Grimalkin Records Inc.’s Post

Grimalkin Records Inc. is looking for a QTBIPOC sound engineer to run sound for our 3rd annual festival in Richmond, VA. It's on October 12-13 at Basic City Beer Co. The equipment there isn't great so we were hoping to hire someone who also has equipment to ensure good sound. Last year, Musiq Cultura RVA ran sound for us. Rei was great, but this year they aren't available for both days and we're trying to keep the sound consistent. Rei is going to play the day they're available instead. Ideally, we would like to record it from the soundboard as well. Oct 12 is 4pm-midnight and Oct 13 is 4pm-10pm. I know the manager Alex there and he said we can leave everything securely overnight from the 12th to the 13th. We can guarantee a minimum of $400 per day. We're fundraising and so it depends on if we reach our goal if we can pay more. Last year we guaranteed Rei the same rate, but we were able to pay them $500 a day after we saw what we raised in total after the festival. This may not be great pay. We're a nonprofit and so anything additional could be an in-kind donation. I know that doesn't pay the bills though. If you are interested or know someone who is, please email grimkells@grimalkinrecords.com. Grimalkin Fest is a manifestation of our mission and a celebration of Queer Joy and Resilience through a sharing of music, skills, resources and connections. It also supports, uplifts, and cultivates relationships with musicians, other creatives, community partners, and our communities. Last year, our festival’s budget was $12,600. Over $10,000 went directly to the performers and folks working at and planning the event. That's 86% of our budget going directly to artists and folks working the fest, which is unheard of as far as I know for festivals. Our goal is to raise $26,000 to expand this year’s festival budget. Achieving this goal will allow us to: *Compensate folks for travel *Provide food and snacks *Rent a house for out-of-town performers *Purchase decorations, supplies, posters, and locally silk-screened shirts *Hire a video editor for the virtual live-streamed day *Compensate event planners *Hire a consultant to assist the volunteer coordinator *Rent Starlink equipment to live-stream events happening during the two in-person days *Increase compensation for performers and folks working at the fest Last year, our budget didn’t allow us to compensate travel costs, provide full meals for performers, workers and volunteers, fairly compensate event planners, hire a consultant to assist volunteers, nor rent a Starlink to live stream the in-person days. A budget increase will. https://lnkd.in/e39VtTXB

As another spectacular #glastonburyfestival draws to a close, local grassroots music venue & community centre RED BRICK BUILDING CENTRE LIMITED has just 29 days left to reach its target to make essential structural repairs and continue offering vital community services and championing future musicians. Without the chance to play in grassroots music venues like the Red Brick Building there wouldn't be half of the major artists, they wouldn't have the fans and the future of big festivals, like Glastonbury, would be in jeopardy. The Red Brick Building is a community owned social enterprise offering a vibrant and creative space where everyone is welcome. For these urgent repair works the estimated cost per pillar is £9,000 and they need eight pillars repaired. The additional cost of the floor repairs take the total to approximately £117,000. They need to raise these funds quickly to complete the work during their quietest time of the year, July and August and ensure they can continue running by fully reopening in September. Please help by: - Spreading the word and sharing this to those who value the Red Brick Building community centre and local grassroots music venues. - Supporting them with a donation to help raise funds to rebuild the pillars https://lnkd.in/euTWAqaq Your donation will help secure the structural integrity of the Red Brick Building and allow them to continue offering vital community services which include creating spaces for work, wellbeing, and enrichment, and offering opportunities in arts, education, and enterprise. By collaborating with like-minded organisations such as Glastonbury Mental Health Network, Feed Avalon, and YMCA, they achieve outcomes such as increased confidence, improved wellbeing, enhanced skills and education, and cultural experiences. These contributions lead to long-term benefits such as reduced isolation, increased employability, raised aspirations, a stronger local economy, improved mental health, and a more resilient community. GLASTONBURY FESTIVAL EVENTS LIMITED #grassrootsmusic #musicvenue #community #communitycentre #glastonbury #fundraiser

Looking forward to reading this: "From cinema programmers to orchestra CEOs, figures across the arts world reveal what 14 years of Tory rule has done to the sector – and whether a change of government would improve anything." In the past, as a Trustee of an impactful arts charity, I appraised that a more enterprising approach can yield more revenue than reliance on the public purse. Whether developing services, engaging with local or regional Corporate Social Responsibility agendas or simply contracting patrons whose tax regimens would be incentivised by donating and their brands developed by a publicly recognised partnership, there are many options that can add value and mitigate the risk of dwindling aid each financial year. #arts #britain #charity #cic #socialenterprise #funding #freedom #addvalue https://lnkd.in/ec-FrhpF

Dear friends - 1.5 months are trying to raise money for an all day music and arts festival in September.The event will be free, although we will welcome donations - all the money we collect through our funding will go to paying for the venue, engineer, to the artists participating and allowing anyone irrespective of funds to attend. We have always self funded and all profits from our events go to those participating. Proceeds from our events are never large and we never feel we pay artists enough. This is a common theme for people running small events and artists who spend hours making and working on their art. As Astra Taylor writes in The People's Platform there is a notion that if you make art you do it for the love of it and that somehow means that you don’t mind not being paid properly for what you do. But artist’s need to survive in capitalism too! It always struck me that during covid, everyone wanted to be able to get back out and congregate and hear music again, yet it was the capitalist system that was propped up during that time and musicians and artists were told too retrain. We are not sure that our model of funding for our festival will work, or whether it is the right model. It’s also difficult asking for funds when there are so many needful peoples and groups, and we appreciate that people my not want to support us. Please let me know what you think of our approach. We’d also be really interested to talk with other DIY/self funding promoters on further ideas as to how we can all increase monies for artists and support artists in our communities, much love and peace RFxxx https://lnkd.in/e_YNQvmv https://lnkd.in/eqzJMz4D

New Post: ‘A Fundamental Change’: How Major Labels Learned to Stop Worrying and Love Distro Deals - https://lnkd.in/gRDWCpMQ - Major labels and distribution companies were once distinct entities with different ways of doing business. In today’s music industry, however, “distributors are starting to look like labels, and labels are starting to look like distributors,” says entertainment attorney David Fritz.  Each of the major label groups has its own distribution arm: Sony relies on The Orchard, Universal leans on Virgin, Warner has ADA. Confusingly, at varying points in the last five years, many of the frontline labels have launched distribution offerings too, whether that’s Republic (Imperial), 300 (Sparta), Alamo (which is affiliated with both Santa Anna and another distribution company, Foundation), or Interscope. Sony also has AWAL, which focuses more on nurturing individual artists, whereas The Orchard usually looks to sign and support labels. These companies are all in competition with each other — and often with the various frontline labels as well.  For Kirk Harding, a veteran artist manager and co-owner of the Bad Habit label, the meaning of all this activity is clear. “Everyone knows what the future is,” he says. “The major labels are going to be distribution companies with really big catalogs.” Related Deep Dive: The Distribution Revolution 08/03/2022 This would have been hard to fathom just five years ago. “It’s a fundamental change in how we’re operating,” acknowledges one major label A&R executive.  Frontline major label deals typically come with budgets — for recording, marketing and more — along with access to teams of people who can theoretically help artists find new songwriting partners, polish their TikTok clips and find money to support a tour. Since the label invests resources and services in the artists, it takes a significant chunk of the money that they earn, as well as rights to the songs they make.  Distribution deals are often the polar opposite. They typically come with far less money up front, few, if any, services, and significantly shorter terms. Since the company offering the deal doesn’t commit much, it doesn’t take much.  The frontline major labels were historically opposed to offering distribution agreements precisely because they tend to be short-term deals where the majority of the money made goes to the artist. That severely limits the upside for the record companies, which through the decades built their multi-billion-dollar valuations via long-term agreements — often five albums or more — in which they obtained artists’ recordings in perpetu

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Funding Opportunity 📢 Are you passionate about music and looking for funding to support innovative projects for young people? The Youth Music Trailblazer Fund might be just what you need!   This fund offers grants ranging from £2,000 to £30,000 to organisations in England that aim to help children and young people (aged 25 or under) make, learn, and earn in music.   Projects must align with one of the following themes: - Early Years: Initiatives targeting young children. - Disabled, d/Deaf, and Neurodivergent Young People: Projects that are inclusive and accessible. - Youth Justice System: Programmes aimed at young people within the justice system. - Young People Facing Barriers: Initiatives supporting those who face significant challenges. - Young Adults: Projects for young adults transitioning into the music industry. Organisations and the Workforce: Efforts to improve the music sector’s inclusivity, diversity, equity, and accessibility. Application Deadlines: The fund operates in rounds, with the next deadlines being: Round 8: Deadline on 22 November 2024, with notifications by 31 March 2025, for projects starting between April and June 2025. Click on the link to find out more: https://lnkd.in/ewE4dbc7 #BHPfundingfriday #whyBHP #charity #notforprofit Laura Masheder - Audit Partner and Head of Not-for-Profit Lesley Kendrew Nicola Adams Neil Baldwin FCCA DChA

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My latest column in the National Post. Festival after festival across Canada is heading to the edge of the fiscal cliff. Edmonton’s Fringe Festival and Toronto’s Hot Docs report massive deficits and dire straits ahead without an infusion of funds. Just for Laughs has been forced to cancel festivals in Toronto and Montreal. In a post-pandemic world, festivals are vulnerable; many find themselves precariously caught in the financial squeeze of spiralling inflation and reduced government largesse. And yet, there are festivals that have figured out ways over the hurdles — most notably, the Stratford Festival, Canada’s largest not-for-profit theatre company. Here’s some insight into how they do it. #nonprofits #notforprofit #governance https://lnkd.in/gEJwFkiQ