Vocalist Career Development Program

Vocali stsCareer Development program

moni apubli shi ng

SAMJ AM Mus i cPr e s e nt s

I ni Tune sNOW! ! ! www. f acebook. com/ j enni f er meadeof f i ci al www. t wi t t er . com/ j ammeade

Chapter 1 Time Management and Goal Setting Key Ideas in this Toolkit There was a guy (lets call him Boris) slaving away chopping down some trees. He was having a real hard time of it, because his axe was really blunt. Another guy came along (lets call him Baz), and said to Boris ‚that looks like hard work, wouldn’t it be quicker if you sharpened your axe?‛ Boris replies ‚yes it would, but I don’t have time‛.

This toolkit is all about sharpening YOUR axe<..

Yeah, you need to work hard, but you’ve got to work smart as well!

Overview Time Management and Goal Setting are very personal things. It is dependent on your personal circumstances and your personality traits. What works for some people, won’t work for others. Therefore, take out of this toolkit what is relevant for you and put it into practise.

Some of it may not be relevant – that’s OK. Regardless of how you do it, both are crucially important.

Time Management takes time. You need to make time to make time, much like Boris and his axe.

Your Health There is just no way can you be efficient if you don’t look after your health.

This is in no way a complete guide to the healthy body and mind, simply a few basic pointers. If you have concerns about your health you should contact a health professional.

You don’t need to be crazed about it (in fact that is usually worse for you) but you MUST: Get enough sleep.  The amount of sleep you need, and the times you sleep, is really individual.

Figure out what works for you, and do it.  Be aware that there will be times you need more sleep and times you will need less. Go with what your body tells you.  Be aware that your energy levels will vary. Don’t give yourself a hard time if you’re having a low energy day. However if you go for weeks with low energy, something is wrong.

Your diet:  Be sensible.  Eat plenty of fresh fruit and veges.  If you enjoy food that supposedly isn’t good for you (takeaways, chocolate etc), don’t deprive yourself, but keep it moderate.  Eat regularly – don’t starve yourself. You can’t operate if you don’t give your body food.  If you have difficulties maintaining a healthy diet, seek the help of an expert. A good naturopath is invaluable or a good dietician.

Drugs and alcohol:  Avoid drugs and the people that do drugs. Neither are good for you.  Avoid drinking alcohol and the people that drink alcohol. Neither are good for you.  Unless you are prone to addiction, there is nothing wrong with a few drinks, maximum, once or twice a week.  Avoid doing it at work (ie when you’re at a gig – this is a really bad look).  We are in an industry which tends to have a problem with substance abuse. If you suspect you, or anyone you know has a problem, seek help.

Be active: You don’t need to be a fitness freak, but if you are at least moderately active, you will be a lot more efficient.

Time out: It’s really important to give yourself time out. This may just be 10 minutes for a coffee or it may be scheduling yourself a proper holiday.

Have some activities you really enjoy that you find relaxing. It might be hanging out with friends, playing a sport, or going on a bush walk.

If you don’t know already know how, learn to relax. It may be useful to learn about meditation or you may find an activity you really enjoy does the trick.

Your physical state of health is also closely linked to your mental state of health. You can’t have a healthy mind if you don’t have a healthy body and vice versa.

Your State of Mind You simply can’t be efficient, if you don’t have a healthy state of mind.

This is not qualified mental health advice, merely a few personal observations.

If you are concerned about your mental health, you should contact a health professional.

It is important to realise that creative people are possibly more likely than ‚normal‛ people to suffer mood swings (at best) and mental illness (at worst).

Everyone has good days and bad days. If you’re having a lot of bad days in a row, this may be a sign that you need some professional help, don’t be afraid to ask for help. It may also mean you need to make some changes in your life.

Apart from that there are some really simple ways to ensure the good days are the rule and the bad days are the exception, and to deal with the bad days when you have them.  Surround yourself with positive people that have a ‚can-do‛ attitude. Lose any losers in your life.  Affirmations  Congratulate yourself when you’ve done a good job  Learn to distinguish between good advice and out criticism. Listen to the former and don’t even pay attention to the latter.  Recognise all the good things in your life, and your good qualities. You may find it helpful to write these down or draw pictures.

When you’ve having a bad day:  Assuming the people around you are good for you, tell them how you’re feeling and ask for support from them.  Don’t give yourself a hard time. This will likely result in a downwards spiral.  Be nice to yourself. Do something you really enjoy.  This is the time you should most avoid drugs and alcohol.  Unless it’s absolutely necessary, try to avoid doing anything and seeing anyone that will stress you, or that you find difficult.  Don’t listen to the little voices in your head that tell you how useless, bad or worthless you are. If you suffer from this problem, when you’re feeling good, prepare a list of all the things you like about yourself and all the wonderful things you’ve achieved. Pull it out and read it if you’re having a bad day.  Realise and tell yourself you won’t feel like this forever.

Goal Setting You can’t manage your time unless you know what your goals are.

If you’ve never done a goal setting exercise, you may find this process will take some time and some soul searching.

Have fun with this exercise. Don’t look at it as one of those ‚I really should do this‛ things.

What does your movie look like?

What is your ideal life? Think about things like: What kind of a person do you want to be?

What will your qualities and skills be?

Where will you be living – what do your surroundings look like?

What are the people like who are in your life?

What does your ‚average‛ day entail?

What are the activities you will be doing?

How much money will you be earning? How will you be earning it?

Find a way that suits you, of recording this. It might be writing it down, drawing pictures, making a movie. Up to you.

Visualise it – how does it everything look and even more importantly feel.

This needs to be the first thing you think about when you wake up and the last thing you think about before you go to sleep. This will get your subconscious mind working on it, which is a very powerful thing.

Break it down into smaller goals Again, it’s up to you, as to what suits you best. Some people prefer to start with the shorter term goals, others prefer longer term. Some goals may take you a while to come up with. That’s cool, just keep working on it.

Ask yourself. What do I need to do within the next (day (this will become your to do list), month, 3 months, 6 months, 12 months, 2 years, 3 years, 5 years and 10 years) to achieve the ‚movie‛.

Again, find a way to record these goals that suits you. Most books on the subject will say write them down. You may prefer something different, like drawing a picture or a mindmap.

Not all your goals will be career or business focused. It’s important to have personal goals as well.

Goal Setting Necessities Express them in the positive If writing them down, express them in the positive (eg) today I will spend an hour on reading a book on marketing, NOT, ‚I will not spend an hour playing playstation‛.

Make them time specific and measurable (Eg) this week I will add 10 new people to my mailing list NOT I will increase the number of people on my mailing list Set deadlines Give yourself a deadline for each goal. Make it achievable.

Make them small achievable steps If you have a large goal of (eg) Recording and releasing an album, break it down into smaller steps (eg) preproduction, researching and finding a studio, researching CD duplication, getting the artwork done etc Get a balance between achievable and pushing yourself outside of your comfort zone Set your sights high, include your dreams, but make goals achievable.

Review your goals It’s important to make sure you review your goals regularly. Sometimes your circumstances change, or what is important to you changes. It’s important to recognise these things and adjust your goals accordingly.

Here’s the most important thing Stop and congratulate yourself every time you achieve one of your goals!!

Figure out what works for you. Give yourself a day off, shout yourself a night out, or it might be tell yourself how fantastic you are.

Be Organized Time management will be a whole heap easier if you’re organized. Organized does not necessarily mean tidy. So, don’t stress if you’re not naturally tidy. It doesn’t mean you’re disorganised.

Don’t try to change everything at once. A lot of these things are changing hard and fast habits, so concentrate on one at a time.

1/ Homes Everything must have a ‚home‛. (Eg) your clothes may live in your wardrobe.

The advantages of this are:  You will always know where to find things. This can cut down a huge amount of time and frustration looking for something you need.  You won’t lose things.  It will be easier to be tidy.

When deciding on ‚homes‛, think about:  Is it near where you’ll use it (eg) keep your spare strings in your guitar case  Is it easy to get to (eg) are all the things you will need in the office (paper, pens, stapler, scissors etc) easily reached without getting out of your chair.  Put like things together (eg) all your things you need for a gig (eg guitar, mic, leads)  Always put an item back in its home when you’ve finished with it.  Make sure everyone who will use the item knows where its home is.  If you’re not used to ‚homes‛ try using labels until the concept of homes if firmly embedded in your subconscious.

2/ Diary Have (one only) diary and use it. It may be an old school diary or a new fangled digital diary. Figure out what suits you best and carry it with you all the time. It will also double as a useful notebook.

Write all your appointments in your diary as you make them.

Write relevant details of your appointments such as contact name, address, phone number etc

3/ Be on time One of the most important things, if you want people to treat you seriously, is to be on time.

Allow extra time for things to go wrong.

As soon as you are running behind time, invariably this is when things go wrong.

Particularly if you are rushing.

If the worst happens and you are running late for an appointment, let them know as soon as you can.

If circumstances outside of your control (eg) severe traffic cause you to be late, you need to adopt the ‚don’t panic‛ and ‚stay calm‛ mindset. You can’t do anything about it. Just accept it and enjoy the time you are getting to yourself.

4/ Your memory (vs) writing things down and recording system Having a good memory sure helps being organized. If you don’t have a good memory, consider some memory coaching.

HOWEVER Regardless of how good your memory is, don’t rely on it. Make sure you have a system for recording everything.

Things to avoid Avoid writing things on scraps of paper that will get lost and/or will take a heap of sorting through to find the right piece of paper.

Avoid having records spread out in several different places.

The following items in your recording system are recommended A diary for appointments A to do list A database for contacts Your goals A notebook and/or a file on your computer for inspiration and ideas.

This may include future additions to your goals, lyrics, promotional ideas, or just random thoughts.

Mobile record system If your system is not portable, make sure you have a method of recording ideas, contacts, things to do etc while you are out ((eg) a notebook and pen or Dictaphone).

Then, incorporate them into your system when you return to your office.

6/ Get a good filing system Make sure you always know where to find that quote you got for recording 2 years ago and those equipment warranties and those paid accounts.

7/ Have a clear, logical file structure on your computer Make sure it makes complete sense to you so you always know where to find your files again.

If you don’t know how to do this, invest in some education on the topic.

Give files meaningful names (ie) don’t called them letter 1. Call them either the topic of the letter and the date, or the recipient of the letter and the date.

8/ Have a bought forward / follow up system Diary things that need to be done at a later date.

Diary when you need to follow something or someone up. Don’t just cross them off your list and never think about it again.

9/ Leaving voicemail messages Leaving good voicemail messages will save you time; you’ll get more calls returned and increase your credibility.   

     

Speak slowly and enunciate clearly If you aren’t sure what you’re going to say, script it first.

Begin AND end the message with your name AND phone number AND email. o NEVER assume they have your number. Even if they do, it will save their time looking it up. o Leave a landline and a mobile if possible. It may often be bad form, expecting someone to carry the cost of a mobile call.

Spell your name if dealing with someone for the first time Don’t just leave your name and number—leave a message.

Let them know the nature of the call Let them know a good time to reach you.

Make it quick, less than 60 seconds.

Avoid (if possible) leaving messages from your mobile.

Time Management Overview Have some fun with your time management and planning. Don’t stress too hard about it and you’ll find it will get easier as you go along and teach yourself new habits.

Once you’ve done the goal setting exercise you’ll find time management a whole heap easier. Before doing anything, ask yourself, ‚does this help me achieve my goals?‛ If the answer is no, then don’t do it.

Will I ever get everything done?

If you have a business which is developing and has the potential to develop further, you will never have everything done.

The day everything is done and up to date, is the day your business (in this case as a musician), has no potential to grow any further.

Therefore you will often feel like there just isn’t enough hours in the day to get everything done. Provided you are moving towards your goals, this is a good thing.

Don’t allow yourself to feel guilty or overwhelmed by it.

Where does that time go? - Time Journal Before you embark upon a time management exercise you may find it useful to keep a time journal for a period of time (perhaps a week). Write down what you do every day in 30 minute intervals (see table on next page – you may need to change the times for your day).

Then analyse your journal. See instructions following the sample journal.

Day Time 8am 8.30am 9am 9.30am 10am 10.30am 11am 11.30am Midday 12.30pm 1pm 1.30pm 2pm 2.30pm 3pm 3.30pm 4pm 4.30pm 5pm 5.30pm 6pm 6.30pm 7pm 7.30pm 8pm 8.30pm 9pm 9.30pm 10pm 10.30pm 11pm 11.30pm Midnight

Activity

Comments (eg) hungry, tired, happy, grumpy

12.30am 1am 1.30am 2am 2.30am 3am 3.30am 4am 4.30am 5am 5.30am 6am 6.30am 7am 7.30am Totals I spent my day doing (for (eg)) Personal Sleeping Eating, showering, basic type living stuff R&R Phone calls Work Phone calls Emails Gigging Songwriting Traveling Research (reading etc) Time wasted What things do I waste my time on?

Who causes me to waste time?

Analyse the Journal

Total what you spent your time on each day.

How much wasted time was there? (Not to be confused with timeout which is really important).

What did you waste your time on?

What caused you to waste time?

Who caused you to waste time?

What are you doing that doesn't really need to be done?

What are you doing that could be done by someone else?

What are you doing that could be done more efficiently?

Do you need to upskill? On what? (Add this to your goals).

Do you need to upgrade equipment or technology? (Add this to your goals).

You should see some patterns emerging.

When are your productive times of the day?

When are your non-productive times of the day?

What things affect your productivity positively? (This may give you some things to add to your goals).

What things affect your productivity negatively? (This may give you some things to add to your goals).

Time Wasting Habits Doing the time journal will also make you aware of your time wasting habits. Here’s how to deal to them.

1. Be really honest with yourself, what do you do that could be done more efficiently.

You may like to ask people around you what they think you do which is a bad time wasting habit.

2. Write down them down 3. Rank them in order of what wastes the most time.

4. Concentrate on improving one thing at a time. When you’ve mastered that and created a new habit, move on to the next one.

Some common time wasting habits: Procrastination. This is a biggie. Virtually everyone suffers from it. There is a whole big section on it, to help you deal with it.

Not being organized. See ‚Be Organized‛ Not prioritising. See ‚Prioritising‛.

Not doing everything in one hit.

Every time you are off to get something or drop something off, spend a few seconds or minutes checking to see what else can be done during that trip.

Being easily distracted. Does noise or people talking distract you? Do you want to contribute to their conversation? You may need to change your surroundings / living circumstances to give yourself a work area which doesn’t have distractions. You also need to be aware of it and spend some effort to not be distracted by things and focus on what you’re doing.

Only handle pieces of paper AND emails once. Deal with paper as soon as you get it.

Don’t pick it up 10 times before you deal with it. Generally paper can be dealt with one of the following ways: Bin it File it Prioritise it and put it on your to-do list Put it in your bought forward system Same with emails. Empty your inbox everyday. Here’s how to deal with them.

Download them Delete any spam Open and deal with any urgent emails o Once they are dealt with, IMMEDIATELY put them in a folder, so you can access them at a later date if you need to.

Put the remaining emails on your to-do list in priority order.

When you get to your emails on your to-do list: o Deal with as many as you can there and then o If you have emails that are reading / research, put them in a folder together and allocate some of your reading time to going through them o Put any that can’t be dealt with there and then in your brought forward system. The easiest way of doing that if you are using outlook, is drag them into your tasks and set a reminder for some time in the future, when you can deal with them. Then file the email away in a folder.

Jumping between tasks. Once you’ve started a task, finish it before you move on to the next task. If you think of something else you need to do, write it down on your ‚to-do list‛ Watching things happen. How many times have you sat there and waited while your emails downloaded, or maybe watch the kettle boil. Always have other things you can move on to while these things are happening. It may only be a couple of minutes, but if you save 2 minutes, 10 times a day, that’s a massive 122 HOURS of time you save a year, that’s 3 working weeks!!

Visitors and phone calls. When you work from home, phone calls and visitors can pose a major problem. If friends phone or visit you while you’re working, don’t get into a conversation with them, be firm, and tell them you will call back at a later time.

You may choose to have certain times of the day, when you take your phone off the hook and let your voicemail answer it.

Television, computer games, playstation etc. If you can’t stop using these things, consider selling them or having them some place which is well away from your workspace. Preferably in another building.

Not being able to say no to people. Are you one of these people who is constantly over committing yourself because you can’t say no to people? If so, you need to learn.

Prioritising This is probably THE most important skill to learn in time management.

Urgent vs Important You need to be able to identify the difference between something which is urgent and something which is important.

Some things which seem urgent may not be important at all. (Eg) someone who ‚urgently‛ wants you to phone them.

Many things which are important do not seem urgent, so they never get done without proper planning (eg) developing your website So Something is important if it moves you towards your goals.

If something seems urgent, before you do it, ask yourself if it is important Maintenance vs Progress In order to make the most of your time, you will need to be able to get the balance right between maintenance tasks and progress tasks.

Maintenance tasks are important things like collecting your emails and updating your website and must be done (these are often daily or weekly tasks), and although they may be moving you towards your goals, may not be progressing your career.

Progress tasks are important things like writing new material, up skilling, research and recording which progress your career. These are often the things which don’t get done, or get low priority. It is important to prioritise these and to always be working on at least one progress task.

Your progress tasks will be a plan of how you will achieve your longer term goals. (Eg) If you have a large goal of recording and releasing an album, break it down into smaller

steps with timeframes (eg) preproduction, researching and finding a studio, researching CD duplication, getting the artwork done etc.

Add at least one thing you can do towards this progress task to your to-do list everyday.

Your To Do List (Your Daily Goals) This is your most important tool in time management.

It is what you will be doing today that will mean you can achieve your ‚movie‛.

It should be the first thing you do when you start work every day.

It will include: ‚Your maintenance tasks‛ ‚Your progress tasks‛ Your maintenance tasks usually work in daily, weekly and monthly patterns.

To save time on compiling your To-Do lists, spend some time: Compiling a daily tasksheet.

This may include things like: collect emails, practise etc Compiling tasksheets for each day of the week.

For example, you may update your website every Monday and advise gig guides of your upcoming gigs on a Friday.

Diary monthly tasks. If you use outlook, you can use the recurring function on the calendar to do this automatically for you.

Compiling Your To-Do List 1. Add your daily tasks 2. Add the weekly tasks for that day of the week 3. Add the monthly tasks from your diary 4. Add any tasks from your brought forward system 5. Add your progress tasks for that day NOW 6. CHECK there aren’t any tasks which aren’t important (ie are not moving you towards your goals). If there are any, CROSS THEM OFF! 7. Put them in the order that you will do them. Bear in mind: From your time journal, you should be aware when your productive times are. Schedule your ‚hard‛ tasks, during those times

Schedule the things you find easier, during your less productive times and/or schedule your R&R during those times.

Group ‚like‛ things together (eg) if you’ve got a number of phone calls to make, put them together on your to-do list.

8. Make sure your to-do list is the right size. If it’s too big, reprioritise. If it’s too small, add some more progress tasks.

NOW 9. Do it 10. Make sure you do it in order and don’t go off on a tangent or get distracted with those seemingly urgent matters.

11. Don’t keep working if you need a break, or need to eat. You won’t be efficient and you are more likely to make mistakes. Take a break and come back to work refreshed.

Keep a list of smaller activities…

You can use these to fill any gaps in your time (eg) if you are waiting on the phone Keep a list of tasks you can do whilst kept waiting etc Ever been kept waiting for an appointment. Or just ended up with some time on your hands between say appointments. Always have something you can work on during these times so it’s not wasted time.

Blasting Procrastination into Oblivion ‚Why do today, what can be put off until tomorrow<<.‛ WRONG!!

Most people suffer from it, so don’t give yourself a hard time, this will only make you procrastinate more. Accept that you have possibly wasted a lot of time in the past and move on.

Before labelling yourself as procrastinating about a task, is the task really necessary?

Maybe you’re ‚procrastinating‛ because it doesn’t actually need to be done. Maybe you genuinely don’t have the time. If this is the case you need to restructure your workload.

Things already covered in this toolkit which will assist you in the problem of procrastination: Addressing any health and mental health issues Realising you will have the occasional bad day. Don’t worry if you procrastinate on these days (provided they are only occasional).

Having your subconscious constantly working on achieving your ‚movie‛.

Things that once seemed insurmountable will now seem like fun!

Having goals with deadlines Being organized Being aware of your productive and non-productive times of the day. Schedule the tasks you find hardest, when you are at your best.

Realising what makes you unproductive (eg) being hungry or tired Having a plan for each day (your to-do list).

Here’s what to do if you’re procrastinating about something 1. Spend a few moments imagining you’ve finished the job. Isn’t it a good feeling?

2. Decide upon a reward you will give yourself when you’ve done the job. Make it worth your while.

3. Be aware, the worst thing of a job you are procrastinating about, is making yourself start it. Once its started, 999 times out of 1000, it’s not nearly as bad as you thought it would be.

4. What can you do to make the task more pleasant?

Maybe put your favourite music on (not if it will distract you). Have some of your favourite food nearby (eg) a bowl of chips or M&Ms 5. Figure out why you are procrastinating. Once you know why you are avoiding something, it is usually much easier to address. Here are some common reasons and some ways around it.

The job seems too big.

The old saying ‚A journey of a 1000 miles starts with a single step‛ is really the best advice here.

Break it into smaller steps.

Make the first step the smallest (eg) You are procrastinating about promoting a gig. You might break it down with the first step being compose an email to go to your mailing list (this will probably only take a few minutes).

You don’t know where to start.

Somewhere is always better than nowhere. Even if it’s not the best place to start, figure out something you can do easily NOW and you will probably find it easier from there.

Ask a clear thinking friend to help brainstorm and put together a plan of attack.

Sometimes you may need to get expert advice (eg) for a recording project you might like to speak to the engineer of a studio you are thinking of using, to help you decide how to approach the project.

You are scared of what you’ll find.

(Eg) you have been procrastinating about sorting out your bills.

Yip, what you’ll find will probably be scary BUT not nearly as scary as what will happen to you if you ignore it.

Enlist the help of a friend who is good at dealing with such things. If you don’t have any friends who are, again you may need to seek expert advice. There are a number of agencies that can assist in these areas. Citizen’s Advice Bureau is a good place to start.

You’re scared of what people might think of you.

(Eg) you have some phone calls to make to people who make you nervous.

Figure out what you want to achieve from the phone call Visualise what it’s like when you’ve achieved what you want to achieve For phone calls, it is often a good idea to script your call.

Also figure out what is the worst thing that can happen (eg) they’ll say no. Is it really THAT bad? Don’t focus on it, but if you know the worst thing that could happen is not death by slow and painful means, it does make it easier.

You have had a bad experience before.

Figure out why the experience was bad the last time What can you do better this time to minimise the risk of the same thing happening?

If it is something that has affecting you really badly, think about getting professional help to address the issues

Wanting it to be perfect.

Perhaps you haven’t started on a task, because you want the outcome to be perfect (eg) a poster.

Yip, your first poster design, will not be your best BUT it is still better than NO poster.

It’s important to realise you won’t get to the perfect poster, unless you start with the earlier less perfect models.

You don’t have the skills.

It’s really important to recognise if you genuinely don’t have the skills to do a particular task.

If its important that you get those skills, then learn them (courses, reading etc) If its not important that you get those skills, then pay someone to do it for you

Summary Address any health and mental health issues that may be affecting your life. Develop your ‚movie‛ – your ideal life Set your goals to achieve the “movie” for the next: Month 3 months 6 months 12 months 2 years 3 years 5 years 10 years Learn to be organized – address one thing at a time Find out how you spend your time – do the ‚Time Journal‛

Analyse the Time Journal Identify and correct your time wasters - address one thing at a time Learn to prioritise – only do things that move you towards your goals Do a daily to-do list Ban real procrastination; relabel what you might think is procrastination to what it actually is (eg I’m not doing it because it’s a waste of time).

Chapter 2 Resource and Skills Inventory Key Ideas in this Toolkit Identifying the skills and resources that you have Identifying where those skills and resources need improvement Identifying which skills and resources you need to acquire Part A: RESOURCES 1/ People List the people who assist you in your career as a (singer) musician or manager Role Person/s Their skills Personal / moral support

Business mentor

Musical mentor

Manager

Sound engineer

Role Others

Person/s

Their skills

Who would you like to get on board to help you?

Role/s Person Skills you require them to have

Role/s

Person

Skills you require them to have

2/ Equipment Musical Guitar/s

Other instruments

Associated equipment e.g. pedals, effects etc

Mic

PA

Recording equipment

Upgrade / to get

Timeframe

Upgrade / to get Other musical equipment

Timeframe

Other Vehicle

Computer and associated equipment

Upgrade / to get

Timeframe

3/ Current contacts Press

Radio

Venues

Musicians

Technical Advice

Recording

Contacts to develop

3/ Current contacts (cont) Sound

Equipment

Promotion

Industry

Design

Printing

Contacts to develop (cont)

3/ Current contacts (cont.)

Other

Contacts to develop (cont)

3/ Current contacts (cont.)

Contacts to develop (cont)

4/ Networks What groups of people do you have access to who may assist you in your career.

What groups of people would you like to develop a relationship with may assist you in your career

5/ Other resources you have

6/ Other resources you need

Part B: SKILLS Motivation and Goal Setting: Strong points

Motivation and Goal Setting: Areas for improvement

Songwriting: Strong points

Songwriting: Areas for improvement

Musicianship: Strong points

Musicianship: Areas for improvement

Vocal skill: Strong points

Vocal skill: Areas for improvement

Performance skill: Strong points

Performance skill: Areas for improvement

Recording and production skill: Strong points

Recording and production skill: Areas for improvement

Experience: Strong points

Experience: Areas for improvement

Marketing skill: Strong points

Marketing skill: Areas for improvement

Business skill: Strong points

Business skill: Areas for improvement

Communication - Verbal: Strong points

Communication - Verbal: Areas for improvement

Communication - Leadership: Strong points

Communication - Leadership: Areas for improvement

Communication - Literacy and numeracy: Strong points

Communication - Literacy and numeracy: Areas for improvement

Communication - Business Writing: Strong points

Communication - Business Writing: Areas for improvement

Communication - Promotional Writing: Strong points

Communication - Promotional Writing: Areas for improvement

Design: Strong points

Design: Areas for improvement

Industry Knowledge: Strong points

Industry Knowledge: Areas for improvement

Computer Literacy: Strong points

Computer Literacy: Areas for improvement

Other skills you have

Other skills you need

Part C: SUMMARY Particularly strong points

Areas for immediate attention

Areas for future attention

Chapter 3 Dealing with Venues Key Ideas in this Toolkit Treating your relationships with venues as a partnership, to make both businesses successful.

How to find and approach a venue for your gig.

Specific points to address when booking and performing live gigs.

Although some things will be the same for covers gigs, this toolkit specifically addresses originals gigs.

Overview It is really important for both venues and musicians to understand the constraints and challenges of the other.

Because every situation is unique, communication is the key to achieving this.

Venues need to be aware that running a business as a musician is a difficult road to hoe and at times it seems an impossible task. How can you make a living as a musician with seemingly so many obstacles to overcome?

Venues are not (or at least should not be) one of these obstacles and should be looked at as your allies.

The Venue’s Point of View It is important for musicians to realise even venues are in the business of selling drinks and/or food and coffee.

This is how venues pay expenses and venue owners and managers earn a living. Even though all these venue owners and managers are passionate about Canada music, it is important for musicians to understand venues must turnover considerable amounts of money just to keep the venue operating.

This also means that venues’ main focus is on the operation of the bar / restaurant / café, not unfortunately, you. Bear this in mind when communicating with venues: avoid peak times realise venues who focus on original music may have up to 60 performers each week, this means you should take the responsibility of communicating with the venue, and not rely on them to contact you Contrary to (some) popular opinion venue owners do not make bucket loads of money at the expense of musicians. In fact most venue owners, do not earn what would even approach minimum wage, and generally work at least 60 hours per week, if not, more like 100. If you cancel a gig at late notice, or do not promote a gig sufficiently, it doesn’t mean the venue hasn’t made any money, it means the venue has lost hundreds, or possibly thousands of dollars.

All the costs of running a venue need to be paid before such times as the venue owner can get paid.

This includes: Wages Rent Electricity Telephone Advertising Licenses ACC levy Repairs & maintenance Rates Water rates Legal fee Accountants’ fees

Cleaning materials Equipment hire Glassware & crockery Body corporate GST Tax These expenses will run into thousands of dollars each week.

These expenses remain much the same regardless of whether $10 is taken over the bar or $10,000. If these expenses are not covered from bar takings the venue owner needs to find the money from somewhere else to make up any shortfall, this can be extremely difficult and stressful. Not to mention, venue owners have, in most cases, well into a 6 digit figure invested into their businesses.

You may be surprised to know that what venues pay for their stock (generally food and alcohol) is only marginally (maybe 5%) less than what you would pay when you go to the bottle store or the supermarket. Venues supporting original live music are working in a particularly difficult market (although fortunately an expanding market) with limited (if any) industry support and a public which is often not interested in and/or doesnâ&#x20AC;&#x2122;t know about unknown acts. Both venues and musicians have huge constraints to work within so it is essential for both to understand you are all on the same side and should be working in partnership towards making all of these businesses as successful as possible.

What Should You Expect From The Venue In This Partnership?

Professional attitude and conduct Communication before, during and after your gig Staff and management who are supportive of your music For the venue to adhere to the conditions of the negotiated contract A ‚safe‛ environment (eg how does the venue deal with drunks, hecklers etc) Depending on the venue, a certain amount of promotion of your gig Equipment provided by the venue to be in good working order Good level of customer service. How the customers are treated by the venue will reflect on you as a band, and people won’t enjoy their experience if the customer service is poor.

Promotion That Would Generally Be Done By the Venue Promotion done by the venue reaches the ears of the general public only. Venues can not specifically target your fans (unless you are famous), it’s impossible.

Gig guides Display of your gig posters and flyers at the venue Any mailing lists the venue has (although be sure to provide the venue with a well written press release and interesting photo that will enthuse audiences to come along) Any website the venue has Fielding telephone and email enquiries that come direct to the venue – again you need to provide them with information so the venue can get enthusiastic about getting people along to see you If you have industry or important people you want to invite, ask the venue if they could provide some free drinks. It is generally advantageous for the venue to have these people there as well

What Should The Venue Expect Of You - The Performer?

Communication Depending on how far out the gig has been booked, phone or email one month out and one week out to confirm your gig and any gig details (see booking form) If the venue is supplying the doorperson, advise them of any people on your guest list Be easy to communicate with during the gig period (soundcheck to load out).

Bear in mind, the operation of the venue will be the main focus of the venue staff during this period Have one point of contact for the band ensure all band members have been communicated with by that contact person Refer to ‚Getting the Basics Together ‚Toolkit Always announce your last song so bar person / tech can cue house music (ideally provide bar person and door person with a set list) It’s a good idea, but is rarely ever done, to phone, email or send a card, to thank the venue for the gig This is also an ideal time to ask for feedback on your gig. What was particularly good?

What can you improve?

Some venues will welcome feedback as well. What was particularly good? What can be improved?

Professional Attitude and Conduct On and Off Stage Be on time! Allow extra time for travelling, finding parking and for things to go wrong No consumption of drugs and at most moderate consumption of alcohol before or during the gig For all band members to adhere to the conditions of the negotiated contract Don’t go into staff only areas without permission particularly behind the bar At the very least, be polite to the customers. Refer to the Promoting Live Gigs Toolkit for how you should really treat the customers. These people are your road to success.

It’s a venue, nor a practise room. Soundcheck before the venue is open / or check when is the appropriate time to soundcheck. Don’t ‚practise‛ or allow anyone to ‚jam‛. This is a gig!

Equipment Ensure all of your equipment works properly and you have things like spare strings and batteries Treat any equipment owned by the venue carefully and make sure it is returned and in good order Your Show You are there to entertain the audience, you need to put all your performance skills into use to create a show that will make audience members want to come back to the venue again as well as come back to see you play again Promotion of Your Gig Do you want to be a successful professional musician or do you just want to play music for the pleasure it gives you?

Anyone who runs a successful business needs to market their products and services effectively. So, if you do want to be a professional musician, you need to treat all of your gigs as your product and promote each and every gig extensively.

Refer to the Promoting Live Gigs Toolkit for what you must do, to promote your gig.

Supply a press kit to the venue.

Check with the venue, what details they would like on your posters and flyers.

If you just want to play music for the pleasure it gives you, that’s perfectly valid, but don’t expect to gig at a venue; stick to playing for your friends, at home, at parties and maybe open mic nights. It is hard to promote yourself with any gusto and enthusiasm if you are not particularly concerned with the outcome. Venues should not have to finance your hobby.

People do not come to a gig that hasn’t been promoted.

You may be happy to play to a small audience, but the venue stands to lose hundreds or even thousands of dollars if you don’t do your job properly, and promote your gig.

How Do You Go About Finding a Venue for Your Gig or Tour?

The Internet Other Canada music websites (most have links from the Temple website) Search engines Email discussion groups Gig Guides Music Directories (Canada Music Services Directory / The Index) Word of Mouth (Networking is of all importance in this industry) Look at other musicians’ tour schedules Visitors Centres Radio stations that are ‚hooked into‛ Canada music and their community How to Approach a Venue for a Gig Identify the venues you would like to perform at.

Think about: Is your style of music suitable for the venue?

What do you have to offer them?

What can they offer you?

If possible, visit the venue before approaching them for a gig, so you can get a ‚feel‛ for how they operate. This is a key part of building a relationship with the venue.

Think well ahead, many venues book at least 3 months out, so book your gigs well in advance. This will show your professionalism.

Avoid, at all costs, approaching them during peak times and other times of pressure eg just before opening.

This is dependent on the venue, but generally avoids walking in and asking for a gig.

If phoning, the conversation should start something along the lines of: ‚Hi, this is Joe Bloggs from such and such band. Could you please tell me who handles your live music bookings?‛ Then ask if you could speak to that person.

If they’re not there, then find out the best time and method of communication.

When you do get to talk to them, ask, ‚Is this a convenient time for you?‛ If not, ask when is. Make sure you get back to them when you said you would.

Then be prepared to answer the following questions: What is your music like? You MUST be able to give a clear, concise description of your music. Make it sound interesting.

What other gigs have you done?

How will you promote the gig and how many people will come to see you play?

If requested be prepared to provide them with a press kit (see Getting the Basics Together Toolkit).

Building a Relationship with the Venue This is an important part of getting live gigs, although often forgotten.

You should be at minimum, doing the following: Be in (reasonably) regular contact with them. Don’t book the gig 3 months out and then turn up on the night. o If the gig was booked a number of months out you should be in contact with them on a monthly basis, providing them with the required promotional material eg press kits, posters etc at the appropriate time. o Always contact the venue a week before the gig to confirm all the details.

Promote hard and do a great gig!

Be professional.

Phone, email, or send a card to thank them after the gig and ask for feedback.

If you live in the city where the venue is, go there as a punter. Take your friends.

Recommend the venue to other people, both as audience members and bands.

Include the venue (check with them first) on your Industry Mailing List (see Promoting Live Gigs Toolkit).

Go to any open mic nights the venue might have, preferably on a regular basis.

Cancellations Never take cancelling a gig lightly. It should only be done in very severe circumstances.

This is because: You will lose your credibility The venue will lose credibility, if its been advertising a gig that doesn’t happen The venue could suffer a huge financial loss.

To avoid cancelling gigs: Before booking the gig: o If you are serious about your career as a musician, your gig should take priority over everything else in your life eg family problems, work problems, relationship problems, social engagements etc. If you’re not prepared to be this committed to what you do, don’t book gigs at venues o Make sure you are available and nothing is likely to ‚come up‛ o Make sure all your band members are available and know how important the gig is Avoid dangerous sports Look after your health Be properly prepared for the gig and do your planning properly.

If you do need to cancel a gig: Let the venue know as soon as you do. Don’t leave it an hour, a day, or certainly a week Apologise profusely and tell them why you must cancel Offer to arrange a replacement act (if you’ve been doing your networking this should be easy)

Things That You Should Negotiate/Communicate With the Venue When You Book the Gig It is recommended that you use a booking form / contract when dealing with venues: Particularly a venue you haven’t dealt with before When you are touring you have a record of all relevant details for every gig Included in these notes is a sample booking form that you can adjust for your own requirements. This covers all aspects of your gig that should be negotiated well ahead of time with the venue.

BEYONCE OCTOBER-NOVEMBER-DECEMBER2 0 1 2

Co r ne i l l e

J e nni f e rMe a d e

Da wnTy l e r

Ba r b a r aHe nd r i c k s

TVM

Sa c hi k aTwi ns

eVoc a l i s tMa ga z i ne

Sample Booking Form Booking Form for [insert your band name and logo here]

Band (or performer) details: Performance Name: Musical Description: Interesting, succinct 3-5 word description of your music here Contact Person: ONE contact person only Postal address: Day telephone: Night telephone: Mobile: Fax: If applicable Email: URL:

Venue Details: Contact Person: Address (postal): Address (physical): Day telephone: Night telephone: Mobile: Fax: Email: Best method and time for communications: URL: Venue capacity and layout: Liquor licensing requirements

Gig Details Day and date of gig: Start time of performance: Finish Time of performance: Breaks: Other performances on the same day/night: Sound check / load in time:

Money and Rider Details Fee: Venue Hire: Door Deal: Door charge amount: % split Who provides doorperson?

Who pays doorperson?

Who provides float: Policy on people who are already in the bar and/or regulars: Guest list: Door requirements: eg Liquor license restrictions, dress code, CD sales, mailing list, etc Presales: Will there be presales? Where from (venue / ticketing agent / the band)? How do customers buy presold tickets?

Meals: Drinks: Accommodation: Parking:

Equipment and Personnel PA, equipment, lighting, stage details: Sound engineer: Backstage, security, equipment storage:

Promotion Venueâ&#x20AC;&#x2122;s promotion:

Band promotion:

No of posters required: Venue requirements for posters eg logo, address, website etc Date required by: Press / media contacts:

Cancellation procedure Other Smoking policy: Dress code: Noise restrictions: Requirements as to music to play before, during, and after the gig: Other comments: Eg if it is a cafĂŠ, what time are meal times etc

Signed for venue:

Signed for band:

Date

Date

“ Me t r oDe b ut ” Fe a t ur i ngRe por t e r Ma l i kSha he e d WATCHSEGMENTSONf i t nes s,heal t h,musi c,f ashi on,ar t ,busi ness. . .

7: 00am and10: 00am bet ween0 ndayToFr i day Fr om Mo Ont hef ol l owi ngcabl eandsat el l i t epr ovi der s: Vi deot r on14or614HD Bel l207 Bel lFi beTV207or1207HD ShawDi r ect97Advancedl i neupor366Cl assi cl i neup Anal ogChannel62orwhenanal ogsi gnali sdownDi gi t alChannelposi t i on49

Chapter 4 Promoting Live Gigs Key Ideas in this Toolkit Promoting live gigs Building up a live following Taking advantage of all live gigs Exercise: Keep a note of every person who you speak to one day. How many were there?

Every single one of these people is a potential new fan!

Overview Your return on investment into promoting your gigs will be: More money from door sales, CD sales and merchandise sales Future gigs at that venue Other venues inviting you to play as opposed to you having to sell yourself to them More fans More personal and professionalism satisfaction Likelihood of media coverage More likelihood of being picked up by a record company, if that’s one of your goals Higher profile performances It doesn’t matter how good you are, or how much of gig you just did – if no-one is there to see you it hasn’t done you any good (except for the experience gained) hasn’t done the venue any good. It is an unfortunate fact that unless the venue turns over money, they cannot survive – in words of one syllable, you will not have a stage to play on!!!!!

If you can get a good base of people at a gig, it will draw people in off the street. Once they can see its ‚happening‛ they just rock ‘n roll in off the street. Very few people will come into an empty bar.

There are some very simple and cost effective ways of promoting your gigs:

Never half pie promotes a gig. Always include all the tools in this kit.

Getting Yourself in the Right Headspace If you have any ‚head‛ issues about self promotion, you will need to address them. Try: Affirmations Talking to other musicians who seem to have accomplished the self-promotion Head-space.

Focussing on your long term vision (see Goal Setting and Time Management Toolkit) Don’t give yourself a hard time Ask for support from family and friends Surround yourself with positive people that have a ‚can-do‛ attitude. Lose any losers in your life.

Give yourself rewards when you do something difficult Do something EVERY day that will build up your live following.

Figure out how to describe your music. Use interesting words. Keep it brief.

EVERY person is important. Treat people as such (except the weirdoes). Adding one person to your list of contacts is a huge achievement and recognises it as such.

Realise that there will probably be the occasional gig that you do, that despite doing everything right, that has a poor turnout. This is the nature of the beast, DON’T convince yourself that promo is not worthwhile, congratulate yourself for doing a good job on promo, figure out what you could have done better and move on.

Make Every Show “Worth” Going To See. All the promotion in the world WILL NOT work unless your ‚product‛ is worthwhile.

It doesn’t matter if you are playing to one fan or a stadium; make your show a must-see.

Have a mull on this. What makes an audience member come back? There isn’t one simple answer to this. But there are tons of ways to ensure people will want to see you play again and again.

Keeping people coming back again and again is not just about the music. It’s about creating an experience for them, that they want to repeat.

Start by thinking about what makes YOU want to go and see a live show.

The Basics Make sure you are well practised and all your equipment sounds good Have spare strings, batteries etc Have a â&#x20AC;&#x161;planâ&#x20AC;&#x203A; of how to deal with a broken string, technical difficulties etc eg ask the venue to put the house music on, have a song the band can play without the guitarist etc Soundcheck. Play at an appropriate volume Start on time Turn up and stay, sober and straight Thank people Never apologise Make the transition between songs smooth Ask the venue if you can provide your own pre-show, break and after-show music. Think about what music will create the right vibe Audience Communication on Stage Work on your intros and outros Think of ways to involve your audience Always make sure everyone in the audience knows who you are. This can be achieved by: o Having a backdrop o Saying who you are several times during your performance. At minimum introduce yourself near the beginning of your set and at the end of your set o Having a support person hand out flyers for your next gig/s while you are playing o Asking the venue if you can put flyers on the tables. You may like to invest in some stands that you can put your flyers in o What else?

Let your audience know when and where you are playing next Invite the audience several times to join your mailing list Let the audience know several times if you have CDs and other merchandise available

Keep It New And Exciting.

Include new songs Think carefully about your set structure. For most people, write a set list You may need to be flexible on your set list though. Learn to read your audience and play what is going to work Give away free stickers, pencils, tapes, buttons, and compliments Have an onstage competition to win a CD (or tee-shirt etc) You are there to entertain; this will happen naturally if you are having fun!!

What else?

Audience Communication off Stage Building up a live following is all about building relationships with your fans and potential fans.

You’ve just played your first ever gig, you had a blast and you feel great. A complete stranger comes up to you at the bar and congratulates you on your performance. What do you do?

Communicate!

Thank them right back. They came to watch you, they stayed for the duration, and they had the courage to step out of their world into yours and put themselves out on a limb.

Find out their name and invite them to your next gig Ask them about themselves. At the very least this will make them feel important, and they will want to come and see you again and tell their friends. At best, they might be a want to sign you to a multi-million dollar deal Introduce them to any other fans who are around – that will give them another reason to turn up to your next show Add them to your mailing list This is a really important part of building a live following. No band starts out with 100,000 fans unless they have a 12 part television series behind them.

Make part of your live ritual a ‘meet and greet’ session at the end of every show o INVITE people to stay around after your gig o If you find this hard – set yourself little goals. Eg at the end of this gig I will introduce myself to 2 people. Step it up each time Remember people’s names. If you are bad with names, invest in some memory training When people turn up who have been to gigs before, or that you have invited, acknowledge them and if possible have a chat. People like to go places where they know other people; they will feel important, because they know YOU. You are the star of the evening, because you are the performer.

Live Performance Is Visual As Well As Aural How can you make your live show more exciting to watch?

Develop a stage persona. Keep it consistent with your style of music. Think about: o Stagewear, hair, makeup o Your manner o Your actions o What you say o How is your energy / stage presence?

Consider gimmicks Lighting Stage ‚dressing‛ Even consider decorating the venue.

What else?

Phone Around: The phone is the most simple and cheap way of advertising your gigs. If you aren’t already using it you should know that many of your friends and acquaintances are missing out on seeing you play live.

An absolutely crucial part of your live gig promotion strategy: Phone the people on your phone list EVERY time you have a gig. If they say no once, it doesn’t mean they hate you, or don’t like your music.

Encourage them to bring their friends along – make a night of it!!!

Remember to thank them when they turn up to your gig.

Who Should Be On Your Phone List?

Make a list of everyone you know that you can think of:

Now add: Family

Friends of your family

Friends you havenâ&#x20AC;&#x2122;t seen for a while

Friends of friends

Workmates

Old workmates

Adding To Your Phone List Carry your phone list with you AT ALL TIMES. Make a point of adding to this list everyday.

ASK people you meet, if they would like you to add them to your list of people to keep updated about gigs.

Don’t shy away from asking those who you think aren’t interested.

Every time you do it you will get better at it, and it will become easier Expect that they will say ‚Yes!‛, but don’t be disappointed or take it personally if they say no. Strange though it may seem, not everyone in the world is into live music.

Email Lists Do you have an emailing list? If you don’t you should start one now. Email is an easy, effective and cheap way of communicating with a lot of people.

A crucial part of your live promotion strategy.

Email lists also come in very useful for when you have a new CD or any other merchandise to sell.

If you don’t own a computer don’t worry. You can still set up an email address through Hotmail or Yahoo, and it’s free. Just pay a visit to one of the many internet cafes and set yourself up.

If you don’t feel confident on computers you can get one of their staff to help you.

Before you know it you’ll be an expert because it’s easy!!

On the end of this toolkit you’ll find a simple emailing list form. Start filling it up!

When Emailing About An Upcoming Gig, Include: A personal invite Some hype about the gig A description of your music A strong call to action A request for them to forward it on to anyone else who may be interested Day, date and time of the gig Venue name and details: o Address (and instructions of how to get there if its hard to find) o Phone number o Website o Email o Where people can find parking o A sentence or 2 about what the venue is like. Many people don’t like going to new places because they don’t know what to expect

Ticket details: where/how to get tickets and the cost Any other gig details eg who else is playing, style of music Your details o Performance name o Phone numbers o Website o Postal address o Email Some do’s And Don’t For Email Lists: DO ask people if they want to be on there before you automatically subscribe them OR send them an introductory email saying you have included them asking them to reply if they don’t want to be on your list DO have an unsubscribe option at the end of every email DO have a subscribe option, so anyone that gets a mailer (eg if its forwarded by someone else) knows how to subscribe DO use the BCC box so everyone on your mailing list CAN'T see everyone else's email addresses DO ask people to forward it on to friends DO (if your technology allows), personalize emails going out. A simple way to do this is a mail merge using word DO keep your list up to date. If people ask to be removed, remove them IMMEDIATELY DON'T send attachments - always just text only DO include all your contact details, name, email, website, phone numbers and postal address on all your emails Add To Your Email List At Every Opportunity: Invite people at every gig to join your email list. Do this several times Talk to your audience members in the breaks and after the gig Even bolder would be to get people to give you the email in the middle of the gig. You might make up an "Email Song" and add a traditional tune to the lyrics and then have someone pass around a guest book where everyone leaves their email address Invite people to join your mailing list from EVERY PAGE of your website Have it on you all the time. If you are looking for opportunities to add people to your mailing list they will happen every day Join email discussion groups. You can post your gigs and news on these Make sure everyone you know is on your mailing list (use the prompter list above in the ‚Phone Around‛ section)

Texting Get people’s mobiles and text them.

Industry Mailing Lists Keep industry people / media up to date with what you’re up to. Send monthly or bimonthly newsletters.

Don’t go in with all guns blazing and demand things from them! Remember these are busy people who are worthy of your respect.

So approach these people politely, introduce yourself, tell them who you are. Ask them if they’d be willing to receive a monthly email about what’s going on in your world.

Nine times out of ten they will say yes. You can now send out an industry newsletter once a month. Don’t make it any more than that. The idea is to make these people aware of your existence, not inundate them with weekly gig guides and anecdotes. And don’t forward blonde jokes to them!!!

Also have a good think about why you are approaching these people. Don’t try and contact every radio station in the city. What kind of music do you play?

Do some research and make the best use of your time by contacting the people who can actually help you build your career.

Keep this separate to your fan database Keep to one A4 sheet – preferably in colour You will have more success using snail mail and hard copy instead of emails Make it interesting and newsworthy Bear in mind everyone in the industry is extremely busy - keep in touch, but also be (reasonably) unobtrusive Send them free tickets to every show that is worthwhile them seeing. Ask the venue is you can send a bar tab/free drinks tickets. It is generally advantageous for the venue to have industry people there too.

Posters and Flyers Do posters and flyers for every gig A3/A2 glossies are great if you can afford them, if not, photocopies are a good alternative.

Try coloured paper to help them stand out Try a slightly different angle on the poster/flyer thing eg postcards, laminated cards etc Posters can be pasted along the street, put into cafés and bars, music shops etc Posters and flyers not only promote a particular gig, but also give you valuable exposure and branding Make flyers that people can pick up & take away as well o Carry them on you AT ALL TIMES to give to ANYONE you talk to o Enlist the help of your friends and family – get them to carry some with them as well o Find out where there will be large gatherings of people interested in music and entertainment eg music in parks, concerts, movies. Hand out flyers Now take it one step further and get flyers made up for the next 2 or 3 gigs on your calendar. You can give these out to the people who come to your show, and ask them to take a few extra for their friends who couldn’t make it Include all your contact details and website on this flyer. They may want to book you for their next corporate function!

Don’t forget your mailing list! Post those flyers off to the people on it, put a note in with it if you want telling them how much you’d love to see them there Artwork KISS (Keep It Simple Stupid) o It is a marketing tool – not fine art!! o Keep it as uncluttered as possible o 2 fonts maximum o Chose fonts that are readable Make sure it has all the info: o Acts performing o Act logos o Where Get the venue’s name right!

Use their logo if possible Include the address If room include venue phone number and URL

o When o Time o Day of week eg Friday o Date and month eg 3 October o Your URL o Price? o Have a strong call to action Keep your branding consistent – people will start to recognise it For printed posters try one colour (heaps cheaper) – but don’t pick black as your one colour.

Perform at Open Mic nights Search them out and utilise them to your fullest advantage They give you valuable performing experience Many people only go to see acts they have seen before and liked A lot of audience members like going to open mic nights because of the diversity of talent and seeing a number of people perform. Use this to your advantage Use it as an opportunity to add people to your mailing list Use it as an opportunity to build up relationships with venues Use it as an opportunity to build relationships with other performers You can still earn money from them by selling CDs and merchandise Refer to the ‚Make Every Show Worth Going to See‛ section of this toolkit

Gig Guides Keep a database of gig guides and deadlines People can only come to see you if they know you’re playing!

Most gig guides are free Even if the venue does these – it's always a good idea for you to do your own This also gives you an opportunity to build up relationships with the media

Live To Airs / Radio Interviews Many radio stations (if you’re touring) will do live to airs and interviews, particularly if you’re promoting something special eg album release, fundraising gig.

Magazine / Newspaper Articles Lifestyle magazines and ‘market segment’ publications and local newspapers and music magazines are all good places to get some exposure.

You will need some press ‚friendly‛ photographs, this is how the press get and keep people reading their publication: Make sure they are good quality Make them interesting!

Action shots are great If not using an action shot – make sure you use props – ideally your instruments that way the picture will immediately indicate what the story is about

Support Gigs for Better Known Bands Go to gigs, see which bands are suitable for your style of music. Be bold – approach them Read the music press; see which well known acts are going to be playing on your area. Approach the band (if you can get in contact with them) or the promoter

Get a Web Presence Music Directories Get a listing in the 2 main music directories. Send in photos as they always publish photos in the directories.

Utilise Your Doorperson Get a stamp with band logo and URL on it for doorperson at gigs Get your doorperson to sign people up to your mailing list Answerphone Message and Signature Files ALWAYS advertise upcoming gigs on your answerphone and your signature file on outgoing emails.

Quickfire Promotional Show Find a location near where you’ll be performing, like a cafe or a park, where there will be a lot of people. Perform a couple of songs—just long enough to grab people’s attention, hand out flyers, stickers etc.

Look after Your Fans and Look for Ways to Involve Them Make them feel important o Remember their names o Say hi and have a chat o Offer to autograph CDs Reward your best fans o Have a loyalty programme o Give them discounts o Develop a ‚Bring A Friend Strategy‛ o Offer them ‚Special Release‛ deals o Have freebies you can give away Run competitions Invite their feedback Invite their ideas. Publicly acknowledge them if you use an idea of theirs Make it easy for your fans to do business with you Give them a money back guarantee Be easy to contact Make it easy for people to order CDs and merchandise Consider becoming a credit card merchant so you can take credit cards for CD and ticket sales. Talk to your bank about this Benefit Concerts There are always benefit concerts happening, or why not create your own? Not only does this give you a chance to support a worthy cause, it’s also a chance to build up your following, and it gives you a media angle.

Be Creative You are a creative person!! Think of exciting ways to promote yourself and your gigs: Stunts (safety first) Sidewalk signs (watch any legalities) Interesting takes on flyers and posters Develop a ‚Bring a Friend‛ strategy

Sample Email List Insert your performance name and logo at the top Name

Email Address

Chapter 5 Getting the Basics Together Key Ideas in this Toolkit Putting on your â&#x20AC;&#x161;business headâ&#x20AC;&#x203A; Developing a base of professionalism Being readily contactable Developing a base to work from to put together your marketing plan

Y/N

Telephone: Get voice mail Check every few hours at least Voice mail message Script a message that lets people know what you do and all your other contact details and website If you share a voice mail, either get everyone else's permission to use the voicemail for your professional Purposes or get separate mailboxes Use your voicemail message to advertise upcoming gig/s and any merchandise you have for sale If you change telephone numbers, get Telecom to forward your phone calls PLUS let everyone you know what your new contact details are.

It is preferable to have a mobile, if finances allow. DON'T constantly change your mobile number Script a message that lets people know what you do and all your other contact details and website Use your voicemail message to advertise upcoming gig/s and any merchandise you have for sale Computer: You will need your own computer or easy daily access to someone else's

If no then date to be achieved by

Date Achieved

Y/N

Email: Only have ONE email address. Avoid it being a work email which will change if you change jobs, or an email assigned to a particular ISP. It is preferably to have your own domain Collect and reply at least daily Check your name that appears on your emails is your performance name Have a signature file. Include: Performance Name Contact telephone numbers (include area code and international dialing code) Postal address (include country) Email address Website / MP3s Upcoming gigs Merchandise for sale Business Cards: You MUST carry them on you at all times Make sure they are professional Keep your branding consistent: if you have a logo uses it. If you don't have one, until you get one, pick an easily readable font you like and stick with it Include: Performance name, contact phone numbers, email, website, perhaps a 2-4 word description of what you do Letterhead Make up a letterhead and use it for all your business communications (including invoices) Include all the information that is on your business card SOCAN/SODRAC: Register with SOCAN

If no then date to be achieved by

Date Achieved

Keep a record of all your live performances (remember to include open mics and suchlike) Diary 30 June to start on your live performance return Diary 20 July to send it by

Y/N

Contacts: NEVER underestimate the value of contacts.

In this industry your most valuable tool is networking and word of mouth. Treat everyone with respect - you never know who they might be!

Devise a system for recording all your contacts Carry something with you at all times to record contacts Have a system for keeping in contact with these people, and recording the contact that you have with them, without hassling them

If no then date to be achieved by

Date Achieved

Press Kit: In digital format (pics 300dpi) In hard copy Preferable downloadable from a website Make sure everyone who needs to has a copy, your manager, the press Include: A well written, up to date, attractive bio Name and contact details on ALL components of your press kit Think about creative ideas for presentation Good quality, interesting press photos CD Keep a file of press clippings, reviews and quotes Get people to review you Video Equipment: Is your guitar and associated equipment up to scratch?

Do you carry spare strings?

Do you carry a spare battery?

Do you have your own leads?

Consider getting your own mic which is good quality and suits your voice

Y/N

Sound: (more about this in a later tool kit) Learn how to set a good sound for yourself Practice as much as possible with a PA and mic Develop your ear for sound Learn to do sound for other musicians Performance Name: Decide carefully on your performance name and stick to it. ONLY change your performance name for a very good reason e.g. changing your direction/genre Research: Reading: (at minimum) Canada Musician Hour Toronto Star Mirror Globe & Mail Spend at least an hour a week reading a business book.

Internet - Spend at least an hour a week doing internet research.

Radio - Spend at least an hour a week listening to different radio stations and shows Television – Watch at least one programme a week about music or the arts Live Gigs – Go to at least one live gig a week (that you’re not performing at)

If no then date to be achieved by

Date Achieved

Copyright Copyright all your songs Record them in material form (a tape deck is sufficient). I would recommend writing down your lyrics as well Write the composer/s names on it Write the year it was written Write the copyright symbol Š For additional protection (so you can prove the date). Mail it to yourself and leave it sealed (write the name/s of the song/s on the outside of the envelope though!)

Y/N

Get a diary and use it Diary everything that you need to remember Carry it with you at all times Develop your networking skills Make a point of remembering people’s names and something about them – if you can’t remember, consider some memory training and/or write it down.

Always make a point of thanking people when they do something for you e.g. interviews, articles etc. An email or phone call will suffice, but there is nothing like a handwritten card.

Phone an industry person at least once a week that you haven’t spoken to before, just to make contact. Make sure you have something to talk about though and be aware that they are probably very busy and check they have time first.

Offer to help people out with no expectation of anything in return (within reason) Learn the nuances of body language / tone of voice etc. Make sure you are always sensitive to other people and make sure you are always putting out the right signals when you are talking to other people.

Go to industry functions and gigs

If no then date to be achieved by

Date Achieved

MUSIC REVIEW EVALUATED BY: DATE: ARTIST/COMPOSERâ&#x20AC;&#x2122;S NAME: CD TITLE: MUSIC GENRE: SONGS REVIEWED:

MUSIC MP3/CD Professional Song Structure Music Composition Lyrics Message of Lyrics Strength in Market Appeal Hooks, Chorus Instrumentals Arrangement & Production Commercial Appeal Creativity

Excellent

Above Average Average

Fair

Poor

RECORDING QUALITY Professional Excellent

Above Average

Average

Fair

Poor

Average

Fair

Poor

Vocals Vocal Tuning Instrumentals Audio Quality Mix Quality Mastering PACKAGING & DESIGN Professional Excellent

Above Average

Graphic Design Front of CD Back of CD Layout of Words CD Insert Panels Legal Checklist PRESS KIT Professional Excellent Biography Photography Marketing Materials Folio Brochures Press Materials, Media Coverage Website

Above Average

Average

Fair

Poor

CURRENT ACHIEVEMENTS Professional Excellent

Above Average

Average

Fair

Poor

Fan Base Radio Airplay, Charts CD Sales Internet Sales Nielsen Soundscan Performance Tour Awards/Scholarship Grant Song Competitions Distribution

MARKET POTENTIAL Professional Radio Airplay: Chances for Airplay Distribution, Store Placement TV/Film Placement Length of Songs Commercial Appeal Artist Image Attitude Performance Ability Talent

Excellent

Above Average

Average

Fair

Poor

Artist Interview Form The following questions are useful for you as artist if you are serious about conducting your music careers as a business. Thoughtful, honest, and detailed answers to these questions will help prepare you in writing bios, fact sheets, and any press releases that are necessary for marketing and promoting your music, and will assist you in evaluating you current career status.

Answering these questions NOW will prepare you for the questions when they come up in interview situations LATER.

Name of Artist?

What is your background? (Who are you? Tell your story.)

Why do you want to record and release your own music? (Be very honest.)

Who is your fan/customer? (Analyze this question thoroughly.)

What are your songs about? (What specific themes do they cover?)

Do you write your own songs?

Who are your musical influences? (Site specific examples.)

How do you describe your music to people? (This is not a short answer. Discuss it.)

What image do you think your music conveys? (Do not avoid the image issue!)

What are your immediate music career goals? (Next 1 to 3 years.)

What are your long-term career goals?

How would you define the word “success”? (This is not a short answer. Discuss it.)

Do you have any personal contacts in the music business?

Are you looking for an independent label deal or a major label deal? (Why?) Do you have a demo or press kit, or any promotional materials?

What live performance experience have you had? (Any showcases?)

How do you rate your live performance ability? ( Be very critical. No clichés,) Have you recorded any previous CDs/Tapes? (Which studios? Who produced it?)

How did you sell your CDâ&#x20AC;&#x2122;s/Tapes? (Consignment? Live sales? Distributor?)

Have you had any previous print or broadcast media exposure or reviews?

Are you financially able to fund the costs of establishing your career? (In debt?)

Who handles your daily business activities? (Bookings, promotions etc.)

Have you created an actual career, marketing, or business plan? (Is it in writing?)

ANNEXE Clubs and Other Venues / Salle de spectacles BOUDOIR LOUNGE 441, rue du Parvis Québec (Québec) G1K 9L6 Téléphone : (418) 524-2777 Télécopieur : (418) 524-9333 Courriel : info@boudoirlounge.com Site Internet : www.boudoirlounge.com

CENTRE CULTUREL DE L'UNIVERSITÉ DE SHERBROOKE 2500, boul. de l'Université Sherbrooke (Québec) J1K 2R1 Téléphone : (819) 821-7742 Télécopieur : (819) 820-1361 Site Internet : www.centrecultureludes.ca/

CABARET MUSIC HALL 100, rue Sherbrooke Est - bureau 3400 Montréal (Québec) H2X 1C3 Téléphone : (514) 845-0149 Télécopieur : (514) 845-2532 Courriel : info@lecabaret.ca Site Internet : www.lecabaret.ca

GRAND THÉÂTRE DE QUÉBEC 269, boul. René-Lévesque Est Québec (Québec) G1R 2B3 Téléphone : (418) 644-8921 Télécopieur : (418) 646-7670 Site Internet : www.grandtheatre.qc.ca

CAPITOLE DE QUÉBEC 972, rue St-Jean Québec (Québec) G1R 1R5 Téléphone : (418) 694-9930 Télécopieur : (418) 694-9924 Courriel : robitaillec@lecapitole.com Site Internet : www.lecapitole.com CENTRE CULTUREL DE JOLIETTE 20, rue Saint-Charles-Borromée Sud Joliette (Québec) J6E 4T1 Téléphone : (450) 759-6202 Télécopieur : (450) 759-2619 Courriel : admin@ccultjoliette.qc.ca Site Internet : www.ccultjoliette.qc.ca

LE NOUVEAU CLUB SODA 1225, boul. Saint-Laurent Montréal (Québec) H2X 2S6 Téléphone : (514) 286-1010 Télécopieur : (514) 844-2571 Courriel : information@clubsoda.ca Site Internet : www.clubsoda.ca LE PETIT MEDLEY 6206, rue Saint-Hubert Montréal (Québec) H2S 2M2 Téléphone : (514) 271-7887 Télécopieur : (514) 729-5670 Courriel : info@lepetitmedley.ca L'INSTITUT CANADIEN DE QUÉBEC 350, rue St-Joseph Est Québec (Québec) G1K 3B2 Téléphone : (418) 641-6789 Télécopieur : (418) 641-6787 Courriel : courrier@icqbdq.qc.ca Site Internet : www.bibliothequesdequebec.qc.ca

MAISON DE LA CULTURE DE GATINEAU 855, boul. de la Gappe Gatineau (Québec) J8T 8H9 Téléphone : (819) 243-2305 Télécopieur : (819) 243-2527 Courriel : culture@ville.gatineau.qc.ca Site Internet : www.ville.gatineau.qc.ca/mcg

SOCIÉTÉ DE LA PLACE DES ARTS 260 de Maisonneuve Ouest - 3e étage Montréal (Québec) H2X 1Y9 Téléphone : (514) 285-4200 Télécopieur : (514) 285-4252 Courriel : info@pda.qc.ca Site Internet : www.pda.qc.ca

MUSÉE JUSTE POUR RIRE 2111, boul. St-Laurent Montréal (Québec) H2X 2T5 Téléphone : (514) 845-3155 Télécopieur : (514) 849-5462 Courriel : musee@hahaha.com Site Internet : www.hahaha.com

THÉÂTRE DU CUIVRE 145, rue Taschereau Ouest Rouyn-Noranda (Québec) J9X 2V5 Téléphone : (819) 797-7133 Télécopieur : (819) 797-7137 Courriel : theatre.ducuivre@ville.rouynnoranda.qc.ca Site Internet : www.ville.rouynnoranda.qc.ca

OVASCÈNE 919 Route St-Martin Sainte-Marie (Québec) G6E 1E6 Téléphone : (418) 387-2200 Télécopieur : (418) 387-6532 Courriel : andre.lambert@ovascene.com Site Internet : www.ovascene.com RÉCRÉATHÈQUE 900, boul. Curé-Labelle Laval (Québec) H7V 2V5 Téléphone : (450) 688-8880 Télécopieur : (450) 688-6315 Courriel : afournier@recreatheque.com Site Internet : www.recreatheque.com SALLE ANDRÉ-MATHIEU 475, boul. de l'Avenir Laval (Québec) H7N 5H9 Téléphone : (450) 667-2327 Télécopieur : (450) 667-4921 Courriel : info@salleandremathieu.com Site Internet : www.salleandremathieu.com

THÉÂTRE HECTOR-CHARLAND 225, boul. L'Ange-Gardien L'Assomption (Québec) J5W 4M6 Téléphone : (450) 589-5583 Télécopieur : (450) 589-5396 Courriel : hcharland@hector-charland.com Site Internet : www.hector-charland.com THÉÂTRE LIONEL-GROULX 100, rue Duquet Sainte-Thérèse (Québec) J7E 3G6 Téléphone : (450) 434-5174 Télécopieur : (450) 434-4759 Courriel : theatrelg@clg.qc.ca Site Internet : www.theatrelg.com CAFÉ CAMPUS 57, rue Prince-Arthur Est Montréal (Québec) H2X 1B4 Téléphone : (514) 844-1019 Télécopieur : (514) 844-4770 Courriel : booker@cafecampus.com Site Internet : www.cafecampus.com

L'Olympia Site web: www.theatreolympia.ca Addresse : 1004 Ste-Catherine est, au coin de Amherst Métro : Berri-UQAM Tél. : (514) 286-7884 Metropolis Addresse : 59 Ste-Catherine est Métro : St-Laurent puis marchez vers le sud jusqu'à Ste-Catherine Tél. : (514) 288-2020 Site web: www.metropolismontreal.ca/metropolis/inde x.htm Spectrum Addresse : 318 Ste-Catherine ouest coin Bleury Métro : Place des Arts, puis marchez vers le sud jusqu'à Ste-Catherine Tél. : (514) 861-5851 Site web: http://www.spectrumdemontreal.ca/spectru m/index.htm Theatre Outremont Addresse : 1248 rue Bernard ouest Métro : Outremont, puis prenez la 161 est Tél. : (514) 495-9944 Site web: www.theatreoutremont.ca Bar St-Laurent 2 Addresse : 5550 St-Laurent, coin de StViateur Métro : St-Laurent puis prenez la 55 nord Tél. : (514)273-2359 Biddle's Addresse : 2060 Aylmer entre PresidentKennedy et Sherbrooke Métro : McGill Tél. : (514) 842-8656 Bifteck St-Laurent Addresse : 3702 boul. St-Laurent Métro : St-Laurent puis prenez la 55 nord Tél. : (514) 844-6211

Bistro à Jojo Addresse : 1627 St-Denis, juste au nord de Maisonneuve Métro : Berri-UQAM Tél. : (514) 843-5015 Cafe Grande-Gueule Addresse : 5615 Cotes-des-Neiges, près de Côte-Ste-Catherine Métro : Côte-des-Neiges Tél. : (514) 733-3512 Cleopatra Addresse : 1230 St-Laurent coin SteCatherine Métro : St-Laurent Tél. : 514-871-8065 Diable vert Addresse : 4557 St-Denis, juste au nord de l'ave. Mont-Royal Métro : Mont-Royal Tél. : 514-849-5888 Foufounes Électriques Site web: www.foufounes.qc.ca Addresse : 87 Ste-Catherine est, coin boul.

St-Laurent. C'est facile à trouver...

Métro : St-Laurent Tél. : (514) 844-5539 Hard Rock Café Addresse : 1458 Crescent juste au nord de Ste-Catherine Métro : Guy-Concordia or Peel Tél. : (514) 987-1420 Keg Addresse : 25 St-Paul est Métro : Champs-de-Mars Tél. : 514-871-9093 L'Barouf Addresse : 4171 St-Denis Métro : Mont-Royal Tél. : (514) 844-0119

L'Escogriffe Addresse : 4467A, Saint-Denis (près de Mont-Royal) Métro : Mont-Royal Tél. : (514) 842-7244 Le Belmont Site web: www.lebelmont.com Addresse : 4483 St-Laurent coin de MontRoyal Métro : St-Laurent puis prenez la 55 nord ou station Mont-Royal puis prenez la 11 ou 97 vers l'ouest Tél. : (514) 845-8443 Le Dogue Addresse : 4177 St-Denis coin Rachel (deuxième étage) Métro : Mont-Royal Tél. : (514) 845-8717 Le Pierrot Addresse : 104 St-Paul est (à l'ouest de la Place Jacques-Cartier) Métro : Champs-de-Mars Tél. : (514) 861-1270 Shed Cafe Addresse : 3515 boul. St-Laurent just au nord de Sherbrooke Métro : Sherbrooke Sir Winston Churchill Pub Addresse : 1459 Crescent juste au nord de Ste-Catherine Métro : Peel or Guy-Concordia Tél. : (514) 288-0816 Thursdays Addresse : 1430 de la Montagne Métro : Peel or Guy-Concordia Tél. : (514) 288-5656 Vol de Nuit Addresse : 14 Prince-Arthur est Métro : Sherbrooke puis marchez vers l'ouest à travers le Carré St-Louis Tél. : (514) 845-6243

Whisky Café Site web: www.whiskycafe.ca Addresse : 5800 boul. St-Laurent coin Bernard Métro : St-Laurent puis prenez la 55 nord Tél. : (514) 278-2646 Winnie's Addresse : 1459 Crescent Métro : Guy-Concordia or Peel Tél. : (514) 288-0616 Zinc Café Bar Addresse : 1148, av. du Mont-Royal Est Métro : Mont-Royal Tél. : (514) 523-5432

Distributeur de disques DEP DISTRIBUTION EXCLUSIVE 6255, rue Hutchison - bureau 103 Montréal (Québec) H2V 4C7 Téléphone : (514) 274-2040 Télécopieur : (514) 274-2045 Courriel : info@dep.ca Site Internet : www.dep.ca DISTRIBUTION FUSION III 5485 Chemin Cote-de-Liesse Montréal (Québec) H4P 1A4 Téléphone : (514) 738-4600 Télécopieur : (514) 737-9780 Courriel : info@fusion3.com Site Internet : www.fusion3.com

DISTRIBUTION SELECT 500, rue Sainte-Catherine Est Montréal (Québec) H2L 2C6 Téléphone : (514) 849-6206 Télécopieur : (514) 849-0764 Courriel : alain.martineau@select.quebecor.com Site Internet : www.distributionselect.ca MADACY ENTERTAINMENT GROUP 3333, boul. Graham - bur. 102 Montréal (Québec) H3R 3L5 Téléphone : (514) 341-5600 Télécopieur : (514) 341-1821 Courriel : madacy@madacy.com Site Internet : www.madacy.com SOPREF - LOCAL DISTRIBUTION 2003, rue St-Hubert - bureau 3 Montréal (Québec) H2L 3Z6 Téléphone : (514) 845-9994 Télécopieur : (514) 845-9924 Site Internet : www.sopref.org

UNIDISC MUSIC 57-B, boul. Hymus Pointe-Claire (Québec) H9R 4T2 Téléphone : (514) 697-6000 Télécopieur : (514) 697-6864 Courriel : inform@unidisc.com Site Internet : www.unidisc.com

MUSIC FESTIVALS JANVIER Toronto Blues Society (TBS) Blues Summit Mini-spectacles www.torontobluessociety.com (416) 538-3885

https://www.socan.ca/jsp/fr/news_events/ne ws/ - top FÉVRIER Conférence et Prix de l’Association de Musique de la Côte Est (l’AMCE) Mini-spectacles www.ecma.ca (902) 892-9040

https://www.socan.ca/jsp/fr/news_events/ne ws/ - topMARS

MAI Festival International de Musique Actuelle de Victoriaville Festival de musique d’avant-garde (jazz, rock, actuelle, contemporain, électroacoustique) www.fimav.qc.ca/ (819) 752-7912

https://www.socan.ca/jsp/fr/news_events/ne ws/ - topJUIN

Semaine de la musique canadienne Mini-spectacles www.cmw.net (416) 320-0385

Conférence et Festival North By Northeast (NXNE) (Toronto) Mini-spectacles www.nxne.com (416) 863-6963

Conference et Festival South by Southwest (SXSW) (Austin, Texas, USA) Mini-spectacles www.sxsw.com (512) 467-7979

COCA (Canadian Organization of Campus Activities) Conférence Nationale www.coca.org (519) 690-0207

https://www.socan.ca/jsp/fr/news_events/ne ws/ - top AVRIL Contact Pacifique http://www.bctouring.org/pacific-contact/ (250) 352-0021

Vue sur la Relève Festival centré sur les artistes de la relève des arts pluridisciplinaire de la scène www.creations-etc.org/ (514) 2783941https://www.socan.ca/jsp/fr/news_event

s/news/ - top

Festival Franco-Ontarien Spectacles de chanson franco-ontarienne (Ottawa) www.ffo.ca/ (613) 741-1225 Musiqu’en Nous (St-André-Avellin, Qué.) www.musiquenous.com (819) 983-3273

Festival International de Jazz de Montréal www.montrealjazzfest.com (514) 288-1040

https://www.socan.ca/jsp/fr/news_events/ne ws/ - top JUILLET Festival du folk de Winnipeg www.winnipegfolkfestival.ca (204) 231-0096

Festival d’été de Québec (Québec) www.infofestival.com (418) 523-4540 Festival International Nuits d’Afrique (Montréal) Festival de musique Africain/world-beat www.festivalnuitsdafrique.com 514-499-9239 Festival International de Jazz de Toronto Beaches www.beachesjazz.com (416) 698-2152 Festival Hillside (Guelph, Ont.) www.hillside.on.ca (519) 763-6396 Big Valley Jamboree (Canmore, Alb.) www.bigvalleyjamboree.com 1-888-404-1234 Francofolies de Montréal Festival consacré à la musique d’expression francophone www.francofolies.com (514) 288-1040 Festival folk en memoriam Stan Rogers (Canso, N.-É.) www.stanfest.com 1-888-554-7826 juillet–août 2005 Festivals d’été de Harbourfront www.harbourfrontcentre.com (416) 973-4600

https://www.socan.ca/jsp/fr/news_events/ne ws/ tophttps://www.socan.ca/jsp/fr/news_events/ news/ - top SEPTEMBRE Célébration de la chanson « roots de la ville » de Toronto www.torontocityroots.com (416) 929-9079

Festival de musique émergente en Abitibi-Témiscamingue (Rouyn-Noranda) Festival de musique de la relève www.fmeat.org 819-797-0888 ou 1-877-797-0889

Semaine et prix de la musique country canadienne (CCMW et CCMAs) (Calgary, Alta.) www.ccma.org/ccmatoday/cmw/index.htm (905) 850-1144 Pop Montréal Festival de musique variée, autant francophone qu’anglophone www.popmontreal.com (514) 842-1919

https://www.socan.ca/jsp/fr/news_events/ne ws/ - top OCTOBRE Prix, conférence et festival de la musique canadienne de l’Ouest (WCMA) www.westerncanadianmusicawards.ca (204) 943-8485 Contact Ontario (Kingston, Ont.) Mini-spectacles www.ccio.on.ca/contact/about.htm (905) 817-0022

Saskatchewan Showcase for the Arts Mini-spectacles pluridisciplinaires http://www.osac.sk.ca/conference.asp (306) 586-1250

https://www.socan.ca/jsp/fr/news_events/ne ws/ - top NOVEMBRE Conférence de l’Association canadienne des organismes artistiques (CAPACOA) Mini-spectacles www.capacoa.ca/conference/index.html (613) 562-3515 (Montréal, Québec, Vancouver, Moncton et 13 autres villes canadiennes) Coup de cœur francophone Festival de chanson francophone sous toutes ses formes www.coupdecoeur.qc.ca (514) 253-3024 Conférence et prix de l’association de la musique de Terre-Neuve et Labrador Mini-spectacles www.mia.nf.ca (709) 754-2574 Semaine et prix de la musique de Nouvelle-Écosse Mini-spectacles www.mians.ca (902) 423-6271

https://www.socan.ca/jsp/fr/news_events/ne ws/ - top

canada.ca/saguenay-lac/ CBME-FM 88,5 (Montréal) Téléphone : (514) 597-6300 (Sally Caudwell (Directrice des nouvelles)) Courriel : englishradio@montreal.cbc.ca Site Internet : http://www.montreal.cbc.ca CBM-FM/ Radio Two (Montréal) Téléphone : (514) 597-6000 (Kelly Rice (Directeur de la programmation)) Site Internet : http://www.montreal.cbc.ca CBRX-FM/Chaîne culturelle 101,5 (Bas-Saint-Laurent) Téléphone : (418) 723-2217 Site Internet : http://www.radio-canada.ca

Radios Régulières et commerciales BANDE À PART (Montréal) Téléphone : (514) 597-7690 (Catherine Pogonat) CBF-FM/ Première chaîne 95,1 (Montréal) Téléphone : (514) 597-6000 (Valérie Letarte (Chroniqueuse culturelle)) Site Internet : http://www.radio-canada.ca CBFX-FM/ Chaîne culturelle (Montréal) Téléphone : (514) 597-6000 (()) Site Internet : http://www.radio-canada.ca CBGA-AM/ Première chaîne (Bas-SaintLaurent) Téléphone : (418) 562-0290 (Louis Pelletier (Directeur des nouvelles)) Courriel : communications@matane.radiocanada.ca CBJ-FM/ Première chaîne 93,7 (SaguenayLac-Saint-Jean) Téléphone : (418) 696-6666 (Armand Dubois (Directeur)) Courriel : nouvellescbj@radio-canada.ca Site Internet : http://www.radio-

CBSI-FM/ Première chaîne (Côte-Nord) Téléphone : (418) 968-0720 (Anne-Marie Boucher (Arts)) Courriel : cbsi@radio-canada.ca Site Internet : Visiter le site Internet CBVE-FM/ Radio One 104,7 (Capitale-Nationale) Téléphone : (418) 691-3620 (Claude Saindon (Directeur de programmation)) Courriel : cbve@quebec.cbc.ca Site Internet : http://www.cbc.ca CBV-FM/ Radio-Canada 106,3 (Capitale-Nationale) Téléphone : (418) 654-1341 (Marleine Simard/ Marie-Hélène Tremblay (Directeur de programmation)) Courriel : nouvelles_radiocbv@radiocanada.ca CBVX/ Première chaîne 95,3 (Capitale-Nationale) Téléphone : (418) 656-8809 (Marleine Simard (Directrice)) Courriel : cbv@radio-canada.ca Site Internet : http://www.radio-canada.ca

CFDA-FM 101,9 (Centre-du-Québec) Téléphone : (819) 752-5545 (Patrice Croteau (Directeur de la programmation))

CFLO-FM/ La Radio des HautesLaurentides 104,7 (Laurentides) Téléphone : (819) 623-5610 Courriel : cflofm@sympatico.ca

CFEI-FM 106,5 (Montérégie) Téléphone : (450) 774-6486 (Annick Bousquet (Directrice des nouvelles)) Courriel : cfei@hy.cgocable.ca

CFLX-FM (Estrie) Téléphone : (819) 566-2787 Courriel : cflx@cflx.qc.ca Site Internet : http://www.cflx.qc.ca

CFEL-FM 102,1 (Chaudière-Appalaches) Téléphone : (418) 248-1122 (Marie-Noëlle Gagnon (Journaliste)) Courriel : cfel.info@globetrotter.net

CFMB-AM (Montréal) Téléphone : (514) 483-2362 (Teddy Colantonio (Directeur des nouvelles)) Courriel : laposta@cfmb.ca Site Internet : http://www.cfmb.ca

CFGL-FM/ 105,7 Rythme Fm (Laval) Téléphone : (450) 664-1500 (Sylvie Lauzon (Journaliste)) Courriel : s.lauzon@rythmefm.com Site Internet : http://www.rythmefm.com CFGT-AM (Saguenay-Lac-Saint-Jean) Téléphone : (418) 662-6888 (André Tremblay (Directeur de l'information)) Courriel : kykfm@digicom.qc.ca Site Internet : http://www.kykfm.com CFIM-FM 92,7 (Gaspésie - Les Îles) Téléphone : (418) 986-5233 (Marie-Eve Dumas (Journaliste)) Courriel : cfiminfo@duclos.net CFIX-FM/ Rock Détente 96,9 (SaguenayLac-Saint-Jean) Téléphone : (418) 543-9797 (Sandra Rossignol (Directrice des nouvelles)) Courriel : nouvelles.cfix@rockdetente.com Site Internet : http://www.rockdetente.com CFJO-FM (Centre-du-Québec) Téléphone : (819) 752-2785 Courriel : cfjo@ivic.qc.ca Site Internet : http://www.cfjo.com CFLM-AM (Mauricie) Téléphone : (819) 523-4575 (André Mercier (Directeur des nouvelles)) Courriel : radio.cflm@lino.com

CFMF-FM 103,1 (Côte-Nord) Téléphone : (418) 287-5147 (Cassiopée Dubois (Journaliste)) Courriel : diffusion1.fermont@sympatico.ca CFNJ-FM 99,1 (Lanaudière) Téléphone : (450) 835-3437 CFOM-FM 102,9 (Capitale-Nationale) Téléphone : (418) 694-1029 (Josée Guimond (Directrice de l'information)) Courriel : radioflashback@cfom1029.com Site Internet : http://www.cfom1029.com CFOR-FM 99,3 (Outaouais) Téléphone : (819) 441-0993 Courriel : cfor993@francite.com CFQR-FM/ Q92 (Montréal) Téléphone : (514) 767-9250 (Ted Silver (Directeur de la programmation)) Site Internet : http://www.q92fm.com CFVD-FM 95,5 (Bas-Saint-Laurent) Téléphone : (418) 853-3370 (Guyslain Jean (Journaliste)) Courriel : cfvd.fm@sympatico.ca CFVM-AM (Bas-Saint-Laurent) Téléphone : (418) 629-2025

(Véronique Thibault (Journaliste)) Courriel : nouvelles.cfvm@globetrotter.net CFXM FM/ M 105 104,9 (Montérégie) Téléphone : (450) 372-5105 (Dominique Dion (Directeur des nouvelles)) Courriel : nouvelles@m105.ca Site Internet : http://www.m105.ca CFZZ-FM 104,1 (Montérégie) Téléphone : (450) 346-0104 (Ghislain Plourde (Directeur des nouvelles)) Courriel : z104@z104.fm Site Internet : http://www.z104.fm CHAA-FM 103,3 (Montérégie) Téléphone : (450) 646-6800 (Maurice Giroux (Directeur des nouvelles)) Courriel : info@chaafm.qc.ca Site Internet : http://www.chaafm.qc.ca

Site Internet : http://www.chga.qc.ca CHGO-FM/ Go FM 95,7 (AbitibiTémiscamingue) Téléphone : (819) 762-0741 (Daniel Pronce (Directeur de l'information)) Courriel : info@radionord.com Site Internet : http://www.gofm.net CHIK-FM/ Énergie 98,9 (CapitaleNationale) Téléphone : (418) 687-9900 (Réjean Bergeron (Directeur des nouvelles)) Site Internet : http://www.radioenergie.com CHIP-FM 101,7 (Outaouais) Téléphone : (819) 683-3156 (Gilles Gervais (Directeur des nouvelles)) Courriel : chip-fm@qc.aira.com Site Internet : http://www.chipfm.com

CHAI-FM 101,9 (Montérégie) Téléphone : (418) 698-3131 (Virginie Gilbault (Journaliste)) Courriel : chai@videotron.ca

CHJM-FM 99,7 (Chaudière-Appalaches) Téléphone : (418) 227-0997 (Suzanne Bougie (Journaliste)) Courriel : nouvellesrb@cgocable.ca

CHCR-FM 89,9 (Montréal) Téléphone : (514) 273-2481 (Tony Choundala (Directeur des nouvelles)) Courriel : marie@chcr.ca Site Internet : http://www.chcr.ca

CHJX-FM/ Chaine culturelle 100,9 (Saguenay-Lac-Saint-Jean) Téléphone : (418) 696-6625 (Armand Dubois (Directeur)) Site Internet : http://www.radiocanada.ca/saguenay-lac/

CHEQ-FM 101,3 (Chaudière-Appalaches) Téléphone : (418) 387-1013 (Patrice Moore (Directeur de l'information)) Courriel : nouvelles@cheqfm.qc.ca Site Internet : http://www.cheqfm.qc.ca CHEY-FM/ Rock Détente 94,7 (Mauricie) Téléphone : (819) 376-0947 (Claude Bolduc (Chroniqueur culturel)) Courriel : c.bolduc@chln550.com Site Internet : http://www.rockdetente.com CHGA-FM 97,3 (Outaouais) Téléphone : (819) 449-3959 (Michel Riel (Directeur de l'information)) Courriel : chga@bellnet.ca

CHLC-FM 97,1 (Côte-Nord) Téléphone : (418) 589-8244 (Marc-André Hallé (Directeur des nouvelles)) Courriel : fm97@globetrotter.net Site Internet : http://www.chlc.com CHLM-FM/ Première chaîne 90,7 (AbitibiTémiscamingue) Téléphone : (819) 762-8155 (Françis Beauvais/ Marc Simard (Journalistes)) Courriel : abitibi@radio-canada.ca

CHLN-AM (Mauricie) Téléphone : (819) 374-3556 (Claude Bolduc (Directeur de l'information)) Courriel : c.bolduc@chln550.com Site Internet : http://www.chln550.com CHLT-AM 63,0 (Estrie) Téléphone : (819) 563-6363 (Jocelyn Prouxl (Directeur des nouvelles)) Courriel : nouvelles@chlt630.com Site Internet : http://www.chlt630.com CHNC-AM (Gaspésie - Les Îles) Téléphone : (418) 752-2215 (Linda Gagnon (Chroniqueuse culturelle)) Courriel : radiochnc@globetrotter.net CHOA-FM/ Rock Détente (AbitibiTémiscamingue) Téléphone : (819) 762-0741 (Jean Gagnon (Directeur des nouvelles)) Courriel : info@radionord.com Site Internet : http://www.rock-detente.com

CHOC-FM 104,9 (Montérégie) Téléphone : (450) 454-5500 (Garry Daigneault (Directeur de la programmation)) Courriel : chocfm@cam.org CHOE-FM 95,3 (Bas-Saint-Laurent) Téléphone : (418) 562-8181 (Carol St-Pierre (Directeur des nouvelles)) Courriel : choefm@globetrotter.net CHOI-FM/ Radio X 98,1 (CapitaleNationale) Téléphone : (418) 687-9810 (Denis Gravel (Directeur de l'information)) Courriel : radiox@choiradiox.com Site Internet : http://www.choiradiox.com CHOM-FM 97,7 (Montréal) Téléphone : (514) 931-2466 (Edna Anderson) Site Internet : http://www.chom.com CHOX-FM (Bas-Saint-Laurent) Téléphone : (418) 856-1310

(Gilles Gosselin (Chef de pupitre)) Courriel : choxfm@globetrotter.net Site Internet : http://www.chox97.com CHRC-AM 800 (Capitale-Nationale) Téléphone : (418) 688-8080 (Jacques Tétrault (Chroniqueur, Arts et spectacles)) Site Internet : http://www.chrc.com

CHRD-FM/ Énergie 105,3 (Centre-duQuébec) Téléphone : (819) 475-1480 (Hugo Langlois (Journaliste)) Courriel : nouvelle1053@radioenergie.astral.com Site Internet : http://www.radioenergie.com CHRL-FM 99,5 (Saguenay-Lac-Saint-Jean) Téléphone : (418) 275-1831 (Josée Poitras (Journaliste)) Courriel : chrl@antenne6.com CHRM-FM 105,3 (Bas-Saint-Laurent) Téléphone : (418) 562-4141 (Carol St-Pierre (Directeur des nouvelles)) Courriel : choefm@globetrotter.net CHVD-FM/ Émotion Rock 100,3 (Saguenay-Lac-Saint-Jean) Téléphone : (418) 276-3333 (Louis Darackian (Directeur des nouvelles)) Courriel : infochvd@antenne6.com CIBL-FM 101,5 (Montréal) Téléphone : (514) 526-2581 (Eric Provencher (Coordonnateur de l'information)) Courriel : info@cibl.cam.org Site Internet : http://www.cibl.cam.org CIBM-FM/ FM 107 107,1 (Bas-SaintLaurent) Téléphone : (418) 867-1071 (Daniel St-Pierre (Directeur de l'information)) Courriel : fm107@sympatico.ca

Site Internet : http://www.cibm107.com CIBO-FM (Abitibi-Témiscamingue) Téléphone : (819) 737-2222 Courriel : cibo.fm@lino.sympatico.ca CIEL-FM 103,7 (Bas-Saint-Laurent) Téléphone : (418) 862-8241 (Daniel St-Pierre (Directeur de l'information)) Courriel : fm103@sympatico.ca

CIMF-FM/ Rock Détente 92,9 (Outaouais) Téléphone : (819) 770-2463 (Mario Aubé (Coordonnateur de l'information)) Courriel : nouvelles@rockdetente.com Site Internet : http://www.rockdetente.com

CIMI-FM 103,7 (Capitale-Nationale) Téléphone : (418) 841-4445 (Annie Bouchard/ Dominic Tessier (Directeur de l'information))

CIEU-FM/ La Radio 94,9 (Gaspésie - Les Îles) Téléphone : (418) 364-3454 (Claude Roy (Directeur des nouvelles)) Courriel : information@cieufm.com Site Internet : http://www.cieufm.com

CIMO-FM/ Énergie 106,1 (Estrie) Téléphone : (819) 347-1414 (Fanny Poisson (Journaliste)) Site Internet : http://www.radioenergie.com

CIGB-FM/ Énergie 102,3 (Mauricie) Téléphone : (819) 378-1023 (Sylvie Roberge (Directrice du produit)) Site Internet : http://www.radioenergie.com

CINF-AM/ Info 690 (Montréal) Téléphone : (514) 849-1690 (Robert-Charles Longpré (Directeur de l'information)) Courriel : nouvelles@info690.com Site Internet : http://www.info690.com

CIHO-FM 96,3 (Capitale-Nationale) Téléphone : (418) 457-3333 (France Bélanger/ Dave Kidd (Journalistes)) Courriel : ciho@charlevoix.net Site Internet : http://www.charlevoix.net/ciho

CIHW-FM 100,3 (Capitale-Nationale) Téléphone : (418) 843-3937 (Jonathan Gros-Louis (Directeur de l'information)) CIKI-FM 98,7 (Bas-Saint-Laurent) Téléphone : (418) 723-2323 (Martin Brassard (Directeur des nouvelles)) Site Internet : http://http;//www.ciki.fm CIME-FM 103,9 (Laurentides) Téléphone : (450) 431-2463 (Pierre Labonté (Directeur de nouvelles)) Courriel : nouvelles@cime.fm

CINQ-FM/ Radio centre-ville (Montréal) Téléphone : (514) 495-2597 (Sophie Rouleau (Responsable francophone)) Courriel : cinqfm@radiocentreville.com Site Internet : http://www.radiocentreville.com CINW-AM/ 940 News (Montréal) Téléphone : (514) 849-0940 (Yvon Vadnais (Directeur de la programmation)) Courriel : news@940news.com Site Internet : http://www.940news.com CION-FM 90,9 (Capitale-Nationale) Téléphone : (418) 659-9090 (Denis Veilleux (Directeur Général)) CIPC-FM 99,1 (Côte-Nord) Téléphone : (418) 766-6868 (André Normandeau

(Directeur des nouvelles)) Courriel : cipc911@globetrotter.net CIRA-FM/ Radio Ville-Marie 91,3 (Montréal) Téléphone : (514) 382-3913 (Thérèse Miron (Directrice des nouvelles)) Courriel : info@radiovm.com Site Internet : http://www.radiovm.com CITE-FM/ CITÉ Rock Détente 102,7 (Estrie) Téléphone : (819) 566-6655 (Jocelyn Prouxl (Directeur des nouvelles)) Courriel : nouvelles@chlt630.com Site Internet : http://www.rockdetente.com CITE-FM/ CITÉ Rock Détente 107,3 (Montréal) Téléphone : (514) 845-2483 (Marie-Josée Tardif (Journaliste)) Courriel : cite@rockdetente.com Site Internet : http://www.rock-detente.com

CITF-FM/ Rock Détente 107,5 (CapitaleNationale) Téléphone : (418) 527-3232 (Marc Tanguay (Directeur de programmation)) CJAB-FM/ Énergie 94,5 (Saguenay-LacSaint-Jean) Téléphone : (418) 545-9540 (Jean-François Côté (Coordonnateur de l'information)) Courriel : nouvelles@ckrs.ca Site Internet : http://www.radioenergie.com

(Joël Côté (Directeur de l'information)) Courriel : info@fm993.ca Site Internet : http://www.fm993.ca CJDM-FM 92,1 (Centre-du-Québec) Téléphone : (819) 474-1892 (Claude Boucher (Directeur des nouvelles)) Courriel : nouvelles@cjdm.fm Site Internet : http://www.cjdm.fm CJBR-FM/ Première chaîne 89,1 (BasSaint-Laurent) Téléphone : (418) 723-1600 (Claude Ross/ Jean-François Roy/ Claude Morin (Journalistes)) Courriel : nouvelles_rimouski@radiocanada.ca Site Internet : http://www.radiocanada.ca/rimouski ÀCJFM-FM/ Mix 96 95,9 (Montréal) Téléphone : (514) 989-2536 (John Moore (Entertainment)) Site Internet : http://www.themix.com

CJGO-FM/ Radio Fusion 104,9 (Laurentides) Téléphone : (450) 562-8862 (Michel Laprise (Directeur des nouvelles)) Courriel : fusionfm@citenet.net Site Internet : http://www.radionord.com CJIT-FM 106,7 (Estrie) Téléphone : (819) 583-0663 (Mathieu Beaumont (Directeur des nouvelles)) Courriel : cjit@globetrotter.net

CJAD-AM/ Montreal's News Talk Leader (Montréal) Téléphone : (514) 989-2523 (Derek Conlon (Directeur des nouvelles)) Site Internet : http://www.cjad.com

CJLM-FM/ M103,5 (Lanaudière) Téléphone : (450) 756-1035 (Jacques Plante (Coordonnateur des nouvelles)) Courriel : radio@m1035fm.com Site Internet : http://www.m1035fm.com

CJAN-FM 99,3 (Estrie) Téléphone : (819) 879-5439

CJMC-FM 100,3 (Gaspésie - Les Îles) Téléphone : (418) 763-5522

(Stéphane Cyr (Directeur de l'information)) Courriel : cjmc@quebectel.com CJMD-AM (Nord-du-Québec) Téléphone : (418) 275-1831 (Josée Poitras (Directrice des nouvelles)) Courriel : chrl@antenne6.com CJMF-FM 93,3 (Capitale-Nationale) Téléphone : (418) 687-9330 (Louis Lacroix (Chef de Pupitre)) Courriel : info@cjmf.com Site Internet : http://www.cjmf.com CJMM-FM/ Énergie 99,1 (AbitibiTémiscamingue) Téléphone : (819) 797-2566 (Liz Ferland (Chroniqueuse Arts et spectacles)) Site Internet : http://www.radioenergie.com CJMS-AM (Montérégie) Téléphone : (514) 990-2567 Courriel : cjms@videotron.ca Site Internet : http://www.cjms.ca

CJMV-FM/ Énergie 102,7 (AbitibiTémiscamingue) Téléphone : (819) 825-2568 (Félix Séguin (Directeur des nouvelles)) Courriel : cjmvnouv@lino.com Site Internet : http://radioenergie.com CJOI-FM 102,9 (Bas-Saint-Laurent) Téléphone : (418) 723-2323 (Isabelle Lévesque (Journaliste)) CJPX-FM/ Radio classique (Montréal) Téléphone : (514) 871-0995 CJRC-AM (Outaouais) Téléphone : (819) 561-8801 (Louis-Philippe Brûlé (Coordonnateur de l'information)) Courriel : nouvelles@cjrc1150.com Site Internet : http://www.cjrc1150.com

CJRG-FM/ Radio Gaspésie 94,5 (Gaspésie - Les Îles) Téléphone : (418) 368-3511 (Geneviève Gélinas (Journaliste)) Courriel : cjrp.info@cgocable.ca CJSO-FM 101,7 (Montérégie) Téléphone : (450) 743-2772 (Marie-Lyne Cournoyer (Journaliste)) Courriel : cjso@cjso.qc.ca Site Internet : http://www.cjso.qc.ca CKAC-AM/ CKAC 730 (Montréal) Téléphone : (514) 845-5151 (Jules Bordeleau (Chef de pupitre)) Courriel : salle.nouvelles@ckac.com Site Internet : http://www.ckac.com CKAJ-FM 92,5 (Saguenay-Lac-Saint-Jean) Téléphone : (418) 546-2525 (André Deschesnes (Directeur de production)) Courriel : musique@pierreboivin.com Site Internet : http://www.ckaj.org CKCN-FM 94,1 (Côte-Nord) Téléphone : (418) 962-3838 (Kathleen Brière (Journaliste)) Courriel : ckcn@globetrotter.net CKGM-AM/ The Team 990 (Montréal) Téléphone : (514) 931-4487 (Ron Francis (Directeur des nouvelles)) Courriel : info@team990.com Site Internet : http://www.team990.com CKIA-FM 88,3 (Capitale-Nationale) Téléphone : (418) 529-9026 (Francine Doucet (Directeur de programmation)) Courriel : ckiafm@meduse.org Site Internet : http://www.meduse.org/ckiafm CKLD-FM 105,5 (Chaudière-Appalaches) Téléphone : (418) 335-7533 (Patrice Croteau (Directeur de la programmation)) CKMF-FM/ ÉNERGIE 94,3 (Montréal) Téléphone : (514) 529-3229 (Pierre Lebeuf

(Journaliste)) Site Internet : http://www.radioenergie.com CKMN-FM/ La Radio Rétro 96,5 (BasSaint-Laurent) Téléphone : (418) 722-2566 Courriel : ckmn-fm@cgocable.ca CKNU-FM/ Cool 100,9 (Capitale-Nationale) Téléphone : (418) 285-5554 (Marie-Claude Bourque (Journaliste)) Courriel : 100.9@cool-9.com Site Internet : http://www.cool100-9.com CKOD-FM 103,1 (Montérégie) Téléphone : (450) 373-0130 (Isabelle Lévesque (Journaliste)) Courriel : fm103@sympatico.ca Site Internet : http://www.ckod.qc.ca CKOI 96,9 FM (Montréal) Téléphone : (514) 766-2311 (Nathalie Richard) Site Internet : http://www.ckoi.com

CKOO-FM/ Cool 98,5 (Montréal) Téléphone : (514) 767-2435 (Jean-Philippe Tremblay (Directeur de la programmation)) Site Internet : http://www.coolfm.ca CKRB-FM 103,3 (Chaudière-Appalaches) Téléphone : (418) 228-1460 (Suzanne Bougie (Journaliste)) Courriel : nouvellesrb@cgocable.ca CKRK-FM 103,7 (Montérégie) Téléphone : (450) 638-1313 (David Lahache (Newscaster)) Courriel : k103@globalserve.net Site Internet : http://www.k0103.com CKRL-FM/ La Radio des découvertes 89,1 (Capitale-Nationale) Téléphone : (418) 640-2575 (Bastien Gagnon-Lafrance

(Directeur de programmation)) Courriel : programmation@ckrl.qc.ca Site Internet : http://www.ckrl.qc.ca CKRS-AM (Saguenay-Lac-Saint-Jean) Téléphone : (418) 545-2577 (Jean-François Côté (Coordonnateur de l'information)) Courriel : nouvelles@ckrs.ca Site Internet : http://www.ckrs.ca CKSM-AM (Mauricie) Téléphone : (819) 539-4899 (Francis Dubé (animateur)) Courriel : f.dube@chlm550.com Site Internet : http://www.chln500.com CKTF-FM/ Énergie 104,1 (Outaouais) Téléphone : (819) 243-5555 (Louis-Philippe Brûlé (Coordonnateur de l'information)) Site Internet : http://www.radioenergie.com CKVM-AM (Abitibi-Témiscamingue) Téléphone : (819) 629-2710 (Jean-Marc Houle (Journaliste)) Courriel : journaliste@ckvm.qc.ca

CKYK-FM 95,7 (Saguenay-Lac-Saint-Jean) Téléphone : (418) 662-6888 (André Tremblay (Directeur de l'information)) Courriel : kykfm@digicom.qc.ca Site Internet : http://www.kykfm.com CKYQ-FM 95,7 (Centre-du-Québec) Téléphone : (819) 362-3737 (Hugues Laroche (Jounaliste)) Courriel : ckyq-fm@ivic.qc.ca Site Internet : http://www.ckyqfm.com RADIO-CANADA 96,5 (Mauricie) Téléphone : (819) 380-0023 (Claude Bernatchez (Animateur Journaliste)) RADIO-CANADA ESTRIE 101,1 (Estrie) Téléphone : (819) 620-0000

Vocali stsCareer Development program

moni apubli shi ng

SAMJ AM Mus i cPr e s e nt s

SAMJ AM Mus i cPr e s e nt s I ni Tune sNOW! ! !