For Example, “Affiliate Programs” – Did Someone Tell You About That, Did You Come Across It On Your Own Or Were You Approached By A Company?


I learned about it from a killer podcast


I recommend in my seminar called “Smart Passive Income”. Each episode is an inter- view with an entrepreneur. I heard an epi- sode explaining affiliate programs and with- in 2 days discovered that the “Transcribe” software company offers an affiliate pro- gram. So I put their code in my web store and get almost 1/3 of any sale that happens from someone discovering it from my site. That company is more generous than most I must add. A company like Amazon doesn’t need your help so you get 3%.


which she obviously puts effort into, to all aspects of her creative musical output. Fans know she’ll look wild, have deep lyrics, and creative music as well as being on the cut- ting edge of technology. It’s all part of her brand that makes her stand out.


Did You Have A “Music Business


Mentor” When You Were Coming Up? No, that side was always a mystery


and there were always middle men like A&R guys at record companies before wide spread internet use. They were like big road blocks to progress; beyond them were the purse strings, you needed to get into a good studio and get in debt to the record com- pany. It was not a pretty or hopeful sight for most. It wasn’t until we became empowered via the internet to take charge of our own destinies combined with repeated manage- ment failures, that I took a big interest in taking the reigns.


How “Hands-On” Are You In The Business Of Your Career Today As Opposed To When You Were The


Side-Player With Michael Jackson Or Jeff Beck?


I’ve had “run ins” with four or five dif- During Your Workshop You Discuss


“Branding”, How Important Is Image To A Career In The Music Industry?


It’s extremely important. Anyone on the planet with internet access can now have music distribution, a store, and make videos with free software and smart phone cameras if they choose to learn how. So there are so many people out there doing it that it takes something special and thoughtful and cre- ative to actually grab someone’s attention for more than the average attention span of 7 seconds. If a great player puts out a video with crap lighting and sound and someone that’s average has a beautiful looking presen- tation, guess who will get the most viewers? The presentation is part of the brand way beyond content. A great example of a great brand is Imogen Heap. Her creativity seeps through all aspects, from how she dresses


MARCH 2016


ferent ‘managers’ in my career during the MJ/Beck days, and they all turned out to be psycho liars so I refrain these days. I once asked John Jorgenson who managed him and he said he is self-managed. That was a little confirmation that maybe that’s the best way to go. And NOW he has a manager! He must have found someone special. I have to admit that for me it’s really nerve racking that someone else is speaking and making deals on my behalf. It can be a bit of a shock if your minds are not in alignment. When word got back to me of things that were said by various “managers,” I flipped a few times. I remember I told a guy who got involved just prior to the Jeff Beck gig that basically I’d play with Jeff for a cup of coffee. He turned around and told Jeff ’s manager what I was used to making and expected Michael Jackson pay. Michael charged a lot per seat and could fill 50k continuously. That could have lost me the gig. It’s much easier these days now that anyone can contact me via the internet. When people say “I didn’t know how to reach you”, I just want to say “Was your Google finger broken!?” That


47


excuse doesn’t even exist anymore. So 99% of my gigs and sessions are sorted out on line whether via Facebook or just clicking “Contact” on my batten.com site. I’ve done sessions for people all over the planet from the comfort of my home. So to answer your question, I do it all. For last summer’s tour, it was more than full time for 6 months, cre- ating content and doing logistics. Taking it all on yourself is not for the faint hearted. It’s all encompassing, but at least I know ex- actly what’s being done and there are no sur- prises of something that’s been neglected. I guess the best case scenario would be to be in complete alignment with a manager who has significant contacts and isn’t a rip off. I don’t know if that exists.


When You Speak To Young Musicians Do You Believe They Are Prepared For The Current Climate Of The Music Business?


(Meaning, Being More DYI In The Busi- ness Aspect Of Music –


Websites, Branding, Recording, Etc).


No, they’re not prepared unless they’re open to learning. There is a lot of informa- tion on line but it’s confusing and a lot of it is predatory. If you have to pay a lot of mon- ey to “get your music heard”, you’ve found yourself a predator. I don’t think there’s any shortcut to getting out there unless you get launched into the 1% with significant in- vestment money. There’s a small % that go viral on Youtube, which can often be a tem- porary launch. There’s a lot more work to go into continuing the attention so you really need a solid foundation and a vision. Young musicians need to focus 90% on the music and growing in artistry and 10% on their branding. Branding isn’t something I think the young need to stress about. Instead, they should just be open to sending creativity into those thoughts. There is a certain amount of time I think you just need to focus on devel- oping your craft. 10,000 hours is the com- mon belief in ‘mastering’ anything. In the beginning it’s going to morph 1000 times before you find an original voice. I think the whole “American Idol” mentality of in- stant fame from obscurity is dangerous on a person’s phyche. Most of the top 10’s have been forgotten by now. If you don’t grow into your career organically and learn and become strong in the process there’s a good


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