Three Music Publishers You May Not Know

Typically when we think of music publishing companies to license our songs and music, major names like BMG, EMI and Universal are what come to mind.  Here is a look at three lesser known independent music publishers that are actually pretty big in their own right.

Chrysalis Music - http://www.chrysalismusic.com/

Although Los Angeles based, Chrysalis also has locations in Nashville, New York and abroad in countries such as the United Kingdom, Germany and France. They offer mechanical, synchronization and print licensing of works by a wide range of artists and songwriters they have on their roster. Finger Eleven, Gnarls Barkley, Estelle, Cee-Lo, the Yeah Yeah Yeahs, and even actor turned singer/songwriter Robert Downey Jr. are just some of the many artists whose songs are licensed by Chrysalis Music. When describing the company, President Kenny MacPherson states, “Our strength as a company is in our name and all that it stands for. It’s a brand name that points to our great legacy of finding and developing artists” (“Music Publishing,” n.d.).

Peer Music - http://www.peermusic.com/peermusic/index.cfm

Peer Music was established by music producer Ralph Peer back in 1928, and today has “32 offices in 28 countries around the world," hence why the company refers to itself as “the Global Independent” (“Company History," n.d.). In Peer Music’s catalog you’ll find many works by number of Latin artists as well as songwriters/singers like Melanie C (formerly of the Spice Girls), the late Buddy Holly and Ester Dean (who wrote chart toppers like Katy Perry’s “Firework” and Rihanna’s “S&M”). Peer Music provides many licenses for use of its clients’ material including synch licenses for advertising, TV, film, video games or other interactive media, as well as lyric reprint, adaptation/derivative and live performance licenses.

Bug Music -  http://www.bugmusic.com/

Bug Music is a music publishing leader that was started in Los Angeles in 1975 by a man named Dan Bourgoise.  His great love of the music industry has led to the company’s success and expansion to other offices in New York, Nashville, Munich and London (“About Us,” n.d.).  Bug Music provides mechanical, print, synchronization, and performance licenses for songs by some talented clients like Bruno Mars, Kara DioGuardi, Iggy Pop and Tenacious D.

For a list of even more music publishers throughout the United States, the United Kingdom and Canada, visit http://www.songwriteruniverse.com/publisherlist.html.

References:

About Us. (n.d.). Bug Music. Retrieved July 24, 2011, from http://www.bugmusic.com/aboutus.aspx

Company History. (n.d.) Peer Music. Retrieved July 24, 2011, from http://www.peermusic.com/peermusic/index.cfm/about-us/company-history/

Music Publishing. (n.d.) Chrysalis Music Group USA. Retrieved July 24, 2011, from http://chrysalismusicusa.com/about/what-we-do/music-publishing/

Images:

[Bug Music logo]. Retrieved July 24, 2011, from http://www.hypebot.com/hypebot/2010/06/indie-publisher-bug-music-for-sale-for-300m.html

[Chrysalis Music logo]. Retrieved July 24, 2011, from http://www.musikmarkt.de/Aktuell/News/News/Warner-und-BMG-an-Chrysalis-interessiert-Freitag-05.-November-2010

[Peer Music logo]. Retrieved July 24, 2011, from http://www.musicnotes.com/publishers/peermusic.asp

An Entertainment Lawyer’s Point of View

On June 24, 2011, I caught up with attorney, Nicole Weaver, ESQ., while she was taking a break at the Florida Bar conference. We had a nice chat about what it’s like to be an entertainment lawyer, some legalities to look out for when starting your own business and the importance of trusting in your legal counsel.

Allyson Urban (AU): How did you get started in Entertainment Law and how long have you been practicing?

Nicole Weaver (NW):  I’ve been practicing since 2001. I got started in the entertainment industry when I was much younger and I didn’t like being in front of the camera, but I loved the industry as a whole. My grandfather was a lawyer so I was interested in the law as well. When I met an entertainment attorney during my entertainment career, I thought that’d be the perfect opportunity to meld together my two interests without having to be in front of the camera. I ended up interning with that same entertainment attorney to get a feel for what the business was all about. From there I went to law school and then got a job with SONY Pictures [out in California]. Unfortunately 9/11 happened the day after I passed the [Florida] bar, and the day after 9/11, SONY had to reorganize and could no longer provide me the position. I moved back to Florida and met the Florida Film Commissioner who was kind enough to share my name whenever he was asked if there was an attorney in the state that he would recommend. Thus I tripped and fell into my own practice. And it’s been a blessing to have this practice to build, and rely on and have fun with quite frankly.

AU: What has been your biggest challenge so far as an entertainment lawyer and what advice would you give to someone wanting to get into the field?

NW: I’d say the biggest challenge is that you’ve got to know people and know the law and know business – all in one whack. You’ve got to understand all those things in order to make somebody who knows nothing but business or the creative side of things listen to you and realize they may need to change their stance on something. It’s important to get people to trust you enough that they can rely on the fact that your education and background will stand on it’s own and that your advice is good advice. A lot of times what they’ll do is listen to your advice and then go and do exactly the opposite, and then they never succeed on that front and always end up coming back. You don’t want people to learn things the hard way considering they’re paying you, and you want them to have a good experience from what they’re doing.

AU: What are the most common types of contracts that you deal with?

Nicole Weaver

NW: It’s between investors of companies or people building their companies to begin with.  I do a lot of operation agreements, or that type of thing, where two people are getting together and are going to make a film happen; or two people are getting together to be a production or music company. I make contracts for them to make sure they start off on the right foot to begin with where everybody understands what they are supposed to be doing, and to make sure if somebody isn’t doing it they have a recourse at it. More specifically as far as the entertainment industry, I see primarily film contracts and contracting the crew and members of the cast.

AU: For my business plan for school I’m developing an Orlando nightclub that would feature live entertainment performers. For someone wanting to start a live entertainment venue such as that, what would be the first legal responsibilities you’d suggest they take care of?

NW: First they’d need to start their business, so incorporate in some way, form or fashion. If you have partners, again make sure that everyone has their duties and responsibilities spelled out to earn their portion of the business. Get it all reduced to writing who’s putting in the money and who’s putting in the services, etc., and do that quickly. Then of course you’d need liquor licenses, ASCAP/BMI public performance licenses and various ordinances.

AU: What would be the biggest misconception or the most common legal error that you see for people starting these live entertainment venues?

NW: It’s funny because they pick up the big things that they see, like getting the performance licenses, but the biggest mistake is not getting something reduced to writing as far as who does what in the business, how to get out of the business if they want out and how the business is valued. [People are often] jumping straight in with both feet without putting the touches on the legal aspects between themselves and whoever they’re dealing with. The other thing would be if you have a pure investor, did you disclose everything that you need to disclose for the amount that they’re investing? If someone is a pure investor versus someone being an investor/business owner, there are a lot of ‘i’’s to dot and ‘t’’s to cross because you have to make sure you comply with both state and federal regulations if there is a certain amount of money involved. Often times people are just trying to get the door open so they can earn some money, but in the meantime they’re not putting in the time and effort to make sure when that money comes in that it’s a stable business that it’s coming in to.

AU: Since you practice in Florida but have also done work in California, are there any entertainment laws that apply specifically to this state and aren’t seen in other places, or vice versa? Or is it just pretty standard across the board?

NW: For the most part it’s standard. Florida has some unique views on privacy laws that are a little different from California. Family Law is completely different as well in California than it is here in Florida. But as far as Entertainment Law, there are not terrible differences, but the main one I see is with the privacy laws.

AU: What would be your main piece of advice to someone wanting to obtain legal counsel for the start of their new business?

NW: Find counsel that you trust, and rely on them, absolutely, 100%. Make sure you get represented by someone in your specific type of business and that they know the ins and outs involved. For example, you wouldn’t want just any attorney handling your real estate contracts, but rather you’d want someone who practices in that field quite often. You want to trust them so that even if the path they suggest is more costly or time consuming than you want, you still know that is the direction you need to go.

From the short time I spent talking to Nicole Weaver, I got the sense that she is as trustworthy as entertainment attorneys come. I plan to keep her number on file for any future Florida entertainment establishment I may start, that’s for sure! When I asked her hourly rate, she let me know it can possibly fluctuate up or down depending on the state of the economy and situation involved, but has held pretty steady at $225.00 over the last couple of years. She has a passion for assisting those “starting off on the ground floor” and being involved in something that is “new and coming to fruition.” If you are that start-up company seeking an entertainment lawyer in Florida and are interested in speaking with Ms. Weaver yourself, you can find her contact information on her website  - http://www.legalweaver.com.

In Legal News...

There are legal battles happening everyday in the entertainment industry, specifically when it comes to protecting personal image and intellectual property. Here is a look at some recent decisions that have played out concerning the music business.

Shirley Jones

1.) It was recently determined in a court case involving the mom from the Partridge Family, Shirley Jones, that choosing to walk the red carpet means you are allowing images of yourself to be taken there and sold (Gardener, "Judge: Celebrities" 2011). According to Eriq Gardener of The Hollywood Reporter, Jones claimed that Corbis Corporation, a company that licenses the rights to digital images, "breached her publicity rights" by having red carpet photos of her on their website. The judge ruled in favor of Corbis though, saying Jones did not deny "that it is the custom and practice in the entertainment industry that red carpet photographs are widely used and disseminated," and common practice to "pose for photographers and agree to their requests to smile or to look in their direction" ("Judge: Celebrities"). I agree with the court's ruling and I'm not sure why Jones thought it strange when pictures of her in that public, routine picture-taking setting were being distributed. Well fair warning all you up-and-coming artists - the red carpet is where you go to be seen and where photographers will be waiting to legally make a buck off your image.

2.)  On April 11, 2011, former governor of Florida, Charlie Crist, released the following YouTube video apology to David Byrne of the Talking Heads:

This apology came as a result of a lawsuit the singer filed against Crist for using the Talking Heads' song "Road to Nowhere" in a 2010 Senate campaign video without permission from the band ("Crist, Talking Heads," 2011). Although it was not disclosed if Bryne received the $1 million he was asking Crist for ("Crist, Talking Heads"), we know he is at least happy to have won the case and receive a public apology from the politician for infringing on his copyright. Apparently using songs in political campaign ads without first receiving the necessary permissions is done pretty often by those running for office ("Crist, Talking Heads"), and Bryne stated his "hope is that by standing up to this practice, maybe it can be made to be a less common option, or better yet an option that is never taken in the future." I hope that to be true as well because we don't want to elect officials to help enforce laws that they can't even adhere to themselves.

3.) Last month, popular music file sharing site, LimeWire finally settled with the Recording Industry Association of America (RIAA) after "five years of heated litigation" (Gardener, "Record Labels Settle" 2011). LimeWire was already hit with an injunction in 2010 ("Record Labels Settle"), much to the dismay of free music lovers, but the jury trial was still going in order to determine the actual damages LimeWire incurred on the recording industry by distributing those free music files and infringing on their musical copyrights. Mitch Bainwol, Chairman and CEO of RIAA, seems very satisfied with the $105 million settlement check they will receive and states, "this hard fought victory is reason for celebration by the entire music community, its fans and the legal services that play by the rules" ("Record Labels Settle"). I agree.  Anyone on LimeWire's side though needn't feel too upset about the outcome considering the  company could have ended up paying out billions of dollars had the lower settlement not been reached. If you support the RIAA's endeavors to save the music industry and are interested to know what is to come now that the LimeWire battle is over - check out a sneak peek of their next fight: http://www.hollywoodreporter.com/thr-esq/riaa-picks-a-new-legal-190232

References:
Crist, Talking Heads singer David Byrne settle lawsuit. (2011, April 12). ABC Action News. Retrieved from http://www.abcactionnews.com/dpp/news/state/crist,-talking-heads-singer-david-byrne-settle-lawsuit
Gardner, E. (2011, May 31). Judge: Celebrities who walk red carpets consent to photos being sold. Hollywood, Esq. Retrieved from http://www.hollywoodreporter.com/thr-esq/judge-celebrities-who-walk-red-193320
---. (2011, May 12). Record labels settle massive limewire copyright lawsuit. Hollywood, Esq. Retrieved from http://www.hollywoodreporter.com/thr-esq/record-labels-settle-massive-limewire-188028
Images:
[Shirley Jones]. Retrieved June 6, 2011, from http://musiclinernotes.wordpress.com/2010/08/02/shirley-jones/
[LimeWire logo]. Retrieved June 6, 2011, from http://news.cnet.com/8301-31001_3-20006958-261.html

Artist Management 101 with Joe Mulvihill

On May 20, 2011, I got to chat with Joe Mulvihill, artist manager at LiveWire Entertainment in Orlando, Florida. After starting out as a performer himself at Universal Studios, Joe worked his way up in the entertainment industry to now managing great performers like Boyz II Men, En Vogue, Salt-N-Pepa, Wayne Brady and Joey Fatone. He’s a very busy man with a large artist roster to manage, and here is what he had to share about being an artist manager when I was fortunate enough to snag a little bit of his time.

Allyson: You have a pretty good bunch to manage, how do you juggle them all?

Joe: Well, I get a little bit of help. The key to the whole thing is connecting dots and keeping a plan on course. There’s no real science to it. A good manager is somebody who keeps the focus of the long-term vision of the artist’s brand. You’ve got to keep it all in check. I probably talk to each one of my acts every day even if it’s just for two or three minutes. Some are more hands on than others - some are more self-sufficient while others have a lot going on. Boyz II Men for instance have something going on everyday. There’s always something to juggle and manage.

Allyson: How did you become an artist manager?

Joe: I worked at Universal Studios for a long time and loved the entertainment business. Then I started working for the Orlando Magic in entertainment, then NBA teams, NFL teams, and MLB teams with entertainment across the board, from in between innings to in between time-outs – all sorts of stuff. At the time the group ‘N SYNC was just starting and I had worked with all those guys at Universal Studios. On a number of occasions they said ‘come work for us,’ but I was too busy doing my own thing. Then I saw a video from them in Europe with people chasing the bus and things when no one had heard of them yet in the United States. They called me again and said ‘hey, we want you to come work for us,’ and I said ‘you know what, maybe I’ll just start helping you out a little bit.’ Then I got caught up in that whole circle with ‘N SYNC and, next thing you know, I was their road manager and six or seven years flew by.  They became the hottest thing going, and when you’re with the hottest thing going, everyone looks at you like, ‘oh you must be smart because you’re with the hottest group.’ From there I started getting calls from other acts because they got to know me.

Allyson: You talked a little bit already about how you stay in touch with your artists on a day-to-day basis, but what are some of your other daily tasks as an artist manager?

Joe: I wake up and try to think of a new position for the artist. For example, I probably take an hour to think about Joey Fatone’s future – where do I want to go with him; where does he want to go; what goals is he not accomplishing. Same thing with Boyz II Men, same thing with Wayne, etc. I treat it just like I’m selling a computer, only difference is it’s a person, or a brand or music.  I feel like this business never really sleeps. I give [my acts] my home phone number so they can get ahold of me when they’re in Europe, Japan or Australia. I’ve gotten 3am phone calls before - it’s just part of the business.

Allyson: What would you say is the most important thing about being an artist manager?

Joe: I’ve learned that you’ve got to tell [the artist] the truth. I’ve noticed in this business nobody wants to give an artist bad news, but I’ve learned to give them the bad news [when it comes up] because it’s not going to change. You need to deliver that bad news fast and it should never come from anyone else but you [as the manager]. Also, you and the artist have to have fun or there’s no reason to work together. I stress to all my crew that ‘if you’re not having fun, let’s think about what we have to do to have fun,’ because this all could end tomorrow. You can’t entertain and make people happy if you’re miserable.

Joe Mulvihill (2nd from the right) having fun with some of his artists (Joey Fatone and Nathan Morris from Boyz II Men) and the owners of Animal Kingdom at the 2011 Kentucky Derby, as they all celebrate their stake in the winning horse.

Allyson: What has been your greatest challenge as an artist manager so far?

Joe: The greatest challenge is doing the right thing for the brand, even though it may be stressful for the artist or they don’t want to do it, or the artist doesn’t feel like it’s the right move. I have to keep them focused on the long-term. In this business everyone is surrounded by ‘yes’ men. Even though you do have to stroke artist egos sometimes, you can’t always say ‘oh ok, nevermind’ and let them get out of something they might not be crazy about if it is ultimately going to better their brand. You have to get them to know they’re doing the right thing.

Allyson: If you were to give advice to someone trying to get into artist management, what would it be?

Joe: Do it because you want to see the act win, not because of yourself. As soon as you start doing things for yourself you lose focus. You have to do everything for the act; the right thing for the act. You have to earn their trust in this business.  Also, keep it simple (don’t over think things), and don’t be afraid to make a mistake because we’re all only human.

The Importance of Image and Stage Presence

You'd think if a singer has killer pipes, they'd get picked up in the music industry for pure talent alone, but that usually isn't the case. Take the singing competition American Idol for example. A lot of performers come through season after season that are amazing vocally, but they are missing something that connects with the American voting public and they don't make it to the end. Many of us where shocked when Tamyra Gray got voted off Season 1, because it seemed like she was a much stronger singer than Nikki McKibbin and Justin Guarini who surpassed her (Season 1, n.d.).

Tamyra Gray

Although an amazing voice counts for a lot, image and stage presence are key factors that also play into music industry success for any artist.  As entertainment lawyers Xavier Frascogna & H. Lee Hetherington (2004) state, "constantly and objectively [measuring] the overall impression the artist makes on his or her target audience on and off the stage" is essential for "career survival" (p. 82). Perhaps Tamyra wasn't standing out enough with her image or making a big enough impact on her target audience in order to gain enough votes to stay longer in the Idol competition.

Britney Spears

While it seems some great singers get the boot too early on in their music endeavors, others that are less vocally impressive seem to have it made in the music business. If top selling artists like the Black Eyed Peas (BEP) and Britney Spears came out with slow a capella records, it's not likely anyone would be interested. BEP and Britney have great looks and fun dance tracks that allow them to put on exciting live shows. These factors outshine their lack of amazing vocal ability and are what have built them into the superstars they are.

Britney is not that strong of a singer, but she developed a very strong fan base wearing outfits like what you see to the right and dancing her butt off on stage. Even when she went through a pretty public personal crisis everyone was rooting for her to get back on track and return to the strong performer that she had been. With the success of her recent albums and concert tours, it appears she has done just that.

Doing a lot of humanitarian work definitely helps to boost BEP's overall public image, in addition to wearing crazy, unique outfits on stage and putting on fun, high energy performances. If you happened to miss BEP performing at this year's superbowl halftime show, here it is for your viewing pleasure:

Although they sound pretty bad, the whole show is such a spectacle and the overall performance so entertaining that you can't help but watch. BEP's image and stage presence are what save them - case and point why those two factors are essential to an artist's career.

References

Frascogna, X. M., & Hetherington, H. L. (2004). This business of artist management (4^th ed.). New York, NY: Billboard Books.

Season 1 Top 10 Contestants. (n.d.). Retrieved May 8, 2011, from http://www.americanidol.com/archive/contestants/season1/

Images
[Black Eyed Peas]. Retrieved May 8, 2011, from http://www.ticketsmore.com/black-eyed-peas-concert-tickets/index.html 
[Britney Spears]. Retrieved May 8, 2011, from http://www.gambling911.com/Britney-Spears-Robbie-Williams-110806.html
[Tamyra Gray]. Retrieved May 8, 2011, from http://remote.lohudblogs.com/2008/01/13/top-20-idol-contestants-of-all-time-10-tamyra-gray/

Entertainment Negotiation Insight from Lindsey Setting

On April 13, 2011, I sat down with Lindsey Setting, Contracts Manager for the Talent Casting, Booking and Contracts Department of a well-known central Florida theme park.  Having been in this role for over 2 years now, Lindsey has had plenty of experience negotiating contract terms with professional, in-park entertainers and she knows how to walk away with a successful new hire or extension for the company.

Allyson:  What are the types of negotiations that you deal with on a daily basis?

Lindsey:  I do contract negotiations with performers – actors, singers and dancers – represented by the [Actors’ Equity Association] union.  I also negotiate with agents of some of the performers. 

Allyson:  How do you deal with negative emotions received from those you are negotiating with?

Lindsey:  It’s really a case by case basis.  I just focus on the positive and let them know if I’m not able to give them exactly what they want that it doesn’t take away from their value.  I stress that it has nothing to do with their performance, just that it’s all we can do right now.  I also do not promise anything in the future.  If the performer continues to push for more then that’s where I have to give them a bottom line.

Allyson:  How to things such as “role” and “status” play into your negotiations?

Lindsey: “Role” and “status” go hand-in-hand for us.  If the performer has a higher skill-set/status, we may have the ability to offer them more.  If the role we’re casting for is hard to fill (such as a singer, dancer and puppeteer combination role), we may negotiate higher to get someone with that extensive skill-set, because we have to compete with the outside [entertainment] market as well.

Lindsey Setting

Allyson:  Do you find it is important to maintain a good working relationship with most of the people you negotiate with?  If so, how do you maintain this relationship when the deal is less favorable to the other side and/or you can’t give them what they’re asking for?

Lindsey:  Yes, it’s very important to maintain a good working relationship with the performers, especially when we need to move them around to other shows [in the parks].  If we have a good relationship with them, they’re more likely to do so.  If a deal seems less favorable to the performer, I explain to them the variety they can be involved in with a move, or a new show here, and get them to look at the bigger picture.  It’s always important to be respectful.  It’s so on-going with us, unlike outside areas like Broadway.  We want to maintain a good relationship with the cast in hopes they’ll stay if offered in the future.

Allyson:  How do you persuade someone to accept a job if they are on the fence?

Lindsey:  I always put it on their shoulders and tell them they have to do what’s best for them.  If we don’t pressure them, 9 out of 10 times they’ll come back to us [and accept].  This is where we also have to reiterate the positive and sell the stability of the company (i.e. a year-long contract with full benefits).  We have to get them to see the strength of the offer and that it’s more than their pay, and it truly is their decision.

Allyson:  What advice would you give to someone just starting out as a negotiator?

Lindsey:  Use common sense and keep it focused on the individual even if they bring up another candidate or another performer’s contract.  If the performer asks for more money, always ask them for a number – how much more they were thinking.  If they have a high request, don’t give it to them right away but say something like “I’m pretty sure we’re not going to be able to reach this, but I’ll do what I can” [and then talk it through with the team before getting back to the performer].  When talking with an agent instead, be especially prepared [with numbers and data] before calling, in order to minimize the time spent going back and forth between you, the agent and the performer.  Also if you say “that’s it,” stick to it.  You don’t want to lose your credibility for the next go round.

Music Marketing Tactics that Make People Take a Second Look...or Listen

So your band has written some great songs and finished recording an album.  Now you need to get your music out there and build a following.  You'll have to come to terms with the fact that you're not going to make much money at first until people actually know who you are and care enough to pay for your music and merchandise (Herbert, 2010).  (If you really love playing music, then it shouldn't be all about the money anyway, right?)  Simply giving your music away in the beginning and performing as often as you can (wherever you can) are two major ways to help spread word of your group and develop the fan base that is needed to keep your musical career afloat.

Here are some interesting, more specific marketing ideas I found that you can use to get people listening, and later on down the road make some decent music sales:

1.)  Put a "squeeze page" on your website (Herbert, 2010).  Similar to the picture to the left, a squeeze page is where you can post a video of your group speaking directly to potential new fans.  After giving them a brief intro to who you are, tell them they can score a free copy of your album by joining your mailing list.  This way you are are gaining name and contact information from those hearing that free music.  They can spread your music and you have a way to get in touch with them later on to further promote your band.

2.) Play live in places other than typical performance venues in order to attract attention.  Knab (2003) suggests being "the musical entertainment for your favorite local record store."  Or see about playing for free at local schools, parks and/or restaurants where your target listening demographic is likely to hang out.

3.)  A couple creative printed marketing ideas are promotional Post-It notes and business cards with lyrics (Knab, 2003).  Instead of handing out regular flyers promoting your next live show, album or website, hand out pre-printed Post-It notes with that information so the ideas "stick" better with people.  If you plan to hand out business cards to prospective music business partners, have them printed with some good lyrics from your songs or even some cool facts about the band to catch their attention.

4.)  If you have the resources and are ready to sell, do something different with your album packaging.  Although most music albums are sold digitally these days, you can hang on to physical CD sales if you step outside of the normal jewel case or cardboard sleeve.  For example, Indonesian group Tika and the Dissidents released their 2009 album, The Headless Songstress, "wrapped in a thick floral fabric" including "a free notebook in which listeners could write their own lyrics, as well as a booklet full of photographs of old Jakarta [Indonesia]" (Thee, 2011). Their album turned out to be one of the best local records of the year in Jakarta.


If you can be creative in your music marketing techniques, you will have a better chance of getting your band heard and eventually making a profit off of doing what you love.  For some other unique guerrilla music marketing ideas, go to http://www.musicbizacademy.com/knab/articles/gmm_suggest.htm.  To read about some creative marketing approaches taken by specific music groups like Tika and the Dissidents, check out this article from the Jakarta Globe.com: http://www.thejakartaglobe.com/lifeandtimes/the-art-of-music-marketing/430176.

References
Herbert, E. (2010, March 13). The evolvor music marketing manifesto for 2010. Retrieved March 20, 2011, from http://evolvor.com/2010/03/13/the-evolvor-music-marketing-manifesto-for-2010/

Knab, C. (2003, April). Guerrilla music marketing suggestions. Retrieved March 20, 2011, from http://www.musicbizacademy.com/knab/articles/gmm_suggest.htm

Thee, M. (2011, March 19). The art of music (marketing). Retrieved March 20, 2011, from http://www.thejakartaglobe.com/lifeandtimes/the-art-of-music-marketing/430176


Images
[Squeeze page]. Retrieved March 20, 2011, from http://www.alberthallado.com/video-squeeze-page-template-free-download-its-my-birthday/
[Post-it notes]. Retrieved March 20, 2011, from http://www.lifehack.org/articles/lifehack/post-it-note-calendar.html 
[Tika and the dissidents album]. Retrieved March 20, 2011, from http://omuniuum.net/cd-the-headless-songstress-tika-the-dissidents/