the savvy musician summarized

Buy the original book at: http://savvymusician.com/index.php?page=book

or http://www.amazon.com/The-Savvy-Musician-Building-Difference/dp/0982307500

For more great reads and guides visit my

website:

http://DeeFlowersConsulting.com

©Dee’s Notes, 2012



So You Want to be a Musician?

aking a living being a musician is difficult, but so is

almost any other line of work. Many musicians

today make a good solid, middle-class living. They

purse a vibrant and varied line of work that provides personal

satisfaction while adding something of value to society. To

acquire this you need a clear, but flexible vision, pro-activity,

and the wisdom to understand that career paths today look

different than those generations ago.

There are not too many musicians. There are not enough.

When music is all-inclusive, it adds significant quality to existence. As far professional

musicians, the market is oversaturated with well-trained outstanding candidates vying

for a shrinking pool of traditional positions. But the ways people are receiving their

music is changing, so there are opportunities to be creative.

In order to sustain a career you have to earn income from you talents. Many musicians

lack imagination to figure out how. There is potential there to create a career that is

prosperous and meaningful.

This book was written to help musicians build a career earn and living and make a

difference.

The Entrepreneurial Mindset

Many variables contribute to our level of success both as an artist and human being.

Savvy musicians understand that finding a lifestyle that works is much more important

than fulfilling traditional benchmarks of accomplishment

Having a vision and bringing it to fruition are different animals. An entrepreneur is

constantly cooking up hundreds of exotic recipes, many which fail. They continue

baking until something delicious emerges. After enjoying their riches they quickly return

to the kitchen.

Evaluate your skills and map your goals. Create opportunity. Don’t believe that there is

one way of “making it.” Search for existing opportunities and take it if it helps fulfill your

M



goals. Look for opportunities where they don’t exist. It lowers the competition. Propose

something completely new. Create a new market

Success begets success. If you are not catching the first success, do something outside

the frame, such as a 5 state tour. Create your own opportunity.

Luck. Perhaps it’s a skill. Here are some suggestions that increase your odds of “getting

lucky.”

1. Be good at what you do

2. Have a plan

3. Schedule regular time to evaluate how you’re doing and work proactively in

promoting your career

4. Aggressively pursue opportunities.

5. Build your network

6. Increase your perception of success, which will attract new opportunities

7. Be flexible

8. Plan a lot of seeds and see which one grows

9. Plant better seeds

10. Turn negatives into positives

Build an “empire” by becoming an expert. Create your empire by doing things like

organizing a band, make recordings, speak at conferences, write a book, start an

organization, do consultant work and be creative in the proposals you generate.

Develop a thick skin. Do not have a fragile self-identity. Rejections often times say more

about external factors and the people judging than the quality of your product. All

decisions are biased based on the unique dispositions and history of the evaluators.

But sometime rejections are based on flawed or weak submission. In this case detach

your ego and look for ways to benefit from the experience.

The key to becoming excellent is just do it.

Minding Your Business

No one is looking to simply hire talent. You have to identify your professional interests.

Just don’t come up with ideas. Have a product to sell. Physical documentation

substantiates your vision.



In identifying your audience, engage new demographics. Don’t try to appeal to

everyone. Engaging in new demographics opens up opportunities for you and can open

the whole market up to new possibilities.

Consumers are online and are interested in purchases that benefit them directly.

Distinguish your product. Many musicians spend a lot of time trying to be alike (playing

standard repertoire in standard venues with standard ensembles in standard ways) but

only better. It’s important to stand out. What features set your work apart?

You might be an outstanding performer, but attracting the first time customers typically

requires a different set of talking points that returning clients. Your actual abilities only

become a primary consideration after you have an audience’s attention.

When it comes to the ratio of content to presentation, don’t be 99:1. Be 50:50.

For brand identity, the name says a lot. It creates the first impression for prospective

customers.

For slogans and logos, the best taglines are concise, usually 7 words or less. At least you

logo should be your name in special font, design and color. Logos, though, make your

brand more memorable. Include it everywhere.

Consider the image you wish to communicate. Make sure it includes the train of success.

A written business plan increases your chances for success exponentially, whether

focused ona sing event, ongoing enterprise or you career in general. Update your plan

at least every two to five years.

Marketing is Everything

Marketing is everything and everything is marketing. Used to

increase sales, it has three overriding goals:

1. Keep past customers engaged

2. Attract new clients

3. Increase name recognition

An effective marketing campaign is one that meets constituents

on their terms. Don’t expect a simple poster campaign to produce



extraordinary results. Repetition and multiple marketing streams are necessary such as

brochures, newsletters, radio, website, e-mail, etc.

Don’t expect immediate results either. Ongoing businesses must learn the high time

points for their area. Block out regular time for your marketing efforts.

There is no fixed correlation between dollars spent and business earned. Successful

plans will eventually recoup all expenses at the minimum. Don’t be cheap with

marketing, but low-cost solutions are often more effective than high-priced ones.

Musicians who don’t effectively market their products sacrifice untold potential,

guaranteed.

You can learn a great deal about advertising from other businesses, including what not

to do.

Give potential customers a choice to opt-in, such as with free materials like an

information DVD, a free meeting or website resources.

There is no better marketing than word of mouth.

Most often people looking to hire musicians offer the work to someone they know and

like. If not one fits the bill they ask trusted friends and colleagues for a referral. Ask your

network to advocate for you. Offer them incentives like free services, finder’s fees, etc.

Types of media coverage: articles and stories, spotlight series, reviews, calendars and

event announcements, submit editorials/articles or work as a critic, news items,

features, interviews, live performances, hosting a show or event.

When pitching a story, make it easy for your suggestion to be accepted. Have a strong

hook, and gear ideas towards the organization’s target audience.

For print media, submit proposals to multiple writers and editors who deal with music

or local news if it’s a local news event.

Some newsworthy issues are: firsts, something new, unusual, controversial, interesting,

meaningful, famous, educational, and charitable.

For news releases to determine the compelling angle, answer this: If there were just one

minute to pitch your story, what would you say? Why should someone pay attention to

your news? Now boil that information down to a single, sharp, focused sentence. There

is your hook.



The release must intrigue the reader, answer in the first paragraph who, what, where,

when and why. For the remaining paragraphs, provide additional details in descending

order of importance. Less is better, but the words should not exceed 500 – 700 words.

To attract a critic give 2-4 months lead time, perhaps some follow through and a great

concert experience.

Print Materials That Scream Success

No product can realistically thrive without powerful

physical marketing materials. Even a carefully

“wordsmithed” e-mail to someone you don’t know

can lead to huge opportunities. Print materials must

get noticed by having some unusual aspect, must

reinforce your brand, must not be boring, must

inform and prove memorable by repetition, multiple

streams of publicity and a strong or distinct message.

In their book “Made to Stick: Why Some Ideas Survive

and Others Die,” by Chip and Fan Heath, certain

features make some messages better than others. Represented by the acronym

SUCCESs, they are: Simple, Unexpected, Concrete, Credible, Emotional, Stories.

The most effective writing captures four critical elements: 1) relevant message 2)

comfortable style 3) accurate text 4) fascinating.

Before scripting your bio, brainstorm: your accomplishments, background and brand,

plus some powerful testimonials that have been written or spoken about your work .

Place the most compelling information early on. Try various literary styles: character

pieces, comedic accounts, performer “trivia” lists, poems, etc.

What makes a good publicity photo? Strong impression, appropriate location, recent

and characteristic, headshot/artistic shot, simplicity, single focal point, spontaneity,

contrasts, good lighting, high resolution.

Take the time necessary to create a resume that presents you in the brightest possible

light.



Press kits include a cover (pitch) letter, news release, summary sheet/artist bios, photo,

CD/DVD recording, faq sheet, flyers/concert programs, repertoire list, press clippings,

quote sheet, other services you offer, business card, accessory, and envelope. But do

not insert all of these into one press kit. Just insert enough to interest the reviewer

without them being overwhelmed.

You can upload all your materials as an electronic press kit on your website. Many

presenters prefer to receive press kits through websites like www.onlinegigs.com or

www.sonicbids.com

Pounding the Virtual Pavement

The World Wide Web allows savvy markets to reach their target audience inexpensively

and effectively.

In order to formulate a salient Internet marketing strategy, you must first clarify your

goals. Every piece of information released to the Internet should serve some larger

purpose.

A website is the ultimate marketing tool. Without a website your product is invisible.

Without a good one your sales potential will be severely crippled.

There are many paths to creating a website. Learn to program HTML and do it yourself.

Or hire someone.

The concept of being effective is to know your audience and understand what they

want. Begin by determining what really matters:

1. What are you trying to market? If you are not actively promoting something,

don’t expect the site to help your career in any substantive way

2. What steps would you like visitors to take

3. What’s in it for the customer

4. What questions will guests likely have

5. What will draw new viewers to your site

6. What elements will hold their attention and bring them back

Do not overload your website. Less is more. Visit other websites. See what not to do

and what might be good to do.



Avoid splash pages which is an initial entry screen. Create an intuitive, user friendly easy

to navigate sitemap with a clear unified layout. Stick to a limited number of standard

fonts. Check for functionality. Seek critical feedback from friends and colleagues you

trust.

Sign up for free directories on the internet. Do a keyword search and sign on to the free

ones. Make sure there are the appropriate key words so your site pops up when

someone does a relevant search engine hunt.

Look for ways to recycle content. Try social networking sites, video-sharing sites,

organization sites, blogging, web base media like Internet only newspapers or

magazines, Internet Registries, Links (see if colleagues of complementary business will

provide a link to your site).

Email response times: many gigs are simply awarded to the person who hits reply first.

Aim for at least one relevant e-interaction each 6 month period, with not more that two

per month. Try sending “video postcards.”

For an extensive list of resources for musician, visit www.savvymusician.com

The New Recording Paradigm

The music industry has had an extreme makeover. Two major

transformations have changed all the rules:

· More choices

· Expense reductions

Mechanical royalties are paid when recordings are sold. A

certain percentage of the retail price, usually 8-25%, is divided

among performers. All funds advanced by the label must be recouped before any

royalties are paid. This includes recording, marketing, touring and other expenses.

The music industry is now faced with a dilemma. In a world where recording can easily

be duplicated and downloaded, often for free, how will artists, composers, songwriters,

publishers and labels get paid? Companies and artist are scrambling to invent download

solutions that are legal, generate cash flow, and are attractive to consumers.

Gone are the days of labels investing heavily in artists they represent, especially in the

jazz and classical worlds. On the other hand, the number of smaller, independent



companies is proliferating, due to the diminishing cost of doing business. Most labels act

like service centers than full blown sponsors.

An important benefit is distribution. A good label will already have an existing fan base

and be set up to market to an international audience through their own website,

Amazon, Barnes and Noble, Wal-Mart and/or other retailers.

Why not start your own label? One of the most challenging aspects of starting your own

label is distribution. Another possibility is hiring a pass-through, which allows the use of

an establish label’s distribution pipeline for a fee-usually 20%.

Some labels require the artist to make the big investments while they retain the

majority of the profits. Think carefully before entering this type of agreement. Going it

alone requires significantly more work, but the potential difference in payoff can be

substantial.

Even if you have an external label, it is the musician’s responsibility to sell recordings.

Here are some off line options:

· Pre sales: take orders before the recording is released

· Mailing list

· Concert sales

· CD release party

· CD Stores

· Other Vendors

· Event Recordings

By getting people to purchase your CD through your website you maximize profits. Or

you can sell through online retailers who take care of the logistics, such as the Amazon

Advantage for Music Program, CD Baby, or Garage Band.

Get free publicity from a good CD review. Visit www.savvymusician.com for lines to

magazines that review. Compile your list and compose a single-page personalized letter

to each contact on nice letterhead. You can also higher a publicist. They are typically

$1000+ per month.

Recordings are intellectual property. Theoretically, a musical creation is automatically

protected under copyright law the moment it is represented in in tangible form,

whether notated or recorded. Submit an SR form for recording and PA form for original

compositions to the United States Copyright Office (www.copyright.gov) to be safe

about protecting you music.



Extraordinary People Skills

Savvy Rules of Engagement:

· Be nice to everyone

· Be positive

· Be reliable

· Be loyal

· Involve the community

· Allow others to feel important

· Ask questions and listen actively

· Clearly articulate expectations up front

· Argue smart-Pick your battles. Never lose your temper. It’s better to be friends

that to be right.

· Never speak badly about anyone

· Think long-term

· Thank people

Networking

Practice, practice, practice, schmooze, solidify contacts, someone who likes you and

believes you are qualified sends work your way. This is how it usually works.

Here are a few ways in which members of your network can help you achieve

professional and artistic aspirations:

· Employment

· Patronage

· Financial Support

· Gifting Services and Time

· Loans

· Introduction

· Recommendation

· Endorsement

· Information

Individuals will only pro-actively help you if they like you. You must stay current. They

most likely will help those with who they’ve recently interacted.

When it comes to networking, some musicians become so obsessed with the “rich and

famous” and they forget about the “little people.” Much of the time it is the “ordinary

folk” who are willing to invest significant energy and resources into your professional



development. The people you already know may be infinitely more helpful than you

realize. This list probably expands into the hundreds.

Quality time with fewer individuals usually yields better results than unmemorable

fraternizing with the masses. These are some ideas of activities where you can further

expand your network:

· Music school

· Lessons with a “celebrity”

· Festivals

· Conferences

· Concerts

· Gigs

· Boards

· Hobbies/Interests

· Parties

· Volunteering

· Guest Artist

· Networking Meetings

· Internet

Keep a contact list. Several databases should be maintained including:

· Industry list

· Media list

· Fan/Client list

Making the “ask” can be difficult, but you may be amazed how much just asking for

referrals, donations, advice or work can accomplish. At times soliciting assistance may

be the only way to advance your career or bring your dreams to fruition.

You occasionally might have to cold call. If you have to cold call, you must

1. introduce yourself

2. Develop rapport

3. Describe product benefits

4. Generate interest

5. Receive invitation to schedule a meeting, a re-contact at a later point, or submit

materials for consideration.

You typically have 1 to 2 minutes to accomplish all five goals.



A follow up phone call 1 to 4 weeks after the material has been received is appropriate.

Personal Finance for Musicians

Many financial gurus argue that one can “retire rich’

on almost any income level. Your entire financial

profile must be considered: earnings, spending and

saving.

Your Financial Plan

1. Define your dreams and priorities

2. Analyze your current profile: i.e. is your present

income satisfactory? What debt do you have? How much have

you saved?

3. Create and implement a plan

Earning

1. Music jobs

2. Self-Employed Services

3. Merchandising

4. Competitive Awards

5. Royalties

6. Non-Music Income

For contracts, they typically include:

1. Contact information

2. Gig details

3. Fee

4. Deposit

5. Special needs/requirements

6. Merchandise

7. Cancellation policy

Much of the time, it is spending habits that prohibit people from achieving financial

dreams.

Before accepting any type of loan, consider the sum total, including interest. Is the

purchase really worth that cost?



For taxes, contractors or organizations that have compensated you more than $600 over

the year must mail you and the government 1099-MISC forms, which state the amount

of payment and show that taxes were not withheld.

For health insurance, a number of musical associations offer health care plans at group

rates to members, such as Chamber Music America (www.chambermusic.org), American

Federation of Musicians (wwwafm.org), and the Music Teacher’s National Association

(www.mtna.org).

Saving:

· Compound interest: you can invest less and get a return of more. The amount of

an investment increases as money earns interest.

· It does not require great fortune to make investing worthwhile, especially if you

are young. Many musicians that “don’t have enough money to begin thinking

about investing” spend more than $5 a day on non-essential superfluous

expenses such as coffee, cigarettes or eating out.

· What to do with savings: Pay down credit card debt, build a rainy day fund,

invest

Nice Work If You Can Get It, Part 1

Freelance work makes up the vast majority of opportunities available to performers.

Proactive players often secure significant work within a few years. Work for freelance

performers, even those who are well-connected, is irregular and unpredictable. Certain

times of the year tend to be more lucrative than others. Because of these erratic

conditions, freelancers must be particularly disciplined about saving money when times

are good.

Music contractors hire performers to fill out ensembles. They usually work for a fixed

predetermined fee paid by the employer. Booking agents hustle and secure gigs,

typically for a 10 to 20% commission of the overall amount. When seeking freelance

work, find ways to network with the hot shot contractors in town.

For getting gigs, contemplate strategies for the following;

· Getting the call

· Getting the offer

For getting more gigs, get out of playing background music.



Also:

· Create personal relationships

· Give them a story

· And continue the relationship by:

o Asking for references

o Sending greeting cards

o Gifts

o Discounts and

o Annual gigs

Ultimately, musicians are always responsible for their own success

For management, a less experienced manager with fewer contacts might be willing to

devote more time to your cause that someone juggling an extensive roster. On the

other hand, they may be unequipped to get you much work. Regardless of whether you

get your management through a firm or through one of your personal networks, it is

essential that your manager has a substantial network, clear understanding of your

vision and exceptional people skills.

Usually a 1 to 3 year contract is signed and a 20% commission on gross earning is taken

by the manager.

13 steps to booking concerts:

1. Develop an intriguing product

2. Determine the audience

3. Compile promotional materials

4. Research options

5. Script sales pitch

6. Make contact

7. Follow through

8. Agree on a price

9. Sign contract

10. Stay in touch

11. Market

12. Have a great show

13. Keep in touch



Performers as Educators

There is potential work in most regions for performers to embrace teaching

opportunities. When packaged appropriately, almost any audience is responsive to

educational events.

Lining up education work includes the same skills as lining up freelance work. Create a

brochure and website including a description of offerings, testimonials and FAQs.

Get on with a school by learning who has the authority to approve programs like the

principal or PTA director. In some regions there are booking agents who specialize in

educational programs, orchestrating events in exchange for a commission.

You can also design a workshop. Find an intriguing “hook” that allows for exploratory

journeying. Programs can be built around a composition, musical element, genre,

historical period, holiday season, or social issues such as leadership, collaboration,

multiculturalism, the environment or self-esteem.

Tips for talks:

· Make presentations user-friendly-leave out technical jargon

· Build self-confidence-with comments like “that’s a great question,” and validate

responses even if not 100% correct

· Don’t read a script

· Keep things moving

· Beware of know-it-alls by finding a polite positive way to redirect attention

When scripting an event, balance the following elements:

· Music

· Activities

· Narrative

Nice Work If You Can Get It, Part 2 (for composers)

One the primary ways composers earn income is through commissions. These

commissions can be funded by:

· Artist/ensemble,

· Ensemble grants (www.chamber-music.org),



· Composer grants from organizations like the Fromm

Foundation (www.music.fas.harvard.edu/fromm.html)

· Competitions

· Single donor

· Multiple donor

· Consortium

Some commissions come with strings attached, such as agreeing

to let the initiating ensemble give the premier performance, make

the first recording or maintain exclusive performance rights for a given period.

Self-publishing requires more work than going with a publisher. Some tools to self-

publish are:

· Website

· Other promotional materials

· Nice quality paper

· High quality laser printer

· Fax machine

· Binding unit

· Long –neck stapler

· Mailing envelopes

Music for some ensembles, especially orchestras and large chamber groups are typically

rented instead of sold. Groups pay to borrow the score for a given period of time,

retuning thereafter the performance. Rentals ensure that the publisher (you) and

composer (also you) receive additional payment each time the work is performed.

To determine whether they will acquire the music and perform it they must either:

· See it

· Hear it

· Find it

· Request it

· Commission it

· Know you

· Know of you

· Receive solicitation

Never send of unsolicited materials. Begin my making a contact instead.



For the composer to get maximum performances of their music, consider the following:

· Function

· Accessibility-will it resonate with your audience/

· Score clarity

· Orchestration

· Difficulty

· Duration

· Uniqueness

Additional Self-Employment Options

· Music Technology-engineer, mixer, editor, or producer

· Instrument Retail

· Repair Technician

· Music Author

Funding Your Dreams

If the vision and will is strong enough, there is often a way to bring dreams to fruition.

These are 6 ways of funding your goals:

1. Savings

2. Income

3. Loans

4. Grants

5. Donations

6. Fundraising Activities

Open a bank account solely for the project at hand.

Decide whether to be a for-profit or nonprofit. A board of directors, compulsory for

nonprofits, is also helpful for for-profits.

Assemble and maintain a comprehensive budget that includes both projected and actual

figure and expenditures.

Grants provide capital that doesn’t have to be repaid. Funders, however, expect a return

on your investment. They want to support endeavors that will realistically be completed

as described in the proposal.



Types of Grants (pg. 235 in the original book)

· Career Fellowships

· Collaborative projects

· Commissioning

· Community engagement programs

· Copy work

· Educational Programs

· Hosing a concert series/festival

· Programs with a social agenda

· Recording

· Researching

· Residencies

· Unique projects

· Studying domestically/abroad

· Touring

· Working with a mentor

· Writing about music

Majority of grants are earmarked for non-profits, but you may still qualify for these

types of grants as a for-profit.

Compiling the submission:

· Don’t get disqualified-reviewers look for red flags first

· Prove suitability-address every point in a grant description

· Are exceptional-projects with some outstanding feature fare best

The selection process

Rejections are for:

· Incomplete

· Late

· An extension was requested

· Not eligible

· Wrong formatting

· Not a good fit

· Poorly written

· Sloppy presentation



· Lack of graciousness-always treat employees of the organization with respect

even if an error is mage

After disqualifications are made, some aspects are considered for the remaining

applicants:

· Necessity

· Effectiveness-will the need be successfully and creatively addressed

· Impact

· Quality

· Likeliness

· History

· Sustainability

Donors

Donors typically give for some of the following reasons:

· To help someone they care about

· To support a project or cause in which they believe

· To feel important

· To be part of a movement

· To live vicariously

· To wield influence

· To obtain an incentive

· For tax breaks

Donors are much more likely to consider projects that already have financial

momentum

Fundraising Activities

· Concerts

· Services

· Pre-Sales

· Games

· Auctions

· Ads

· Joint Ventures

· Raising money in difficult times



Outstanding Performance Plus…

People who come out to see you are looking for:

· Entertainment

· A new or exceptional experience

· Significant happening

· Social function

· Personal connection

· Excitement of live performance

If you are not drawing packed houses, there may be a problem with

1) perceived relevance to your event 2) your marketing campaign 3) a combination of

the two.

Musical Considerations

· Form, cohesion and progression

· Duration

· Memorization-memorizing the music facilitates a deeper understanding of

works performed, permitting more interpretive and physical freedom, and

breaking down barriers with the audience

Engaging the Audience

Your audience’s perspective is of paramount importance, maybe even more than your

own. Taking these critical supporters for granted can lead to dissatisfaction. One goal of

performers would be to move viewers so they will be eager to attend other events.

With new viewers it is essential to gain a faithful commitment early on with (Pg 259 –

264 in original book):

· Music

· Stage Presence

· Public Speaking-find ways to hook the listeners

· Audience Participation

· Pre and Post concert activities

· Applause Etiquette (for classical music)-If an “uneducated” audience claps at the

“wrong” time please be gracious in accepting their zeal. It simple means they

are enjoying themselves

· Surprises



Extra-Musical Elements

Music is theatre. Concerts are visual. Musicians should evaluate every aspect of their

presentations, from the moment people enter the venue to the time they leave.

Elements to consider:

· Venue

· Setup

· Set Design

· Staging

· Interdisciplinary options (partnerships with dancers, poets, actors, visual artists,

cinematographers, etc.

· Technology

· Attire

· Downtime (classical)-can be a creative point of departure. i.e. set changes are

ideal for addressing the audience, reciting poetry, showing a short film, etc.

· Intermission

The argument that musicians must embrace conventional rituals is just as perilous as

unilaterally rejecting them.

Artistry & Relevance

To succeed as a professional musician, you must consider two overriding elements: 1)

business concerns that allow you to develop a prosperous career and 2) artistic issues

that enable you to offer something meaningful (both to yourself and others).

To the first point, success is any business requires a clear understanding about what

society values and why. No matter how much talent, dedication and creativity you have,

only products with an audience sell.

To the second point, there is more to life than just money.

Understanding our role

It is recommended that every project actively address several of the following goals

listed in no particular hierarchy:

1) Inspire the audience

2) Amuse the audience

3) Educate the audience



4) Heal the audience

5) Communicate something to the audience

6) Create community with and among the audience

7) Stretch and challenge the audience

Leaving a Legacy

What kind of legacy will you leave? How will you affect the lives of those around you?

When your name arises in conversations down the road, how will you be remembered?

A sense of higher purpose focuses priorities and gives us strength during the most

difficult times.

How can this affect your life? Through:

· Focus

· Opportunity

· Fulfillment

· Value

· Community

What you do with your time on Earth is significant; equally essential is how you do it.

Some Legacy categories:

· Inspiration

· Mission

· Niche

· Uniqueness

· Project

· Ongoing project

· Education

· Personality

· Passion

· Compassion

· Team building

· Service

· Excellence



Savvy musicians with a mission can influence the world in powerful ways, big and small.

We can leave meaningful legacies that truly make a difference.

the savvy musician summarized

Business

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original book

new demographics

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