Cutting Edge Voices News

Daylle Deanna Schwartz e-mail Newsletter Issue # 25

I hope that fall finds you pursuing your passions with a vengeance. This is absolutely my favorite time of the year. I get fall fever as the days get cooler and the air crisper. Having my birthday in September makes it sweeter. : ) I had an amazing trip to Alaska this summer. I went hiking, kayaking, canoeing and many other activities. I also flew in a teeny plane 3 times. What an experience! You can read my trip blog at http://www.solochickalaska.blogspot.com/ I'll post my pics soon.

Thanks to those of you who attended my talk at the Apple store. Having such a big crowd that people were sitting on the floor and standing around the room was very gratifying. I hope to do more events there. I'll be part of some great events over the next few months:

On October 16th, I moderate a panel for the Film Music Magazine NY Industry Focus Event called New Media, New Marketing, New Income Streams. I'm honored to have 3 fantastic speakers: Patrick Arn, founder of Gotham Records who does lots of his business online, Jerry Lembo, who among other things was a promotion exec for Columbia and Chrysalis Records, and now works with independent artists to promote and market their music, and Jeff Price, co-founder and GM / President of spinART records and founder of TuneCore, a delivery and distribution company. Admission is only $15 and pizza / soda is included. See more details and the speakers bios at http://filmmusicworld.com/network/index.php

On October 26th I'll speak on a panel at the Entertainment Industries Summit in Toronto about the impact of indie music on the entertainment industry with the President of EMI Publishing Canada and heads of labels. This conference is for the corporate end of the Canadian TV, film and music industries.
http://www.insightinfo.com/conferences/brochures/brochure.cfm?product_code=ETC06032

And I'm thrilled to announce that over the weekend of November 11-12, I'm working with Madalyn Sklar, founder of GoGirlsMusic.com and Dave Cool (interviewed below), who made the film, What Is INDIE? for a weekend of events that celebrate independent music. I'll do a full day workshop that Saturday called How to Make Music Your Day Job, covering most ways to create income streams from music, with many more guest speakers than I usually have. More details below. Madalyn is organizing a GoGirls showcase. And there will be at least one screening of Dave's film. I'm still in the process of organizing other informal events, such as a pay for what you eat dinner that Friday and an event or two on Sunday that will be free. I'll send an email blast in October when I have the schedule finalized.

Please forward this newsletter to your mailing list or anyone you'd like. If this was forwarded to you and you'd like to subscribe, send me an email that says "subscribe" in the subject header with your name and city/state. If you'd like to post it on your site, please ask for permission and I'll give it. Read past issues at http://www.daylle.com/monthly.html If you prefer to be taken off my list, please say unsubscribe in the subject header of an email.

My other newsletter, Self-Empowerment Quarterly, for the body, mind and spirit is also free. This WON'T come to you automatically. If you don't receive it and would like to subscribe, please send an email to subempowernews@daylle.com with you name, city/state. Read back issues at http://www.daylle.com/daylle/newsletter-growth.html

In this issue, I've got an interview with Dave Cool, creator of the What Is INDIE? film and one with Christian indie artist Jilleen, who has found wonderful ways to align herself with other artists to work together. I also two guest writers. Sheena Metal, radio host, producer, promoter and Jay Flanzbaum, founder of gigsonline.com. The rest is written by me. Please feel free to write with suggestions and questions that I can include in future issues.

1. Getting the Most Out of Music Conferences
2. What is INIDE? - interview with Dave Cool
3. Daylle's Seminar & Books
4. Radio by Sheena Metal
5. Interview with Christian indie artist Jilleen
6. Minding Your Music Biz: Gig Contracts Part 1
7. Ask Daylle

1. GETTING THE MOST OUT OF MUSIC CONFERENCES: Networking is critical for getting ahead. Conferences create good opportunities for connecting with industry pros and other musicians and also for learning more about the music industry. Having been to many conferences, I've observed the different ways people handle themselves. Professional networking is definitely an art that many musicians haven't learned.

Make the most of every conference you attend by arriving prepared. I've seen many musicians lay down hundreds of dollars to register and then wander around randomly trying to throw CDs at people. That's not the way to get your money's worth! And it stymies me that so many attendees are only there for the showcases and don't take advantage of the great learning opportunities by going to the panels. Here are some tips for making the mostof a music conference:

* Bring a pad and pen: This may seem obvious, but having spoken for 15 years I've observed too often that musicians don't even have a pen, no less paper. Come prepared to take notes! Write them down all good suggestions from speakers,. Don't scramble for paper and a pen when you hear something you want to remember. If someone gives you a suggestion, write that down too. A pad works best. Otherwise, you can come home with a pocket full of papers or napkins with individual notes. It's better to have it all in one place.

* Bring a Smile. People respond much better if you look friendly. I've talked to enough industry pros to know that they'd rather work with people they like. Those of you who know me know I smile most of the time. People remember me for that, and in a positive light. I know it's gotten me more support. Plus, smiling makes you feel better. It stimulates your levels of serotonin, which affects your mood. Smiling also enhances confidence.

* Bring business cards. When I ask someone for their card and they ask for a piece of paper to write their info, it makes a bad impression and says that you don't think enough of yourself to represent your profession properly. Postcards are nice but a business card is easier to hold onto. If someone is interested in keeping your contact info, a biz card can go into whatever they use to hold cards. Postcard are often tossed. You'll make an even better impression with a nice biz card. People judge easily and some will think you're doing well if your card is impressive. Include your phone number, email address and website.

* Be professional. Put out your hand when introducing yourself for a professional connection. Shake hands with a firm grip to make a good impression and show confidence. Be professional in your approach to get taken more seriously and stand out from those being pushy for attention. The individual may remember you better when receiving something you send later.

* Talk to everyone you can. Being at a music seminar offers great opportunities to meet people. Participants wear name badges, so check out everyone. Don't be selective about finding someone "important." Talk to people at the exhibitions, showcases, and in the bathroom. If you want to attract even more people, think of a good question or statement during a panel and get up on the mic. Give your name and who you are. If possible, mention what you're looking for. If you sound good, people will come to you afterwards. I've met great people that way.

* Respect the wishes of industry pros. If you meet someone you'd like a relationship with, ask what they'd like. Should you follow up by phone or email? Send a package in the mail or an online press kit? Don't try to tell them what you'd prefer. It won't get you farther than ignored in the future.

* Talk more about them, not you. If you're determined to sell yourself, you may sell your opportunity short by giving a long pitch without stopping for air. Instead, ask questions and learn details about the person that might help you. What kind of music does he thinks works best for his label? What kind of artists does she like managing the most? What makes him book one band over another? What kind of music can she get into films? Find out what they like and look for in a person they work with. Then you can determine if your or your music is a good fit and save time of pitching the wrong person. Plus, people love to talk about themselves so they'll like you more if you ask lots of questions rather than inundate them with tales of your music. They've heard that a million times. If you can refer back to something they said in relation to your own music, it's a better connection.

* Don't shove your music at speakers. Usually when a panel ends, the audience gang-rushes the speakers. It's hard to absorb anything. I've been a panelist and often those people become a blur. Don't throw demos at a panelist, even if it's someone you want to reach badly. Be patient. When the crowd clears, introduce yourself in a professional manner and ask for a business card. Say you'll get in touch later. If you make a good impression, they might remember you when you call. Ask if it's okay to send a demo next week. It's better to send material later. Why risk it getting buried under all the tapes dumped on the person? CDs are heavy and often don't make it back with the person.

* Don't just chase industry pros. Network with other musicians. Don't ignore them in your search for people you think have more clout. Meet as many musicians as you can. They can be your best allies and give you resources that have worked for them. Plus, creating camaraderie is extremely valuable to boosting your morale. Musicians are the best one to inspire other musicians. To me, a musical support system is a priceless commodity in this often tough biz. As you'll see in Jilleen's interview below, musicians can be the backbone of your career. Keep in touch with those you feel a good vibe with. Learn from them and support them too! It's a true blessing!

* Check for international showcases. At larger conferences like SXSW, they have showcases with artists from other countries. If you want to tour internationally, go to them and get to know the musicians and their management. They can give you info and contacts that can give you an edge to touring overseas. Offer them help and they'll help you.

Madalyn Sklar and Georgia Moncrief of GoGirlsMusic.com have created a small e-book with tips for using Myspace to help your networking at conferences. It's only 6 bucks and you can order it at http://www.gogirlsmusic.com/ebook1.asp

2. WHAT IS INDIE? Interview with Dave Cool: Dave Cool is the owner and manager of Montreal-based Stand Alone Records, a label that focuses on promoting the independent music movement. He also wrote, directed and produced the documentary film "What is INDIE?", which explores what it really means to be an indie artist. I asked him about it.

It actually happened by accident. I'm a music guy and never thought of making a film. But when someone asked what being indie meant, I decided to ask some musician friends on camera what they thought. It was supposed to be a short 10-minute thing for fun, but I soon realized that we had touched on something that had never really been done before, so we did a full-fledge documentary film.

Before making the film I was convinced that I knew what being INDIE meant. To me, it was all about avoiding the major label/corporate system and starting your own label, like Ani DiFranco did with Righteous Babe Records.

That being INDIE isn't so cut-and-dry! It was after interviewing Derek Sivers of CD Baby that the film really changed directions, as he made a solid argument that you can be INDIE while signed to a major label, which was completely unthinkable to me up to that point. But since I had so much respect for Derek, I decided to explore it further in subsequent interviews, and was surprised by the results.

I enjoyed the creative control and freedom of making the film without any outside influence. I did things how I wanted, when I wanted. But, on the flipside, I would've obviously loved a bigger budget than we had, which I think is something a lot of INDIE artists can relate to!

As with most projects like this, I think you just find ways to get it done. We filmed everything on Mini-DV, which is high quality, but inexpensive. We filmed mostly here in Montreal to cut down on travel costs, and the filming was done by my good friend, Ian "Steady-Hands" Graham, who happens to be a professional cameraman. Tim Rideout, an artist in the film, did the editing at his home studio. Both Ian and Tim worked for far less than they're worth because they loved the project. I guess you could compare it to an artist finding knowledgeable friends, who believe in their music, to record a professional-quality album in their home studio.

The film seems to resonate especially with artists, as it shows that it doesn't matter what kind of music you play or what your background is, the experience of being INDIE - with all of its advantages and obstacles - is universal. It also seems to give artists a sense of hope and inspiration, showing that the industry is changing in ways that are benefiting them, and that they now have more power and control to forge their own careers than ever before.

One of the most amazing things for me while making this film was meeting so many people from different backgrounds who seemed to share a similar sense of community and togetherness in indie music, and also the determination and dedication that they all possessed. It was inspiring and kept me going through many difficult times while trying to get the film made.

I always stress educating yourself about the industry, running a business and the artists who are out there making careers for themselves and how they're doing it. One thing I'm most proud of in my DVD package is the special features which include almost an hour of advice for indie artists from people like Daylle, Derek Sivers, Panos Panay, Peter Spellman and many others in the film. For years I've been looking to many of them to educate myself, so it was humbling to capture on camera their best advice!

Dave has offered my subscribers a 20% discount on the price of the 2-Disc package for the film by following this link: http://whatisindiemovie.com/discountstore.cfm It's normally 20 bucks but you can get it for $16 here. Besides the documentary, it also includes interviews with many industry pros and a soundtrack. It's a very interesting film and has a lot of info in the advice part. And I'm not just saying that because I'm in it! : )

3. DAYLLE'S SEMINAR & BOOKS: For one time only, on Saturday, November 11th I'm putting on a seminar that I've never done before - How To Make Music Your Day Job. It will be from 11:00 - 5:30 at the New Yorker Hotel at 481 Eighth Avenue (NW corner of 34th Street). This full day workshop will cover a variety of ways to create income streams that add up to a full time living from music. An assortment of industry pros will give tips for reaching the people who can use your music or your performance.

Topics include: Creating A Business Around Your Music; Overview Of Income Streams From Music; Licensing Music To Film, TV, Advertising, Music Libraries, Video Games, Ringtones; Finding Venues That Pay; Developing A Successful Domestic Tour; Touring & Licensing In International Markets; Effectively Working The Press; Developing An Effective Presence Online (Myspace, Youtube, Etc); Selling CDs And Digital Downloads; Networking Effectively.

I'll have more industry guests than I usually have for my events and there will be some panels too. It's hard to get confirmations too soon before an event but I have definite ones for the panel on licensing music for film and TV: Ed Razzano, Senior Director, Film, TV, BMG / Zomba Music Publishing and Michelle Bayer, Shelley Bay Music/Sugaroo who does publishing administration and places music in film/TV. I'm waiting to hear back from many others. I'll send an email blast in October when more are confirmed.

Advance registration is $99.00. Registration at the door is $125.00. My next Start & Run Your Own Record Label seminar is on Saturday, February 24, 2007 You can register for both How to Make Music Your Day Job and Start & Run Your Own Record Label for $175. The events will be posted on my website shortly. http://www.daylle.com/seminar.html Credit cards can be used on my website or the payment can be mailed to:_

Revenge Productions,_PO Box 8016, FDR Station_New York, NY 10150__ Pay by credit card: $99.00

My latest book, I Don't Need a Record Deal! Your Survival Guide for the Indie Music Revolution, continues to do really well! The focus is on making money from musical talent. It guides you to creating as many income streams as possible and has specifics on how to pursue the variety of opportunities. It's the only book I know of with so many specifics on how to tour and license music in international markets. People are surprised to find chapters on taking care of your physical and mental health too. But part of surviving and thriving includes taking good care of YOU.

You can order this book from me by sending $25 ($20 + $5 priority mail return) in check or money order (made out to Daylle Schwartz) with your name, address, and email address. My other books, The Real Deal: How to Get Signed to a Record Label and Start & Run Your Own Record Label are also available from me at the same price. Please specify if you want it autographed. Send it to:

       Daylle Schwartz
       PO Box 8016, FDR Station
       New York, NY 10150

It's the dream of many a musician to open up for either their favorite band or the favorite band of their childhood. For many, the ultimate in true rock star status is to share a stage with the musicians who made you want to play music in the first place�to see you name in lights (or printed on a flyer, as the case may be) with the guys (or gals) whose music you listen to almost as much as (if not more than) your own.

But is it really a good idea, as an unsigned artist, to open up for an act already known to the general public? Will you get anywhere near the recognition opening up for Pearl Jam in a large venue that you would at a local club playing with other unsigned bands? Will you fans dig your music as hard as ever or will they forget all about you in a mad frenzy to have Eddie Vedder sign their backs?

It's a double-edged sword that many artists forget to think over carefully before rushing starry-eyed into the excitement of being the opening act for: (Insert Name Of Famous Rock Star Here). In many cases, venues and promoters still expect your crowd to turn out and drink it up at shows, even though the headliner will draw a big crowd of their own. Many of these shows are an hour plus away from your local area and tickets can be upwards of $100. Is that something you can expect your friends will be up for?

And then there's the issue of press. Do you dare ask a reviewer to come out and cover your show and expect that a large portion of your article won't be about how "Pearl Jam rocks!" You score local radio play only to have the DJ announce the show and play, "Alive." Sometimes opening up for a signed act can make an unsigned artist feel even more invisible than usual. Here are some points to consider to help you weigh the pros and cons of grabbing a spot as the opening act for a famous band:

1. Would you take the show if you weren't playing with pearl jam? Many artists think that playing with a famous act is so important that they don't even bother to check out anything else about the gig. Many assume that rock stars always command rock star stages, but this is often not the case. Many acts, especially classic rock/retro acts on revival tours, are looking to get out and play anywhere that will put them up the right kind of front money. Often times this means that the venues are in more remote areas either looking to get on the musical map or using a well-known act to entice people to drive in from far away. Sometimes, the clubs are older rooms looking to get their groove back or new places that haven't yet acquired a regular crowd. Before booking anything, drive out and check out the venue on a few different nights and make sure that you like the room, the stage, the regulars, the area, etc. and ask yourselves if this is a venue that would play if it wasn't for the draw of the signed headliner. Since many of these shows can cost unsigned acts anywhere from $200-$2000 in ticket guarantees, you want to make sure that your getting your money's worth musically.

2. Would Pearl Jam's fans listen to you if they caught you in your local bar? For a lot of upcoming acts, the lure of playing in front of a crowd of adoring fans is a huge plus. But, you need to make sure to remember that just because people are coming to a club doesn't mean they plan to listen to you. Sadly, often the followers of signed acts could care less about unknown openers and will arrive right before the headliners set. Sometimes, they sit in at the bar in another room praising their favorite band while the openers play to their friends and the wall. Worst case, many of them will rush the stage yelling, "Pearl Jam! We want Pearl Jam" while you do your best to win them over musically. This is why it's important to only open for signed acts that fit in the style of your music. If you loved Pearl Jam in high school but your band sounds like John Mayer, you might want to think twice before deciding that their fans are automatically going to dig your tunes.

3. Find out all of the details before committing to a signed act show. It's fairly easy to book a local show: two to five unsigned acts, 20-45 minute sets, all ages to 21 and up, $0 to $10 cover, sound check or line check, maybe free parking, possibly some free drinks, sometimes backline gear, occasionally free food, and pray for a decent sound man. It's all pretty much cut and dried and if your band has been around awhile, you can confirm gigs in your sleep. Signed headlining acts are a whole different animal and promising your crowd to a venue two hours away, with a $40 cover charge where your band is playing a 15 minute set with your gear scrunched up on the front of the stage so that the headliner's gear can remain set up might not be as easy as you think. Your fans are used to seeing you rock the house, down the street from their homes, where you play long, get an encore and the house buys everyone a shot! Unless they're dying to see Pearl Jam, they might not be up for all of extra energy it takes to see you open up for a famous act.

4. You may not be signed but you can act like you are. If you decide to take a gig opening up for a signed band and you want to impress them, their crew, their reps, and the club's management, then make sure you're act as professional as your headliner. Get there early, have your gear organized, make sure everything is working perfectly, load in at the speed of light, have your set list ready, be courteous to the sound guy (gal), keep your set on time, and load off at the speed of light. Most importantly, have your merchandise in order and professionally displayed at the club/arena: CDs, DVDs, t-shirts, bumper stickers, hats, condoms, thongs�you name it. You know you're unsigned but the headliners' fans don't, so why advertise it? Put on a fantastic show and maybe you'll sell some CDs, etc. and make some extra cash.

There's one more thing to consider here: fulfilling a dream. If it's your dream to open up for an act you love, then throw caution to the wind and do it just for the dream. If you lose money, hate the club, get booed by over-zealous fans�who cares? For that one set, you shared the stage with the band that put the dream in your heart to get up on a stage in the first place. Plus, it's great bragging rights for your band. You can throw it up on your website and talk about it to your grandchildren. If you don't mind the extra effort, commitment and sometimes hassle, then go for it! Who knows? Maybe they'll pick you up as the opener on their tour? Maybe their label will see you and sign you? Maybe Rolling Stone will come out to review them and mention your name? If you're doing it to fulfill the dream, then everything else is a bonus. Just remember to get all of the details, and stay smart when undertaking a huge gig. Now, get up on that stage and wow that big crowd, you rock stars!

Sheena Metal is a radio host, producer, promoter, music supervisor, consultant, columnist, journalist and musician. Her syndicated radio program, Music Highway Radio, airs on over 700 affiliates to more than 126 million listeners. Her musicians' assistance program, Music Highway, boasts over 10,000 members. She currently promotes numerous live shows weekly in the Los Angeles Area. Check her out! http://www.sheena-metal.com .

5. INTERVIEW WITH Jilleen: Jilleen has been an independent Christian recording artist for over 10 years. She also does speaking and is one of the founders of Christian D.I.V.A.s. Its members are female Christian independent artists that support each other. I asked her to share her thoughts and suggestions.

I have been singing ever since I was a young child and always knew what I wanted to be when I grew up. However, since I was not signed to a record label I did not know where to begin. After majoring in music in college, I met a good friend named Junko, who was an independent Christian artist who released her own CDS and toured regularly. This was back in 1994, when the idea of being an independent artist was not the norm. After meeting Junko, I was inspired to start my own music career. Whenever I had a question I asked her. I believe having a mentor who is willing and able to help you develop your music career is very important and key to having a long term successful career nowadays.

Leah and I met at a World Vision Artist Associate retreat back in 2005. We instantly hit it off and learned that we had a lot in common. Through our discussions, we discovered that we both shared similar concerns with the music industry and specific online websites that pursued independent artists. A lot of the material we found online was for the beginning artist. We were in need of a place that we could call "home" that supported specifically the independent female Christian artist who was further along in their career.

The Christian D.I.V.A.s are Devoted to teaching God's love, being Inspired and led by the Spirit, living Victoriously through His Word and using our Artistic gifts and talents ultimately for His kingdom. Christian D.I.V.A.s is a fun and talented pool of ladies. We are a meaningful group of artists that you can trust for all your event planning needs. The purpose is to create a community of like minded independent female Christian artists who support one another in their ministries and music careers. We do this through our online discussion group, retreats and special events.

No. We have very specific membership guidelines. You must be a Christian, a female performer, perform a minimum of 20 dates a year, and have a professionally recorded CD and nice looking website.

Each year we put on a special event called The Christian D.I.V.A.s Extravaganza. This past summer it was at a beautiful restaurant in Erie, Michigan. This gave alot of the girls the opportunity to perform in an area of the country they have never been in (like me!) and to personally meet one another. The opportunity to perform as a group was fun, but the individual relationships that were built because of the event will last a lifetime.

From a Christian perspective, the Lord tells us in Ecclesiastes 4: 9-10, "Two are better than one, because they have a good return for their work: If one falls down, his friend can help him up." In general, creating a community of like minded artists provides opportunities to meet new people, support one another in our endeavors and share performance opportunities.

Artists should understand that relationships are very important in succeeding as an independent artist.

I always emphasize the importance of developing good relationships with other artists. Jilleen is a perfect example of how artists can work together for mutual benefit. Check out the Christian D.I.V.A.s at http://christiandivas.net to get ideas for forming your own alliance and Jileen at http://www.jilleen.com

Many an agreement has been made based on a phone call and a virtual handshake, but if you want to live without headaches, I suggest you get in the habit of sending a written agreement for every gig.

The story usually goes like this: you sent the CD in January, to finally book a gig in April for this upcoming August. It's just a Tuesday night for 100% of the door, a place to stay and some food, but it's a much-needed stopover between Colorado and Nevada. You call a week before the gig from somewhere in Texas and the club has never heard of you. What's worse, there is another band booked on that night and the other band has a confirmed written agreement.

For gigs that are low to no-dough deals, you should still send a written agreement. Email is the easiest method because you can easily send the same message over and over until you get confirmation. Faxing is also relatively easy but having to send a snail mail agreement more than once can be a hassle. Your goal here is to constantly remind the talent buyer of your agreement and put all of the details in one place. The higher the dollar value on the agreement the more diligent you should be on insisting on a signed copy.

Check out http://www.faxwave.com , they will give you a free Fax-to-Email phone number. This gives you the ability to have a buyer physically sign your agreement and fax it back to you, but instead of receiving a traditional paper fax, you will get an electronic copy of the signature in any email inbox that you choose. This eliminates the likelihood of agreements or faxes slipping through the cracks. Most venues book a ton of talent and have their own problems keeping the information straight.

Jay Flanzbaum is founder of Onlinegig, a very valuable service that provides a database and all the tools you need for the administration of booking yourself into clubs, colleges, festivals and promoting a band. The database also includes over 6,000 media contacts and everything, including sending out contracts and keeping track of everything involved in a tour. http://www.onlinegigs.com/v3/register.asp?Source=Affiliate

I will continue this series on contracts in the next issue and include more info on gig contracts.

7. ASK DAYLLE: I met a manager when he heard me at a club and he expressed interest in repping me. I sent him a press kit and followed up a week later but he didn't return my call. Now I've left him a lot of messages and still nothing. Should I keep trying? Why do people say they're interested and then ignore you?

But life is like that because all people have issues going on that you probably don't know about. Things come up. Personal problems arise. And the bottom line is, while you're putting so many hopes on the manager, chances are you're not important to him. If he's interested, he knows how to reach you. Hounding him won't help. He may not have liked your press kit or was told that he can't sign any new acts for a while and won't call to let you know that. Or he's just busy. Focus on doing what you can to develop your career instead of chasing someone who's not responding. You may still hear from him down the line when he's ready. Accept that no ONE person is that important.

President Harry Truman said, "A pessimist is one who makes difficulties of his opportunities and an optimist is one who makes opportunities of his difficulties." Which one are you? Is your glass half empty or half full? When you focus on what's going wrong instead of what's going right, you become your own roadblock. It puts you into a bad mood and you begin to expect things to go wrong.

It's so much more rewarding, and a lot less stressful, to focus on making the most of your circumstances. I know it can be hard. I recently talked to a musician who traveled hours to a gig and there was a mix-up. The club manager forgot to put him in the book and wouldn't let him play. Most people would moan about how life sucks. Or feel like they'd just been dealt a blow. Not this guy! He found a spot in public with a lot of people going by and sang.

Singing in public is legal if you don't use an amp, block a doorway, or create a noise ordinance. He played his guitar and sang his heart out, with his guitar case open and a mailing list in front for people to sign onto. He left with more names than he usually got at a club, sold CDs, and had a case full of dollars. We all have choices - let the bad stuff play out and ruin your situation or create a new situation out of difficulties. It's your choice!