Get Ya’ Money Right: The Truth About Publishing

Get Ya’ Money Right: The Truth About Publishing

What up Playa? By now you should be getting the big picture. There ain’t no business like show business. But here’s the problem, you keep putting on the show, but you ain’t handling the business. If you are like many of the young artist coming-up in the game, you probably don’t have a strong grasp on the Music Industries many rules and regulations. You might have read an article here or there, or even picked up a book or two about the music business, but chances are that unless you’re a lawyer you probably didn’t understand it. Relax, I got your back. Look at me as sort of your music business guardian angel, here to help you add a little business to your show. Let’s face it, the music business is a well-oiled machine designed to do one thing, and that is make money. Throughout your career you will notice that at every corner you turn there is someone who is waiting to benefit from your talent and success. Regardless to how large you may become, you will never be able to completely eliminate the middleman. Go ahead and screw up your face if you want, but if you think you can cross out the middleman then you need to close your eyes and go back to La-La-Land, ’cause homie your still dreaming. Even when you become a Hip Hop mogul like Russell Simmons or P-Diddy, you still have answer to someone else, and they are usually making more money then you are. Alright, here is where I will stop myself because I am known for going off on a tangent about the many, many economic inequalities of the music business. So with no further delay, let’s talk about getting paid…

Get Your Money Right

Now that we have established other people are going to be making money off of your talents, lets focus on how you can begin to get your beak wet too. During the week I get a million and one emails with questions about the music business. The one question that comes up the most is, “what is Publishing and what does it have to do with me?” Publishing is quite a difficult topic; so I will explain it as simple as humanly possible. Sit down class and pay attention.

Publishing is money earned from the songs that you have written. This money comes from two separates sources.

Source #1: Mechanical Royalties-This is the money that record companies pay to the publisher for songs that have been mechanically recorded(pressed-up) on record or CD.

Source #2: Public Performance Income-Better known as performing rights, this allow others to use your music in different mediums such as; radio, t.v., movies, etc.

Pump the brakes, Playa! Your not entitled to all of the money, just a portion of it. Let me explain. All money made from music publishing is simple known as Publishing Royalties. Publishing royalties are broken down into two separate shares; publishers share and writers share. Think of the shares as a pie with two halves; the publishers side represents 50% of the pie and the writers share represents 50% of the pie, and together they represent 100% of Music Publishing Income.

The publisher is the party that collects both shares and then pays the writer’s share to the writer or writers of the song. The Publisher is the one who owns or controls the copyright of the song. This means that they have the rights to do with it as they please, such as licensing(renting) it out for movies, or sheet music. Also, granting permission to other singers to re-record it. At some point, you as a songwriter are going to have to deal with a Publisher on some level, whether you decide to self-publish or not. The main advantage to self-publishing is that your are the sole controller of your copyrights, but unless you have the time, energy, and resources to do what a publisher does, you better learn to play “Let’s Make A Deal.”

What a Publisher can do for you the Songwriter

• Copyright your songs so your butt is covered around the world.

• Make sure your songs are used in every imaginable medium, such as: radio, video games, downloadable ring-tones, movies, etc.

• Hook up manufacturing and distribution deals for music books and sheet music of your songs.

• Register your songs with collections agencies like BMI, ASCAP, SEASAC, and the Harry Fox Agency.

• Protect you from copyright infringers trying to steal your material by sampling, file-sharing, and bootlegging.

• Develop and Promote you as a writer.

• Negotiating licensing deals on your behalf

Your best bet is to set-up a co-publishing agreement with a large publisher; this way you will ensure that things will be done correctly, without you losing your mind in the process. There are far too many types of publishing agreements to get into detail, but you have to always agree to the deal you can live with. Think long-term and your money will grow, think short-term and the next song you write may be one for Food Stamps.

Succeed In Music Biz With Proper Planning

Succeed In Music Biz With Proper Planning

There are many experienced professionals in the music biz who will tell you that the music biz is all business. I agree. With any business, proper planning is the key to success in the music biz. This article describes some things to consider for your success in the music biz.

Think of your career as a business. Have you assembled your business plan? How do you plan to market? What is your mission statement? Are you going to start your own record label to be distributed by a major, or are you going to use the full service resources of a major label? These are all important issues that you have to have in order to really succeed in the music biz. A music biz plan helps you resolve these issues well in advance.

A lot of recording artists enter the music biz with one big goal “to make it”. These artists see themselves on a big stage in front of thousands of screaming fans, but often that is as far as the planning goes. Artists rarely conduct the planning that it takes to succeed in the music biz.

I’ve yet to speak to an artist who has a business plan. In my experience if you don’t have a business plan, then you shouldn’t plan on being in business. A good business plan will cover your business and legal structure, your marketing model, financial projections, goals, benchmarks and finally what you’ll do after the your career is over.

I’ve met many recording artists who treat the music biz like a glorified hobby. They often don’t have business cards, a website or in many cases, a valid email address. Many more artists don’t have the marketing structure in place that will allow them to get the attention from fans or record labels. Remember that the music biz is all business. If you treat your music career as a hobby then you might as well just play your music for friends and family and be content with people pretending to take you seriously.

Getting attention and interest from record labels is easy if you are on the radar. Many Artist and Repertoire Representatives (A&R Reps) agree that if an artist is making it happen on for themselves (by selling a couple thousand CD’s locally or selling out a 2,000 seat venue) they will get on the major label radar. You can’t get on the radar of the record labels (or your fans) if you are flying by the seat of your pants and living on a prayer.

As a wise person once said “failing to plan is planning to fail”.

Career in Music ahead of Vocalist

Music is an integral part of mankind. It is woven into the very fabric of human civilization. One can make a bright career path in music just by attaining the desired skills & temperament. There are several music schools in India that provide proficient music education and help an aspirant to pursue a musical career.

Music is a passion to many of us and sometimes we just do not want to listen to it but also want to make it a creative part of our lives. There are chances that if you have just enough talent to make it, you can design a great career in field of music. 

Music industry is a tough one as there is a very high level of competition with so many pursuers already lurking around. But those who have made it into being a professional have all gone big. Music careers have gained a lot of respect in past few years. There are lot of music colleges in Delhi which offer best courses which can help you with your career ahead. The opportunities in field of music have also been more in last few years because of media and broadcasting industry. The largest of all opportunities in this field comes from Bollywood. 

Apart from being a vocalist there are other opportunities in music as well. You can be a specialist instrument player; can be a part of production, music composition and lyrics writing, production, being a RJ or a DJ, a technical expert in the studio or the sound recorder. Music journalism is also an important sectorFeature Articles, if you have special interest in music and are familiar with the existing trends in the department.   

Once you receive a degree in music from any top music academy in Delhi which has a great syllabus and efficient faculty you might be looking up on a career opportunity of a lifetime. The basic technical and theoretical knowledge are as important as the practical lessons. Students must take the complete syllabus very seriously as it will keep multiple windows open for them.

The money involved in this is a tricky business as it differs from the kind of work you are doing to the department which you have pursued.  Money should not be an initial concern for the newbies as there would be lot of good opportunities on the way ahead. One should always try to get good work done and be a part of good projects even if the payment is minimal. If your work is recognised at any point of time you may be able to earn beyond what you had initially thought of. Try to get in touch with the best artists and personalities from the industry and take healthy tips from them. This will help you build a personality.

The Country & Motown Sessions

Shelley Hamilton Entertainment Presents – 

The Country & Motown Sessions 

PRICE

FREE

TIMES / VENUES

Sunday, September 1

4:00pm – 5:30pm

Stage in the Round

235 Queens Quay West

Let’s take our hearts back to such favorites as Diana Ross and the Supremes, Sam Cooke, And of course the queen of soul Aretha Franklin. Backed by Rudy and The Angels, a five piece band with horns, Shelley gives honor to legendary musical groups of the 60s and 70s – a throwback to old soul for the young at heart.

And as Black Canadian woman breaking out into the country scene? Not the norm, but But the time come with her album SHELLA with musical artist & writer Stella Panacci. Since it’s release she has been a featured artists of the week for CBC, & CTV Morning Live in May 2019. SHE is also part of the collective “The Afro Métis Nation“ and their album “Constitution” released in 2019 celebrating mixed culture of Blacks and Indigenous people of NS. Shelley will be doing an intimate acoustic set of some of her original pieces, including the song of the week picked by CBC in February, her country remake of Drake’s “Hold On We’re Going Home”

Ten Of The Most Common Mistakes To Avoid If You Are An Unsigned Artist

Here are 10 of the most common mistakes I have seen new unsigned artists make.

THE TEN MOST COMMON MISTAKES A NEW ARTIST MAKES

1) THEY DON’T KNOW WHO THEY ARE AND WHO THE AUDIENCE IS THAT THEY ARE TRYING TO REACH.Can you identify your target market? Do you know their age group? Are they primarily male or female? What artists do they listen to and support? What image should you project to reach this audience?

2) THEY MISS THEIR “ONLY” CHANCE TO MAKE A GREAT “FIRST IMPRESSION”. You only get one chance to make a first impression so the one you do make has got it make it count! It will hurt you in the long run if you are impulsive about sending your recordings in for evaluation or posting them on the web before they’re ready to be heard.

3) THEY ARE NOT ABLE TO “PULL IT OFF” LIVE. You need to play out live as much as possible – but only when you are truly ready to do so. Nothing will hurt you more than to create excitement in your recordings and then fall on your face in front of expectant fans live.

4) THEY RELY TO HEAVILY ON THE OPINIONS THOSE AROUND THEM. I can’t tell you the number of times I have been in preproduction with a band or artist who was trying to make a case for a song to be included on a CD because their aunt, uncle or next door neighbor thought it was a hit. Be especially careful not to make critical decisions based only on comments from adoring friends and family. Undoubtedly they are biased and will have a vested stake in your success.

5) THEY TRY TO LAUNCH WITH TO MANY SONGS. Even thought it’s tempting, never give away all of your material at one time. You will be doing extremely well if you perfect three or four songs first. Always lead with your best material but make sure that your direction is cohesive.

6) THEY TRY TO BE COOL AND WRITE OBSCURE LYRICS OR WANDER TO FAR AWAY FROM ACCEPTED SONG STRUCTURE. It used to be very hip to write lyrics that people had to try and figure out by debating them amongst each other but unless you are a “druggie” band or writer re-incarnated from the 70’s, it is much better to write you songs in the first person and try as much as possible to pack them with emotion and experiences others have felt and can relate to as well. Also, don’t think it’s cool to wait forever to get to the chorus or try a one-minute intro or guitar solo. Study pop structure and learn it. You can learn more about this issue at www.musicproshollywood.com.musicproshollywood.com

7) THEY JUMP IN TO SELF-RECORDING THEIR MUSIC WITHOUT ANY RECORDING EXPERIENCE. Obviously, the best option if you can afford it is to use an experienced recording engineer to record and mix your music. This may not be possible and today it is so tempting to make tracks on computers and bang them into a sequencer or hard drive system, put on a vocal, do a quick mix and call it a master. In order for your recordings to be competitive against the big artists that do have the great sounding tracks.

8) THEY RELEASE VIDEOS OF THEMSELVES BEFORE THEY ARE READY. Again, because the net offers such quick access to social sites, you may be tempted to start posting videos of rehearsals and performances before they are ready to be seen. You must make certain that what you are putting up is doing you justice. Remember, every time you post something or send it to someone you are inviting yourself to be judged.

9) THEY ARE TO ANXIOUS TO SIGN “ANY” CONTRACT. If you sign an agreement too early with a local manager, agent or your bass player’s father, you will pay dearly for it later when you need to get out of it in order to sign with real professionals who have the experience, contacts and leverage to make it happen for you. This is not to say that someone with little experience cannot work hard and get you to the top, but to make it as a world-class artist, it will happen faster with a professional team behind you.

10) THEY ARE IN A HURRY TO SIGN WITH A MAJOR. The decision to submit your material to a major is a tempting one and the tendency of many artists is to care more about chasing and getting the “deal” than the financial ramifications of what the deal means in the future after they’ve signed it. Most artists don’t realize the facts until too late,Be smart and polish your “diamond” firstFind Article, it might be priceless!

Importance of Music Managers

To appoint a manager is probably the most important decision, which a songwriter needs to take during his/her career as a professional musician. An ideal manager can make great impact on such a songwriter and musician’s career. Thus, it is extremely vital to make the artists understand about the worthiness of managers.

There are many benefits of hiring managers. They liaise with professionals such as accountants, concert organizers, producers, lawyers, publishing companies and with the creative team. They help in deciding what type of songs, which songwriters need to write for building a strong image in the music fraternity, as well as in the hearts of music lovers.

Some artists manage their schedules on their own, but as they get more engaged in the music industry, it is not possible to administer the work wholly. Hence, these managers come in handy at such times, as they also act as spokespersons, diplomats, mediators as well as authoritarians. 

As the career of the artist flourishes in the music industry, responsibilities too grow. Music managers assist singer songwriters at tours to help locate the right producers, strike the deals and develop relationships with different record labels, agents as well as publishers.

Other Duties of Music Managers:

These people help in launching the CDs of songwriters, conduct press conferences, plan promotional tours, book shows, look after the royalty and build the fan base. They also confirm that the name imprinted on the CD labels represent the correct name of songwriters.

Music managers also allot dates to musicians and see that the new albums of singer songwriters release on ideal time. While hiring the managers, artists need to verify their credentials. Hire the managers, who can perform multi tasks. They need to have a good temperament, excellent communication as well as PR (public relations) skills, because such managers can handle different aspects of an artist’s musical career.

These managers play an important role in shaping the career of an artist in the music industry. Even, singer songwriters, who wish to make a comeback in the music industry may benefit by hiring these music executives.

Indie Artist Management: Economic Realities & Insightful Strategies

Three personal managers of independent artists outline pathways for success in an increasingly competitive marketplace – a Los Angeles Music Network program, reported by Scott G (The G-Man).

“An artist’s music must be something I love,” stated Jennifer Yeko of True Talent Management. “It has to be music I want to hear in my personal life as well as when I’m working.”

This view was echoed by Ben Laski of Sonic Management, and Steve Ross of Raving Loon Management, as all three spoke on the Indie Artist Management program presented by the Los Angeles Music Network (LAMN).

“I will never work with an artist whose music I don’t love,” said Ross. “Commercial radio,” added Laski, “sucks, and so…” He waited for the applause to subside, “…and so, why would I want to work with anything other than music that means something to me?”

Each of them acknowledged the economic realities of the marketplace (“The product has to be viable at some point,” Ross pointed out), but all three were adamant that their personal reaction to an artist’s music was the primary factor in selecting them for representation. “It’s like a marriage,” said Ross, “so it’s best to make a careful choice.”

Speaking before an audience made up of equal numbers of indie managers and artists seeking information about management, Ross, Yeko and Laski provided insights into their approach to guiding recording artists to achieving commercial success as well as their maximum career potential.

Moderated by Tess Taylor, LAMN President, the event covered a lot of territory and generally moved rapidly from one topic to the next, although too much time was spent on answering repeated audience questions about California labor law dealing with booking agents.

Basically, no one may “procure employment” for a client in California unless they are a registered agent who has posted a bond and followed other formalities. Since this means that managers are putting their entire contractual relationship at risk if they book a gig for a client, there were a lot of managers in attendance who were hoping to find a loophole in the law.

Both Laski and Ross are attorneys, and Ross has obtained his agent license in order to book gigs for his clients.

During a spirited Q & A session following the formal part of the presentation, one artist asked four questions without waiting for an answer and there was a bit of fun for the rest of us as we watched the microphone being wrestled away from her. It’s nice to see passionate artists, but there is also something to be said for displaying a modicum of decorum in public.

Highlights from the presentation:

On obtaining publicity for clients:

Ross: “You do whatever you can for publicity.” He occasionally spends time in music chat rooms to see who is into which artists in local markets. “You call, write, give out 200 sampler CDs. It all builds for the future.”

Laski disagreed: “I don’t believe in artists giving out free samplers to fans. Make an EP and sell it for $5.”

Yeko: “We call music editors to get reviews and write-ups, but the main thing is to figure out your goals ahead of time. Under the right circumstances, you can’t give out too many flyers or CDs.”

Ross: “Writers across the country can be very helpful when bands come in from out of town.” He also recommends that you “get on-air appearances for your artists who are on tour. Call people, tell them why your artist will be good for their station or their club.” Taylor challenged him to give an example of how he talks to people on these calls. To much laughter, he said, “If I’m talking to a club, I always say the artist plays ‘good drinking music.'”

Laski: “There are different levels of publicity. At the start, you call reviewers. As you move up in sales, you hire a publicist to work a release or a tour, and you make certain he is in the proper genre of music. You can also call the BMI or ASCAP publicist, who can be helpful in getting contacts in the press.”

On preparing marketing plans for artists:

Yeko: “It’s helpful to list your goals, and the steps you need to take to achieve them. This is a good idea even if you don’t follow your plan exactly as it was written.”

Ross: “Unfortunately, marketing plans require marketing money.”

Laski: “Marketing plans are too time-consuming. We plan what we need to do as the need arises. Too many factors change as you go along.”

On touring:

Ross: “Outside of L.A., you can actually make some money.”

Laski: “Touring is going to be a losing proposition at the beginning of an artist’s career, unless you can get tour support from a record label.”

On making money for indie artists:

Laski: “We place songs on TV and film soundtracks. It not only makes some money for artists, it is excellent exposure.”

Yeko: “We have had great success with film and TV placement of songs, but some of our artists have developed clothing items and merchandise that actually generate more income at shows than CD sales.”

On artists looking for a magic formula for a breakthrough:

Yeko: “There is no shortcut to success other than hard work.”

Ross: “When you get those e-mails from people offering to set-up showcases, or the ones that tell you all about a great CD sampler they’re sending out, run away. These are never a good deal.”

On must-do lists for artists and managers:

Ross: “Whatever you receive from anyone, whether it’s a writer, club owner, or someone at retail, thank them!”

Yeko: “Look into the NACA, the National Association for Campus Activities at www.naca.org. We’ve also had an artist who did an entire summer of playing shopping malls.”

Ross: “When you send CDs to radio or press, remove the shrinkwrap. And do not send a CD to radio without a proper 1-sheet.” NOTE: you can download a PDF of a proper 1-sheet here: http://www.delvianrecords.com/onesheets/1S_Platinum_Radio.pdf

Oddly, the most provocative statement of the evening failed to draw any comment from the audience or the panelists. Taylor began the program with a prediction that “In the wake of industry changes such as the Sony/BMG mergerHealth Fitness Articles, indie record distribution may ultimately move from a single digit percentage to as much as 25 to 30 percent.” Perhaps this is really a prelude to the next LAMN or NARIP presentation.

# # #

Things To Remember Before Signing A Music Manager Contract.

You want a career in music. You think a seasoned Music Manager can help build your career. So you want a contract drafted, which you and your Music Manager will sign. What do you need to know?

 A good contract must be a simple document, no fancy talk. It should be fair and specific, clearly covering the basic concerns like money, division of labor and the length of the agreement.

Don’t rush or don’t be rushed by anyone. A contract is a legally binding document so every aspect must be carefully considered and discussed. It is best to seek legal advice to make sure all interests are protected.

You will do your part as the artist and the music manager should do his part in building your career. It’s a win-win situation. Whatever you earn in money or reputation will be enjoyed by both. The Manager Contract should be clear on the benefits of the parties involved.

There should be no ill-feelings or doubts from both parties. If there are uncertainties, the signing of the contract should be postponed and more discussions should take place before getting the contract signed.

You must agree to a term and a contract cancellation policy. A one-year agreement with an option to extend agreement at the end of the year, if both parties agree, is a fair trial term. An option to extend must have your agreement. Make sure the contract specifies how both parties can leave the deal to avoid tying anyone down to a contract one may not be happy in.

Whether you’re a new artist or not, your expectations from your music manager must be made clear at this point. Everything should be laid on the table.

The standard management fee is 15% to 20% of the artist’s earnings. Details of other earnings, whether from albums sales, negotiated deals, merchandise sales, royalties and the like should be discussed and agreed upon.

Expenses if not managed well can cause problems and disrupt work. A clear and specific agreement must be reached as to how accounting of expenses will be executed.

If a contract is not done well, it can bind you to a bad deal. Why take chances? Why risk your future?A better option is available to you. Strike a deal with an artist management team. Work with the Pros who have been in the music business for 21 years. 360 Media Touring Management looking after the careers of various songwritersFree Reprint Articles, artists and bands who are now making waves in the music world.

How To Be A Professional In The Music World

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Music software – the new buzzword in the music world, which makes most of us experts in the field. Whether you are a professional, a student or simply pursuing a hobby in music, you are bound to feel enamored by the enormous potential of music software. It allows you to create your own album and songs with that extra zing and class. With music software, you can download, copy, edit, mix and match music to play it to perfection. This will make you so special in the eyes of your sweet heart. What else you can aspire for?

Internet has come as a boon for all music lovers who want to enjoy nice music at a fraction of otherwise exorbitant costs of CDs and albums. By downloading music software, you can create your own private album. In fact a large number of websites offer free music software, which is quite handy for beginners. So the old adage that ‘there are no free lunches in the world’ does not apply – at least not to the music world.

Music software allows even amateur music buffs like us to experiment and create our own music. You can add effects, waves, echoes and reverberations to the music. All this makes your music more peppy and adds a feeling of freshness to it.

Let us begin with the minimum requirements for making a start. You need a PC with 1 GB RAM (though lower end versions such as 256 MB RAM are also fine to begin with) and 80 GB hard disk (If you have less, never mind- you can add it later on). Your processor speed should ideally be 3.8GHz or more. This will allow you to work seamlessly across software and give you that extra power and speed to work on your music.

You also need to have an internet connection to download music software and other stuff. Broadband connectivity is great and is now affordable. With broadband, the speed of your download increases and you can ride the music mania.

Music software helps you in setting up and jazzing up instrument sounds, editing and converting music from one format to other such as WAV, MP3, WMA, OGG, CDA, VQF, AAC etc. You can add a good sound card which will have a great effect on quality and modulation. Music software also helps you in ripping music whereby you can copy audio files from CDs to your PCs and then work on it. As you learn the basic tricks, you may go in for other software such as MIDI converter, controller and sequencer, Jukebox, MOD trackers, software synthesizers, patch editors, multi-track recording software and samplers.

Computer aided composition music software also takes you to a different world altogether. It is an intelligent software which helps you in composing, creating arrangements, giving notations and structures to your music. It also gives that extra jazz to your music and makes it more professional.
Music software has made it possible for us to be on our own. No wonder you are seeing people getting more and more professional in the field and creating waves with their wonderful and aesthetic performances. You too can join the bandwagon. It is simple and does not cost much. Let us begin with a small exercise. Just browse the internet and download music and your favorite songs. Create an album and gift it to your dream date. Then sit back and enjoy the positive spin offs that your crooning brings!

Source: Free Articles from ArticlesFactory.com

ABOUT THE AUTHOR
The author loves making music. You can now set up a home recording studio easily and use to make your own music. Digital music recording is now very simple with the use of many available software. Learn terminologies through an online music dictionary before you start.

How To Promote Yourself Online As An Independent Hip Hop Rap Artist

Are you an independent hip hop artist wanting to promote yourself on the Internet? 

Online, people are not going to be typing your name in the search engines to find you unless your a celebrity who as already made it.  You must know how to strategically promote yourself.

Here is how you can attract new fans.

First, build a single page website.  This website should be a single page website that serves one pupose, to get people to subscribe to your mailing list or fan club as most sites would call it.

This web page should have a sample of your music.  The page should also invite them to join your mailing list to get more samples of your work.  1-3 Full-length songs.

Once they get on your mailing list, you can offer to sell them your full album at a discount.  Make it a one-time-offer that is automatically presented new subscribers right after they opt-in to your mailing list.

You should have an autoresponder mailing list in place that sends out a sequence of follow-up messages, so that your fans don’t forget who you are.  You can simply share some background information with them, and other personal information that you don’t mind revealing.

Sharing personal information helps to develop a relationship with your new fans, so that they begin to know, like, and trust you.  Every time you release a new album you have an established fan base that you can email.

You can also email them other hip hop related products.  Most of your fans will be hip hop artists themselves.  There are affiliate programs that pay you commissions to promote their hip hop related products to your fans.

Royalty free hip hop beats and hip hop beat making software are affiliate programs I promote to my mailing lists on a hip hop site I am currently joint venturing with my sister on.

You can also promote hip hop cd’s from Amazons affiliate program or some other music site with an affiliate program. Hip Hop clothes, dance videos, and information products, are yet a few other products you can promote.

So above and beyond your own album, you can cash in on your mailing lists passion for everything hip hop. 

Once you grow you mailing list large enough, you will be able to generate thousands of dollars with the click of a button just by sending out an email broadcast promoting your new album or a new affiliate product!

With your own hip hop related niche site, you get to follow your passionScience Articles, and get paid for it.  It doesn’t get any better than that.