Bobby Borg MCM, is a former major label, independent, and DIY recording/touring artist. He also served as the VP of Special Events for the American Marketing Association and Interim Chairman of Music Business at Musician’s Institute. He is an assistant professor of practice in music industry studies at University of Southern California’s Thornton School of Music. He is the founder of Bobby Borg Consulting and author of The Musician's Handbook, Music Marketing for The DIY Musician,Business Basics for Musicians, Introduction to Music Publishing for Musicians, and Personal Finance for Musicians. Visit bobbyborg.com.

"An exceptionally well-written, thorough, and competent book for an author who is a non-attorney. Bobby’s book is extremely valuable to anyone trying to understand the new music business.”

• ContentsForeword by Michael Garcia, Chair of Music Industry, University of Southern CaliforniaWelcome Fam—both New and Existing. Here’s What’s Updated and Improved PrefaceAcknowledgmentsPart 1: Career Execution 1.Pursuing a Career in the New Music Industry: 16 Tips (and then Some) for Career SuccessQ&A with Michael Levine: Attributes of The Super Successful Part 2: Business Relationships 2.Band Membership, Part 1: Formation and Self-ManagementHow and Where to Look for MusiciansCriteria for Choosing Band Members The Day-to-Day Operating Rules of the Band3.Band Membership, Part 2: Partnerships, Trademarks, and Business EntitiesBand Membership Agreements Q&A Jeff Cohen: Trademarks, Business Entities and More4.Contract Employment or Self-Employment, Part 1:Gigs and UnionsGetting the Gig: How to Be a “Working” MusicianSeeking Fair Treatment and Guidance via the AFMSeeking Fair Treatment and Guidance via SAG-AFTRA5.Contract Employment or Self-Employment, Part 2: Employment Agreements and NegotiationsWorking for Employers with Limited BudgetsWorking for Employers with Larger BudgetsWorking for Employers Who Offer a Salary and Percentages 6.Contract Employment or Self-Employment, Part 3: Income Taxes and InsuranceUnderstanding Your Income Taxes: Ten Common QuestionsWorkers’ Compensation Insurance The IRS: Qualifications for Employment 7.Solo Artist and Employer: Pros, Cons, and ResponsibilitiesThe Advantages of Going SoloThe Disadvantages of Going Solo Leaving Member Clauses: The Record Company’s Rights to Solo ArtistsThe Business and Legal Responsibilities of Solo Artists Q&A with Justin Paul: Solo Artists and DJ EntrepreneursPart 3: Pro Teams8.Entertainment Attorneys: What They Do and What They Cost YouThe Role of an Attorney in Your CareerHiring Your AttorneyAttorney Fee StructuresGetting The Most Out of Your AttorneyA Conflict of InterestChanging Your Legal RepresentationDIY Spotlight: Low- To No-Budget Tips For Handling Legal Matters9.Personal Managers: Roles, Options, and AgreementsThe Role of a Personal Manager in Your Career Management OptionsManagement AgreementsDIY Spotlight: Self-Management Checklist For Fledgling ArtistsQ&A With Michael Kaminsky: The Future State Of Management 10. Business Managers: Bills, Investments and MoreThe Role of a Business Manager in Your CareerHiring Your Business ManagerImportant Terms of Your AgreementDIY Spotlight: Self-managing Your Finances and Your Life11. Talent Agents: Work, Scope, and ContractsThe Role of an Agent in Your CareerHiring Your AgentTerms of the AgreementDIY Spotlight: Methods For Being Your Own Booking Agent Q&A With John Pantle: Words From A Seasoned Agent12. Record Producers: Creativity, Budgets, and Fee StructuresThe Role of a Record Producer in Your CareerWhen and How a Producer May First Get InvolvedAdditional Responsibilities of the Record ProducerHiring a Record ProducerThe Record Producer’s Compensation StructureDIY Spotlight: Examples of How DIY Artists Pay their ProducerPart 4: Deals and Dollars 13. Making and Selling Records, Part 1: Types of Record Deals and CompaniesDo-It-Yourself Recording CompaniesIndependent LabelsProduction CompaniesMajor LabelsQ&A with Tim Yasui: The Future and Relevance of Labels 14. Making and Selling Records, Part 2: Key Deal Issues in Recording ContractsIssue #1: Who Is the Label? Issue #2: How Much Will I Get to Make My Record? Issue #3: Can I Make the Record I Want to Make? Issue #4: How Do I Know They’ll Release My Record?Issue #5: Will I Get Guaranteed Marketing Support? Issue #6: Do I Have a Say in How the Masters Will Be Exploited? Issue #7: Artist Royalties: Will I Ever Make Money from the Label?Issue #8: Controlled Composition ClausesIssue #9: 360 Rights in DealsIssue #10: How Many Records (Or Singles) and for How Long Is the Deal?Issue #11: Can I Record Other Projects? Issue #12: Everything Else Artists Should Be Concerned About Issue #13: What Does the Label of the Future Look Like? DIY Spotlight: How To Start And Run Your Own Record Label15. Music Publishing, Part 1: Copyright EssentialsCopyright: Definition, Formation, and BenefitCopyright and Work Made for HireCompulsory Licensing for Songs on RecordsCopyright and Joint Works (aka Collaborations)Duration of Copyright16. Music Publishing, Part 2: Even More Copyright EssentialsCopyright Registration The Copyright NoticeCopyright InfringementMore on Copyright: Sound Recordings Are Copyrights, TooQ&A with Steve Winogradsky: Foreign CopyrightQ&A With Michael Eames: The Music Modernization Act17. Music Publishing, Part 3: Income Streams—Mechanicals and PerformancesShares of the Publishing Pie Types of Publishing IncomeMechanical RoyaltiesPerformance Royalties18. Music Publishing, Part 4: Income Streams—Synchronization and PrintSynchronization FeesPrint Royalties19. Music Publishing, Part 5: Sources of Income Streams— Electronic Transmissions and Foreign SubpublishingWhat Are Electronic Transmissions?Foreign Sub-publishing Income What Is Foreign Subpublishing Income?Bonus Section: Subpublishing And the Mighty Subpublishers20. Music Publishing, Part 6: Publishing Companies and Types of Deals What Established Music Publishers Can Do for Your CareerTypes of Publishing DealsOther Contract Deal PointsQ&A with Neil Gillis: DIY-Level Synch Exploitation21. Music Publishing, Part 7: DIY Publishing: Starting Your Own CompanyStep 1: Affiliate with ASCAP or BMIStep 2: File a DBA (Doing Business As)Step 3: Register with the Copyright OfficeStep 4: Prepare to Collect RoyaltiesDIY Spotlight: How to Pitch Your Music in Film, TV and Games22. Live Performing and Touring, Part 1:Purpose and OpportunityWhen and Why to Perform Live and TourDIY Spotlight: How and Where to Get Gigs: 9 Tips to Consider Q&A with Chris Arnstein: The Realities of Live Performing Q&A Bonus With Kevin Lyman: Music Festivals and DIY Musicians23.Live Performing and Touring, Part 2: Deals, Negotiations, and ContractsHow You’re Paid for Live Performance DealsHow Live Performance Deals Are NegotiatedLive Performance Contracts and Riders24.Merchandising, Part 1: Rights, Types, and CompaniesMerchandising RightsGrants of RightsMerchandising CompaniesTypes of Merchandising Deals 25. Merchandising, Part 2: Contract Terms for Tour MerchandisingKey Touring Terms in Merchandising Contracts26. Merchandising, Part 3: Retail Deals and Independent MerchandisingKey Retail Terms in Merchandising ContractsQ&A with Bob Fierro: DIY MerchandisingQ&A Bonus with Dave Cool: DIY “Online” MerchandisingPart 5: Future Predictions 27.The Music Business 2030: Future Predictions, Inspirations and WarningsKey Issues of the Future State of The Music IndustryTech Advancements and Music DiscoveryDeals and DollarsTeam-related IssuesThe Artists View's / CreativityA Global ViewTouring and MerchandisingWait: A Few More Things to Look Towards!Chapter Review and Discussion QuestionsChapter Activity AssignmentsMidterm Test (Chapters 1–14) Final Test (Chapters 15–27) Index