The Real Story of Nirvana’s ‘In Utero

Spotify Landmark is a multi-media documentary series focusing on classic moments in music history. The premiere episode below, entitled “The Real Story of Nirvana’s ‘In Utero,’” was released on occasion of that album’s 20th anniversary and a week before the album’s deluxe reissue.

The installment features audio recollections from Nirvana bassist Krist Novoselic, producer Steve Albini, tour mate Curt Kirkwood from the Meat Puppets and comedian — and Nirvana opening act — Bobcat Goldthwait.

Secrets of a PR and Publicity Pro

Do you crave free media publicity? Learn how to identify a story idea about your brand or business, and then promote that idea to the media for publicity. Every business owner dreams of free media publicity, and why not.

After all, a story on the nightly news service promoting one of your new products or services is far more credible than a paid commercial. And it’s free. You’ll also learn how the media works, how a reporter thinks how a newsroom operates, how to build relationships with reporters, how to write a news release, how to set up a media conference, as well as tips and strategies for when you appear on camera.

Mark Aiston bio: Mark is a television host in Adelaide Australia. he has worked with the the ABC and the Ten Network as well as with the Australian Radio Network.

Performance Booking Agreement Template

This agreement is made this ________ day of ______________, 20__ by and between _______ (Presenter) ___________ (hereinafter referred to as the “Presenter”) and  _____ Artist_____ , if more than one, listed on Addendum A attached hereto and included herein (hereinafter referred to as the “Artist”), by and through their designated agent or representative (“Manager”) identified below.

WHEREAS, Presenter conducts the event known as: ________________________________________________ (hereinafter referred to as the “Performance “); and ______Artist ____________

WHEREAS, Presenter desires to hire Artist, as independent contractor(s), to provide the Performance generally described below (the “Performance”).

WHEREAS, Artist(s) desire to provide such Performance;

The parties agree as follows:
1. Artists: The names and addresses of the Artist who will appear during the Performance, the amounts to be paid to each.

2. Agent/Manager: The name and mailing address of the Representative, who is executing this Agreement on behalf of Artist(s), is: ______________________________________________________

3. Place of Performance: The place of performance is at _____________________________________________________________

4. Date(s) and Time(s) of Performance:
The date(s) of the Performance shall be ______________________, 2002 and the time(s) of the Performance shall be _______________________. This Performance shall be _______ hours with a __________ intermission.

5. Performance: The Performance is generally described as: _____________________________________________________________

6. Agreement to Perform: Artist(s) agree to provide the Performance in accordance with the terms of this Agreement and any addendums or riders hereto.

7. Price of Performance: Presenter agrees to pay Artist or his agent an aggregate of _______________________ DOLLARS ($0000) for the Performance by cheque immediately following the Performance. The cheque shall be made payable to: _____________________________________________________________.

8. Recording, Reproduction or Transmission of Performance: Presenter will use its best efforts to prevent the recording, reproduction or transmission of the Performance without the written permission of Artist(s) or Artist’s representative.

9. Excuse of Obligations: Presenter and Artist shall be excused from their obligations hereunder in the event of proven sickness, accident, riot, strike, epidemic, act of God or any other legitimate condition or occurrence beyond their respective control.

10. Taxes: Presenter agrees to prepare and file all tax information required of a person who hires an independent contractor and Artist(s) agree that they have sole responsibility for the payment of any federal or provincial taxes arising from the monies paid by Presenter to Artist(s) for the Performance.

11. Indemnify for Copyright Infringement: Artist(s) represent and warrant that they are knowledgeable about the copyright laws of Canada as applicable to the Performance, and that Artist(s) shall not perform any copyrighted materials of others during Performance without full compliance with such applicable copyright laws. In the event that Artist(s) breach this representation, warranty and covenant, Artist(s) hereby agree to INDEMNIFY AND HOLD HARMLESS Presenter and its employees, guests and agents from and against all liability, loss, damages, claims, and expenses (including attorney’s fees) arising out of such breach.

12. Independent Contractor: Artist(s) acknowledge that they shall perform their obligations hereunder as an independent contractor and not as an employee of Presenter. Artist(s) further acknowledge that they are not on Presenter’s payroll and/or tax withholding rolls. Artist(s) shall have sole control and direction in the conduct of the Performance.

13. Merchandising: Artist(s) shall not sell any goods, products, merchandise or services (other than the services provided herein) at the performance except by express written permission of Presenter.

14. Promotion: Presenter shall be entitled to advertise and promote the appearance of Artist(s) and the Performance. Artist(s) acknowledge that Presenter will rely on the terms hereof in all such promotions and advertising and in the brochures to be printed setting forth the names, dates and times of all performances to be held. Artist(s) hereby acknowledge and agree that Presenter may use their names, photographs, likeness, facsimile signature and any other promotional materials in all of such promotions, advertising or other activities used to increase attendance at performance.

15. Parking: Presenter shall provide parking space for vehicles in a location of close proximity to and with direct access to the backstage area where Performance will take place on the date(s) of Performance. This parking space will be reserved for Artist(s) for a period of four (4) hours prior to the Performance and ending three (3) hours following the Performance.

16. Security: Presenter shall provide security for the backstage and stage areas before, during and after the Performance. Presenter shall provide security personnel to protect Artist(s) and their property as deemed appropriate by Presenter in its discretion.

17. Passes: Presenter shall provide identification passes to Artist(s) for the backstage and stage where Performance is to be held.

18. Stage: At its sole expense, Presenter shall furnish the stage, and stage lighting, sound and power for the Performance, and Presenter shall provide all stagehands required to assist the setup for and conduct of the Performance and takedown after the Performance.

19. Dressing Rooms: Presenter shall provide Artist(s) with one private dressing room, which will be clean, dry, well-lit and air-conditioned.

20. Authority to Execute: The representative who is executing this Agreement on behalf of Artist(s) hereby warrants and represents that he has the full power and authority to bind Artist(s) on whose behalf he is executing this Agreement and acknowledges that he is making this representation and warranty with the understanding that Presenter is relying thereon.

In Witness Hereof, this Agreement is executed on the date first above written.

Presenter (Authorized signature)

By: ____________________________________


Artist/Agent or Manager representative

By: ____________________________________


Band Member Agreement Template

Band Member Agreement

For ________________(Insert band name)


AGREEMENT made this _______ day of ____________, 20_, by and between the undersigned Artist and the undersigned Musician(s).

This Agreement is entered into in the City of ___________ and County of ________________, State of __________ and is guided by and governed by the laws of that state.

The undersigned parties hereby agree to the following responsibilities:

1. Show up for practice as agreed upon failure to do so can void contract and end any future agreements. UNLESS there is an emergency or other uncontrollable circumstances out of the Musician(s) control. (Example: Death of family member, illness, accident, act of God.) If there is a problem notify Artist within ________hours before rehearsals were to commence.

2. It is the Musician(s) responsibility to keep their equipment in good working condition, and upgrade appropriately when the revenue is available.

3. There should be no drinking/smoking on stage, always maintaining good showmanship/ quality as deemed by management and myself.

Musician(s) will follow the instructions of the Artist and management team.

Other Provisions

4. Under no circumstances is a bandmember (Musician(s)) allowed to talk to club owners, record labels, radio stations, etc in regards to setting up anything for the band, in which promises are made or money is mentioned, etc.. The bandmembers (Musician(s)) should direct all inquires to myself and then I can pass it along to management, or hand out business cards with our managements contact info on it.

5. Any other outside performing with another band or engagement that interferes with the schedule of Artist will void the contract if necessary.

6. Understanding that the bandmembers (Musician(s)) main job objective is bring to life songs that are in the Artist format and 100% attention, enthusiasm and dedication is needed to make things happen. Lack of any of the above can void contract if it is detrimental to our success.

7. The Artist makes no promises or guarantees about Rewards and compensation but every effort will be in achieving the goals and payment will be made to the Musician(s) when possible.

The following conditions are in effect only as long as the contract is valid.

2. Live performances, bandmember (Musician(s)) will receive 20% of the performance fee.

3. In regards to royalties from any independent release that a band member plays on(examples would be cd’s, cassettes, EP.’S.’s’s. singles, etc., that has been financed by myself and/or management team. The bandmember (Musician(s)) will receive a percentage of 15% after the cost of manufacturing and distribution, production has been made back. Example – I spend 1500 to record and manufacture 2000 cd’s, after the 1500 is made back from the sales of the item, royalty checks will go out in accordance to what was agreed upon. In the event of signing with a major or Indie label the royalty rates may be renegotiated at that time.

4. There will be specific pay days, and dates for all compensation. Band member should not expect payment right after a gig or a sale of a cd.


5. Merchandising (T-shirts, hats, etc), Musician(s) will receive a percentage after the cost is made back. The percentage will be in the 2-10% range, due to the fact that this money will be used to finance upcoming events for the band-tour support, recording, etc.

6. When and if the Artist is signed to a label or any other organization that handles booking, distribution, etc than what is in place presently, then contract will need to be renegotiated to exact out new figures.

7. This contract is an open agreement voided at such time the Artist or Musician(s) deems necessary.


Musician(s) should meet to discuss all touring and gigs before the actual date. A plan will be made then in the event of prolonged touring to ensure all Artists and Musician(s) are in essence in the right place at the right time. Equipment checklists will be made and followed as well as set lists for shows. Musician(s) are responsible for things such as personal leaves from day jobs for touring etc. Musician(s) will meet with the Artist on specific days and times to discuss issues pertaining to the tour work. Band members will not leave the tour group unless they have let other parties know where they are going. This is only a protection for the band as a whole should an accident or other uncontrollable circumstance arise.


All complaints will be handled in an orderly manner. If Musician(s) feel they are being treated unfairly outside the realm of this agreement they may contact the management team and the complaint will be addressed and remedied in an efficient manner.

(Omit or replace with your management information) Management

Company name
Attn.: Contact name
City, State, Zip

You may also contact managers’ assistants.








Film Synchronization Agreement Template

THIS AGREEMENT, dated the __th day of ________, 20_, between_________________, (hereinafter referred to as “Composer” and ________________________, (hereinafter referred to as “Employer”).

WHEREAS the Composer has hereto written and composed certain musical compositions, lyrics and arrangements, including arrangements of public domain material (all herein called (Music) as independent contractor of ____(Employer)___, a (insert state) company, in connection with the motion picture now entitled:

“_________________(INSERT FILM TITLE)___________________________________”.

In consideration of the premises, it is agreed as follows”

1.Composer hereby licenses to Employer and its assigns, as their interest may appear, on a non-exclusive basis, the following rights including, without limitation, the complete, unencumbered, exclusive and perpetual right throughout the world to exhibit, record, reproduce, broadcast, televise, transmit, publish, copy, print, reprint, vend, sell, distribute, perform and use for any purpose, in connection with the motion picture as defined herein, whether or not now known, invented, used or contemplated, and whether separately or in synchronism or timed relation with the Picture or trailers, clips or portions thereof, or any other motion picture or otherwise, all or any part of the matters and things referred to in this paragraph and to refrain from all or any part thereof. Employer or its assigns may add lyrics from all or any part thereof. Employer or its assigns may add lyrics in any language, and otherwise add to, subtract from, arrange, rearrange, revise and adapt all such material and the Picture in any manner, and Composer hereby waives the “moral rights” of authors, as said term is commonly understood throughout the world.

Said license of rights is conditioned upon and subject to the following:

(a)Motion pictures containing the Music may be exhibited by any licensed or authorized exhibitor. No such license shall be required in any of the situations referred to above with respect to which Employer reserves the right to perform the Music.

(b)Under no circumstances shall the Composer, and of his successors in interest, or anyone acting in his behalf, have the right to take any proceedings that would have the effect of enjoining and/or preventing and/or otherwise interfering with the public exhibition and performance anywhere in the world and by any means or method now or hereafter known of motion pictures with the Music included therein, nor shall Employer or any distributor of such motions picture be liable to Composer for any action that the association or anybody may or may not take in administering the remaining performing rights or for any payments that the licensing organization (A.S.C.A.P., B.M.I. etc..) may or may not make to the Composer.

(c)Neither Employer or any distributor of any motion picture shall be liable to the Composer, or his successors in interest, or to the licensing body or its affiliates, for any payment of any sums by reason of performances of the Music as contained in the motion pictures, with the exception of payment of the statutory mechanical rate at the time of execution of this Agreement paid by Employer to composer or his music publisher for the sale to the public of the Music on sound tracks released as phonorecords, video tapes, compact discs, cassette tapes or any and all methods now known or that may come into being.

(d)Composer and his heirs, executors, administrators or other personal representatives, agents, successors or assigns shall have no independent right to license performances of the Music as included in motion pictures or to otherwise interfere in any way with the distribution and exhibition of motion pictures containing the Music.

(e)For the purpose of protecting motion pictures in which any music is used or to be used, Employer or its assigns shall always have the right to impose restrictions upon the performance of such Music apart from motion pictures.

2. As used herein, the following terms shall unless the context clearly provides to the contrary, have the following meanings:

“Motion picture” or its equivalent means and includes, but is not limited to motion pictures cinemagraphic films and photoplays of every kind and nature whatsoever (including films for television, video tapes, and films produces electronically), including the sound track thereof, as well as trailer, clips and portions thereof, and copies of any of the foregoing, produced by any means now known or hereafter known, invented, used or contemplated by which photographs, pictures, images or other visual or audiovisual reproductions or representations are or may be printed, imprinted, recorded or otherwise preserved on material of any description (whether translucent or not) for later projection or exhibition in such manner that the same are or appear to be in motion on a screen, mirror, monitor, tape or any other medium or device whether or not accompanied by sound track.

“Sound Track” means and includes sound recordings and reproduction of every kind and nature whatsoever produced by means of electrical, electronic, mechanical, or other processes or devices now known or hereafter known, invented, used or contemplated by which sound may be recorded for later transmission or playback in synchronization or timed relation with motion pictures or separately on phonograph records, or otherwise.

“Copies”, with reference to a motion picture or sound track, means and includes any negative or positive print, dupe, negative, video or other electronic tape recording, disc or other physical article of any kind produced by means of any process or device now or hereafter known or contemplated. on which such motion picture or sound track, or any part thereof, is printed, imprinted, recorded, reproduced or duplicated.

“Exhibitor” means any person, firm, or corporation who holds a valid and subsisting license from the copyright proprietor of the motion picture involved (either directly or indirectly through distributor, subdistributor or other licensee of such copyright proprietor) to exhibit and perform such motion picture (including the Music), publicly, whether theatrically, on free pay or subscription cable television, cable, satellite, airlines, armed services or other, by any means or media whatsoever.

IN WITNESS WHEREOF, the parties hereto have executed and delivered this Agreement as of the date first above


By ___________________________



By ___________________________



How to Copyright your Material

The most important thing in the large world of art and entertainment is making sure that your hard work or original idea is protected. What you are really accomplishing with this task is granting yourself, the creator of the work, exclusive rights to use and distribution, and the ability to generate revenue from the product. This can be in the realm of music, art, writing, photography, and many others. In a larger structure or entity of work, the rightsholders are individuals that may have paid a fee to attain some rights to a work or holding, and adapt the work to other forms, perform the work if it is music, or financially benefit from it. The origins of copyright in Britain were due to the invention of the printing press, and the fact that more in the general public were beginning to read. What began in the 1700s as a way to make sure rights of the creator were protected grew over the next few centuries into something farther reaching and much more universal.

What Qualifies as material?

There are some minimal standards that a work has to meet to be deemed as property. Different nations have varying requirements and traits for work, but a few general rules of thumb apply. In the United Kingdom, “skill, labor, and judgment” are key components of a work, and in the United States, you are going to want to go through the copyright process for any work that has the potential to generate income. During the last few decades, slogans, and things like smartphone applications have taken the center stage. With the level of use of technology devices and internet on the ever expanding rise, special care will need to be taken by the creators of works to make sure their idea isn’t duplicated. Especially during the creation of video games and other graphic achievements, it became more important than ever to make sure your bases are covered. If you are spending money on research, development, and testing, there is not a chance that you can weather someone taking it all from under your nose. It is more important than ever to know the steps to copyright your material under current rules and regulations.

The steps in registering your work

To properly register your work, send a completed application form with a 35$ registration fee and a copy of the works you want to protect. You also need to send a deposit and visit the Library of Congress’s web site, and the current fee is 45 $ for registration. If you use the web portal, you will receive a return email telling you that your application was received correctly, and perhaps a phone call asking for any additional information to complete the process. If the work is accepted right away, you’ll receive a certificate of registration, and if it is rejected for any reason, a letter explaining the reasons why. As with many important duties these days, the online registration is preferred by most owners of property, with a lower fee, and faster processing time.

You can track the status of processing quickly and efficiently online, pay by credit or debit card, and get easy access to “RE” forms, or renewal of copyright claims. The features for group registration are very efficient and user friendly, but be careful to thoroughly check all fees involved to secure prompt acceptance or renewal. As with any process, being prepared all the way before submitting your works will streamline the steps to getting your work copyrighted and make the road much less full of things blocking you from your goal. This is one of the most important steps you will ever make: saving yourself from the ultimate headache of the finger pointing game when something you created yourself may be breached. Not feeling like you are in jeopardy all of the time, especially as an author or otherwise creative individual, who has a lot to lose.

There are those that will tell you that as soon as any piece of intellectual property or song is created, that you can come back at later date and claim intellectual creation and trademark. Just like a prenuptial agreement in a marriage, you really owe it to yourself to do this the right way and not cut any corners. All works created in the United States are subject to mandatory deposit under standards governed by the Library of Congress, and the year of publication may actually affect the longevity of copyright protection.

The address for the Library of Congress for postal mail is as follows:

Library of Congress
101 Independence Avenue SE
Washington, DC 20559


How to land a Weekly Paid Gig

Usually taking place on the weekends, the weekly paid gig is coveted by many musicians. Your dreams of having a confirmed show every week in a great place with patrons pouring in the door and selling tons of merchandise would be awesome to have become reality. Regulars coming back every week, a national tour much more within your grasp because of local prowess, and tons more fans could potentially await you. If your skill is in the DJ realm, this is also just as valuable; weddings and other events that will park you in front of other future clients, and help steady your stream of ever-needed cash. Especially as valuable in the winter months, these steady gigs can account for your “base” income, what you need to stay gigging, fresh, and keep your gear updated. And once you really prove your skill set, the owner of the venue sees it as a win win opportunity because he has a solid act that he knows he can count on to sell alcohol, get people inside, and cross promote the venue. Here we will take a look at some great tactics to use for finding a weekly paying gig.

Frequent contact with other bands you like

After speaking with an agent out in LA who is still very successful in promotion, he told us one thing to keep in mind: booking agents and bar personnel get demo CD’s and requests all the time, but how many do other bands really get? We know that since social media really blew up and bands started contacting each other the number has moved up a bit, but contacting other bands has one main edge on other methods: sometimes they have their hands so full that they may be able to offer up prime gigs. Yep! It’s true; the biggest show I have ever played in my life was done using this route. The band was not even from my town, and on their schedule it did not even appear that they were playing there in the future. I sent them a message telling them that I was booking shows in one of the premiere venues in town and thought that they sounded similar to us, and it just so happened 6 weeks down the road they were in fact coming through and on a Saturday night no less.

Direct contact with booking folks

In many towns like Athens, Georgia or Austin, Texas, there is an area that you can really target where almost all the hot venues lie. Having a well recorded demo and or/press packet should be dropped off at all these venues. Yes, you can leave the material with the bartender if you really wish, but the owner/booking individual is best. Never seem too eager, just convey the idea that you really want them to hear your sounds, and don’t expect the weekend residency up front. You may have to play on an earlier weekday to get the ball rolling, but that’s not all bad. If ten or twenty people show up and you act is if it’s 100, don’t apologize on the mic for low turnout, and plain rock hard, they will be able to envision your performance on a weekend night. Social media contact can work for this purpose, but a face to face is so much better; and if your press packet has photos of you playing crowded houses, all the better.

Respecting perks of the venue

While you are playing your way up to the point at which you could be ready for steady paying gigs, do not abuse the privileges the venue will give to you. How you act during a Wednesday night crowd will reflect on how you may very well act if offered a weekly paying spot. Yes, rock and rollers are known for alcohol and drug use, but only a few beers and maybe a shot should be consumed on stage. Once a band starts to gain some local momentum, it’s easy for them to start to abuse the freebies that come their way. Keep in mind that the club owners have dealt with huge acts coming through town, and you as a local band needs to be low maintenance.

Put yourself in their shoes and realize that for all the people that want to act fussy when they play the club, there are brand new bands that may have a very hip sound that could easily bring more people in the door. One misconception about bands just getting started is that they won’t have a following, and so don’t be surprised if when you abuse the guest list or other freebies if your spot is bumped for a newer act who is hungry to play. If you follow these pointers and are able to land a weekly paying gig, the residency will reward you in many ways; it is 100 percent worth the patience, finesse, and good manners to get to that coveted spot.