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discotreque · 3 years

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Disco 4.07: ...But to Connect

Well, that was a terrible episode... JUST KIDDING LOL, I LOVED THIS ONE TOO.

Look, there’s plenty of bad-faith criticism of Discovery out there, and sadly too many good-faith bad takes, and way too much boring pissbaby whining—but there are also plenty of valid complaints to make about this show, and I’ve been making plenty of them myself, on this very blog, for three-and-a-half seasons.

The—let’s say “uneven”—quality to date isn’t exactly a surprise, given its clusterfuck of a production history; the well-documented turmoil and turnover in the writer’s room has had an obvious and undeniable impact on the quality of the narrative. (You could even say they’ve had a long road, getting from there to here.)

Everything about this show—the direction, production design, performances, editing, VFX, music—has always been better than the scripts, but it’s not like the scripts were entirely without potential. In fact, the sheer amount of unrealized potential has always been the most frustrating thing to me about Star Trek: Discovery.

Well, I guess I have to find a new most-frustrating thing (and experto credite, I will), because holy fucking shit, y’all… this is what I’ve been saying Disco could be. It’s still not flawless—and they’ve apparently ditched subtlety as thoroughly as they ditched the 23rd century—but I do. not. care. I’m getting one thousand percent more of what I want from this season than I got from the last three seasons combined, and don’t get me wrong—I liked Season 2, and I really liked Season 3—but Season 4 feels like a completely different show. A much, much, much better show.

Buckle up for mid-season spoilers:

Sorry Michael, but my cat Nora wouldn’t fuck with that little holo-toy either—based on her reaction to laser pointers, she needs something she can sink her teeth into—literally—once she catches it. If she can’t pretend to sever its spinal cord, my picky little princess is not interested.

I guess “The Measure of a Woman” would have been too on-the-nose as a title for this episode? Jokes aside, I like how they seem to be positioning Zora as a Data-esque character: the AI who’s a sweet, well-meaning nerd, who’s also still learning organic social graces. Also, the problem with her attaining sentience isn’t that she’ll turn malicious, or pursue her own inscrutable cyber-agenda, but that she loves the crew so much she’s making irrational choices to protect them? AAAAAAAAA 😭😭😭

It figures that Dr. Kovich—who wears glasses and a tie in the 32nd century like a full-time Ren Faire weirdo—also uses a QWERTY-ass-looking keyboard on his holo-computer.

And then he dropped his whole CV in that scene like Michelle Paradise is literally reading this blog? (Ha ha, but also… 🥺👉👈)

Cleveland Booker, I love you like only a lesbian can love a fictional man created by another lesbian, but could you please at least skim The Art of War like, once? If Species 10-C can harness the power of hypergiant stars to—I’m guessing here, based on the themes of this season—accidentally slap entire planets to pieces, there probably isn’t much you can accomplish against them with sheer brute force, my guy. I’m also thinking about the wasp nest on my garage 15 years ago that I was going to ignore until winter (out of laziness), and then one of them stung me on the ear while I was putting my bike away and those fuckers were gone by the weekend. If it’s really a five-minute solution, what’s to lose by asking “Why did you blow up my planet” real quick before trying to kick them in the nuts through subspace?

A real delight to have Phumzile Sitole back as Adira’s old boss, General Ndoye, and in a nifty little hat too! Jonathan Frakes, who directed her previous episode, said in an interview that she’d been planning to quit acting when she booked the gig, but she had such a great time on Disco that she decided to stick with it. So it’s extra wholesome to see her again! I especially loved every time someone proposed violence at the forum and the camera just cut to Ndoye silently nodding like “fuck yeah, blow stuff up.” 😂

President Rillak evaded my expectations once again when Michael suggested she had a personal stake in Earth rejoining the Federation, and instead of hiding behind a bland talking point, Rillak said quite candidly that she was both personally and politically invested. (And it turns out she’s got mommy issues too—take a drink!)

I frickin’ loved how Kovich insisted on… uh-oh, here it comes again… absolute candor when sorting out the issues between Zora and the crew. Emotional honesty: it’s not just a good idea, it’s an overarching narrative theme! (Plus: “We always mean well to ourselves, Captain. The problem is what that means for others.” Ooooof.)

I’m pretty sure that they mentioned Control more times in this episode than in the entirety of Season 3.

Gray and Adira standing up for Zora made me cry happy tears. Say what you will, but I think we’re in good hands with Gen ZZ9 Plural Z Alpha here.

The writers are lucky I don’t mind a little massive amount of didactic speechifying in my science fiction, because for real, I’ve read Peter Watts books that were less transparent about giving every single character an entire TED Talk about every relevant philosophical viewpoint on the table. (Blindsight is still my favourite vampire novel, btw.)

I’m glad nobody except Stamets in full Writer’s Devil’s Advocate mode really entertained Zora’s failsafe solution. “If you stop trusting me, just go ahead and summarily execute me” is uhhhh not really how we treat each other around here, Zora!

Just as I was starting to get sick of Tarka’s shit, he dropped his motive for attacking the DMA—stealing its power source to leave this universe entirely and find his “““friend”””—and Jesus did I ever pivot fast from “this chaotic-neutral mad scientist isn’t quite as endearing as he thinks he is” to just, like, sobbing in my kitchen. I’d say it hit me out of nowhere, but (a) the score reminded me of Jerry Goldsmith’s Star Trek: First Contact theme, one of my favourite pieces of Star Trek music, and (b) I’ve been 1,000 miles from the love of my life for 18 months now because of this fucking pandemic. Tarka might be the most relatable character on this show for me right now. If he’s telling the truth, I hope he gets what he wants—and if he was lying to manipulate Book, I hope Grudge eats his eyeballs.

Speaking of music, I’m pretty sure the theme that played during Paul and Michael’s overlapping speeches has appeared in this season already—I remember finding it unusual to hear so much non-diagetic piano in Star Trek—and maybe even where it changes into the main Disco theme and the woodwinds come in—but combined with the dialogue (or double monologue or whatever) this time around, it really, really hit me.

I did feel like Michael (and/or Rillak?) could have leaned harder on the point that, if first contact with Species 10-C did go awry, they could immediately deploy Tarka’s destructive solution anyway. I’m sure a lot of the pro-violence faction would have agreed that approaching 10-C with a carrot and a stick that big in their back pocket would be a logical move, right? (I know, I know, that’s not what this episode is about, but it was nagging at me the entire time.)

I guess the conflict over leaving Felix at the prison the other week was foreshadowing for Michael and Book being on opposite sides of the vote here. And once again, I’m pretty firmly on one of the sides—Michael’s, this time—but I also feel like I understand the other side, and how they got to their position both intellectually and emotionally, and even though I don’t agree with those conclusions, even though they make my heart feel heavy and sad… I can’t not respect it.

Also, shoutout to the realism of finding yourself on the other side of that kind of ideological gulf from someone you love. There are no good solutions there; the best you can do, I think, is be completely honest with each other and yourselves. And the worst part about Michael and Book’s situation is that they’re already doing that, and I think it’s already done everything it can. 💔 Additional shoutout to the face journeys of both Sonequa Martin-Green and David Ajala for making me feel like my heart got kicked in the stomach.

Anyway. It cracked me up when they established Zora’s personhood by locating her inner clip show device—so we know she’s at least as sentient as Riker, that’s a start. AND SHE’S JOINING STARFLEET??? THIS IS LIT-ER-AL-LY EVERYTHING I’VE EVER WANTED, OMFGGGG 😭😭😭😭😭😭

…though I guess that means Zora doesn’t need Gray as a permanent therapist, awwww. I can’t say I didn’t see it coming, and it’s a storyline that makes sense for him and Adira, but ohhhhh, that goodbye scene was bittersweet. (I’m glad they’ve figured out a way to write queer characters off this show without killing them, lmao.) And Adira knowing, before Gray even had to break it to them, what he wanted to do, and being whole-heartedly supportive and encouraging, was just unspeakably sweet. I’m like twice Adira’s age; how are they such a role model for me?

Another thing I wanted, never thought I’d get, and appear to be actually getting in spades? A genuine romance storyline with T’Rina and Saru! And according to his Ready Room interview, it was Doug Jones’s own idea? He picked up on some Sa’Rina ~vibes~ when he read the script—vibes that the writers apparently hadn’t put there on purpose—and mentioned them to Tara Rosling, who saw them too, and they played a little bit of tension in their Season 3 scenes… and then the writers picked it up for Season 4! I love that so, so much.

I seriously can’t stop laughing at the parallels between Book’s decision to go off with Tarka to destroy the DMA and—spoilers for the Netflix reboot of She-Ra, I guess?—Glimmer choosing to activate the Heart of Etheria at the end of that show’s Season 4. In both cases you have a good-hearted but impulsive character who’s suffered a profound loss and feels a responsibility to stop that from happening again… and tries to do so by unleashing a horrific and destructive power that they don’t understand and can’t control, endangering everyone’s lives and alienating their loved ones. (Also, in both cases, you have me yelling at my TV at 6:30 in the morning.)

Honestly, continuing to parallel Glimmer might be the best outcome for Book: spending the first half of Season 5 in a redemption arc apologizing to Michael (and Grudge) would be better than what feels much more likely for him right now: getting swatted out of space by Species 10-C like—well, like a wasp.

Sparkly princess feelings aside, the “installation” of the spore drive into Book’s programmable-matter interface was by far one of the coolest “oh shit, we’re in the future-future” moments that Disco 2.0 has done yet. More of that too, please. (Finally, my last @ for Book: if you don’t want people calling your ship a “floating bachelor pad,” the very least you could do is give it a NAME they could use instead.)

I wrote this about last year’s finale:

A lot of people were worried Vance was going to turn out to be evil, but I was more worried he was going to end up making a heroic sacrifice for (and/or inspired by) the Disco crew—and he sort of does, but it’s not his life he sacrifices, it’s peace with the Emerald Chain. If the only path to “survival” is as the fraudulently legitimizing façade of benevolence over a corrupt, capitalistic criminal empire, well… that’s the destruction of everything the Federation has ever stood for anyway.

And that’s, by my count, Star Trek: Discovery’s third consecutive season-ending reminder that our principles and ideals, our better natures, must inform every decision we make—every single one, in war and in peace—because a victory that costs you the ability to look at yourself in the mirror isn’t going to feel like a victory at all.

Well. Not only do they seem to be going 4-for-4 on this (profoundly important and perennially relevant) theme, this year they didn’t even wait for the season finale to have Michael Burnham make a big speech about it.

Does that put the back half of this season in uncharted thematic territory? I guess we have to wait five weeks (ughhhhh) to find out. But according to the trailer I saw after the credits, we’ll at least get to see Michael Burnham in some kind of civilian setting tossing around gambling chips like a total fucking badass… so who knows, it might even be worth the wait.

#star trek #star trek discovery #star trek discovery spoilers #disco spoilers #amy's episode notes

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showupgoupla · 6 years

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Do Comedians Need Record Labels? by Jay Whitecotton

edited by Al Bahmani

Are you debating releasing an album? The idea of recording an album may be very overwhelming and you may be at a loss as to how to proceed, but I’m telling you- You can pull this off. Before making any decisions or signing any contracts, collect as much information as you can before you both regret and literally pay for it.

Fair warning, this is going to be as thorough as I can be, trying to cover angles you might not have even considered. There will most likely be some run on sentences and editing mistakes because I tend to blank out anytime I’m doing something that feels like work. Avoiding work is what attracted me to Standup in the first place and I’m not the most disciplined of people.

Also - I’m told visuals help break up the monotony of long posts so I decided to use the same picture of Jon Hamm and a German Shepard mix to ease your reading experience.

Let’s start here:

Should you record an album?

It's on you to know whether or not you’re ready. Just please be ready and don’t be the ‘I have three hours of material’ fraud carrying pounds of notebooks, but struggles to fill a fifteen-minute spot with consistent laughs.

Do you need something to sell on the road?

Clubs are paying less and less, no longer putting up Features in hotels, and having something to sell is almost a necessity just to cover gas. Headliners are even feeling the pinch trying to scrounge up more credits just so clubs will feel comfortable booking them over rising YouTube stars or that host of the Mr. Sexy Murder Podcast.

Do people want this?

Having an album feels cool and may con your parents into covering your rent while you pursue your dumb dreams, but nothing is going to put you down to reality harder than when you do all this hard work just to find out the eight friends who always ask ‘when’s your next show’ and never go – can’t seem to justify paying $10 for your ‘art’.

(Let’s all take a second to reflect on all the idiot musicians who are in the same boat, but with thousands of dollars of burdensome equipment they have to lug around. Lol art sucks)

Finally

Are you actively being sweet talked by industry and label heads looking to profit on all the years of work you already did by yourself? This is your best sign that you are ready. When industry leeches smell a hint of hope and money on you, ya know you have a shot of making a go at this.

Label vs. Self-Distribution

First the positives. If a label can’t contractually guarantee you plays on Sirius/XM radio and expose you to a large audience of new fans with contractually agreed payments for advertising and marketing in places that will get you seen – then you don’t really need a label. (Most don’t really do these things)

Here’s the nitty-gritty. I’m telling you from experience and with the same level of lazy blindness when it comes to taking control of this side of the work that – you don’t need a record label. In fact, most people don’t need record labels. We live in the future. If you’ve already recorded and edited an album, you can put it out on all the avenues the labels use and get 100% of the profit from your laptop.

“But Jay, doesn’t a Label sound cool to consumers?”

Get over yourself. No one cares anymore. You just want things that sound cool to give you validation. Fuck your validation. It’s not real. Just be good, it’ll be fine.

“But Jay, a label will promote me to a huge fan base! I’ll get new fans and lots more places will book me!”

Nope. That’s not really what they do. They may promise that to you and something like Comedy Central Records may be a giant boon, but if Comedy Central is releasing your album, you’re probably already getting exposure on the channel or getting writing work and in no way reading this.

Very few labels exist for ‘the love of comedy’. It’s about money. Labels make a money from a few physical sales, mostly digital sales and plays and some by getting the comics to buy their bulk physical copies through them.

Here’s the digital breakdown.

There’s a thing called Sound Exchange. And when your comedy gets played, a fraction of cents gets divided into two piles: The Producer and The Artist. Periodically you will get a check (usually quarterly) and the Producer will get an equal amount separate from you. Both checks are equal in amount. (I have a friend signed to one label who doesn’t even get his artist check. That goes to the label as well and it’s becoming a thing he has to try and legally negotiate with them about. There’s a ton of free-floating confusion about this stuff, ask questions)

The money is based on your popularity and for some it’s great, others not so much. Most people tell me the pay seems less and less every year. It’s almost like these streaming services are designed to profit off the artists as well as the general public. WEIRD!

Here’s what this means. Basically – you as an individual have a ceiling of worth. When you release your album – the first three days is when you will pretty much get all your sales. You’ll promote it, you’ll have toured and built up a fan base interested in buying it, and when you release it – all their enthusiasm will come together in a big sales push to support you. After that – they move on to the millions of other shit in their lives. Welcome to the future! It’s a pool of nonsense swirling with illusion and you’re a drop of water.

The Label will have got their heavy cut purely on your years of hustle and work, then pretty much move on to another because that’s their grind.

You see – while you get that Sound Exchange, they also get one AND another for as many artists as they can gobble up. It’s not in their financial interest to take the time and help you build your fan base.

It’s in their interest to profit off you doing that work and the hundreds of other comedians trying to do the same thing for themselves. You understand? You get one check, but their goal is to get hundreds.

That’s the game.

If you’re still looking for a Label to validate you, look at the Label’s previous history of artists and promotion. How many likes or shares do their posts get? Chances are – you get way more. That means the Label is most likely profiting off of you more than you from them. It might be a silly thing to view social media likes as a barometer of interest to some, but really – you know what a post advertising your album with three likes on their page vs. 200 on your own personal page means.

Look at the roster. Ask people you may know about their experiences. Research how often the Label’s been sued. Seriously, that’s a thing. I almost released on one label that had a giant roster of my favorite comedians, only to find out most were one-and-done and more than a few ended up in court over the label’s shenanigans.

The Contract:

No contract is the same as the other and I’m not a lawyer, but here’s some sample verbiage you need to familiarize yourself with as to what it means to your career.

“Recording Costs and Procedures. Each LP will be recorded at the sole expense of Label. Recording expenses shall include engineering, production, equipment, tape, editing and mastering expenses. None of these expenses will be charged to Artist’s account, nor will they be recouped from Artist’s royalties. Subject to any necessary third-party approval, Label will be allowed to record any performance of Artist during the Term, provided that Label gives Artist at least seven days notice of its intent to record.”

What this is saying is that the label will take on the cost of hiring someone to bring all the necessary equipment to record your performance and then spend the time to edit and master it. You won’t ever be out of pocket for these expenses. This is a good and worthwhile thing as getting the best sound is crucial. However, what if the label hires someone who’s not good at this? Just because someone has a mic or two and a soundboard doesn’t mean they know how to record a proper standup show. I’ve heard many a mix where the audience is super quiet and the comedian very loud. This usually means that the sound person just mic’d up the comic and let the audience laughter bleed into his direct track. It’s lazy, poor quality and also doesn’t involve that much actual “mixing”. Ask to hear the specific person recording’s previous work.

Just because they’re a professional Label, doesn’t guarantee you a professional recording! I’m looking at you Rooftop Records.

You need to make sure there’s a stage mic and that it’s recorded directly into the board, an area mic above the audience to capture their laughter and two mics towards the back wings of the crowd. Why so many? You want to get the best mix between the crowd and the comic to sound fresh on your album, but also able to tweak in the mix in case you need to hide an annoying weird laughter, somebody’s coughing fit, or worse – a drunken girlfriend trying to be supportive by answering all your rhetorical questions. All shit that can happen. All shit a proper sound engineer and label should expect if they actually care about you. Ask for it in your contract.

“Ownership of Recordings and Underlying Works. All Recordings made by Label and released on any LP under this Agreement will be deemed “works made for hire” under the United States Copyright Act, and Label shall be the sole and exclusive owner of all right, title and interest in the Recordings, including all copyrights and reversions in the Recordings delivered by Artist under the terms of this Agreement.”

This means the Label owns your recorded material.

“Label, its successors, licensees and assigns shall have the exclusive worldwide right in perpetuity, to manufacture, sell, distribute, exhibit, publicize, market and advertise the Recordings by any means and in any format.”

The Label and anyone who buys their catalog can do whatever they want with it. It means if they want to put you on their ‘Now That’s What I Call Farts Vol. 5’ compilation – they can. You’ll still be owed money for listens and sales, but the label has this option. The keyword here that you have to be careful about is “in perpetuity” – that means forever. Permanent. You as an artist have the right to put a timetable on this. You can negotiate clauses. Just know, the likelihood of being on a NOW Farts compilation is highly unlikely.

“Notwithstanding the foregoing, Artist will retain all copyrights in the original material (i.e., all jokes, stories, comedic and other material included in Artist’s performance), provided that Artist agrees not to re-record any of the same material contained on LPs produced hereunder for release as an audio-only recording until 5 (FIVE) years shall have passed from the termination of this Agreement. Label will be the ‘publisher’ of the material and entitled to collect the publisher’s share of any analog public performance royalties payable to the publisher of the material. Artist will receive its own share of analog and digital public performance royalties and digital master public performance royalties directly from its affiliate performing rights organizations.”

Ok – this shit is important. It says that while you own your own words and act, if you re-record any of it again in a 5-year window, the Label is owed money. Which makes sense – why would they record you if you were to just put out other versions in a year? The “audio-only” is important as it gives you the right to film the material if you get that opportunity.

Say HBO gives you an hour special, or SeeSo rises from the dead to feast on your act – you SHOULD be good to go to record your act for video, but if they make an album out of it you may be stuck in litigation and have to pay the Label to buy yourself out. This could turn into a motherfucker. Ask questions. Write it down.

Look harder at these words: “until 5 (FIVE) years shall have passed from the termination of this Agreement.” Ask when the termination of this agreement ends. If there’s no set date - then that 5-year window doesn’t really matter. Its five years AFTER you both decide to end the agreement. Is it the date of release? The date of recording? This matters because – and this seriously happens – if you record your hour and they drag their feet in releasing it. That means they still own your material even if it never gets released. That’s that magical “in perpetuity” coming to fuck you. It’s a predatory language in a contract and if you’re currently stuck in one – may give you a legal way out of a bad deal. Again – not a lawyer, but you see why you may need one to go with the ‘convenience’ of a Label?

STORY TIME: say you record twenty minutes opening for someone else’s album recording and they get you to sign this deal saying they could get you some extra money if you’d like from online streaming. However – they never put it out and you don’t think twice about it because you’re a comedian, not a business nerd. Then – years later and after no communication with the label, your career starts to explode. You’re getting TV show stuff and decide to record your full hour and feel excited, but guess what – after years of silence, suddenly the Label dude announces that he owns that twenty minutes he oft handily recorded years ago and you can’t use any of it for the proper album you’d like to release. Not only that but for some reason, there was a clause in the contract you didn’t notice because “TL/DR” and now you owe the label three hour long albums! You know – that thing we all can just write and do. Then imagine you have to pay the Label that did nothing for you to let you go and because you seem successful, the asking price to buy you out suddenly becomes thousands and thousands of dollars.

This happens.

Now let’s look hard at the Term of Agreement.

“The Term of this Agreement will begin on the date on which it shall have been signed by both Label and Artist. The agreement will run for up to two (2) contract periods, one initial period, during which Artist will deliver one LP (LP1) and one (1) optional periods during which, if the option is exercised by Label at its sole discretion, Artist will deliver an additional LP (LP2). Within one year from the release date of each LP delivered hereunder, Label shall notify Artist in writing of its intent to exercise its option to record the next LP. The Term of this agreement will expire either: 1) nine (9) months after the release date of the last released LP; or, 2) when Label declines to exercise its option to record the next optional LP, whichever comes first.”

The word “period” is vague here. What measurement is a “contract period” much less two of them? At the end, it says “The Term of this agreement will expire either: 1) nine (9) months after the release date of the last released LP” meaning that it's over – only after the album is officially released. Meaning – in perpetuity – if not released. The other is a Label option for a second album after you record the first. That means the label can hold you to a second release even if you didn’t like how they handled the first, which may screw you if say you get interest from Comedy Central. Especially if you’re buyout clause from your agreement doesn’t have a set price like say $500 and a pizza.

Funny story. The above excerpt is from a contract that was sent to me by a stand-up record label. When I verbally agreed to work with them, I had specifically stated that the deal would be for one album with an artist option for a second. Meaning whether or not the process sucked or was good, I had the option to record another with them or not. However – they wrote it in the official contract as their option instead. Meaning I could be trapped in a bad deal owing them the second album.

Just because you agree in person means nothing if it’s not written down to reflect your spoken agreement. Always put it in writing.

Artist’s Additional Rights.

“Artist’s Right to Purchase Copies from Label. Artist may also purchase an unlimited number of non-royalty bearing CD copies of the Recordings from Label for purposes of resale by Artist for Artist’s personal or promotional use at the price of five dollars ($5.00) per CD and ten dollars ($10.00) per LP, if manufactured by Label, (the “Artist Discount Rates”). Notwithstanding the foregoing, Label agrees to provide thirty (120) copies of the CD to Artist at no charge.”

This is about the physical copies. It means that if you’d like to sell them after your show you have to buy them from the Label. This is helpful because the label pays to have them made and you can sell them. However, $5 a copy? They are literally fucking you. There’s a whole bunch of services that charge way less to manufacture CD’s. (seen some as low as a $1 depending on quantity) Services the Label goes through themselves! That $5 is just another way the Label can profit off the comedians work.

Here’s a fun fact! It’s 2018 – who buys CD’s anymore? Do YOU buy CD’s? From experience, I’ve seen comedians sell less and less physical albums every year. Everything is about digital now. The audience wants to stream it and could give two fucks about physical copies after shows. They want T-Shirts. It sucks, but it’s true. Stand Up Comedy was invented by the T-Shirt companies to move product. If any label tries to push you into buying CD’s from them at $5 a pop – suspect everything they do.

Back story: In my contract, I negotiated down to $3.25, but found out from other people on the Label they were paying $5 while some were paying $3. This is shady shit and the Label head got super pissed we were talking to each other about it. Remember – If a Label head doesn’t want you talking to other artists about their contracts then they are trying to fuck you somewhere.

Digital Download Royalty Rates.

“For each individual track from the Recordings (a “Single”) or complete album sold or streamed via Digital Download, Label will pay Artist a royalty equal to fifty (50%) of Label’s Net Receipts from such sale(s). Label’s Net Receipts are defined as Label’s gross receipts from Digital Download sales of Artist’s Recordings, less any distributor charges for upload or file maintenance.”

Digital sales are everything you’re going to make here in the World of Tomorrow. That’s the bulk of what you get from iTunes, Bandcamp, Amazon, the whole bit. Here it says you get 50% of Net receipts from online sales.

Quick lesson: Gross sales are the grand total of all sale transactions reported in a period, without any deductions included within the figure. Net sales are defined as gross sales minus deductions.

Here’s what you need to iron out.

“…less any distributor charges for upload or file maintenance.”

Say your album is sold for $10. Well, iTunes can take 30 to 40% of your sales just for hosting it. That means you’re immediately making $6-7 on your album. Cut in half with the Label, 3 to $3.50. Think about this hard. Half your sales are going to a Label just because they spent an hour uploading it to a distribution site. Did the label bring you any extra sales or were they all from the audience you already created?

Did you not have the hour in your life to do it yourself?

Food for thought. Do you get your digital sales back after the agreement is over? Or does the label get 50% of your online sales (again the bulk of where you’ll make money) in perpetuity? This is a real thing that can happen if not written out. For instance, if you eventually get your album rights back – how will the Label transfer all your future sales back to you?

There’s a whole bunch more to this process, but essentially these things above are what you need to really get your head around. Some of you reading this may already be in bad contracts. You may have a few outs, depending on state laws and the verbiage. You may have good legal reasons to get out of it and take your career and art back into your hands from predators and dream fuckers. Talk to other comics, work together, it’s not that hard and most of you have nothing to lose.

They’re the ones with something to lose and us talking publically about these issues is how we protect ourselves from frauds.

Own your own hard work and make sure the people who get behind your talent are pushing it forward, instead of bleeding it out for their own profit.

It sounds like you hate Labels, are you bitter?

I don’t hate labels, I hate frauds. My first album was put out by Sure Thing Records based out of Austin, TX. Not only are they good friends of mine, but also genuinely doing it for the sake of comedy. They gave me a great deal and were completely upfront with me about all the ins and outs, plus they had already signed comics I loved and respected. It was the perfect situation and if anyone asks me privately, I would recommend them wholeheartedly.

For my second release, I did it by myself for two reasons. One, because Sure Thing and I couldn’t match our release schedules (they put all their energy/promotion into one release at a time and were already releasing another) and two, I wanted to research how to do this alone specifically to show others who may not have had the options I had (or considering working with leeches), how to take control of this themselves.

It's crazy how there are so many options for comics to do this and yet we’re still resigned to banging our heads with car doors at the mere sound of handling business.

But Jay, how do I know if I can record an album by myself?No problem. Let’s go through that beat by beat.

Recording and mastering

Do you know musicians? Podcasters? People who record with mics and equipment? Ask around. Get on Facebook and ask if anyone can help. This also helps in seeing if the general audience is hyped about you even doing an album. You will find plenty of people to talk to who’ll probably be down to do this. I was fortunate and had a friend named Jess who did professional commercial editing. He asked for $50, but I ended up paying him more because he was incredible and as obsessive as I was about the mix. Mastering is very important, but you can get that done later in the process. Stay tuned.

Pick a venue according to your audience needs.

If you work mostly clubs, you’ll know which ones would love to have you record in their space, but keep in mind they’re pretty much bar/restaurants. You may not want the sound of waitresses barking orders or a random bridal party fucking up your shit. For my recording, I found a bar that had a separate basement that was carpeted so the sound wouldn’t bounce around like a warehouse. It fit 50 people comfortably and maxed out at 75.

Plan on two to three shows (four is most desirable).

Hopefully, you got your shit down and can do a full hour, but that said – mistakes happen. Bad things always get in the way. Sometimes you’re sharper the second show because you were able to get your rhythm in the first. Or better yet – maybe you knock it out of the park the first show and can really relax and not be stressed out for the others. Maybe you think it sucks. You’ll probably think it sucks until you listen to it later and realize its fucking rad. Then – after tons of listens you’ll hate it and yourself again.

Promote.

Maybe do a suggested donation instead of an admission charge. You want the people who support you to come out excited to hear you record. Say it goes to pay for the recording. It's more legit then being one of those gofundme assholes.

After the recording.

Listen to it and mark notes if and when you hear a mistake or want to edit something out. Listen to all the shows. Pick what feels right. Do what matches your voice best. You or your editor can mix the tracks together on almost any audio program like Garageband, etc. Listen to it – take long breaks then come back to it. Don’t rush, you want to be proud of this thing that’s going to be in perpetuity. It’s your words, it’s your craft, whose hands do you want it to be in? Once you’re satisfied with the mix you’ll need to master. GET IT MASTERED. This makes the audio even without extreme volume peaks and quality for professional distribution.

I have my album and track listings, now what?

You’ll need art. Put out the call on Facebook. Ask around, you probably know tons of artists or just use a clean headshot. I’ve designed tons of ideas on my phone just working with apps and being creative. Know anyone with photoshop skills? Put out the call, you’re friends want to help. Just don’t be too needy and reciprocate back. We all got to support each other. I was lucky to randomly scroll through Facebook and discover Brett Brock. He’s my favorite human being and a fantastic artist.

How do I self-release this thing I’m sick of now?

There’s a ton of options and a lot of people have used sites like Tunecore and CD Baby. Both have their strengths and easy to research, but I’ll just cut the bullshit and recommend Distrokid. It was the simplest process, the best priced and gave me the options I needed for comedy. You literally upload your album and they host it for $19.99 a year. To put this into perspective, other places charge 2-3 times more to do the same thing. More perspective? No problem. For that $19.99 you can upload all the content you want, while the other places charge for each individual upload. Meaning that if you wanted to release multiple EP’s instead of one album, you still only pay $19.99 a year. Or pay $50 and Distrokid will never take it down if your membership lapses or you die. It’s kind of rad.Still want physical copies? No problem, there’s a ton of businesses who ship from everywhere in the country. I used https://www.affordablesound.com based out of Austin, TX and they were easy to work with. The price depends on the quantity you print, but keep in mind – people don’t really buy them anymore.

Release Strategy

Ok, here comes some realities. What do you want out of this release? Only you can decide this. When you upload to Distrokid you can choose literally 150 or more platforms to put your album on. If its just about exposure then click all the boxes and have a drink, you’re done. If its about sales then I’d suggest not putting it out on Spotify or Pandora streaming sites as it means people will choose to do that over paying the $9.99 for your work. Later on, go ahead and steam it as you like. I waited a year myself, but before that I personally wanted to set a value to what I produced and genuinely feel streaming lessens the public’s perception of what you do.

The fact is people don’t really want to pay for shit. Also - most of the people I know are broke, but that said - its up to you what your album is worth. There’s nothing wrong with saying your work is worth $10 and then putting it up on YouTube etc after a year as you move on to the next project. If your goal is to rank on iTunes, then make that push and promote the hell out of it on release day. I did that for my first album and got the #1 credit that pretty much no one cares about and does nothing for your career. For my second release, I first went through Bandcamp before Distrokid. I got paid quicker and got to see who and where was buying the album. It rocked, was easy and they only took 15% of each sale. You have to link it with Paypal and I’d advise paying the $10 to go with Bandcamp Pro. This will help you keep it from being a streaming release (and you can cancel after your sales die off). However, most people would rather click the ‘Buy’ button on iTunes and Amazon instead of filling out the credit card information on Bandcamp so eventually, you’re going to have to put it up through Distrokid anyways. You have options. Above all else make a list and look at what resources you have in your own community and decide for yourself what direction you’d like best to go. When do I see money from iTunes, Amazon, etc?

If you are on a label or doing it solo it takes 3-4 months to get your sales information back (unless you exclusively go through Bandcamp). Distrokid keeps track and will help you get paid. Do you work for Distrokid?

No. It was just so easy and convenient to use especially for standup that for the price and speed of service, I was pretty grateful they were an option.

Is this post just a way to promote your own shit?

Nope. This isn’t one of those dumb marketing things. Its just information for you to use or not. No twitter handles or links here.Most likely I’ll go back and edit this as more people either correct me or provide extra information that’s helpful to comics.

I hope this helps.

Jay Whitecotton is a stand Up comedian from San Antonio, TX now living in Austin. He’s written columns for magazines without any journalistic credibility – toured professionally as a guitarist, despite no lessons – and sold a script that was never made into a movie… – He likes dragons. His album “Hi, Lonesome!” & “Monster Ballads” are available on iTunes, Bandcamp, Amazon and wherever fine albums are found.

#standup comedy albumrelease recording labels record label distribution jaywhitecotton

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