everybody exited about the artist, including label promotion departments, distributors, radio promoters, publicists, booking agents, concert promoters, media personnel, etc.\n\nA manager is not automatically an attorney, a producer, publicist, publisher, or a record label; even though they sometimes perform functions that are similar in nature. If, separate from being a manager, they also happen to be an attorney, a producer, publicist, publisher, or record label, then they should wear the different hats according to the different roles, and not merge them all under the umbrella of \"management\". This multiple-role scenario can sometimes present a \"conflict of interest\", since part of the manager's job is to help the artist decide which attorney, producer, publicist, publisher, label, etc.; they should sign or work with. An individual (in California and New York, for instance) must be licensed by the state to be a Talent Agent; which is a separate function from that of a manager.\n\nThere are lots of differing opinions regarding when exactly an artist needs a manager, but they generally fall into three camps:\n\n1) As early in the artist's career as possible.\n2) Later on in an artist's career, at the point when the artist cannot get any further by themselves, or when the workload is too great and additional help is needed.\n3) Never. An artist can do without a manager.\n\nDepending on where you are in your career as well as your philosophical outlook regarding managers, one of these three schools of thought will initially appeal to you as an artist. Let's go through each one.\nManagement - As early in the artist's career as possible.\n\nIf you are highly disorganized, lack a general business sense, find it difficult to focus on long term goals or be consistent, hate to read music books, lack financial resources, have had very little success on your own, and know very little about the music business, you should probably seek management as early in your career as possible. You will need a manager very early on in your career to develop a game plan for you so that you can avoid making mistakes that may be difficult or impossible to undo later.\n\nFor this option to work, however, the manager you seek should absolutely LOVE your work, be honest, committed, patient, organized, hard working, and knowledgeable about all aspects of the music business. This manager will probably have some first-hand experience in the business, and much of their knowledge will be gathered from previous management deals, reading most (or all) of the music business books and resources, getting information online, asking questions on forums, talking to industry personnel, attended seminars and conferences, etc. They will probably not have extensive high-level contacts in the business or a major label-related track record to speak of, but they should have the drive and determination needed to expand their network of contacts quickly. They will (or at least should) have a steady source of income (either from other acts or another job) and be willing to work with you for quite some time without the expectation of a commission (even though one is provided for in the Artist - Manager Contract). Your understanding should be reduced to a short contract spelling out the details of the relationship. Keep in mind that in the early stages of your career, most \"A-level\" managers will not be interested in an artist who isn't signed (or about to be signed) to a major record label or publishing company.\nManagement - Later on in an artist's career, at the point when the artist cannot get any further by themselves, or when the workload is too great and additional help is needed.\n\nIf you are highly organized, business oriented, find it easy to focus on long term goals, love to read music business books, have some financial resources, have had some musical success on your own, and know a lot about the music business, you should probably self-manage to begin with and seek management later on in your career when the workload becomes too great and you have gone as far as you can go alone, or when a major record label deal is pending.\n\nMany A-level managers prefer that artists wait until later on in their careers before signing with a management company (preferably theirs and usually when a major record deal is pending). They believe that many artists sign management contracts too early in their careers with incompetent managers that don't know the business; and therefore end up ruining their careers in the long run. Naturally, they would prefer that you don't sign with any management companies until they are interested in signing you. It is important to remember; however, that most of these A-level managers won't want to sign you unless a major label deal is pending or already under way. Besides that, there aren't enough of these managers available to sign every single one of the thousands of artists that deserve to be signed at that level. Waiting to sign with a manager later on in your career can present some other problems. One problem is that, unless you are extremely organized, committed, and well-read, you are likely to make many mistakes on your own since there is nobody around to play \"devil's advocate\" with you on ideas and strategies. Yet another problem is that, down the road, you will tie the hands of the manager with any bad decisions that you have already made, including image development and your \"sound\" as an artist, as well as all deals that you have already signed (recording, publishing, licensing, merchandising, etc.). A manager may be unable to get you out of any bad long-term deals you may have signed without their counsel (read \"career\", not \"legal\").\nNever. An artist can do without a manager.\n\nSome artists (especially those that have either had a bad management experience themselves, or have heard of someone else who has) believe that an artist can do without a manager. It is possible (and doable), up to a certain point, to conduct your own affairs without employing the help of a manager.\n\nIt is important, however, to recognize that many industry professionals prefer to speak to a manager instead of directly to the artist. Part of the reason for this is that artists are likely to take things very personally in one-on-one discussions with industry people. Many artists see things from an emotional point of view when the discussion is being framed in business terms, and can't separate themselves as human beings from their music as product. In addition, some record label A&R reps prefer to see a committed team of professionals (e.g. manager, attorney, promoter, publicist, and booking agent) surrounding the artist, since this indicates the presence of a well-organized team that makes an investment of millions of dollars seem less risky. It is much easier for a manager to play \"bad cop\" in situations where a deal has to be re-negotiated or turned down. The manager can act as a buffer in many instances and force people to go through them in order to reach you. That way, scam artists are less likely to present managers with shady proposals. There is also not enough time in a day for an artist to do everything by themselves. All-in-all, a well-connected, knowledgeable, and honest manager can be an indispensable asset to an artist under the right circumstances.\n\nFinding a manager\n\nOnce you've decided that you are ready for management, there are several ways you can find a manager. You should first take stock of what you have to offer (besides your talent). It helps to have a good idea about yourself and your style. Don't expect a manager to be able to perform an assortment of miracles all by themselves. You have to come to the table with some elements in place and be willing to work hard to formulate the rest. The manager can help you to articulate your vision, find others that believe in you, and get you into the hands of interested and successful music industry professionals.\n\nOnce you are sure you have something to offer, you can ask club owners, attorneys, publicists, recording studio engineers, record producers, independent record label owners, and other artists that are signed, if they have any management company recommendations. You can also find a list of managers from music industry print directories (e.g. the Musicians Atlas, Music Yellow Pages, the Recording Industry Sourcebook, etc.) or online directories like the one here at the Indie Managers Association and others. Pay close attention to the submission policies of the management company before mailing anything out. Some managers will only accept solicited material (material submitted to them from known sources). Others are willing to accept unsolicited materials, while others prefer you to call or email first. Do not violate these policies. It is almost always a good idea to call or email first before you send anything (unless they tell you not to call or email first). Contacting them before you send materials gives you a chance to talk to somebody and find out what they are looking for and what materials will be most appropriate to send.\n\nWorking with a manager\n\nIt is important that you speak with artists who are already signed to the management company (if the manager has an artist roster) before approaching a manager. If the artists have stayed with the manager for a long time and have a good relationship, you can take that as a sign of a commitment for the long-term; which is a good thing. Be wary of managers that don't ask a lot of questions about you, your goals, and your achievements. Don't be offended by these questions, since they only serve to identify areas of opportunity or career challenges that the manager should know about. Even though there is no standard commission that a manager should take, be cautious of a manager who talks about commissioning 25% or more of your earnings. 10% - 15% (or in some instances 20%, depending upon the circumstances), is more in line with what's fair. Whatever you do, don't sign a contract on the spot without taking time to have it reviewed by an entertainment attorney. Few things are so urgent that both parties can't take a few days (or weeks) of their time to negotiate a contract that will bind them together for several years and involve potentially several hundreds of thousands of dollars.\nThe manager-artist relationship is a very important one, and you must be sure that the manager is a right fit for you (and vice-versa). Many times, a manager will approach you before you get a chance to approach them. This is not necessarily a bad thing since it makes sense that you came to their attention by creating a buzz in your area, selling a lot of CD's, receiving radio airplay or great reviews, or putting on a great live show. If this is the case, you should expect them to know a lot about you and ask a lot of questions. A sign of a good manager is that plenty of dialogue will take place before the contract is offered and signed. You should spend a lot of time discussing your short and long-term career goals and seeing how they can help you achieve what you want. You should ask them what ideas they have to get you where you are trying to go. You should also check to make sure that the potential manager doesn't have too many artists on their roster, and that they will have enough time to devote to your career. A potential manager should like your type of music and be familiar with how an artist like you should be promoted and marketed. It is extremely important to find a manager that is the right fit, and if you can't find one, you are much better off managing yourself until the right one comes along. If you find a manager that sounds interesting, try and set up a six-month trial period o see if you are compatible with each other before signing a long-term management agreement. Only accept friends, friends-of-friends, family members, etc., as potential managers if they have some experience in managing artists in your genre, have some industry contacts, and know how the music business works. These people are often well-intentioned but can cause more harm than good with what they don't know.\n\nThe management contract\n\nDiscussing the details of an artist-manager contract is beyond the scope of this article; so when it comes to signing, it is important that you have the contract drafted and/or negotiated by an experienced entertainment attorney who is well-versed in similar entertainment / management contracts. The important thing about a contract is that it should define in no uncertain terms the nature of the relationship between the parties. It should also spell out how, if at all, you can get out of the deal if the manager is not performing as promised, and what the penalties for non-performance should be. You should also understand how and for what duration commissions are to be paid after the management contract has been terminated. As long as everybody understands their roles, works hard, and follows through with their commitments, everything should be fine; even if you don't sell a million records or sell out Madison Square Garden.\nHopefully this article has helped shed some light on the question of finding managers. Obviously, these are mainly my opinions and others are free to disagree in whole or in part with what I have said here. Get legal advice, consult your gut feeling, do plenty of reading, use some common sense, and ask a lot of questions before signing with a management contract with a manager.\n\nBest of luck in your musical career.",
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