2. AC:Adult Contemporary. A radio form for adult-oriented artists such as Elton John, Joni Mitchell, Phil Collins, etc.

3. AOR:Album Oriented Rock. A radio format that plays rock cuts that aren’t released as singles.

4. A Side/B Side:The A side of a single record that the record company promotes in hopes it will be a hit. The B side is it’s flip side.

5. Administration:The handling of all legal aspects of publishing.

6. Advance:Money given in advance of royalties.

7. Album Cut:A song on an album; not a single.

8. Bullet:Term used for a song moving quickly up the charts.

9. Casting: Deciding which Artist(s) would be right for a song.

10. Catalog:The entire list of songs belonging to a Writer or Publisher.

11. Charts:Weekly list of top songs determined by radio play and sales.

12. CHR:Contemporary Hits Radio. The songs that fit the Hot 100. Usually pop songs you hear on teen-oriented radio.

13. Copyright:The exclusive legal right to the publication and sale of a song.  Also, “copyright” is slang for an enduring song.

14. Cover:A commercially released recording of a song.

15. Crossover:A song that does well in more than one radio format.

16. Cue Sheets:A movie/TV form that credits music used in a production. Used by ASCAP, BMI and SESAC to pay songwriters.

17. Cut:A song that makes it onto record. “He just got his first cut.”

18. Demo:A tape recording made by a songwriter or artist containing a sampling of their material.

19. Engineer:A highly skilled operator of recording studio equipment.

20. Final Mix:The finished product of recorded tracks of music, combined to a two track master.

21. Folio:A book of assorted sheet music. Folios sales on hit songs can be very lucrative.

22. Gold Album/Record:An album or single whose sales reach 500,000 units.

23. Grand Rights:The rights to use a song in a major stage production such as a musical or revue.

24. Hold:When a publisher or producer keeps a song with the intention of using it in a recording.

25. Hook:The part of the song that “hooks” the listener, either because it’s very catchy, or because it’s repeated a lot.

26. Independent:A songwriter, publisher or label not affiliated with a “major”.

27. Lead Sheet:Written copy of the music containing the melody line, lyrics and chord changes.

28. Logging:A listing of songs played by radio stations. Determines royalty payments.

29. Master:A finished tape recording used to make the record, or term used for tape from which demo copies are made.

30. Mechanical Royalty:The money paid to you for record sales.

31. Mix:To mix is to change the levels of each instrument in a recording.

32. MOR:Middle of the road music. Also called Adult Contemporary. See AC.

33. NAC:New Adult Contemporary. New Age, soft jazz/R&B.

34. “Needle Drop” Demo:A radio-ready master quality demo (i.e. record-like fidelity)

35. Outside Songs:Material used, but not written by, the Artist.

36. Overdub:To add new sounds to a recording already made.

37. Performing Rights Organization:A Society (such as BMI or ASCAP) which keeps track of radio and TV performances, collects the royalties, and then pays the songwriters and publishers.

38. Platinum:A single record or album whose sales reach one million units.

39. Plugging:Actively working to get songs recorded by artists or placed in movies and TV productions.

40. Producer:The person who oversees the recording of a song or album. He hires the sidemen and directs the recording.

41. Professional Manager:Works at a publishing company. He finds songs and “works the catalog” trying to get cuts.

42. Program Director: Determines which songs will be played at his radio station.

43. Prosody:The perfect marriage of lyric and melody.

44. Publisher:An agent for songs. He acquires them, “runs” them and “administrates” them.

45. R&B:Rhythm and Blues, commonly used to mean Black music.

46. Royalty:The money you get paid for the use of your song.

47. “Run” Songs:To try to get songs placed with artists.

48. Self-contained Artist:A performer who writes and sings his own material.

49. Staff Writer:Gets paid advances to write exclusively for publishing companies.

50. Tracks:The inputs of a tape recorder which allow single or multiple instruments and vocals. Studios have 8, 16, 24, or more tracks. “Laying down tracks,” i.e. recording a song.

51. Trades:The magazines that deal with the music business, like Billboard, Cashbox, R&R, Hits, etc.

52. UC:Urban Contemporary. A radio format that plays “street” oriented R&B, i.e. ra

2. Knowledge, hard work, persistence, confidence, talent and self belief are some of the main ingredients to making your dreams a reality. Because success seems to always follow those who are still hanging on when everyone else has let go.

3. Always remember that the business of music is just that, a business first and foremost, and then comes the music. It is paramount that artists build and grow a solid fan base with precision. That will, at most times, be most prominent element or deciding factor that most labels and managers look for.

4. Always put yourself in a very strong position of leverage as an Artist so that instead of you swimming to the “big fish” let the big fish want what you have and swim to you. What is strong leverage, ie: high independent record sales online and brick and mortar (record stores) substantial merchandise sales regional name recognition, a strong fan base and a very professional show presentation.

5. By reading celebrity autobiographies and their rise to stardom you will discover that there is no such thing as an overnight success. Their success came after years of struggle, rejection, being persistent persevering, preparation and talent development.

6. Consult with a very reputable career financial planner once signed to a Record Label or shortly thereafter. Learn as much as possible about finances and long term financial investing to begin building a solid foundation for you and your family’s financial future. Remember: The well from fame will eventually run dry.

7. All Artists’ should have a personal manager to guide their music career. No Artist should tell their manager when or what he/she is not going to do. The Artist cannot manage themselves without a manager therefore it’s impossible and way too much responsibility to handle.

8. Every Artist should hire a vocal coach to learn how to vocally train their voice so they can hit the right notes in various ranges. Everyone from Usher, Michael Jackson, Joe, Prince and other major superstars have had vocal training. An Artist manager can decline or choose to pay for a vocal coach, recording studio time, photography and anything else the Artist may require. The manager shall be reimbursed from the Artist’s gross compensation after deduction of commissions due to managers pursuant of the agreement with the Artist.

9. Never make a business decision without first seeking the advice of a trusted Entertainment Attorney that you have built a strong alliance with. The money that you spend now could save you millions later. Your future as an Artist will be determined by the contracts that you have signed in the past and the present.

10. Be Tough! Be Tough! Be Tough! Because that will, inevitably, be one of your strongest defenses in surviving the business of Music & Entertainment

Quoted by: Rico Amani Founder & Chairman of WildMann Ent. Group & Carlos Muhammad