Where can you find legitimate casting calls and begin to market yourself as an actor/actress with no experience?

That sounds right, but in my experience it's a good idea to get the W9 before you pay them anything. Vendors have a tendency not to get you that information when you need it, especially if you only use them periodically. I have found the best way to be sure you get the W9 is to have them submit it before you send the first payment.

Music curation is something that greatly interests me as well, and one of my projects slated for 1-2 years out will be in that area. Don't forget that -- apart from being united by musical taste -- fans usually have MUCH else in common as well. Musical taste is a great predictor of other demographic features such as age, nationality, race, gender, region, economic class, and a million much subtler social characteristics. Fans of Steely Dan or Yo Yo Ma are different overall than fans of 50 Cent, Garth Brooks, or Lady Gaga. That's obvious, and you know it already. But keep in mind that sites like Facebook are valuable for advertisers, yes, for the eyeballs but partly because they can CHARACTERIZE those eyeballs and predict their behavior as consumers. You may be making a site that's laser-focused on music as such. But monetizing music has become notoriously difficult in the post-CD era. So you may want to look at non-musical ways to monetize music, based audience characteristics that various fan groups happen to share. If you're wondering about a brand name or domains, call me.

Hello I am Priyanka. In this I would like to share my personal experience with you. Being profitable goes beyond booking the right bands, picking the right location, and driving a successful marketing campaign. Even if the fest is popular, it won’t matter if you’re losing money by pricing your tickets too low or racking up overhead costs. It all comes down to revenue and expenses: Your biggest revenue boost comes from ticket sales, and the best way to reduce your expenses is through sponsorship. With that in mind, here’s how to ensure your music festival is profitable year after year: Build a solid ticketing strategy. You’ve got eyeballs on your ticketing page, but not all of those visitors are buying tickets. If your conversion rate (the percentage of visitors who buy tickets) is low, you may need a more streamlined ticketing process. It also could be that your ticket prices just seem too high for the bands you’ve lined up or your fest’s reputation. Or consider the opposite scenario: You’re worried you won’t sell enough tickets, so you set them at a price point you think will sell. It works. But you’re not making enough from those sales to turn a profit. “Ticketing is the most important part of the festival from a business standpoint. It has to be right,” says Tom Russell, cofounder of Founders Entertainment. With a value-based ticket pricing strategy, you can find the pricing sweet spot that’s appealing to fans — and good for your bottom line. There are also some sure-fire pricing tactics that will help you make more money. Early sales are a great tool. Our research shows the average music fest has five to six different early-sale tiers, offering an average discount of 10%. A discount like that should be small enough to not compromise revenue — and appealing enough to early bird buyers to give you a nice boost in sales. If you’d like to offer a more limited discount, quantity-based tiers, in which the first X number people to use a certain discount code get a better price, might help drive early sales and cultivate scarcity. You can also send last year’s attendees discount codes that can only be used by new attendees, so they have an excuse to invite more friends — and widen your fan base. On the other end of the ticketing spectrum, premium packages like VIP passes are an easy way to bump up revenue without pricing out lower-spending attendees. Recent research shows some events bring in 25% of their revenue from VIP sales alone. That could mean anything from exclusive areas to drink discounts to backstage passes to free merch. Now that you know these revenue-boosting tricks, how do you go about reducing your expenses? Get sponsors to help you out. More festivals than ever doesn’t just mean more competition for fans; it also means more competition for sponsors. More than a third of event organizers surveyed by Eventbrite said they struggled to stand out to sponsors. Among those who organize fests with less than 5,000 attendees, nearly 2/3 struggled. But securing those sponsorships is critical to putting on a great show without driving up ticket prices. To stand out from the crowd, offer ways for brands to build real relationships with fans. A logo on the stage isn’t enough. Fans need to interact with the products or brand in new ways. From an interactive exhibit or social media photo opp to bioreactive wristbands, there are lots of ideas out there on how to get brands on board with your fest. The most important step in this process, though, is to know who your fans are and what they want. Why? Because you need to be able to sell the brands on your fans. They know who their customers are, and they want to know they’ll be at your show. In addition to demographic info like age, gender, geography, and income, you should be able to provide some idea of your fans’ spending habits, lifestyle, and why they choose to come to your festival. Gather this info through custom questions in your purchase flow, or with surveys before or after the festival. For more tips on selling tickets, cutting costs, and using new data to make your festival efficient and profitable, For further queries you can consult me.

Yes it could work. It depends on so many things. Structurally it could work. I have experience with creating a "moveable stage". Alternative venues like this are becoming more and more popular and super trendy. I compare this in some ways to food trucks. There are many things to consider though. I am a musician who regularly thinks outside the box and would be happy to work through this idea with you from the structural components to the marketing plan. It's good to do something out of the ordinary BUT there is nothing worse than being out of gas and out of power and out of cash. So let me help you build a clear road to freedom and success.

Hi there. I help people buy and sell businesses and also do a lot of consulting for people with partnership issues. Your question seems to ask what percentage of ownership should go to each initial shareholder when setting up a company. You can choose to do this in a number of ways. Some people keep it simple, they go with 'percentages' of ownership. This can make it difficult when the idea of new partners or investors comes up. A second, more sophisticated, approach would be to look at the value of what each is bringing as an 'investment.' For example, if each is investing a year of labour, what is that worth? A nominal share value can be used and shares issued based on this investment. This helps to distinguish between what is invested and what is earned in the form of wages or salary. For example, if one partner contributes $50,000 in cash and does $20,000 worth of labour for which he draws a wage and the second partner simply donates $50,000 worth of labour, then both have equally contributed to the equity of the company even though only one has given cash. Business owners need to distinguish between what their 'job' is in the business and their role as owners. Think of what if would be like to work in a large corporation while also owning some shares. Your day-to-day would be all about your job and the wages you earn. Your activities as a shareholder would be about setting strategic direction. When I help partners get going we always have to put an organizational chart and job descriptions in place to keep people on track with what they do every day vs. what they do as owners. This helps to determine the value of the invested equity as well. Watch this video to get a further idea of how shares work in a business: https://youtu.be/1EjKjSAd1F8 Please arrange a call if you'd like to discuss your specific situation. David Barnett