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Copyrighted Material Index A B Aerosmith: signature sound of, 26; “Back Where You Belong” (38 Special), signed by John Kalodner, 102; “Walk 179 This Way,” 112 Baker, Ginger, 42–43 Allman Brothers Band, 36, 38, 66, 86, 152 Barnes, Don: collaborative song writing “All My Loving” (Beatles), 9 with, 115, 117–119; as forward- American Society of Composers, Authors, thinking, 112–113; leaves 38 Special, and Publishers (ASCAP), 163 161–162, 166; new band role taken by, A&M Records, 46, 65–66, 67, 83, 102, 184 106, 109, 113; “Rockin’ into the Night” Appice, Carmine, 37, 200 sung by, 102, 103, 106, 109; as Sweet Assessing: constructively in order to Rooster member, 36 avoid breakups, 158–162; individual “The Battle of New Orleans” (Horton), 5 team member strengths, 53; need for Battle of the Corporate Bands, 200 collaboration, 127; value of your own Beard, Frank, 94 activities, 142–143; your business The Beatles: Ed Sullivan Show throughCOPYRIGHTED eyes of competition, 70; your appearance MATERIAL of, 9, 11; fi nancial and hidden talents, 110; your individual managerial problems of, 132–133; “I role and skill set, 53; your own Saw Her Standing There,” 9, 114; “I collaboration skills, 128 Want to Hold Your Hand,” 9; Atlanta Braves, 100 “Memphis, Tennessee,” 64; “Money Atlanta Journal-Constitution, 201 (That’s What I Want),” 64; Pete Best Atlanta music scene, 30–31 cut loose from, 13; Sergeant Pepper’s Atlanta Rhythm Section, 30, 91 Lonely Hearts Club Band, 12; “Twist Atlanta Symphony Orchestra, 174 and Shout,” 85 Attitude and talent, 58–61 Best, Pete, 13 237 bbindex.inddindex.indd 223737 33/18/09/18/09 55:27:09:27:09 PPMM index Betts, Dickey, 38 103–104; shifting role of, 104–105; Big Blue (road vehicle), 49 trusting your, 147–148 Big People, 199–200, 208 Business teams: assessing your role and Black Crowes, 129–130 skill set in, 53; commonalities Blockbuster, 29 between rock bands and, 1–2; Blues (“blue notes”), 20–21 conducting periodic self- Blues Project, 31 examinations, 97; creating bonding Bone Against Steel (38 Special), 190 within, 51–52, 215–217; importance Bon Jovi, 130, 140, 185, 218 of common goals, 52; looking out for Bon Jovi, Jon, 130, 218 each other’s best interests, 34; moving Bono, 25, 40 aside for the good of the, 109–110; Boston, 165 negotiating buy-in by, 103–104; Breakups: constructive criticism to avoid, preparing for change, 193–194; 158–162; pain of, 157–158; power and recognizing shifting roles in, 104–105; control issues leading to, 166–169; self-assessing your, 127; value of understanding that they happen, brainstorming to prevent problems, 170–171; why some bands don’t go 84; working harder and smarter than through, 169–170. See also Business the competition, 69. See also teams; Confl ict; Rock bands Breakups; Collaboration Brookins, Steven, 36, 57–58 Byrd, Ricky, 106, 152 Brown, James, 91, 179 Bruce, Jack, 42–43 C Business: allowing infl uences to develop Camp Jam crash course: Everything I your, 29–30; building scalable Need to Know, I Learned from My partnerships, 76–77; creating a First Rock Band, 225–229; 5 Rs of rock signature style for your, 27–28; 5 Rs of and business, 232–234; growing into rock and, 232–234; fi ve senses used your role, 222–225; learning from in, 22–23; learn everything about your kids, 226–229; listening to new songs own, 28; looking for possible every day, 229–231 roadblocks, 29; making the tough Camp Jam gatherings: building bonds decisions, 75–76; preparing for activities of, 52; communication/ downturns, 84; questions to ask social hour during, 211–213; learning about new endeavors, 32–33; using to communicate like a rock star at, specialists when needed, 76; success 213–215; watching individuals by switching gears, 97; transition blossom during, 148–149 from rock band to, 208–213. See also Camp Jam Inc.: collaboration tips and Career; Products promoted by, 119–122; description of Business team members: assessing mission of, 208–209; formation of, 2, individual strengths, 53; covering for 168, 201–202 your, 181; creating bonding Career: brainstorming possibilities, 203; opportunities for, 51–52, 215–217; identity linked to, 202–203; imagining importance of communication life without your, 203; taking steps among, 210–213; importance of toward higher level, 219. See also having common goals, 52; jealousy Business between, 47; learning to cope with Carlisi, Jeff: on best band names, 12–13; the limelight, 147–149; learning to Big People formed by, 199–200; as work together, 69; moving aside for Camp Jam Inc. founder, 2, 168, good of the team, 109–110; 201–202; on early life and negotiating buy-in by individual, introduction to music, 5–7; “Four 238 bbindex.inddindex.indd 223838 33/18/09/18/09 55:27:16:27:16 PPMM Index Walls of Raiford” sung by, 80–81; on ownership issue of, 117; questions to his introduction to rock `n´ roll, consider for, 116–117; 38 Special’s use 9–10; learning to play the guitar, of, 111–119. See also Business teams 10–11; leaves 38 Special, 190–191; Commitment, 43–44 playing for Albuquerque charity bash, Communication: Camp Jam gatherings’ 196–197; on rock band and business social hours for, 212–213; e-mail, 208, similarities, 1; “stay in school” advice 210, 214; the handoff e-mail strategy given to, 31. See also 38 Special for, 210, 214; importance of business Carl, Max, 162, 164, 165, 166, 177–179 team, 210–213; learning to Carlton, Larry, 10 communicate like a rock star, 213–215; The Cars: “Just What I Needed,” 114; working to create effective, 219 musical infl uence of, 88, 113 Competition: keeping eye on customers Cartellone, Michael, 198 of your, 153; learning from the, 58–61, “Caught Up in You” (38 Special), 119, 150, 98; self-assessing through eyes of the, 163, 179 70; there is always better, 93–97; Cell phone industry, 28 working harder and smarter Chandler, Chas, 64 than the, 69 Change: accepting that times/taste, 193; Concert stories. See Horror stories learning to adapt to, 194; preparing Confl ict: issues related to fi nances, for, 193–194 131–134; jealousy as source of, Charlie Daniels Band, 66 140–141; power and control issues Chorus: allowing hidden talents of team leading to, 166–169; pros/cons when members to fl ourish, 110; assessing pursuing goals, 104–109; recognizing team member’s strengths, 53; shifting roles in context of, 104–105. brainstorming career possibilities, See also Breakups; Creativity; Group 203; conducting periodic team Contacts, 44 examinations, 97; considering lost Cool, 96 value of departing member, 171; Corchran, Robert, 20 covering for your team member, 181; Cosgrove, Terry, 11 creating effective communication, Counterpoints, 40 219; examining your role in the group, County fair circuit, 187 16; importance of songwriting credit Cream: creation/decline of, 42–43; agreements, 142; information “Crossroads,” 21; infl uence of, 20 included in, 3; learn to function as a Creativity: energy of, 47–48; inspiration team, 69; looking out for each other’s and, 41–42, 88, 89–90, 111–113; tips best interests, 34; preparing for on developing, 230–231. See also change, 193; rehearsal and Confl ict preparation importance, 155; self- Criticism: cautions regarding, 158–159; assessing your team, 127; value of value of constructive, 159–161 team brainstorming to prevent Crossing genre lines, 28–29 problems, 84. See also Solo; Verse “Crossroads” (Cream), 21 Clapton, Eric, 3, 42–43, 94 Crow, Sheryl, 3, 48, 94, 174, 198 CNN, 201 Customers: accepting that tastes change, Cobain, Kurt, 29, 189 191; keeping an eye on your Collaboration: assessing your own skills competition’s, 153 for, 128; Camp Jam promotion and tips on, 119–122; creative process of, D 114–116; inspiration from, 41–42, Daltrey, Roger, 3, 152 111–113; as means to success, 127; Davis, Arista, 65 239 bbindex.inddindex.indd 223939 33/18/09/18/09 55:27:16:27:16 PPMM index Davis, Clive, 65 Frampton, Peter: Frampton Comes Alive!, Decca Records, 64 67; 38 Special opening for, 67–69 Demos, 186 Frey, Glenn, 162 Devitto, Liberty, 39, 62, 189, 198 Front man role, 103, 226–227 Disney, 1 Fulghum, Robert, 225 The Doobie Brothers, 125 Doomsday Refreshment Committee, 13, G 16, 20 Georgia Tech, 24, 35 Downward spiral: grunge music Getting lost story, 177 signaling, 183–186; red fl ags Gibbons, Billy, 94, 95–96 indicating, 186–190 Goals: drifting away from your mission Dylan, Bob, 30–31, 230 and, 167–168; importance of common, 52; pros/cons of confl ict when E pursuing, 104–109. See also Mission The Eagles, 3, 41, 100–101, 162, 226 Gordon, Jeff, 197 The Edge, 40, 229 Grondin, Jack, 36, 95 Ed Sullivan Show (TV show), 9, 11 Group dynamics: creating bonding E-mail, 208, 210 opportunities, 51–52, 215–217; E-mail handoff, 210, 214 examining rock band, 13–17. See also E-mail trees, 214 Confl ict Epstein, Brian, 64 Grunge music, 184–186, 191 E Street Band, 56 Guitar Hero (video game), 112, 205 Everything I Need to Know, I Learned in Guns ’n’ Roses, 230 Kindergarten (Fulghum), 235–236 Exile on Main Street (Rolling Stones), 132 H Exit strategy, 192–193 Hagar, Sammy, 164 Expertise/experts, 76 The handoff e-mail strategy, 210 “Eye of the Tiger” (Survivor), 102 Harrison, George, 10, 25, 133 Headliner-opener dynamic, 60 F Hendrix, Jimi, 5, 20, 29, 64, 125 Family relationships, 75–76 Henley, Don, 3, 41, 226 “Fantasy Girl” (38 Special), 119, 150, 178 Hidden talents: allowing team members Felder, Don, 24, 91 to develop, 110; assessing your Financial issues: importance of own, 110 addressing, 137–140; importance of Hill, Dusty, 94, 95–96 written agreements for, 142; jealousy “Hold On Loosely” (38 Special), 115, element of, 140–141; songwriting
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