Time to Update Your #Website: Starting Soon @Google Penalizes Sites That Aren’t Mobile Friendly

Don’t have a mobile website? You can’t hide any longer. Is your website responsive so that it switches to accommodate being viewed on a mobile device or tablet? Uh Oh. Time to call a Web Developer. (Here’s ours – click to email for a price quote.)


On Tuesday, April 21st websites that are not mobile friendly will be penalized. Google searches made from mobile devices will lower the rankings of non-friendly sites, and will boost the ranking of sites that are mobile optimized, according to Digital Music News.

This applies to all industries and all languages, no one is safe from the new requirements.  Around 80 percent of adults have smartphones, so these changes should only help you.

Google offers a mobile friendly testing tool so you can evaluate if your website is up to par. If your site does not pass the test, the tool will tell you what to do to improve it. 

If you’re interested in learning more about mobile sites, check out Webmaster’s Mobile Guide or the Principles of Site Design on Web Fundamentals by Google Developers.


Lil Wayne files $51 million music contract lawsuit against Cash Money

IMG_0091Hip hop artist Dwayne Michael Carter, Jr. (better known as Lil Wayne) filed a federal lawsuit in New York City against his label, Cash Money Entertainment, to the tune of over $51 million on January 28, 2015. Carter’s music contract suit includes eight causes of action, including breach of contract, conversion, breach of fiduciary duty and unjust enrichment.

Paper Trail
Carter signed with Cash Money in 1998 at the age of 18, and his popularity grew rapidly. In 2003, “Weezy” reached a separate agreement with Cash Money to form his own subsidiary label, Young Money, whose roster now includes Nicki Minaj and Drake.

Over time, Carter renegotiated his contracts with Cash Money to include more favorable terms, such as bigger cash advances, larger ownership interest in his sound recordings and more funding for the Young Money label. According to his complaint, the 1998 and 2003 contracts were amended at least six times between 2005 and 2012.

2009 BET Awards - Show
Music Contract Mishaps
In this week’s lawsuit, Lil Wayne claims that he was consistently short-changed by Cash Money. The label allegedly underpaid Carter by millions of dollars and failed to provide him with monthly accounting statements. Cash Money purportedly racked up seven figures in marketing expenses without seeking Carter’s required approval. In addition, according to Lil Wayne, Cash Money failed to maintain a million-dollar escrow account or make $200K quarterly overhead payments to Young Money, as were required by contract.

Carter alleges that Cash Money violated numerous other provisions of their agreements, including requirements that the label list him as a co-author on sound recordings, give him a say in signing new artists to the label and provide him with access to the company’s books and records.

Protect Yourself
Having a well-drafted label agreement in place with a recording artist is the best medicine for reducing headaches and avoiding conflicts with your talent. However, as Lil Wayne’s recent lawsuit demonstrates, no contract is dispute-proof. For music companies encountering problems with their artists or agreements, experienced and attentive legal counsel is essential.

About the Author:
David Klein is a Managing Partner at Klein Moynihan Turco LLP and one of the most recognized attorneys in the technology, Internet marketing, sweepstakes and telecommunications fields. Skilled at counseling clients on a broad range of technology-related matters, David Klein has substantial experience in negotiating and drafting complex licensing, marketing and Internet agreements. He has an in-depth understanding of Internet and new media law and is established as a leader in structuring and implementing major technology agreements.

Webinar, Comparison of #Music Placement Services & Platforms from @NARIP on 8/6/14

You are cordially invited to NARIP’s Free Webinar: A Comparison of Music Placement Platforms & Services with Charlie Mac of Mac A Million Dollar Man scheduled for Tuesday, August 5, 2014 at 6:00 PM PST / 9:00 PM EST.

Music placement is fiercely competitive. For those who use third parties or licensing platforms, which services are best? What are the terms? Who pays more? How do they work? What’s the difference?

Music publisher, music supervisor, A&R executive and music creator Charlie Mac of Mac A Million Dollar Man Musick speaks from his direct and ongoing experience with dozens of music placement companies, third party licensing reps, music libraries and platforms.

He will detail the pros and the cons of many of these services, and how his company has generated revenue and thousands of placements across multiple platforms in the U.S. and around the world. Get the facts from Charlie who has hundreds of placements including his clients’ music and his own in dozens of projects across multiple platforms, enabling him to share an overview and analysis in this special NARIP program.

Click here to register now.

Music X Ray
Getty Images (Music) / formerly Pump Audio
Sonic Bids
Jingle Punks

Pay To Play

Genres of music that work best and pay the most on various platforms
How they work
How they pay
How to collect
Effective administration
Making a living and putting it all together

Submit YOUR questions to be addressed during our program, get feedback and recommendations specific to YOUR situation from Charlie and Tess via Twitter and follow us now: @NARIP Feel free to submit questions in advance and / or during the session. Official hash-tag for this event is #NARIPplace.

Charlie Mac, CEO, Music Supervisor, A&R, Mac A Million Dollar Man Musick
Tess Taylor, NARIP President, program moderator

Artist Managers, Producers & Artist Reps
A&R, Artist Development and Marketing Executives
Record, Distribution & Music Publishing Executives
Music & Entertainment Attorneys
Anyone seeking to maximize music placements, time and revenue.



Official hash-tag for this event: #NARIPplace

Tuesday, August 5, 2014
6:00 p.m. – Program begins (PST), 9:00 p.m. EST
7:30 p.m. – Audience Q & A
8:00 p.m. – Program ends

NOTE to registrants:
On event date, look for an email about 10 minutes BEFORE start time of 6:00 p.m. PST with a link to the live stream of NARIP’s Webinar. You can also check back at this link on The DS3 Group’s website where the webinar will be viewable.

If you are registering after the start of the event, an auto-response email will be sent to you from This email sometimes gets caught in spam filters so be sure to check there if you do not see it in your inbox. You can always check back here to view.

FREE for NARIP members and non-members but please RSVP below – just scroll down.

Because you are registering for this program, we offer you the opportunity to pre-order the MP3 recording of the program for only $20 (regularly $39.95). To pre-order now, select the Premium Ticket option below, the mastered recording will be emailed to you within 1 week after our program (if not sooner).

1. Online – click here to register.
2. By phone – just call 818-769-7007 with any major credit card.

Call 818-769-7007 or contact NARIP.

Charlie Mac
Who’s The Hottest Rapper
Makavelk Music Group
You’re Nobody Films
Jingle Punks
Getty Images
Music X Ray

Charlie Mac, CEO, Music Supervisor, A&R, Mac A Million Dollar Man Musick

Charlie Mac is an entrepreneur, music publisher, music supervisor, music producer, composer, songwriter, recording engineer, public speaker, consultant, author and A&R executive with 15+ years experience in the music business. His last major film as a music supervisor was executive produced by Spike Lee (Lionsgate’s “You’re Nobody Til Somebody Kills You”).

He is CEO of Mac A Million Dollar Man Musick, Senior VP of A&R for Makaveli Music Group, and music supervisor for Black Noise Media. He has had made multiple music placements on and with brands such as MTV, Epic Records, VH1, Gunit, Shady, Aftermath, Bio, Atlantic, 40 Acres, Cash Money, DTP, Def Jam, Nbc, Warner Bros. Records, CMT, Elektra Records, Asylum Records, Interscope Records, Discovery, Luke, NBA, Geffen Records, Google, Jive, Muzak, TLC, Konvict, Rocnation, Time, Nike, Violator, Mercury Records, Viacom and others.

Charlie Mac’s music and that of his clients has been featured in hundreds of productions and shows which have aired thousands of times nationally and internationally, in commercials, games, trailers and in other media.

As an independent A&R, Charlie provides critiques and artist development to help artists become commercially successful in today’s music business. He teaches that taking a proactive stance for their art the first step to push their careers to the next level, offering hands-on, cost-effective, creative marketing methods, which result in generating royalties from their recorded material. Through a music licensing service provided on the Web site, major, independent, and unsigned artists of any genre can submit music for licensing and placement opportunities.

Charlie Mac founded publishing company Mac A Million Dollar Man Musick in 2004 and has consistently identified songs that have become successful in music licensing. He has placed music behind such stars as Kimora Lee Simmons, 50 Cent, Katy Perry, Ludacris, T-Pain, Q-Tip, Common, Chris Brown, Rihanna, Redman, BOW WOW, Flo Rida, Mike Jones, Brooke Hogan, Tony Danza, Cam’ron, Tom Arnold, Rick Ross, Tim Westwood, The Cool Kids, Ashley Tisdale, Fat Joe, Michael Gudinski, Gene Simmons, Dr. Drew, Niecy Nash, Mos Def, Eddie Griffin, Mack 10, Steven Seagal, Donald Faison, Joe Zee, Kim Kardshian, Trey Songz, Robert De Niro, Eminem, John Goodman, XZIBIT and others.

Mac A Million Dollar Man Musick has secured significant placements in global markets in over 50 countries including in the US, in Europe and around the world.

Tess Taylor, President
National Association of Record Industry Professionals

Tess Taylor is president of the National Association of Record Industry Professionals (, the biggest music business network in the world. She is creator of NARIP’s Music Supervisor Sessions which have yielded over 100 music placements for participants and sold out in LA, New York, San Francisco, Berlin, Paris and London. She is also President of the LA Music Network ( and helped launch the Mowglis who won the 2011 LAMN Jam Music Contest. They were signed to a management deal, then signed with Universal / Photo Finish Records. They’ve been featured on prime time network TV and now get radio airplay on primary stations across the US. One of the nation’s leading authorities on careers in the music and record industries, Ms. Taylor has been called The Job Whisperer and has connected countless people to jobs and opportunities through her work in the US and abroad, cultivated collaborations for over two decades, helped launch hundreds of projects and several companies. Called a “super-connector” and dubbed “International Music Ambassador” by Neophonic music supervisor P.J. Bloom (Glee franchise, Nip/Tuck, CSI: Miami), Ms. Taylor works with international groups to connect their members to opportunities in LA and the U.S. She has consulted leading businesses such as InsideSessions (a joint venture between the Universal Music Group and Penguin Putnam), The Walt Disney Company, BMG Entertainment (formerly Sony BMG) and Concord Records. Deeply annoyed by people who think music should be free, Ms. Taylor is a vigorous defender of intellectual property rights and debated Electronic Frontier Foundation co-founder John Perry Barlow on “free music” twice. She won both times. She lectures nationwide and around the world (in 12 countries to date), including at the Harvard Business School, in Berlin, Bangalore and beyond. From 1988 to 1993 she was employed at MCA Record, last serving as Associate Director of Marketing. A classically trained pianist, she studied music at the University of Vienna and is a Phi Beta Kappa, Magna Cum Laude graduate of the Univeristy of Redlands’ Johnston College where she received her BA in music, German and literature. She loves traveling the world, nibbling dark chocolates and drinks lots of tea. She also loves fine fountain pens, Glenn Gould, Pete Townshend, crime novels and hiking with her English cocker spaniel Haribo. She encourages pet adoption.

In addition to running NARIP, Ms. Taylor provides private, fee-based consulting services for companies and people who want more personalized attention.

The National Association of Record Industry Professionals promotes career advancement, education and good will among record executives.


#Video: @PJSandsDS3 Interviews @SkyhiRolo Who Performs #WhatUp at #AlmostFamous @SkyhiMuzik #DS3 #BossTV

almost famous flyer1 6-29-14PJ Douglas Sands of The DS3 (Entertainment) Group takes us up, close & personal with Skyhi Muzik’s Rolo .

Get an exclusive look at Skyhi Muzik’s newest Southern emcee Rolo  who recently performed at The Almost Famous Houston Showcase held at Kornbreads 2k, 9373 Richmond Ave in Houston, TX.

Hosted by 97.9 FM KBXX’s Kiotti, the Almost Famous Showcase is held monthly. It provides independent artists with a platform to, not only perform in front of fans hungry for new Hip Hop and R&B, but an opportunity to perform in front of major label representatives, heavy hitter producers and deejays like Def Jam Wale and Mike Mogul plus win $1,000 cash and a $1,000 marketing package.

Having the top urban station in the region’s deejays and radio programmers in the building does not hurt either.  Every hungry artist should take advantage of credible showcases to build fans, capture photos and video content, increase reach via social media and capture important data from an audience that just might be feeling your music for life.


If you like Bun B, Slim Thug or even 2Pac, you should really like Rolo! Have a listen to his new singles, What Up, Spin It and NFL Replay here.

Rolo’s new hit single entitled #WhatUp is the first record off his highly-anticipated mixtape entitled #GetAcquainted set to release wherever all good digital music is sold 7-14-14. Check him out at

Webinar: How To Create A Music Marketing Plan – Part 1 @NARIP #MusicBiz #NARIPplan

Are you an independent artist seeking knowledge on how to get your music to the masses?  Join NARIP for a free Webinar on July 9, 2014.

Get a music marketing plan started in one session or improve the effectiveness of the plan you have. Lack of a good plan impedes more careers than lack of talent.

Enjoy our LIVE stream which starts at 6:00 p.m. PST (9:00 p.m. EST) on Wednesday, July 9, 2014 . We go live a few minutes before 6:00 p.m. (just refresh this page). Please tweet questions to @NARIP. Official event hashtag is #NARIPplan. Scroll down for more information and special offers from NARIP.

TWO Special Offers For NARIP Members & Participants in TODAY’S Webinar plus FREE Gift:

Special Offer #1:

Join NARIP NOW and Get a FREE Audio Recording of Music Marketing Plan Expert Panel featuring Ariel Hyatt, Jason Spiewak and Rick Goetz in NY ($39.95 value!)

Learn more from Jason Spiewak along with music marketing experts Ariel Hyatt, Steve and Rick Goetz, who will give you the facts you need to take your artist to the top in this special NARIP session. View audio program details HERE

Offer Details: *For NEW members only. Just click HERE to join NARIP now for as little as $9.95 a month with no commitment, write the code NARIPplan in the COMMENTS section of your membership registration and we will send you the program for FREE.

You can attend many NARIP events online, so you can make great use of your membership even if you are not in one of NARIP’s chapter cities!

Special Offer #2:

Buy audio of today’s NARIP program for only $20 (regularly $39.95).

Go to the registration page for this Webinar HERE and buy the Premium ticket. Within 10 days, the audio from this event will be sent to you from

Webinar Feedback For NARIP: Complete Survey To Get FREE Gift

After the Webinar, take our 2-minute survey and get a FREE gift from NARIP – Tess Taylor’s Recommended Reading & Resources as seen (and heard) in today’s Webinar.  Click here to take the survey now.

DEADLINE for Special Offers, to complete Survey and get FREE gift is 6:00 p.m. PST on Thursday, July 10 (we will send free gift to all those who complete survey on Friday).

Interested in Crowdfunding? Online Class for Artists, Enterpreneurs, Inventors, App Developers via @GA

Interested in raising capital using the internet but don’t know where to begin? Here’s a great Online Class from General Assembly.

Social media and platforms like Kickstarter and Indie Gogo have made it easier than ever before for inventors, entrepreneurs, and artists, to seek funding for their projects. There are over 530 online platforms available to assist with raising capital and donations. In this quick introductory class from General Assembly, Arie Abecassis will give a brief overview of the industry and offer a few practical steps to launching a successful campaign.

As a founder of AppStori, and a Venture Partner at DreamIt Ventures, Arie has worked closely with a number of amazing founders and companies, including SeatGeek, Adaptly, BiznessApps and MAZ Digital. In addition to spending time with the General Assembly community, every now and then, Arie contributes his thoughts on the state of technology and entrepreneurship in various tech blogs.

While this pre-recorded session originally aired on September 17, 2013, Arie Abecassis will be available live to answer questions via chat. To participate in the live chat, simply enter any username of your choosing, login in via Facebook or Twitter and contribute your questions or comments to the public chatroom. All attendees have access to the chat, and your fellow classmates may be able to help you as well.

  • Learn enough about the industry to make choices about how to obtain funding.
  • Learn the first steps to starting your campaign.
  • Understand the dos and don’ts of crowd funding.

Need capital for a tech product or service?  Try AngelList, SeedInvest or FundersClub. Most indie films are crowdfunded through Kickstarter and Indiegogo. On the equity side, there’s a platform that focuses on indie film called Slated‎.

Have questions during class? Join the conversation in the chat, or tweet them by mentioning #GALive and @GA.

Watch General Assembly’s online class here and comment. Download the Deck here. For more classes from General Assembly on crowd funding and raising capital, click here.

crowdfunding screenshot

Watch live streaming video from ga_premium at

Artists: How do you Monetize Your Music using @YouTube? presented by @NARIP #MusicBiz

Are you a recording artist or independent label with no idea how to monetize your music on YouTube? Labels and Artists alike are learning that the music industry has changed. It is important to understand how to make money from your music outside of selling CDs and booking shows.

Did you know that over 400 years of content are scanned every day on YouTube, and the site has become a leading indicator in music popularity? If a video trends, download sales follow and can trigger reaction at radio across the globe. But how do you harness and use this massive tool to monetize your music?

The National Association of Record Industry Professionals (NARIP) presents explains how and provides practical guidelines with guest expert Rene Meridith of Exploration. From the anatomy of a video to FREE administrative tools for global distribution, you will learn essential information on how to grow and profit from Youtube.


You Will Learn:
• How to create an account on YouTube
• Metadata: how to do it right
• Subscribers vs. views: what’s more valuable and why?
• How do ads generate revenue?
• Do channel owner choose ads?
• How, when and from where does money flow to creators?
• Multichannel networks vs. distribution companies: what’s the difference?
• A step-by-step explanation of how creators maximize presence and revenue
• Audio finger-printing: what is it and how does it work?
• Reasonable expectations

• Artist Managers, Producers & Artist Reps
• A&R, Artist Development and Marketing Executives
• Record, Distribution & Music Publishing Executives
• Anyone seeking placement opportunities in trailers, film and TV promotional campaigns.

Thursday, May 1, 2014
6:30 p.m. – Registration and networking
7:00 p.m. – Program begins
8:15 p.m. – Break
9:30 p.m. – Program ends

SAE Institute of Technology
6565 W. Sunset Boulevard
Suite 280, Classroom D
Los Angeles, CA 90028-7205

If you can’t be here in person, join us via Google Hangout. If you have questions about this or what to register for the private link to view,
click here.

$20 NARIP Members who attend in person
$40 Non-Members to attend in person or watch online *
FREE for NARIP Members who attend via Google Hangout **

NARIP Members may “attend” for FREE online by visiting registering for the Webinar at at 6:45pm PST on event day where a link will be provided to view NARIP’s program live online.

@TheGrammys #SocialMedia Interactions Hit Record Breaking 34 Million #Grammys

The second screen experience of interacting with social media while you watch television via your mobile device, computer or tablet was enjoyed by many at the 2014 Grammys. As viewers watched on CBS from more than 120 countries across the globe the hashtag #TheGrammys took over everyone’s timelines.

With statistics compiled by Facebook, Instagram, Tumblr, and Twitter, The Recording Academy® announced today that combined social media interactions surrounding the 56th Annual GRAMMY Awards reached a record-breaking 34 million, making Music’s Biggest Night, which aired Sunday, January 26 on the CBS Television Network, television’s biggest social event of the 2013 – 2014 season.

According to data compiled by Twitter and 87AM, the GRAMMYs garnered 15.7 million mentions on Twitter during the broadcast, the peak moment of which was during the Kendrick Lamar and Imagine Dragons performance with 171,593 tweets per minute. According to Facebook data, 6.3 million people had more than 13.5 million Facebook interactions related to the 56th GRAMMYs, making it the No. 1 trending topic. Stats compiled by Union Metrics reveal that there were more than 100,000 GRAMMY-related posts created on Tumblr with more than 5.1 million reblogs and likes. Stats compiled by 87AM reveal that the top three most-talked about performances were, in order: Daft Punk, Beyoncé and Jay Z, and Lamar joined by Imagine Dragons. The most-talked about artists were: Lorde, Taylor Swift and Macklemore.
These stats alone make you wonder about the hip hop non-controversy of Macklemore allegedly sending Kendrick Lamar a tweet saying he felt he robbed Kendrick for Best Rap Album and arguably several other categories where they were up against each other. As an advocate for independent artists, Macklemore’s wins this year were impressive because he rallied hard to build a fan base with great visuals in his music video. His topics were controversial, and his pop, contemporary appeal transcended race.

The entertainment industry pays attention to these second screen interactions because they are an immediate reflection of what the engaged viewer likes and dislikes. Gone are the days where weeks go by to await Neilsen viewing stats transmitted by digital boxes in a select demographic’s living room. Now Neilsen and social media tell the story of what’s hot and what’s not. Nothing tells the story better of what fans you have built and what fans think of you than your social media stats. Without a website, traditional and digital advertising as well as a heavy, active social media presence there’s no way for the independent or even mainstream artist to stand out., the official GRAMMY website, saw visits on GRAMMY Sunday and the following day rise 15 percent from last year, with 4.6 million total unique users and 18.5 million page views for the site according to Google Analytics. In partnership with CBS, The Recording Academy produced, for the fifth year, GRAMMY Live®,an official second-screen companion program featuring coverage from the GRAMMY red carpet, Pre-Telecast Ceremony and backstage. GRAMMY Live’s livestream and on-demand viewing was up 100 percent over last year, generating nearly 5.5 million total streams. The official 56th GRAMMY live-blog, syndicated globally to 38 outlets, saw a 320 percent increase in user engagement minutes and a 659 percent increase in unique visitors compared to last year according to ScribbleLive.
On YouTube, the official GRAMMY channel saw a significant increase in views starting the week of January 12 with more than 5.7 million views of GRAMMY original content leading up to Music’s Biggest Night. Views of content published immediately following the broadcast received 375,000 views in the first 12 hours alone.

“GRAMMY engagement continues to explode year over year as fans seek ever deeper ways to connect with Music’s Biggest Night,” said Evan Greene, Chief Marketing Officer for The Recording Academy. “These consistently increasing statistics underscore the overwhelming excitement and passion for the GRAMMYs, and music, across today’s most meaningful social platforms.”

As a member of The Academy, I received my Billboard Grammy voting guide. I recall receiving emails soliciting advertising space, and I wondered how many people labels, artists and consumer based products had taken advantage of the opportunity to get the attention of the voting members of The Academy. Let’s just say after careful review of the Billboard Grammy voting guide and seeing who made the investment in their career, I wasn’t surprised with many category outcomes. If the voting members of the Academy don’t know you, how can they vote for you? Sending out your music digitally, physical album packages and placing advertisements in the voting guide are key elements. Also, how can someone vote for you if you aren’t nominated? I was surprised at the record number of past nominees and winners who are not active in The Grammys and never nominate acts each year. Many don’t even send in their voting packet. So who’s fault is it when you aren’t nominated? Primarily yours and your peers at your label and those on your production team, especially if they are past nominees and past winners.

About The Recording Academy
Established in 1957, The Recording Academy is an organization of musicians, songwriters, producers, engineers and recording professionals that is dedicated to improving the cultural condition and quality of life for music and its makers. Internationally known for the GRAMMY Awards — the preeminent peer-recognized award for musical excellence and the most credible brand in music — The Recording Academy is responsible for groundbreaking professional development, cultural enrichment, advocacy, education and human services programs. The Academy continues to focus on its mission of recognizing musical excellence, advocating for the well-being of music makers and ensuring music remains an indelible part of our culture. For more information about The Academy, please visit

@EADNglobal Creates Work Space for #Houston #Artists, #Musicians, #Bands via @theDS3group

Game Change Enterprises LLC and Museum District Bistro and Lounge present the Emerging Artist Development Network (EADN). Aspiring recording artists, musicians and bands in Houston, Texas now have a place to call home that will offer a shared multi-purpose work space to include a recording and dance studio, with meeting and practice areas. In addition EADN will offer industry specific seminars and workshops, access to industry professionals, mentors and more. EADN is free to join by singers, musicians, and bands of any genre and their artist support network. Click here to join EADN.

This is the first of its kind in Houston, and EADN is counting on EVERY artist and industry professional to support this new “Entertainment Hub” so they can congregate, network and collaborate.

The official red carpet launch will take place on January 31, 2014 at a Historic Location: Museum District Bistro and Lounge (1112 Southmore Blvd. Houston, TX 77004). It will be a fun-filled, “come as you are” evening featuring local indie music artists. RSVP here for the launch. Click here to view more Houston Music Industry events like this via
Houston, Texas skylines
About The Historical Museum District Bistro
The Museum District Bistro and Lounge was built in 1922, by famous Houston architect Maurice Joseph Sullivan (1884-1961), Houston’s first City Architect appointed by Mayor H. Baldwin Rice in 1912. This location served as the family home for Mr. Sullivan, his wife Anne, and their 7 children. By utilizing his training as a civil engineer, Sullivan continued to expand his knowledge and became a self taught architect. His ecclesiastic work completed in Houston is considered the most significant, and includes the Villa De Matel Chapel (1923-28), Holy Rosary Church (1933), St, Anne Catholic Church (1940), and First Presbyterian Church (1949). Other prominent buildings include The Petroleum Building (now the Great Southwest Building), Houston Negro Hospital School of Nursing (Now Riverside Hospital), St. Thomas High School, Ripley House, and St. Mary’s Seminary. In 1924 and 1933, Sullivan served as President of the South Texas Chapter of The American Institute of Architects. Sullivan died in 1961.

“I am amazed at what Maurice Joseph Sullivan accomplished through his commitment and dedication. In that same spirit, I am proud to offer this location to honor and continue that legacy for Houston artists as an entertainment hub.”-Larry Criswell Owner, Museum District Bistro and Lounge.

Businesses with global footprints, taste maker experience and successful track records are excited to be part of EADN. The DS3 Entertainment Group is excited to partner with EADN to provide services like music administration, legal help, publishing assistance, website development and social media branding advice. “Being from Houston I am excited to bring my Los Angeles, New York and Atlanta resources to Houston artists, indie labels and bands. Educating artists to maximize their revenue opportunities is what we do best. My business partner (Grammy nominated engineer/producer) Donnie Scantz is also excited to be a part of this. DS3 can assist artists with production, physical and digital distribution as well. EADN is a great concept” said PJ Douglas Sands, Branding Strategist with The DS3 Group.

About Emerging Artist Development Network (EADN)
Founders, Kimberly N. Evans and Vanessa Johnson created EADN to provide aspiring music artists and their support network a safe place to congregate with their network to plan, practice, record, learn, and leverage resources to aide in each other’s success.

Realizing that an endeavor such as EADN will require commitment and dedication from many different parties in the Houston music community. The founders are not afraid to admit they will need help from community leaders. EADN has a vision of putting Houston on the map as a nationally recognized hub for artists to come and develop their skills and launch their careers.

“Houston is an international city with great music fans, that should not have to travel east to New Orleans or west to Austin to experience a vibrant and talent-rich music community. As a native Houstonian, I know the capabilities of my city and we can establish our own unique music identity separate from the rest of the nation. It will take vision, leadership and a lot of passion, which EADN has all three. I am excited for Houston!” – Kimberly N. Evans, CEO and Co-founder EADN

EADN will initially be open to artists and their support network of dancers, writers, producers, vocal coaches, choreographers, managers, and all others Wednesday through Saturday from 10am – 1am and on Sundays from 12 noon to 10pm. Monday and Tuesday hours will be limited to conducting workshops, and seminars. Our long-term goal is to have certain areas open to artists and artist support 7 days per week, 24 hours a day. The venue is equipped with a stage and sound system for performance rehearsals.

“Houston is home to some of the greatest talent in the world. We are proud to offer an entertainment hub to aspiring artist so they can successfully develop their skills and what better place than our great city”. – Vanessa Johnson, COO and Co-founder EADN.

For more information about Emerging Artist Development Network (EADN), please visit their website For information about Emerging Artist Development Network or to inquire about signing up for an upcoming EADN orientation seminar contact: Vanessa Johnson / Kimberly Evans, Emerging Artist Development Network, Phone 713-494-2180 or email

#Soundcloud: 13 Big Mistakes #Artists Make – A Great #MusicBiz Tool via @theDS3group #DS3

20131217-215321.jpgAlmost every active, relevant musician is now using Soundcloud. And for those that aren’t… why aren’t you? The platform is a great way to foster a community, to get feedback on your tracks and to interact and showcase with people that are into the style that you are. It’s straightforward, essentially free and can’t be missed in the repertoire of any musician that’s expecting to make a name for himself.

As an artist manager and label boss, I’ve been using Soundcloud intensively for years. Probably even more than most of my colleagues, as I’m a young dude whose helped push his first artists out to the world using Soundcloud as a primary marketing tool.

In this article, I’m going to outline the most common mistakes that I see musicians make on Soundcloud, and how to fix them. We’ll talk about the simple yet crucial things, that if done wrong, can make the difference between rocking the platform, or sucking at it.

To tackle the topic, we’re going to tackle three different aspects of Soundcloud game. Firstly, is the ‘set up‘ of your account. Second is the ‘content‘, how you regulate and present it, and lastly is about your ‘conduct‘ towards your community and account.

The Set Up

Remember, first impressions always last. You want to make sure that everyone that visits your Soundcloud profile immediately gets a good impression of you. Therefore, it’s crucial that you make sure that all the account set-up details are set correctly. The essentials should all be put in place, and presented nicely.

Mistake #1: Your URL Isn’t Consistent With Other Platforms
The extension that your profile has on Soundcloud should be identical to the ones you have on other social media platforms. If you’re running with, then you want the same ‘/thebestbandever’ extension on your Soundcloud account. You can edit this in your account settings, under ‘Basic Profile’.
Mistake #2: Social Links Are Missing, Entirely
Increasingly more so, social media profiles have become the go-to of the younger generation. The majority of people, and particularly the demographic of 15-25 years old, immediately looks to social media profiles when further investigating an artist they have just discovered. I’m sure you’ve come across a band that you liked on Facebook, went to their ‘about’ section and discovered that there weren’t any links to their other social media profiles there. Annoying right? So straightforward, yet this key point is missed out on by so many acts.

Soundcloud has integrated the ability to add social media links to your profile, and even adds the correct thumbnail images to the links of the larger sites. You can edit these under your ‘Advanced Profile’ settings. When setting these up, I recommend that you restrict the amount of networks you use. The essential links are: website (, Facebook, Twitter and YouTube.

Everything else is irrelevant, and the more options you present to people, the less likely they are to click any of them.

Description and Details

Soundcloud is a community platform that’s heavily focused on allowing you to discover new stuff, through what’s trending and by involving findings and content of people you’ve already connected with. As a result, a halfway decent Soundcloud stroller will often come across a new act.

Mistake #3: Basic Bio and Contact Information Is Missing.
A common mistake I see bands make, is that they don’t provide a short and to-the-point biography, and some contact information, on their profile. Now sure, we can all agree that if you’re an act with the reputation and following the size that deadmau5 has, you’ll get away with not caring. But if you don’t, then better sort this stuff out.

Ideally, you place your content email address on top, or that of your booker/manager, followed with a short bio of who you are. The bio should be about 50-250 words, and looks best when written in third person. Include something about who you are, what you do, any labels you’re associated with, and integrate some achievements. Some acts also like to integrate their gig agenda, or archive, however I feel that’s pointless as no one will look to your Soundcloud profile for that.

The Content

People go to your Soundcloud profile to listen to your music. When they do, they’ll either listen to the first track that’s on top of your feed, or to the one with the most plays and comments.

Mistake #4: The Best, Most Representative Work Isn’t Readily Presented.
What you want to do, is to make sure that these people have a good shot at listening to some of your best material. And, that they’ll be easily able to identify the tracks, who made them, what type of mixes and recordings they are, and any sub-genres or influences they’re specific to.

Mistake #5: And don’t upload everything!
For people that are new to your band, and music, you only have a single shot at impressing them. You know how it goes: if you discover a new artist, you’ll give one track, maybe two, a shot, and if those aren’t to your liking, you’ll move on. Therefore, it’s essential that you don’t place everything you make on your Soundcloud account.

Sure, a Soundcloud upload is less definitive than a track distributed to iTunes or Beatport, however it’s still in the public domain, and fans you win on Soundcloud can certainly become paying customers for gigs and actual releases. Ideally, your profile should become a showcase of all the amazing finished work you’ve made and released, so that every potential visitor can be amazed and impressed by your prowess.

Mistake #6: Uploading half-baked, ‘work in progress’ tracks.
When considering an upload, think of it like this: Is this ready for release? Do I consider this a finished track? If so, then go for it, put it up.

There will also be people that argue that they like placing ‘work in progress’ tracks on their profiles, and that Soundcloud is the platform on which they feel free enough to do this and get some live feedback from their friends and fans. To that, I argue that the majority of the biggest acts out there don’t do it, and that the benefit of getting that live feedback will be far less than that of giving a great impression off the bat.

Track Details

Mistake #7: Simple mislabeling.
Your music should be instantly findable, based on the track title, your artist name, and the keywords and genres associated with it. That’s why it’s important that you label everything correctly. With the new Soundcloud update, the platform now suggests that adding your artist name in a track upload is no longer essential. I say that’s wrong.

Why? Because with the new re-post feature, people can now re-post your tracks to their own feed. And the only way to then trace the name of the original artist is by looking at the miniscule reference to the original uploader. Not the way to go.

For track titles, stick to the following format: “Artistname – Track Title (Mix Type)”

Mistake #8: Forgetting to Identify Your Genre
In terms of genre, always make sure to place the correct genre as the first ‘Keyword’ to the track. You want to do this, because Soundcloud has an explore function, which indexes all the ‘trending’ tracks within a particular genre. Soundcloud’s only way to define the genre is through the keywords, and the first one that’s embedded in the player, is often the most valuable in determining that. Alternatively, the platform’s search function browses through keywords as well, so if you search for ‘electro’, it’ll find tracks who have that word embedded in its title, keywords and lastly description.

Other keywords that are important to include are the original artist, associated artists, record label and possibly the place where you’re from, or clubs you’ve played. Apply a filter on what you upload, and when you do decide to put something up, make it easily findable and recognizable.

Code of Conduct

Apart from the music, the most essential element of Soundcloud is its community aspect. If you manage to maintain and interact with these properly, you’ll be able to foster a growing community, establish new relationships and develop true fans. There’s a few basic rules of conduct that would serve every artist on Soundcloud well to adhere to.

Mistake #9: Not using your account!
This is the most common mistake I see artists make on Soundcloud. The majority of them use the platform daily, but don’t bother to log into their own account, and like and interact with the stuff they like.

An engaged and lively account is much more likely to foster a community, and will also force you to get a true feel of the intricacies of the platform. So, every time you use it, log in, like the tracks you love, and keep it buzzing.

Mistake #10: Never spam others.
The whole idea behind the comment system, and the waveform players, is that people would be able to leaving precise and constructive feedback on people their music. It’s supposed to add value, to help artists make better music, and to allow fans to praise what they think is great. There’s always been a group of people on that platform that place comments along the lines of

“Great track! If you like this, I just made a new EP. Check it out!”

Never EVER be that guy!

Mistake #11: Not adding value in your comments.
When you comment on other people’s tracks (which you should actively do by the way… interact with the stuff and artists you truly appreciate), make sure to add value. A simple ‘Nice’ or ‘Great drop’ works, but doesn’t hold as much value as actually giving some intricate feedback. Don’t be hesitant to be critical either. Usually, the more honest and critical feedback is more likely to get a dialogue started.

Elaborate and constructive comments can be conversation starters, and will also lead people to check out your profile. And if you do it this way, it’ll actually be genuine, and not from screaming for attention. Add value, to get value.

Mistake #12: Not replying to all comments
This is one of the most overlooked, yet most powerful ways to harness the community aspect of Soundcloud. Reply to EVERY comment someone makes on one of your tracks. It’s by far the best way to get people to come back to your profile, and they’ll likely proceed beyond that (by checking your website or other social-media platforms), because it shows of genuine interest.

Doing this is simple: you go to one of your tracks, and you click on the little comment bubble indicator which shows how many comments a track has. That’ll take you to a list of the comments, where you can click on each of them to place a reply. When you do, place comments that actually make sense.

Mistake #13: Replying as a bot would.
A genuine ‘thank you’ works, but prevent yourself from typing the same ‘thank you’ responses to numerous comments. Personalize the stuff.
These are essential basics that you should integrate in the way you work with Soundcloud. Implement these consistently, and you will see cumulative results coming through in your fan base growth and engagement. You might even make some actual friends.

My experience using these tricks has been absolutely great, and I can truly say that I have fallen in love with the platform. It’s such a good way to help people connect, and if used correctly, it can really contribute to a rising musician’s growth.

Now before I continue and tell you literally everything about Soundcloud that I know, I need to stop.

About the Author of this article:
Budi Voogt is an artist manager, label owner, and longtime user of all things Soundcloud. His newly published book, The Soundcloud Bible, could become a reference for years to come. Sign up for his newsletter for interesting tidbits like this.