Thank you ALL for your help. Especially, thanks for the Kenny Rogers book suggestion; my teacher found it and gave it to me as a gift (I gave him Day of Locust last year so he considered us even)

During the first attempt of recording the album we had a hard time playing the songs without mistakes. It would take us an entire day to get a decent take of a vocal track. The first recording sounded ok but there was no energy. It was to dull. We started over from scratch. Instead of recording each instrument separately, we recorded every thing live ant the same time. This was to capture a live feel. Only one of our guitar amplifiers is decent sounding. So the sound quality was pretty bad. We repeatedly got into arguments with the producer. We had to put vocal recordings off for two weeks twice, due to illness. Band members sometimes didn't show up to practice or recording sessions. The drummer was very unhappy with the sound of the drums. They sounded synthetic after the producer edited them and altered the sound. Nilo at one point had to quit school and get a job because he ran out of money. This kept us from finishing faster. Nilo funded the band for just about everything. We didn't have money to pay for graphic designer or actual CD case manufacturing. We have not finished album yet. It will be ready by the day of presentations.

Name: Guillermo T

OVERVIEW Title of Research Paper: "The Big Plan", A Valid Strategy To a Record Deal

Synopsis of Paper: The paper, "The Big Plan", A Valid Strategy To A Record Deal, examines a self-developed plan to a record deal. The plan covers things such as starting a band, how to present a demo, press kits, and approaching record companies. Using information from books, articles, and interviews of people already established in the music industry, the paper expands and supports the information in "The Big Plan". After reading this paper, one could see that "The Big Plan" is a valid strategy one could use to help them obtain a record contract.

Project Description: After proving my plan valid and expanding my knowledge of the music industry through research, I applied the plan to a band in which I participate. I worked hard to get as far along as I could before the due date of the fieldwork. I have produced a press kit and used it to obtain gigs and publicity. We have been on a television show that airs in Los Angeles, we have gotten airplay on the radio station KUCI, and performed live on Super Estrella 97.5. The physical product and goal of the project is a self-produced full-length album, which is currently being finalized.

Relationship Between Project and Paper: My paper examines and supports "The Big Plan", proving it to be a valid strategy that anyone in a band could apply for the purpose of obtaining a record contract. After writing this paper I had expanded my knowledge of the music industry and of ways to get in. With this new knowledge and the knowledge I had before, I continued with my band, but with more direction and motivation. My project was to continue applying the big plan with new insight and produce a full-length album. The paper validates "The Big Plan" with text, and the project attempts to validate "The Big Plan" with accomplishments.

My Background Experience: My background experience includes playing music with friends since eighth grade. I started playing guitar the summer after seventh grade. I was mostly self-taught. I started a small band in the ninth grade and began playing original material. We only performed about four times. Since about middle school I have always been surrounded by music lovers and people who have had experiences in the music industry. While talking to them I learned a lot. I started a Spanish rock band in March of last year. It wasn't very serious. One day, while friends of mine were complaining about senior project, I decided to start planning for mine. Using my bands combined knowledge and experiences I came up with "The Big Plan". I figured I could do this for my senior project fieldwork. I wanted to impress the judges with accomplishments. So the band took a serious turn and we began working hard. This had been a dream shared by all band members anyway.

Special Things I Would Like The Judges To Consider And Look For: I would like the judges to consider all the time, hard work, and sacrifice that I put into this. This consumed almost all of my free time and social life. Having been going through other difficult experiences simultaneously, I felt like giving up many times. But I persevered. I am proud of myself and hope that you might be too.

"The Big Plan" A Valid Strategy To A Record Deal Michael Jackson, Led Zeppelin, K.I.S.S… What do all of these names have in common? They were all stars. How did they get there? They had to start somewhere. This paper will cover the process of reaching the first step to stardom, a record contract. By presenting information concurring and supporting "The Big Plan", this paper will prove "The Big Plan" to be a valid strategy to a record deal.

The first step of breaking into the music industry is to start a band. "Get three, four, or five musicians who are willing to help each other improve, who genuinely want to work and enjoy it and share similar expectations, and you'll grow together and stand a far greater chance of succeeding" (Rogers 4). I have lived proof of this. It is very important for one to grow as a musician with one's band mates. With time one can reach a level where one thinks the same and needs not words to communicate. This is when one's band begins to define their sound and writes good material.

A very important thing to keep in mind when forming a band is personal compatibility. "Personal compatibility cannot be overstressed. In forming a group, if musicianship is secondary to anything it is this. No matter how talented a musician or singer is, if his or her temperament is eccentric to the point where working together is an unenjoyable struggle, the discord will surface in the music and will eventually destroy the band" (Rogers 4). As seen in so many "Behind the Music" episodes, a large number of bands break up due to incompatibility between band members. It is better to have three amateurs with dedication and drive than to have four musicians at the same high level of skill and talent and a bigheaded self-proclaimed "superstar" bossing people around. Kenny Rogers believes the more sonic variation an individual brings to the group, the more he is an asset (Rogers 3). The variation of styles of the members can be culminated to produce a new sound or style or give variety to one's set of songs. Also according to Kenny Rogers, "Ideally, group members should be close in age, because musical and outside interests are apt to be similar, reducing conflicts further. If someone in a predominantly teenage band, he may be interested in a sound and style fashionable when he was a teenager" (Rogers 5). It is understandable how age differences could be a problem later in the band. Usually the older one is, the more responsibilities one has, meaning the less chances one could take, chances and risks that sometimes really need to be taken in order to seize the day and take the band further to another level. Yet at the same time, there is nothing wrong with an older member of the band being interested in a sound or style fashionable when he or she was a teenager. It could have a positive effect on the band. The band could incorporate this person's style of interest with the other members of the band's interest. But the older member must be willing to compromise the exact style a bit.

After one has decided who will partake in their fame and success, one needs to give their band a personality and identity, meaning one needs to pick a style of music. Kenny Rogers suggests, "Personality and sex aside, the decision should be based on how well the musicians fit the style and type of group you are to have" (Rogers 7). The idea of taking participant's styles and influences to create an original sound and style with a flavor of one's own is recommendable. In music as in almost anything else, originality is an edge over the competition. In fact, the number two reason for a demo being rejected is lack of originality (Knab 3). If one is really attached to an artist's or a band's style, and wishes to play that style, one should add their twist or flavor to it. But even then one takes the risk of being criticized harshly for being a rip off of some other band. There are other elements that give a band personality such as the band's look, song lyrics, their sound, and their stage presence. One should keep these in mind when planning characteristics of the band. But most of the band's personality and identity

eventually comes all on its own after being around each other and playing performances together for a while. All this planning and talking about things such as band personality and style happens at practices and meetings. "Your first meetings should be to plan the purpose and rules of the band. Your band should establish goals that are to be met, giving your band direction, purpose, and helping to unify the band" (Nilo Interview). A feeling of unity in a band is important to keeping the band alive, and goals would provide motivation to work hard and progress. As for practices, the first practices usually are to get to know the band mates musically. After three or four practices the rehearsals need to become structured. "Without structure to your practices, you will have limited progress. You should have a routine and remain pretty faithful to it". (Gaffere Interviews) One routine that works includes practice with the entire band on Fridays and Sundays, and rhythm section practices on Tuesdays. One could hold guitars section practice on Wednesday (lead guitar, rhythm guitar and bass guitar), and vocal rehearsals on Saturday. One could have little acoustic sessions during vocal practices. And beside these practices, one should have individual practices where everyone would work on their own part on their own time. It has been seen that individual practices are essential to the effectiveness of full band practices and success of the band. "Dedicated musicians should not have to be told to practice on their own and should come to practice with their parts down" (Nilo Interview).

"The fantasy of becoming a star is easy, but the road to stardom involves hard work and a determination to succeed that knows no bounds. It has been said 'luck' is when preparation meets opportunity. How prepared are you?" (Knab "Final Thoughts") Preparing oneself should be an on going process from day one to the day one quits or dies. One never finishes getting prepared with knowledge and skill. "Take a songwriting course at your local community college; buy as many 'How To' books as you can; network with other songwriters and partner with them (you'll learn a lot from your fellow songwriters); listen to as much current music as possible and fine-tune your hooks to reflect current musical trends…" (LeFevre 2) One must become a starving scavenger for information because in the music industry, as in life itself, knowledge is power.

The suggestions here are simply to get one started. Later in one's education and preparation for one's music career, after establishing a base, it was very highly suggested by all three interviews to really get serious about one's education. All three gave praise to the well-known Musician's Institute in Hollywood for a local option for education. "But practically any college or university would be a wise choice", commented Mr. Alan Gaffere. There should never really be times of no progress. It is important to continue seeing improvement in songwriting and performance. One should make sure that they are always seeing themselves moving towards their goals.

Before one considers playing any gigs "one should first consider that the initial impression you make on people is usually the lasting one"(Rogers 19) If a band starts playing gigs before they are ready, they will defame the name of their band. People that catch their shows will remember if they did badly and will remember them as "that band that sucked". Once a reputation goes bad, it is hard to change it. Many have learned this the hard way. "If you are new to the experience, start small. Sets of twenty minutes with crowds of about twenty-five to fifty people are good to start off with. Slowly build your stage personality and confidence. Confidence or the appearance or confidence is important to stage presence. Then when you feel you are ready, take bigger gigs." (Nilo Interview) I would suggest starting even smaller than that. One could play gigs like talent shows where one plays only a song or two with smaller crowds. But it is only recommendable to play gigs at all until after one can perform all of the songs the band plays without any mistakes and including the incorporation of live dynamics.

The next step can be viewed as a milestone, once accomplished. That step would be the recording of the bands original arrangements for a demo CD. Demo CDs are very useful and serve many purposes. They can show people interested in booking the band exactly what the band's songs sound like. A well-produced demo CD will get a band paying gigs with larger crowds. An advantage to recording a demo CD is that it can present the band at its best, with great sound and no mistakes. "… An impressive demo is the most elemental key to selling songs and the band. (Rogers 97) It can be submitted to a possible contractor for a gig or even to a record label. The submission of a demo to a record label is a bit difficult. Here are ten reasons why a demo CD is rejected: #1- One failed to include contact information. What good is a demo if the person it was sent to doesn't know whom it was from or how to contact that band if they liked what they heard? This unfortunately, as brainless as it may sound, happens very frequently. #2- Lack of originality. If the record labels already have a band that sounds just like the one submitting the demo, why would the record label waste their time with them? It kind of like signing the band twice. #3- The music is good but the artist does not perform live. Sorry but being strictly a recording artist does not cut it. #4- Poorly recorded material. Whether it were the fault of the engineer or the band's inability to record well, a demo is supposed to present the band at it's best. And if the band cannot record well, then a record label will not want to spend time and money on making their album. #5- Tape is not rewound or cued-up. It is simply a matter of courtesy and professionalism. #6- Sending videotapes instead of audiocassettes. Any submissions should either be tape or CD. #7- Sending unsolicited tapes. That means sending demos without them having asked for them. It's tricky. It very difficult to come if contact with those people. So how is one to consent the sending of a demo if they cannot receive the offer? There certainly are ways though. #8- Sending the wrong music to the wrong label. One shouldn't send a heavy metal act to a label that predominantly handles country artists. #9- Musicians can't play their instruments competently. Many young artists rush when it comes to being proficient with their instrument. And finally #10- the tenth reason a demo is rejected is plain and simply because the music sucks. (Knab, 10 Reasons Why Your Demo Was Rejected)

There are certain ways of submitting a demo. First off, the packaging of the demo should be up to par. "… Just be sure not to short change yourself on the packaging of the demos and presentation." (Rogers 102) That is where the second key element of the plan comes in, the press kit. "The contents of a good press kit include contact information of the person who handles band's business (Home phone, cell phone, pager, fax, and home address), band biography, short individual member biography, band picture, individual pictures, band accomplishments (resume'), and the demo. One would include this in a folder with a very professional look." (Nilo Interview) This is one's ticket to gigs with good pay and lots of people. This can also be used to submit information and a demo to local radio stations, newspaper, or television shows.

By this stage, one should already be playing the bigger gigs such as state fairs, city carnivals, bars and some clubs. "If you are located in a small town, my strong advise is to at least play out often in the nearest major city near you and consider it your 'home base'. You're going to sell a hell of a lot more CDs, Build a much bigger fan base, and attract much bigger press coverage than in the small town you currently call home." (LeFevre, reason #8) This is the time when one builds their fan base or "buzz factor". Record labels look at these things before signing acts. In fact, according to Stacey LeFevre that is the number five reason a band is not signed, lack of "buzz factor" (The 8 reasons why you are not signed) Now is the time to start advertising one's gigs like crazy. One should do this by passing out flyers at colleges, high schools, record stores, music stores like Sam Ash and highly populated areas like Hollywood Boulevard. Now is the time to send one's press kits to local radio stations like KUCI and local TV shows. One should try to get as much publicity for their gigs as they can.

An act can't simply send their press kit to people. Most places will just throw away unsolicited material. Kenny Kerner, former member of the KISS management team, and current teacher at Musicians Institute in Hollywood says, that before sending a press kit, one must call the place that they are sending it to. One should investigate who the person that reviews the press kits is and find the phone number that communicates one directly to him. Then one should find out what day the kits are reviewed. When one finds out, wait and call either the day before or that same day in the morning. One should ask him if he has had the chance to review one's press kit, before he has a chance to. When he says no, one should tell him, "Oh, check it out, ours is the one (Then one describes how their kit looks)." This way, when he does get around to it, one's press kit will stand out and he or she will remember it for sure. Then before hanging up, one should ask when a good time to call back would be. When one calls back, one should get feedback about their demo, press kit, and whether or not one has the gig, the record contract, the spot on the TV show, radio show or whatever it was that they sent it to. Not very many bands do this. He also says that more bands should. (Kerner Interview) That would be the proper and strategic way of sending a press kit somewhere.

One could get only so far without help. Two kinds of people can give an act a chance for a record contract, either a well-connected manager or a production company. But either way one needs a personal manager. Personal manager duties are to form a good team for the band. The team consists of a business manager, a booking agent, and an attorney. There are things one should look at before picking a personal manager. First the obvious, he needs to know one's market, he has to be very hard working and should be honest. Then there are other things that a personal manager must be and do. A personal manager should be objective and needs to be able to say, "This song sucks" or "You guys are sounding great". His job is to counsel the band, almost like a psychologist, he has to mentor the band. Basically he needs to baby-sit the band. He needs to help the band and support the band artistically and personally. And finally, he should share the same vision for the band with the band and has to truly believe in the vision and in the band. (Kerner Interview)

The last step after hooking up with either a production company or personal manager is to "produce a real kick ass demo CD or album. This one will be very heavy on your pocket. It can cost up to fifteen thousand dollars. After a high quality recording, the personal manager or production company should send it to an A&R representative, he will call you back with input." (Gaffere Interview) He might say that the music was great but a better job has to be done producing it, or he will say that it sucks, or he will be impressed and will book you for a showcase performance. A showcase performance will make or break the band. This is a gig like any other, one goes out there and gives it their all, except the audience is a bit special. They are all representatives for different record labels. If they like the band, the reps will approach them after with a nice business card. "If A&R likes the act they might test it out at a couple of gigs booked by them. They want to be sure that the band can work the crowd and sell records. Or other times, with luck they'll want to sign the band right then and there."(Kerner Interview) CHA CHING!!!

It has been said by some that there isn't anything quite like the feeling of success, and having realized a dream. The plan I developed through my own experiences and knowledge was designed as a strategy to achieving a very important milestone in the pursuit of a dream shared by many including myself. Looking back, the plan covers steps from the forming of the band, to the production and submission of a press kit, to the chance to a record label signing. Through research I have found information agreeing and supporting my plan, proving that my plan is valid and could be used as a strategy for getting one's band signed to a record label.

THANK YOU ALL!!!

Guillermo