Get Involved with an Organization

http://www.npca.org/

http://www.janegoodall.org/

http://www.yesonprop2.com/

http://www.peta.org/

Center for Public Environmental Oversight
 [www.cpeo.org]

NRDC - The Natural Resources Defense Council 
[www.nrdcorg
]
The NRDC is a nonprofit environmental organization with more than 550,000 members nationwide and a staff of scientists, attorneys and environmental experts. Their mission is to protect the planet's wildlife and wild places and ensure a safe and healthy environment for all living things.



Global Green USA 
[www.globalgreen.org]

Global Green's programs focus on eliminating weapons of mass destruction;
fighting climate change; promoting green building and renewable energy; and
ensuring access to clean water for all of humanity.

Tree People [
www.treepeople.org]

IFAW - International Fund for Animal Welfare [
www.ifaw.org]

Reef Check [
www.reefcheck.org]

The Student Conservation Association [
www.thesca.org]

SCA is a nationwide conservation force of college and high school volunteers who annually commit nearly 2 million combined hours of service to national parks, forests, refuges and urban green spaces throughout all 50 states. Poised to celebrate its 50th Anniversary, SCA's active, hands-on approach to conservation has helped to develop a new generation of conservation leaders, inspire lifelong stewardship, and save our planet.

Childrens Environmental Health Network [
http://www.cehn.org]
protects children from environmental hazards

The Environmental Justice Foundation [http://www.ejfoundation.org/index.html]
empowers people all over the world to protect their own environment.

The Surfrider Foundation [http://www.surfrider.org]
is a non-profit environmental organization dedicated to the protection and enjoyment of the world's oceans, waves and beaches for all people, through conservation, activism, research and education.

So You Wanna Be A DJ: Part 14

What is music publishing?

Hi guys this is a subject people go to school for, it is that huge. I am still learning everyday what this means. It is vital you learn as much as you can in order to protect yourself. This is where the writer really makes his/her dough, money, pension, etc. One hit song can keep you snug for years literally. But if you don't copyright your music, register it to these companies, you're lost in an uncounted sea of possible dollars. Some people say that these companies have bad accounting, go and line and you will read horror stories for sure, however most people I know including myself earn quite well from them, in the end it's better to have someone collect for you than not. You could look at this this way, if you do not play the lottery you have no chance of winning do you?

My advice is always hold on to your publishing, set up a company (inc) so you and your assets are safe, register all domain names of your company and make them legal. It is costly!!! (I know) and tough. The best option for the starving artiste is to register to Bmi/Ascap in the U.SA
and MCPS/ PRS in the U.K.

This is a handy site http://www.mpaonline.org.uk/ I have taken some pieces from here so you don't have to go anywhere, relax, sit back and study the shit out of it. I hope this helps you some, it is a tiny amount of info, compared to what there is to learn, however, as this is a basic overview. as always, investigate further my budding fellow musicians.

What does a publisher do?

The business of music publishing is basically concerned with developing, protecting and valuing music.

The business is diverse and demands a variety of skills. These range from the ability to spot writing talent and original music that is likely to appeal to an audience, to ensuring that all uses of music are properly licensed and paid for. Music publishers play a vital role in the development of new music and in taking care of the business side, allowing composers and songwriters to concentrate on their creative work.

The role of a music publisher involves:

Finding new and talented songwriters and composers and encouraging and supporting them as they develop their skills, whether through helping with their living expenses, providing them with the facilities they need to produce music or offering advice and guidance in writing for particular markets;

Securing commissions for new works and helping to coordinate work flow;

Registering the works of songwriters and composers with all appropriate collecting societies and agencies, such as MCPS and PRS;

Producing performance materials (score and parts) and demonstration recordings;

Producing and licensing the production of printed music;

Preparing promotional materials, including sampler CDs, study scores, etc;

Promoting composers and songwriters to performers, broadcasters, record companies and others who use music on a commercial basis;

Licensing the use of music;

Monitoring and tracking the use of the music they own and ensuring that proper payment is made for all licensed uses;

Making royalty payments to songwriters and composers in respect of the usage of their music;

Taking appropriate action against anyone using music without the necessary licence;

The business of music publishing is dependent upon there being a strong copyright framework in place. The control of copyright enables a publisher to recover the investment made in songwriters and composers and to ensure that they are rewarded for their creative work. Without copyright there would be no financial incentive for music publishers to invest in composers and musical works. This would be to the detriment of composers who depend upon publishers to manage the business of exploiting musical works and administering royalty payments.

The relationship between a music publisher and a songwriter/composer is supported by a publishing contract setting out the rights and obligations of each to the other. Under these contracts songwriters and composers assign the copyright in their music to the music publisher in return for a commitment to promote, exploit and protect that music. The publisher agrees to pay the songwriter/composer a percentage of any income earned from such exploitation as royalties.

What is copyright?


Copyright enables composers and authors to be paid for their work. Copyright is the means by which those who make and own creative works (e.g. music and literature) can control who makes use of their work and the circumstances in which it is used, to ensure that the integrity and value of the work is respected.

Copyright legislation has evolved over the last 500 years to provide a balance between the interests of those who invest skills and intellectual effort, time and money in the creation of works on the one hand and those who want to use and enjoy those works on the other.

The current UK copyright legislation is to be found principally in the Copyright, Designs and Patents Act 1988.

Can I sample somone else's music?

Similarly, if you want to sample a recording of a song or piece of music which was made or released within the last 50 years then the recording will still be in copyright and can only be sampled with permission from the copyright owner of the recording (usually the record company) or their agent, PPL, and from the performer(s) in addition to the copyright owner of the music and of the words.

The sample used will infringe copyright in the music and/or the sound recording, as the case may be, if it is a ‘substantial part’ of the original and is used without the necessary permissions. The sample is considered ‘substantial’ by reference to its quality rather than its length. If it is recognisable, however short, as coming from the original piece of music or recording then it should be regarded as being substantial and the necessary permissions should be sought. If you are in any doubt, apply for permission.

How can I find the copyright owner for permission to use a piece of music?

To use any piece of music that is in copyright, you must first get permission. The type of permission required depends on how you wish to use the music.


Trumpet
For permission to photocopy printed music, the MPA can help to direct you to the copyright owner. You should provide as much information about the music as possible, including the title, composer, any arranger or editor and the date of publication or copyright line (usually inside the front cover or at the bottom of the first page of the music), together with the name of any publisher that you have for the work.

For permission to arrange music the MPA can help to direct you to the copyright owner. You should provide as much information about the music as possible, including the title, composer, any arranger or editor and the date of publication or copyright line (usually inside the front cover or at the bottom of the first page of the music), together with the name of any publisher that you have for the work.

For permission to use music in films or commercials you should contact the copyright owner. The MPA can help to direct you to the copyright owner.

For permission to record music you should contact MCPS.

For permission to perform music live you should contact PRS.

For permission to broadcast music or include it in a cable programme service you should contact PPL and MCPS-PRS Alliance.

For permission to perform a musical, opera or ballet you should contact the publisher directly. Again the MPA can help to direct you to the correct publisher.

For permission to play a recording of music in any public place you should contact PRS and PPL.
For any other usage not mentioned above you should contact the copyright owner directly. The MPA can help, email us on info@mpaonline.org.uk

What should I do if I believe that someone may be infringing copyright?

If you are concerned about illegal photocopying of music contact the MPA immediately.

If you are concerned about any other illegal use of music, film or software, contact the Copyright Advice & Anti-Piracy Hotline: 0845 603 4567

© Music Publishers Association - Contact Us - MPA legal notices





Hope this helps, luv n bass, DJ RAP

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So You Wanna Be A Dj: Part 13

As we come to the end of the basics in becoming a Dj, music, production etc... The rest will be up to you. I could go on forever about what I have learned but then you would be left with very few surprises and how boring would that be? Today I want to talk about legacy, what you do is what you leave behind. I mean what do you want to be remembered for musically? This means you have to think about the genre of music you choose that best represents you and your expression. I am an odd case when it comes to this, most people do one thing and stick to it, if you're a drum and bass producer, then that's what you are, same goes for house breaks etc. Back in the day it was unheard of to do what I did, step outside the box, in fact run from that damn box and laugh at it. I did the unthinkable, shock horror gasp and made a "pop" record.

"Learning Curve" was a very successful record though I never viewed it as "pop". To me it was an experiment fusing all genres, all emotions into a deeply electronic adventure. I had always wanted to write songs and that is what I am at heart, a songwriter, playing the piano from an early age, I always incorporated melodies into all my productions, that is what made me stand out I guess you could say from the get go. However, I was so drawn to the technical aspect of production that when drum and bass first appeared on the scene I was instantly hooked being the geek I am. So, as you may know, tracks like " Spiritual Aura" though drum and bass had these lush strings and a strong sense of emotion in it, very different to what was out there. I disliked the ugly harsh side of drum and bass but that does not mean I didn't like my drum and bass BADD ASS TOUGH like the heroes Dillinja, Pendulum, RonnieSize, Groovrerider produced.

Still, I liked to keep things fresh and moving, so though drum and bass got very modern, it also got so technical that I felt the emotion was missing somewhat. So I went in a different direction, and the rest is history. You probably know I leapfrog through genres, I like the flexibility of producing whatever I want, though no doubt this has caused more confusion and certainly made it hard for me. The problem is I get bored and I have always been that way. The only way to survive this head fuck is to do what I do, multitask your music. How has this hurt me and how has it benefited me is the question, and this is what I want you to understand when choosing this path.

As I watch some of my fellow artistes who have stuck to one thing become successful and really cracking it, I often question whether I fucked up. I really do, had I stuck to house which was what I first played (that's right, I was around before the birth of drum and bass) I would be so fucking huge!!!! or would I? Did I do well because I chose drum and bass? point is, you'll never know. I certainly would be richer, that's for sure.

At the end of the day all I can advise you is this: be passionate about the music your making and it will show in that music. That's what I did, and I hope that it showed, in every note and lyric, every bass line. I have been lucky to have had many ups and downs but generally a very successful career, mainly because I do it all myself. though I have lost so called "fans" because I didn't stick to one thing, I wasn't a "purist". which is bullocks to me anyway, music is music and I don't apologize for loving it all.

Sad and bad as it sounds if you want to make money at this you may want to ask yourself that question early on in the game, I never did, all I wanted was to produce music, but I wish I had thought about it a little at least. This job comes with no pension, so plan ahead it's a rough sea you have chosen to sail on with a little boat. It's gonna get choppy as well as beautiful calm.

I hope you pick a genre that has commercial appeal and a chance to make a living, by that I mean you don't want to be a bedroom DJ all your life do you? you need a crowd.

That's my two cents anyway... see you next time x

ps. I wish to dedicate this blog to Paul Newman who left a wonderful legacy behind as a human and as an actor, I will miss you.

support music please

--Sign up to my mailing list for free music the first of each month.

Zeitgeist,The Movie

Zeitgeist, The Movie

http://video.google.com/videoplay?docid=-594683847743189197

Zeitgeist, TheMovie

When the power of love overcomes the love of power, the world will know peace.
It's time we woke up to the fact that we are in very real danger of a totalitarian world.

So You Wanna Be A DJ: Part 12

Today we are going to talk about the taboo subject of illegal downloading (click on that and read about the consequences) and how it effects artistes... and it does! So if you're one of those thieving assholes that lives on Kazaa etc. that thinks I am an asshole for writing this, you could look at it this way: You pay for food, clothes and just about everything else, yet I don't know anyone who can live without music, we all have it, we are the iPod gods, the click generation, so it still amazes me that people expect to pay nothing for this.

Or you should read up on the consequences because the Recording Industry Association of

America is coming down hard on you lot with massive fines. click here to educate yourselves. RIAA .

Option three for this kind of person is not to read this blog. I write it for people who hope to make a living pursuing their dream of making music and Dj'ing, just like I am. I will say that it is our choice to life this life, to follow this dream, I could choose to do anything but I personally feel that there is nothing else I could be happy doing except for this and acting. But it is really hard and you would be foolish to think this is an easy job.

The reality is that back in the day there was alot of money to be made, those were the golden times, well, today is very very different. I think much of the upcoming talent still thinks it must be like the good 'ole days and that it's easy to learn how to spin and make cash. I was lucky to be around at that golden time, most of the huge djs are huge because they built reps and produced in those timse and are still standing today because of that. And the fact is, they work hard and are bloody good at what they do. Oakenfold, Tiesto, Paul Van Dyk are all good examples. Some have faded into the" what happened to...?" box and there are a million reasons for that too (I will get into that on my next blog).

The main reason it was easy is that in England there were a number of Pirate radio stations, mainly because electronic music was new so totally unsupported, there was FANSTY FM, CENTREFORCE, RAVE FM and many many more..... now I know what you're gonna say, "hey that's illegal!" and it was, but the main difference was that it launched a scene, it made this music what it is today, it also made people want to buy records and did we! It was normal if you had a hit on these stations to sell 80,000 copies of that song because people loved it. So you see, it really helped, the scene got bigger, it created giant raves because of the demand to hear this wonderful new sound, we were outlaws outrunning the sheriffs and it was glorious!

Now it's a different story. Times are tough, police are tough, laws are rough. We do not live in a world that is free, the 80's were our 60's. well, for me anyway.

So how does this all effect you?.

You need hit records to become a well known DJ that people will want to see perform. That means spending as much time as possible in the studio, that means there is no time to do this while you have a job, unless you don't need sleep and I know many that pull this off but it's hard to be consistent when holding down a day job and music is your night job. So many like me opt to commit to this full time, as we have talked about in my earlier blogs, it's not only about the music, you have to promote yourself, get out there, handle all those myspace, facebook sites etc. so, it is hard and unrealistic to expect to do all this at night, although I am more creative at night all the business maintenance happens in the day....( running my labels etc).

It's simple, if you don't Dj then making music is your only income. How can you live if people download it for free? I spent a year producing "UP ALL NIGHT" sold over 30,000 with no tour or real promotion, (this was a drum and bass record and there is little to no market for that in the states so no point spending my hard earned dosh on promoting it) yet I made hardly a dime for my efforts because alot of those sales were made on sites that pay such a poor return like 10 cents on every track bought, and because it was downloaded for free by many.

Discouraging isn't it? I question why I put myself through this so many times I can tell you! I mean that's alot of sales!!!! I should have been golden....

iTunes is great because it soundscans so you can see real sales as if you were in a store, Beatport does not which is sad but they are a great company. Nonetheless, those are the sites to be on and I learned not to supply the "el cheapo" sites from my last record the hard way.

Whether we survive in this industry depends on you, and the support we get, the same goes for the music, it will only last and be put out there for your consumption if you buy it, otherwise only the rich can afford to make it, and give it away for free, like Radiohead who I love and are in that wonderful position, however, they are alone in that place and can afford to. They wouldn't be here today if no one had bought their music in the first place.

Now I have another point of view, I don't mind giving it away like I do on my mailing list every month (I give a track to any who sign up) if this means people come to the shows so maybe that will be the way forward. I certainly hope it all means something because I for one love what I do and all you can hope for is a life spent doing what you love, managing to get by with out the worry of how. This is why many still opt for a record deal, at least they are prepared to offer the financial support needed to keep you on the road which is expensive.

To end this, there is good and bad points to this, if you're a rich artiste, giving it away helps you but hurts the lesser upcoming guys and dolls, we need to value our music like we value fashion and food.

I ask you this one question next time you are about to 'click'... When you play a track that makes you feel wonderful, gets you through a rough day, is it really not worth a fucking dollar?

support music PLEASE.

Luv and Bass, DJ RAP

-- again, sign up to the mailing list for LEGAL free music every month.

So You Wanna Be A Dj? Part 11

Hi and I hope you are all well, great responses from these blogs, glad I can be of service...

On this blog I wish to talk about how you as an artiste can really help yourself especially when signed, the biggest mistake all of us musicians make is we tend to think our job begins and ends with making music. It doesn't!!!! As a label owner ( PROPA TALENT/IMPROPA TALENT) I had to learn this the hard way for myself, but also have to explain this to my "budding artistes" that I had signed on my labels. It is a very different story when you are signed to a giant label that is prepared to spend hundreds of thousands on you to promote your ass and get you to the masses who will in turn, hopefully buy (not steal) your music. Think about it, if you make drum and bass for example, the amount of financial return you can expect is very small unless you are PENDULUM, RAM RECORDS, or any of the legends. I know that only a small group of us made it in that genre. Now imagine you own a label, why should you spend thousands of your hard earned money for no return? You begin to see things in a different way, it effects what music you sign, should I go for hip hop... pop? Of course I am sticking to what I know, drum and bass, house and breaks, I have spent 20 years around that music! But, when my artiste record comes out, I will probably look for help in releasing it, as songs are a different kettle of fish.

So now you have the label perspective, what can you do if you chose an indie label like mine? (stupid to sign to a label that has no clue how to understand your music). You make electronica in whatever form, and you need to let people know you exist so they can buy (not download for free) your music. (of course I nag about stealing music, it's fucking wrong!)

The best thing I can tell you is what I have learned, so always look at what other DJ'S are doing who are successful... PAUL VAN DYK, DEEP DISH, TIESTO, check out their website, how they are presented, where they are presented, do they blog? what do they do?

I am a firm believer in the thought that god helps those who help themselves, so get your fingers out of your ass and set up a MY SPACE, FACEBOOK, I LIKE, YOU TUBE page.... Start talking to your fans, if you have none, make some! Look at all I do, from blogging to podcasts, there is always something to say, so many people are interested in music and want to Dj, or produce, you will never be lonely for fellow humans who wish to share in this topic.

Pod-casts are great too (see PROPA PODS) and really help get your sound out there......

The most important tool you have is your website (www.djrap.com) and the internet. It is there at your fingertips and this generation never had it so good. We are in the wonderful position to create opportunities for ourselves, it's so much better nowadays in a way.

Of course, there is a lot more you can do, there is always more, it never ends, from hiring a publicist to an army, I could go on, but for those who do not have the cash to do this, these baby steps will help you in your quest for fame and glory.

Being an artiste means you live, breathe, and shit being an artiste. I have met many people who are in love with the fantasy of being an "artiste", they are romantics! The reality of being an artiste is very different from what most think. Imagine an iceberg, what the public sees is one tenth of it, the performance! What joe public does not see is the other nine tenths it took to get there. The long hours for very little money, the obsession you have to have in the studio, the passion you will need to get you through those tough times and a stubborn iron will to say "fuck you I believe in me" when all others say you're finished. We will talk about what the daily grind actually involves in my next blog, but that's all for now. Hope it helps!

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So You Wanna Be A DJ? Part 10

So now you have a basic grasp on production, DJ skills, how to present yourself, blah blah, what next? Should you get a manager? An agent? How do you climb that ever elusive ladder to success? All I can tell you is my own experience, which doesn't necessarily make me right. You have to follow your own path and listen to your gut, because it's nearly always spot on.

I have had managers since day one. Some people are lucky, they find the right person early on and never need another one... I have had 4. Some were great, they were extremely connected and really did a stellar job. However, it's easy to be great when you have a record deal and the world is knocking on your door, all opportunities come to you. I think a great manager is one that creates opportunity and lights a fire when the wood is damp so to speak.

One thing all mangers are great at is taking 15 to 20 percent of ALL your income. So, you have to decide if what that person generates for you financially makes that worth while. Bear in mind you will pay that as well as 10 to 15 percent to your agent. Back in the day when I had my record deal with Sony I also had a business manager who took 5 percent, they are vital for keeping the books straight when you're on tour, paying all your bills when your not around, they are a godsend. I'll recommend London & Company who rep all from SLASH, COURTNEY LOVE and tons of the top electronic acts, too many too mention. In the end I ended up making very little profit because I paid so much out, however had I known then what I know now, things would be very different. Hence the reason I write this bog: to help you guys.

Basically you give away 40 percent, then are also taxed at 40 percent, you do the math. On paper, you're loaded but in reality you're not. My solution was to manage myself in the end. I have spent 20 years in this business and if I don't know how it works by now then I'm fucked and dumb. So I learned, I asked questions from those around me who knew, god bless my publicist for all her endless help: LAINE COPICOTTO @ Aurelia Group. I listened and I hired the best people I could afford and built my own team. A great label manager (Leigh, I love ya) from URBANTORQUE RECORDS, and my partner in the studio TYLER REVATA, and me working my ass off is all I need for now. It's a full time job but I love it, and I take enormous pride and joy in what I do.

Remember, no one is going to care as much as you will about your career. I can't tell you how wonderful it is to finally be the one driving my "car" so to speak, after all, I am the fuel, the engine the whole damn thing is me, so why trust it to other people? ALWAYS stay in control, watch over your books (look what happened to STING, he was stung for 8 million by his accountant who stole the lot!) ask questions, find out what they are doing for you and don't just wait for them to do it, that's hard work for most people and most people are fucking lazy. I make my career happen, so don't sit on your ass waiting for your career to come find you, create opportunities, then implement them into your team. Call me paranoid, but I learned all this the hard hard way man.

Lets talk about agents. God, where to start? Many people don't know that I started out as my own agent, I simply wasn't big enough to get any agent attention so I had to get the work myself. This was no picnic I can tell you, in those days, calling up every promoter, sending mix tapes, getting on pirate radio stations were all options that worked. Nowadays, without an agent, you are fucked. I have had the best and again the worst agents. TCA actually stole money from me, my rep at COLLECTIVE said no one was interested in me (that made me laugh) and finally I am with a great agent now BULLITT BOOKINGS, started by DEEP DISH which is great because they see it from the DJ's perspective as well as the promoters'. I guess it's like finding the right doctor, takes some time till your comfortable.

Now I am not always the easiest person to work with, but, I work really hard and I only become difficult when people don't to their fair share. Constantly fucking up simple shit like "should I pick up money at this show or not?" It's not rocket science!!!!!! My biggest hope for you is to find an agent that cares about and likes you and your music, and is hungry to prove him/herself. When someone is batting for you, you'll be surprised how many shows you will get. Don't think that the biggest agent is the best, better to be a big fish in a little pond than a minnow swimming with the great whites (yes I simply love sharks!). I found that the big agents look after the big djs and all the other acts don't get the attention needed, it's ridiculous to sign to an agent who reps 100 acts, how on earth can they find the time to make things happen for little ol'e you? Think about it. They say they will when you first meet them, but try to get them on the phone when things are tough, it's not cute at all.

Still, you will need an agent with connections and some leverage so it's a tough decision you'll have to make yourself. I could go on and on re this subject, but I don't want to sound too bitter, before signing to BULLITT I had almost lost hope and thought I would simply rep myself, I truly felt that all agents were parasites, but the truth is a great agent is worth their weight in gold, and we need them as much as they need us, within one month of being with BULLIT, I was so busy I couldn't believe it, after being told no one was interested it is now the mantra my team all say when we accomplish anything... "but no one is interested" we all have a good giggle at that!

And that was a mouthful. Wishing you all a good couple weeks, till next time,

Love and Bass, DJ RAP

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