CONTENTS/ OVERVIEW
SUBJECT
THE AUTHOR
INTRODUCTION
WHAT IS A PROMOTER?
ONE OR MORE EVENTS
FUNDING
SET UP YOUR BUSINESS
RELATIONSHIPS/ STAFF/
VENUE
COMPETITION
AGREEMENTS
CO-PROMOTIONAL
INDEPENDENT CONTRACTOR
VENDOR
NON DISCLOSURE/ NON COMPETE
SEQUENCE OF EVENTS
LEGAL/ LAWYERS
TRADEMARKS/ COPYRIGHTS
PERMITS/ TAXES
BOND, INSURANCE
COSTS, BUDGET
COST SHEET
NIGHTCLUBS/ RAVES
WEB MARKETING
CHRISTIAN SHOWS
REGGAE CONCERTS
CONCERT MARKETING/ ADVERTISING
MARKETING PLAN
MEDIA FORMS
BUYING RADIO
RADIO COPY
SPOT PRODUCTION
CONCERT PROMOTIONS
SPONSORSHIPS/ PROPOSALS
PUBLIC RELATIONS
STAFF/ SECURITY/ POLICE
TICKETING/ FORMS
TALENT, AGENCIES
OFFER SHEET
ARTIST ENGAGEMENT CONTRACTS
STAGE PRODUCTION
DECIBEL LEVEL CHART
PRODUCTION SCHEDULE
SHOW DAY NOTES
RIDER CONTRACT
MISTAKES OF FIRST TIME PROMOTERS
SEQUENCE OF EVENTS
WHAT TO DO IF SHOW IS DYING
PROMOTER’S VOCABULARY
PRODUCTION VOCABULARY
FLYERS
OVERVIEW
It's not so simple. So Hal Abramson made thousands of edits over seven years to reduce a complicated business into a 140 page read-and-promote manual. He has made and lost hundreds of thousands of dollars trying to figure out the right formula. In a business with no schools or declared standards, Abramson, now 53, has abridged his Bible of the business. HOW NOT TO PROMOTE CONCERTS & MUSIC FESTIVALS, a best seller in it's category online since 2000, is reconstituted into a succinct, step-by-step insider's guide on the art of promoting concerts called HOW TO PROMOTE CONCERTS, SIMPLIFIED.
It first took Abramson 25 years to compile enough notes, plans, proposals, contacts and facts to write the How-Not-To book in late 1999. Starting as a 160 page, a compilation of experiences, into the present 322-page behemoth of what-to-do and what not-to-do, has gone over big. Selling almost 3,000 copies worldwide, now with a CD containing 20 usable forms, Abramson has repeatedly received requests for a simpler version for layman and promoters who want to know more.
Many have thanked him for saving them a fortune and some have decided not to promote as a result of reading the raw truth. The reality is promoting concerts is that it's a lot more difficult, takes a lot more effort and is a lot more expensive than people think. Other books falsely sugar-coat the inside truths that real promoters know. It's like any other business in that it tales years to become proficient, if you last that long. No matter how smart you think you are, you can't know it until you experience it. Hal has taken what should take many years to learn and reveals the professional details for easy consumption. He makes it easier for you.
"We live in a day when people don't want all of the detailed education, they just want to promote or are already promoting and need help", Hal said. Requests have demanded a more streamlined, more direct approach. The new 140-page version removes much of the watch-out-for, and just reduces all of the variables into an easily understood, "anybody can promote” edition. Concerts are a puzzle of components that need to match up or you won't break even. HOW TO PROMOTE, simplifies what it takes to do better than break even and increase your chances of winning on your first event.
He admits that no matter how smart you are, you're likely to get hammered on your first event." That's part of the education, making mistakes." Hal said. Promoters have their own signature and style. No two promoters do everything the same way. But there are standardized ways of methodically executing the various stages of the promoting and producing process. The book breaks down each component. New promoters are shocked to see the cost of entering the business. Shrewd talent agents calculate the artist's share per seat, making it hard to profit. How to figure what you should pay the act, how to negotiate with agents, how to promote, estimate the attendance and how to correctly price the tickets, it's all covered in this simplified book. It confirms answers to questions, and those you hadn't thought of.
Promoters are not the most altruistic people. There is no incentive for established promoters to help you or guide you. "What, they should tell you everything so you can compete against them?" Abramson is different. One of the most controversial promoters of our time, Abramson states, "I really enjoy helping new promoters who haven't yet learned vindictive, hateful behavior. The newbies have promoting dreams and a lot of drive. If I can help them promote correctly, it truly helps the industry, my books have helped thousands of promoters minimize loss and maximize their chances of concert promoting success".
Hal Abramson has promoted more different types of events than anyone else. Having been both an entrepreneurial Promoter and a successful Marketing, Management, Sales and Operations Executive, he's promoted all kinds of events from Trade Shows to major Music Festivals since 1975. You benefit from proprietary methods and extraordinary insight not available anywhere else.
Hal is an active promoter presently working with other promoters on their projects. He welcomes your phone calls at (731) 438-1597, EST to discuss your dream project. Try calling other so called promoters for help. Are they even willing to listen?
"There's more to promoting than money, its about giving and bringing people together."