MusicRVA: Get on Our Top List - New Fun Ways To Link

MusicRVA: Get on Our Top List - New Fun Ways To Link

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If your on the East Coast, be sure to sign up for
MusicRVA Social Network!

And Be sure to sign up for the new Sojournstar Music Network!

and if you want to make money while having fun and promoting your band, music or business, then you must
Join me at Weblo Virtual World for Fun & Profit!

Top 10 Things To Watch For When Replicating Your CD or DVD

Top 10 Things To Watch For When Replicating Your CD or DVD
by: Rashi Singh

You hear about it all the time. You are throwing your first ever CD release party, at which you’re planning on selling the first available copies of your debut album. You’ve worked for years for this night – your dream is finally coming true. Everything is all set: the venue is booked, the invites have been sent, the dj is ready to go, and the drinks and décor are all exactly how you imagined.

But there’s one problem. Your replicator hasn’t delivered on time, and you’ve just been told that your CD’s won’t arrive until the day after the party.

Believe it or not, this happens more often than you might think! Here are the top ten surefire ways to avoid this and other similar nightmares:

1) Provide the replicator with clean artwork. All replicators’ turn times depend on receiving flawless files. If you have any questions, don’t be afraid to call on customer support for help;

2) Plan ahead of time. Plan for your delivery date to be at least a week before your absolute deadline; this gives you and the replicator enough time to make sure everything goes smoothly;

3) Dealing directly with the manufacturer can reduce the lag time (and often also the price!), versus dealing with a broker;

4) Choose a replicator who is accessible. Are they always there when you need them? Can you trust your project in their hands? Do they care about your project?

5) Test and re-test your master for errors. There’s nothing more time-consuming and frustrating than sending a replicator a faulty master. Always supply a back-up disc;

6) Make sure you own the rights to the content. Replicators are legally obligated to ensure that you are the rightful owner of what’s being replicated;

7) Know exactly what it is that you are paying for before you choose your supplier. Understand the costs and the jargon behind your quotation;

8) Choose a replicator that has a team in place to deal with problems and frustrations as they occur;

9) Choose a replication partner who has interest in growing with you as you grow;

10) Is there a hidden agenda? Is the sales rep more interested in his or her quota than working as your partner?

Choosing the right replicator can make all the difference. Choose smart and let the journey to your success be a whole lot easier!


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The Luke Mulholland Band, “Further” CD Review

It’s very rare that the first impression of an album consists of the following running script: “Wait a second… where the hell did all this soul come from?” “Man, this is what David Cook wishes he sounded like.” “Are you sure that I’m listening to the right person?” At the age of 19, Luke Mulholland is of exceptional ear-bending talent that isn’t to be determined by staring upon one creamy-complexioned, fresh-faced exterior. “Further”, his fourth CD release, pretty much serves as encouragement for listeners to refrain from judging an album simply by its jacket. Leaving flash and competition with the next best thing at the door, the Luke Mulholland Band (also known as Mulholland Drive) comes to the studio mic with a core of plain and simple talent that oddly enough couldn’t be farther away from the description if it tried.


With a musical history as early as the age of 13, garnering the attention of such greats as Bon Jovi’s Richie Sambora and the late Jeff Healey, Luke Mulholland’s world-wise vocals and arranging skills are such that they are bound to result in one wondering what blues veteran died and possessed his young, willing body. “Further”’s highlights include such tracks as “The Last Verse”: a going-off on an instrumental tangent that for all intents and purposes mourns the loss of classic rockin the way of losing a close friend and companion (rather fitting considering that Big Bad Mainstream might as well be dancing on the poor girl’s grave); “Cold Night”: seamlessly switching tempos from blues-y toe-tapper to a two-quarter time interlude; and “Go”: far from being the red-headed stepchild as the album’s sole lyric-less track, allowing enough platform for Mulholland’s guitar to wail in harmony as much as its electric owner, if not more. Consisting of eight case-sensitive episodic tracks, “Further” is molded from all-too-familiar core qualities (friendship, love, and/or the lack thereof), and is coupled with enough metaphors and similes makes it effortless for listeners to relate to.

Simply put, if you can envision the audible possibility of a more soul-infused Huey Lewis circa 1985, whose overproduction and domineering horn section is substituted with equal parts Ray Charles and Michael McDonald of the Doobie Brothers, then you’ve got the Luke Mulholland Band - and hopefully, you’ve got their latest work in tow.

Check more out at http://www.LukeMulholland.com


By Lindsey Darden

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Rock Band Takes the Music Industry Into Their Own Hands

Is This the Future for the Music Industry?

RENSSELAER, N.Y., Nov. 18 /PRNewswire/ -- For the past year, indie rock band, Ten Year Vamp has been asking their fans to become actual owners of the record label that will release their first full length album early next year. In a ground-breaking

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move to bypass the music industry, the band will be distributing their profits to their "shareholders" who have funded the album. Already, Ten Year Vamp fans have invested over $25,000. "Each owner will receive their fair percentage of the CD sales based on how much they invested," says Mark Rose, co-founder and rhythm guitar player. "But that's not all they get," says Debbie Gabrione, co-founder and lead singer. "Ten Year Vamp shareholders also get to listen to all the demo songs, vote on the songs that go on the album, free t-shirts, free passes ... and lots of other cool perks." The Ten Year Vamp Album Project invites anyone to become an owner for as little as $25 -- the more someone contributes, the more "benefits" they receive as an owner.

"Record labels are signing more performance packages than creative acts, but we're not letting that stop us. All we need are the funds to get started," says Gabrione. "Thanks to the Internet, the music scene has evolved from large commercial conglomerations that did everything a band needed, to small specialized and independent companies that each help with specific aspects of a band's career. Each of these companies, from radio promoters to distributors, tour managers to public relations firms, can be easily found on the web and each are hungry for bands that can afford their services. By securing the necessary investments, we can do everything ourselves that a record label would have normally done for us."

Under Ten Year Vamp's plan, shareholders will receive shares of the CD sales, as well as the chance to vote on many band decisions as the album is being created. This plan also benefits the band in that they also receive their share of the sales ... not only for the money they have also invested, but also for their time and hard work. This plan is very fair towards the band, unlike many of the contracts record labels are notorious for, where the bands are always the last ones to ever see payment for their work.

Ten Year Vamp has been performing for over 5 years throughout the Northeastern U.S. They have opened for such national acts as Lifehouse, Gin Blossoms, Fuel, Finger Eleven, Natasha Beddingfield, and many more.

Ten Year Vamp is currently looking for a producer and sponsors for their album project and are performing regularly in New York and New England.

Please see http://www.tenyearvamp.com/ for show dates and more information about the Album Project.

Contact:
Mark Rose
Ten Year Vamp
7309 Oak Hill Circle
Rensselaer NY 12144
Cell: 518-369-8510
mark@tenyearvamp.com

CONTACT: Mark Rose of Ten Year Vamp, Cell: +1-518-369-8510, mark@tenyearvamp.com

Web site: http://www.tenyearvamp.com/


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Songwriters Festival Ramps Up For June Performances

Songwriters of every genre, from the novice to the professional will converge on Music Row for The Nashville SongWriters Festival held every third weekend of June. The 2009 Song Fest is many happenings in one. It's part live music festival, part teaching conference, part business networking opportunity and part gathering of old friends. Tune smiths share their original music on multiple outdoor stages and Open Sing Rings. The jamboree is hosted by SongWritersFestival.com this June 19-21 and registration to attend is now officially open.
There will be featured writers strumming their hits and undiscovered songwriters playing new ones. Last year Sony/BMG staff writers, a gang from Warner-Chappell/Ash Street Music and many others you hear every day on the radio, shared their songs. The fest represents the past, present and future of songwriting, we welcome all forms of music. Composers are encouraged to come as they are and find their place in the mix.

There are several open air stages with scheduled performances and impromptu areas for unscheduled Sing Rings. Everyone who comes to the fest has an opportunity to share their original lyrics, song or music. Last year at the Curb Music Parking Lot stage, Tom T. Hall, Stella Parton and many others jumped in to lend their talents. On the Artist Building Partners Video Stage, managed by Red Starr, live videos of player performances were provided. Sure Fire Music, one of Nashville's oldest publishers along with Second Life sponsored the Web Cast Stage. Studio 33 hosted the Alley Cat Stage and more.

Running concurrently with the live performances the festival also has classes hosted by hit writers to Grammy winners. Writers can attend all or parts of the Pro Instruction while at the fest. The tutoring was held outdoors between Crystal Gayle's Building and SESAC on the grass near a shady oak tree. pros who have "been there done that" gathered to impart their secrets, personal experiences, offer song critiques and other tidbits of the music biz.

The celebration also host an Open House on Music Row where participating music related businesses have an "open door" policy to take questions, exchange samples and discuss what part they play in the industry. Recording Studios, Publishers, Song Pluggers, Duplicators, Distributors, Instrument Makers and many other aspects of the music business will be represented. The Open House is a whirlwind of unscheduled meet and greets and an opportunity to run the Row.

Non Performing songwriters are also encouraged to come and collaborate with other writers. Networking and Co-writing is a crucial key to getting cuts. There will be a writers table where registered attendees can display their CD's. There will also be informational booths and a collaboration tent hosted by "Keeli".

There are no set pre qualifications to attend all or parts of the Fest. The festival is not a contest or competition, which makes for a more relaxing atmosphere. The efforts of caring volunteers and many "Fest Heads" makes this event different. We have feel! The pros were once novices and one day some novices will be pros. Together we inspire and grow in the business of music.

"The event does not let money get in the way of people expressing their craft." says festival founder Cornelius "Popcorn" Robertson. "There is no set registration fee to attend the fest. Participants determine their "Writers Share" by their ability to help be a part of the phenomenon. Some have, some have not, we all just do the best we can and that's what makes this music magic happen. This year, the festival has added the Tune Shop to the web site and also offers Fest Heads a way to express their support. The Tune Shop has festival related items and other memorabilia for the discriminating songwriter."

Registration is now officially open. Performing and Non performing songwriters, music related business, volunteers and the general public wishing to participate in the June 19-21-2009 activities can visit the website at http://www.SongWritersFestival.com or call 615-424-1491 or 931-296-4067 for more info.

The Role of Major Record Labels in Music

by: Morgan Hamilton

Have you ever thought how important music has become for us? I cannot remember a day when I didn’t hear any music at all. I love the stuff. You might have a collection of CDs, or albums, or you simply turn on the radio while commuting to work. Have you ever considered how the music gets to you and who makes the decision about what music gets played? Maybe you have wondered why only certain artists get played and have their music sold in major retail stores. Have you thought about what trends are going to take over music next? I suppose you will find the answer to all your questions in major record labels.

When you love or hate an artist is it because you like or dislike their record label? The major record labels take on new artists and promote their music, they might also assist other companies in planning tour promotions and other public events.

Generally a recording company takes on an artist for a certain period of time or a certain number of recordings. Take a look at your CD and DVD collection. Do you see that nearly 90 % of them come from one of the five major record labels?

The big five are Universal Music Group, Sony Music Entertainment, EMI Group, Warner Brothers and BMG entertainment. They make up the five major record labels. They deal with millions of artists, videos and movies. In case you would like to work in the music industries you should turn to any of the big five record labels.

Are you looking at your CD covers to find information about the record labels? In case you see a name different than one of the big five, don’t worry. Your CD is not necessarily duplicated.

It is more likely that you have purchased a CD from one of the major record labels subsidiary companies. They all own subsidiary companies.

For instance, do you remember the once great Motown record label? Now it is a subsidiary of Universal Music Group, while Capital Records is a member of EMI’s subsidiaries. There are hundreds of other companies, too.

What we listen today is mainly determined by the major music labels. But I suppose you don’t really care about the big fine when you are enjoying this new hip hop hit or singing along number one country song. What is undoubtedly true is that with the help of major record labels music plays a large part in our lives.




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Be sure to sign up for the new Sojournstar Music Network!

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and if you want to make money while having fun and promoting your band, music or business, then you must
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Musicians and Performance Anxiety

by: Kevin Sinclair

Have you ever faced your time to shine, and felt overcome with an intense hesitation or worry about an upcoming performance? As the time nears for you to address your audience, do you suffer from sweaty palms? Is there a lump in your throat? Do you experience tremors, tension, stuttering, upset stomach or loss of focus? All of these symptoms are a sign that you may suffer from performance anxiety, which is a common problem that requires a little mental rewiring to get you on the right track.

Music performance anxiety develops from the thoughts, feelings and habits of a musician. The level of anxiety that one has will affect a musician’s desire to perform, as well as their ability. In order to deliver a high-quality performance, a musician must overcome the mental obstacles that create a barrier between wanting to perform and actually completing the act. When you feel anxious, pressure begins to build up that makes it impossible to pick up an instrument or sing a song.

Main Types of Performance Anxiety

There are three main kinds of performance anxiety that musicians encounter. The first occurs before a performance date is even mentioned. Fear of rejection or self-doubt regarding their abilities may hinder a musicians attempt to arrange a showing of their talents. The anxiety sometimes mounts to the point where a musician never feels they are truly ready to perform in front of others.

The second type of anxiety occurs during an actual performance. Gripped by fear of what the audience thinks of them, a musician’s body might tremble. Sweat may form on their forehead, nose, neck or hands. These bodily reactions may also impact the way an instrument is played. Voices become tight or locked, emitting cracked, flat or quivering notes. The anxiety of a musician might be so high that they may actually self-sabotage their performance without even knowing it.

Anxious musicians often become quite distracted by the slightest movement or noise during a performance. They might take this opportunity to blame their inability to complete their set because of outside interruptions. This is just an excuse. Within themselves, they do not feel completely adequate to continue their performance. Musicians with performance anxiety often exhibit poor concentration, as well as loss of focus.

After a performance, the anxiety madness continues, which is seen through a harsh, unforgiving critique of their presentation. The musician will nit-pick every aspect of their set and despite positive encouragement and comments, they will continue to downplay and dismantle their ability.

Tips On Managing Performance Anxiety

When it comes to getting over the hump of performance anxiety, there are numerous ways to combat the fears and doubt that come with presentation. Below are five aspects of performing that a musician suffering from anxiety should take into consideration:

1) Self-Assessment

When you get to know the ins and outs of yourself as an individual, as well as a musician, you are inching your way towards overcoming performance anxiety. Knowing what makes you tick both inside and outside musical circles will help you to better deal with the problems you face before, during and after a performance. A musician should analyze their performance goals, personal capabilities and limitations.

Musicians should also know that everyone has to start somewhere with infinite room for improvement. It is quite important for a musician to perform to the best of their abilities, as well as learn from mistakes and peer criticism.

2) Exposure: Baby Steps

Musicians should take the opportunity to gradually expose themselves to varying levels of performing. One moment a full-length mirror becomes a suitable audience, while the next could be a crowd of five friends. Testing low, medium and high levels of stressful performance situations will help musicians slowly overcome the issues faced in regards to performing. Additional suggestions include practice performances in an empty theater, dress rehearsals with friends and taping acts, then viewing them with family and friends.

3) Preparation

In anything that we do, preparation is an important component for achieving success. A good performance is one that has been thought out, thoroughly visualized and played over and over again in the mind. Once the mental preparation is complete, the physical part of the process involves sufficient practice and specific rehearsing for the particular venue you may perform at. Before a performance, a musician should enter this moment with a clear head. Meditation, yoga and other muscle relaxation techniques can create the right state of mind.

4) During a Performance

Every musician at some point in their lives will feel the flutter of butterflies before, during or after a performance. This is a normal occurrence that just takes some longer to get over. When it comes to the audience, you shouldn’t focus on blocking them out, but instead embrace them as support. If you go into a performance thinking that no one likes you or during a presentation focus on scowling faces, you will surely surrender to your flight or fight performance anxiety tactics.

Try to put anxiety in the backseat and attempt to stay calm. If you make a mistake, such as tickle the wrong piano keys, simply move on and do not dwell on small imperfections that pale in comparison to the overall scheme of things. Sometimes, if you don’t wear your disappointment or errors on your face, the audience is less apt to remember or care about mistakes. Breathing techniques will also come in handy once you get into the thick of performing and feel a touch of anxiety.

5) After the Performance

After each performance, take the time to assess yourself before relying on the approval or criticism of others. No one but you truly knows all of the hard work and preparation that went into your performance. Take the time to give yourself a mental pat on the back. Next, combine outside comments with your gut feeling to decide on what you can do next time. Regardless if you had the performance of your life or tanked on your first break, there are always aspects of your musical craft that you can still shape and mold for the future.


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Be sure to sign up for the new Sojournstar Music Network!

If your on the East Coast, be sure to sign up for
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and if you want to make money while having fun and promoting your band, music or business, then you must
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Agent or Manager?

How To Get An Agent Or Manager
by: Sacreeta Veneficus


What is the difference between a manager, and an agent?

Glad you asked. It’s quite simple really.

A manager offers a service to you that entails zoning in on your strengths and weaknesses. They can direct you to the type of acting classes you need, according to your current skill level. They can help you rehearse, support you in your goal setting and point you in the right direction, especially when you are so overwhelmed you aren’t sure where to start.

An agent finds and books you auditions. They hunt down casting calls, make bookings, negotiate the contracts, and basically do the leg work for your career. They normally charge 10% of what you are paid, and at the end of the day, that’s fair. If you have both a manager and an agent, it’s OK for them to know about each other. Having them develop a relationship centered on your career actually strengthens your chances at success.

One neat trick in obtaining a good manager or agent is to send out invitations to one of your productions. In standup comedy or theater, you’d be surprised how well that works. It’s also good to have agents hear about you through referrals. If you are in a production, or have done some good work for a casting director, networking with those contacts might be another great way to go.

An agent-client relationship is mutual. They require something from you, in the form of marketable talent, and you require something from them: marketing your talent. Having an agent speak your language, meaning that you both have the same goals for your career, is prudent. Just try to keep it in perspective: you are the hirer, who enlisted them to fulfill the duties necessary to handle your career, and they work hard, and get paid when you do.

Getting an interview with an agent or talent manager doesn’t necessarily mean they will take your career in their capable hands. You have a window of opportunity to convince them that if they find you work, you won’t let them down. Be punctual and polite, keep any "artist attitude" in check, have an 8x10 head shot, and don’t forget to have your resume, with the list of credits, if any, in hand ready to be discussed.

Before walking in there, have a mental note of what it is you are looking for in an agent, and in your career. Have realistic expectations. If you have no experience, don’t walk in their office feeling disappointed they haven’t told you they will make you a star. That is something a dishonest agent would tell you, and you need honesty. Always remember that if you are starting out, expect to be treated as a rookie. It's not disrespect, it’s honesty. And hiring someone honest is far better than someone who will leave your portfolio filed under D, for dust collector.

Don’t forget to consider if you are ready for union or non-union work. It’s important to be clear on that aspect. Newcomers who try to work into the union too soon often have a difficult time, as they can no longer have the luxury of taking on non-union jobs to build up credits. Union workers get jobs based on credits mostly, and taking the plunge is a great idea after you have become established.

Gaining agent or manager representation is something not to be rushed into. Taking on the first agent who comes along could be as risky as buying the first second-hand car you were offered. While an agent isn't a used car, the hunt is very similar. You want to kick the tires, see how many miles are on it, what its performance is like. Agents are pretty much the same. It PAYS to check them out before you make any deals with them. Here are a few links where you can find an agent and check their credentials.

LINKS
AGENTS:
http://www.Agentassociation.com/
http://www.sag.org/sagWebApp/index.jsp

MANAGERS
http://www.talentManagers.org/
http://www.ncopm.com/

Don’t be afraid to compromise with an agent. They are in the business to help you, as helping you at the end of the day helps them. If they suggest you get a better headshot or take some acting classes that's fine, as long as they aren’t dictating which photographer/school you must attend. If they try to specify, be careful. They could be scamming you. A good agent could suggest a few reputable schools, or YOU could suggest to them that the Kamitic Acting System is one they should be suggesting.

Take their advice seriously. If they want you to take a job you feel is beneath you, and your wonderful talent, try to see it from their point of view. If you are new, they have actors more qualified than you, and there’s a reason they are more qualified. Keep doing the work offered, and soon you will be one the more qualified actors with plenty of credits to your name.

Before, during and after obtaining an agent, do one thing: work. Take all the work you can get! It doesn’t matter if it’s a student film, theater, commercials, videos, non-union (if you are not union yourself), or anything else. Attend acting classes, hone your special skills, like dancing, singing and projecting, and grow your image by nurturing your resume.

Don’t constantly bother your agent! Don’t call them several times a day to check in to see if anything new has popped up. They aren’t going to have time to find you work if you keep them busy telling you that they are trying to get you off the phone to find you work.

Next, be sure to have a set time when you can meet with your agent by phone or in person. Keep them updated with the NEW things you have been adding to your resume, as you work and take classes. They will be impressed by how hard you work, and how dedicated you are, and will be excited enough to keep up the good work on your behalf.

Lastly, a reminder that in this business, not everything or everyone is as they seem. There are scammers not only online, but in offices and on movie sets. Always remember to be alert. If you are in an office that has its walls filled with photos of famous people, and it is in a run-down building that ought to be condemned, chances are it’s too good to be true, and it’s time to keep looking. If they ask you for upfront fees, thank them so much for their kindness, leave, and throw their business card in the nearest trash can. If they guarantee they can make you a star, toss that card, too.

And lastly, and I cannot say this enough, always check them out. Look on the links provided above, do runs on their names, go on actors' blogs and ask if anyone has worked with them. Check out their credentials. You do not want to sign a contract with them, to make you sit on your hands for 2 years or more, when they don’t intend to move your career.

Peace and Love,

Sacreeta


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Recording The Guitar to a Computer

by: Brian Murphy

You want to record your guitar, make your own riffs, music, etc. You want to plug my guitar into my computer? How to connect the guitar to the computer the right and best way? What software? Which audio interface? What about my favorites guitar effects? What computer? Where to start? It can be overwhelming.

The recording guitarist's computer setup should be something like this:

* Guitar (*GTR with 13 pin connection recommended) * Microphone for recording Acoustic guitar, vocals etc. * Quality guitar cable * Audio Interface-Firewire (recommended) or USB * Guitar/midi interface * USB/Firewire cables * Computer (Mac recommended or PC) * Extra external/internal Hard Drive (recommended) * Audio recording/sequencer software * Plug-ins: effects- reverb, compressor, delay, chorus, etc o Dedicated guitar effects/amp simulation o Sampler/synths (for 13 pin guitarists or guitarist who can play keyboards) * Quality cables to speakers * Powered Speakers * Headphones (so you do not disturb the wife an kids at those late weekend sessions).

Some recording setups:

-Setting up your whole live rig and putting a microphone in front of the your cabinet, playing at loud volumes so you get the amp to sound right, push the speaker enough, putting your speaker in a closet, using a blanket to damping volume, etc. -You could use a load on you speaker and record direct.

-Use a preamp that is compensated for direct recording as the front end. You can plug this into outboard effects or add plug-ins

-You could record from your pedal board or any outboard multi-effects you might own. You probably end up with a direct type sound. Some multi-effects have amp simulation that might take the edge off the direct sound.

With any of these scenarios you are committing yourself to the recorded track. If you record with effects, you can't change it later. You would have to re-record! And if you do not re-record on the same day or you have to come back and have to set up the rig again, hopefully the knobs setting were written down, place the speaker in the same place etc, etc.... If you get into the recording other instruments or mixing the song and you want to change the guitar sound, tone, effects, etc, -- you have to re-record!

With a guitar with a 13 pin connection, either internally or a pickup installed on the body, you get 100% use of your software. You can record your guitar sound and get access to any software synths or samplers that come with the software or as a plug-in add-on.

With a software computer base system, you can change almost everything after you have recorded--amps, effects, mics, mic placement and more. You do this with plug-ins. You can save all your presets, sounds, etc. You could have multi-guitar tracks with different settings all from recording one track. The flexibility is there! Yes, there are purists out there- "software can't sound like tubes". Well, the software is getting pretty close!!!!

There is a lot of software out there. You do not have to spend a lot of money AND it is always improving. You buy a box. (i.e.hard disk recorders, and others mentioned above), you have bought a box. You usually can't upgrade without buying a new box.

People use computers every day at work or home- Microsoft Office (Word, Excel Power Point, etc) Email, Internet. Use it to record your guitar and music!!

Hopefully, this helps and you can check out more at http://www.guitarhelper.net

Brian has 18 years experience in the Music Industry.

He can be contacted at Brian@guitarhelper.net.

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Bottle Rockets and Nikki Sixx

Following an incident where a fan threw a water bottle back on the stage that Nikki had tossed to the crowd, Nikki was sent into a rage. When he saw the fan was a woman. "The fact that you're a f---ing whore just means you can suck my d--- a little more, you b----. Get the f--- out of here." Then she began crying and he mocked her tears

Watch this vid!



Nikki has apologized for reducing the fan to tears, admitting that the bottle the fan threw back at him was the very same one he threw to the audience.

Sixx was introducing the band's next song on stage when he threw a plastic bottle of water to the fans. The same bottle was then thrown back at the stage, almost hitting him.

He got angry and singled out the female fan for throwing the bottle, not realizing that it was the same one he threw seconds ago. He called the fan obscene names and began to mock her when she started crying.

Sixx writes his apology on his MySpace blog, "There was a recent event at one of our shows where someone threw a bottle at me during my speech and I got pretty pissed. The way it happened is, I threw a bottle of water to some fans and didn't realize the very bottle I threw to the fans was thrown back at me."

"I have to admit, Bands get pretty pissed when people throw sh*t at you onstage. I didn't even think it was the same bottle, so with that being said, id like to say im sorry to the fan who threw the bottle back at me [sic]."

"These damn clichés seem to be true, like 'two wrongs don't make a right..... Rock n roll, and temper tantums..."

"PS. These self-help books are really helping. Ha-Ha"

Just for the record, when a performer is on stage, he may do a number of things that strike him at the moment, including throwing stuff into the audience, but most people would have kept a water bottle that had been touched and used by Nikki. If an artist throws something from the stage at a concert you attend, don't be stupid, keep the item as memorabilia, but under no circumstances, throw it, or anything else at an artist on stage. There are numberous things that could go wrong, in this case alone, the bottle still contained water, and could have easily cracked after hitting an amp or other item, and caused an electrical meltdown, or worse, an electricution.

So next time Nikki throws something at you, keep it, cherish it, and thank your lucky stars, (in this case Nikki Sixx LOL)

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Be sure to sign up for the new Sojournstar Music Network!

If your on the East Coast, be sure to sign up for

MusicRVA Social Network!

and if you want to make money while having fun and promoting your band, music or business, then you must

Join me at Weblo Virtual World for Fun & Profit!