Thanks, Frank! One thing I wish was taught and emphasized more at Belmont (and a lot of Music Schools) is strategy for building your career. I think Zoro (who is on Belmont's Drum Faculty) did a splendid job with his book The Big Gig
http://www.amazon.com/The-Big-Gig-Big-Picture-Thinking/dp/0739082434
He actually taught a class based on the book. I so wish someone had taught me some of his strategies when I first moved to Nashville fresh out of Grad School.
Belmont is not cheap in that it's a private college. It's not as expensive as Berklee, U of M or Musicians Institute, but not as inexpensive as state schools. There are some great state schools and a possible strategy is to attend one of those and attend your Dream School as a Grad Student (maybe even a Grad Assistant with Tuition Waiver/Reduction). It was the only way I could afford to attend The University of Miami when I did. If at all possible, try to avoid carrying a massive student loan debt any way you can. A lot of the Service Bands (Army, Navy, Air Force, Marines) offer tuition reimbursement/student loan payoffs as perks for the gig and commitment. Pacman (one of the Talkbass Moderators) can answer more questions about that since he spent a significant part of his career in Army and Air Force Bands.
Trying to make a start at an career with wildly fluctuating incomes like the Music Business with 6 figures in Student Loans seems like a recipe for heartbreak to me.
Absolutely! I was lucky in that Belmont didn't cost nearly as much when I attended the school. Even with the Music Biz classes I took there, I didn't really learn practical knowledge of how "The Row" works. Knowing how to legally protect yourself as a musician is integral in my mind. I didn't learn how to do that, or protect my intellectual property until I hit Music Row and worked here for 13 years. Anything contract related isn't really taught to musicians either, and that can result in signing things you might regret later. Like Dr. Harrington (used to be Belmont), I've taken a great interest in how this machine works so I can make it work in my favor. I've heard the worst stories about what can happen, but now I know how to avoid those situations. The saddest story was from a musician who was in a band here, and when they went in to the studio to record an album with a producer and record company, the lead singer was the only person they were really interested in. Instead of just being honest with the band, said producer made them record their parts over and over again until they were nearly clinically insane. Then, they took the lead singer. As a result, the musician I know had a 10 year long fear of studio recording as that experience made him question his own musical abilities. It can be a rough business to be in due to practices like I mentioned, but if a musician can recognize these less than moral tactics, they can escape them before they happen. If it smells fishy, it probably is!
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