1. Any indication that you're either Industry Ignorant or paranoid. Industry Ignoramuses queer deals at the outset, but paranoids queer deals after the money is invested! You'll queer one deal and never come off the Turkey List ever again.

2. Manufacturing product (even demo copies) to 'impress' the record company. You've just destroyed any and all anti-counterfeiting capabilities! There's a first generation copy of your master out who-knows-where. Commercial copies are made from copies of your master, so 'having your master back' only displays your Industry Ignorance.

3. Trying to do the record company's job for them! They have, and pay good money to, all the expertise necessary to do whatever is required from start to finish in each and every field of music. The very last thing anyone needs in this (or any other) business is interference! They know what to do and when to do it, and with their money on the line too, they won't make any mistakes.

4. Waiting for them to call YOU! Should any record company ever need 'talent' or material all they have to do is answer the phone or open the mail! Anyone who thinks 'it takes talent' to make a record should turn on the radio.

5. Not talking to their answering machines. People who want to do business know answering machines and voice mail systems are critical! Those who 'won't talk to them' have locked themselves out of the Industry with their own stupidity. Good riddance.

6. Going to a 'music capitol' to record. A tape deck or instrument will operate just as well at one address as any other, and General Licensers are unimpressed with people who squander money needlessly. Follow the General Licenser's production advice and your record will be as commercially acceptable as anybody else's.

7. Constant contacts with your Executive. Time squandered with you is time not spent taking care of the product! When there's news of any importance they'll contact you!

8. Don't take your half-cocked, used-car-salesmen reject 'managers' and other such baggage with you via contract or otherwise. Make sure if someone else represents you that they are: A) Industry Knowledgeable, B) have a spotless Industry Reputation, C) are not paranoids, and D) know how to do their job without spilling over into anybody else's.

9. Don't be caught dead presenting 'business plans' in the same vein as those palmed off by the Majors on wanna-be fools to insure they squander their budget and thus are kept out of the Industry and Competition on their own nickel. The most prime example is an "EP". Record Buyers don't want half an album and they cost as much to manufacture as a full production.

10. If you want an attorney to review your contract, get legal advice, not business advice. Lawyers suffer under the same what-won't-work nonsense as every other fool who has never made nor sold a record. And "not spending any of your own money" is the Title Page of each and every such scenario.

The General Licenser will present a copy of the broadcasters they've sent PromoRecords to after the record has run its course. The 'after' factor is to prevent destruction of the project by 'friends' and breach of contract, specifically the non-interference clauses.

One thing you'll need from day one besides money is original material! You can't just record somebody else's music anymore than you can just drive off with somebody else's car. You can perform it all you want to, but recording it takes a Mechanical License from the Publisher(s) prior to production and release of the record. Make sure your music is free and clear, and not plagiarized, unless you want a Lifetime Membership on the Industry's Turkey List.