Episode 75: Heather Go Psycho Radio - Favorite RecordThanks for tuning in to 210 Local Media podcast, I am your host, Mario Zamarron. I’ve been meaning to have Heather Go Psycho’s album Favorite Record on the show for a very long time. I’ve seen the girls a couple of times, but due to the circumstances of the night, was unable to introduce myself to them or anything. Luckily, thanks to Twitter, I was able to chat with Heather Go Psycho’s bassist, Diana. Here’s an update for those who haven’t heard yet, Diana is no longer the bands drummer. They’ve recently added an actual Heather to the line up! Kind of like when Donella Drive had Ella. I saw Heather Go Psycho, most recently at one of the Creative Creatures shows at Fitzgerald’s. They played right after The Black Market Club and before The Lost Project and The Sandworms. They put on a great show and brought a totally different vibe to that stage. I’m glad to finally add them as alumni to the 210 Local Media Podcast. First, we’ll dive into some music, and then I wanted to chat for a little bit.Heather Go Psycho - Favorite RecordFavorite RecordNothing MoreJust For TonightBack 2 YouNice Girls Finish LastThis ChristmasI just wanted to reach out to music fans, concert goers, and ask some questions of you all and share some insight that you may not hear everywhere. First, some information on the music industry I’ve learned. I admit though, that I am by no means a expert and am learning new things every day, so, be aware of that caveat. There are bands, solo artists, fans, talent buyers, venues, promoters, managers, labels, and there’s merch, distribution, contracts, emails, social media, draw, booking, and a whole slew of other things that have an impact in the music industry. There’s an interesting cycle that regular concertgoers don’t ever see, that includes all of the above. Once you’re walking up to the door of a venue, many things have happened to get what you’re about to see, to where it is at that very second. A band who has practiced countless hours, has either been approached by another band, a venue, a talent buyer (someone who works for the venue to books shows), or a promoter (someone who puts shows together with a secured date at the venue), or has reached out themselves, to play that night. Depending on the show, bands can get paid in many different ways. There’s the door split, in which each band is coming away with their equal cut of the money paid at the door. There’s the percentage of the bar, which usually denotes a free show, where the bands try and get as many people as possible in to the venue to drink, in the hopes that the percentage of the bar that they get paid from is decent. It’s also split with the other band(s) on the bill, and is usually around 10%-15% of the bar. That means, every dollar you spend, gets them $.10 to $.15. There’s the sought after guarantee, where a band can make (at least) their guaranteed amount. Sometimes this is a method of payment that works as an either/or with a guarantee. For example, the guarantee is either $100 or 15% of the bar, whichever is higher. Finally, there’s the pay-to-play or ticket selling method. There are so many variations of these methods, that I won’t go over them here, but feel free to look it up online. For a band to get onto a bill, they either need to know another band that will add them to their own show, make some contacts, have their booking agent (who gets a share of the bands cut from the gig), know a promoter (who’s take is also a portion of the night), or they sell tickets to get on the bill with national acts. There may or may not have been contracts, personnel changes, schedule changes at work to be sure all band members could make the show, band cancellations, or possibly even entire show cancellations…. All before you step foot into the venue. Also, I can’t forget the merch that the bands made to sell at the show, or the money that went into prin