The Lone Ranger Ghostwriter Takes Off His Mask: Is Ghostwriting Really Worth It In The End?

Is Ghostwriting Really Worth It In The End?

 In my almost six decades in the media, it wasn’t just being a writer or ghostwriting for other writers; it was a lifelong learning experience. I’ve been fortunate enough to learn the music and entertainment side of the business from some of the best minds worldwide. I stayed invisible for most of that career — a shadow with a typewriter — until 2008, when I punched the time clock for the very last time. From then until today, I’ve been drifting through the rough, unpredictable freelance waters of Las Vegas, still wearing the ghostwriter’s Lone Ranger mask. To about ninety‑nine percent of the people around me, I’m just the old guy who writes about Vegas music, snaps a few photos, and tries not to make too many waves in the local scene. But there’s more to this old guy than meets the eye!

Last month, I decided to try and go clean, calling a ton of the people from my past experiences. Many have already gone to the music scene in the sky, many businesses don’t keep records from back then, and many of the folks I worked with or worked for don’t exist anymore. Guess I’m stuck with all of my learned knowledge and have no place to use it. Or is there?

After I decided to go clean, I took it a step further — I started building a job résumé, something that could put me back in the grind and let me use this head full of knowledge where it works best: right here in the music scene I dig so much.

Turns out me shooting my mouth off about ways to advertise and promote music events — my suggestions about the music biz, and my blog musicentertainmentsports.blogspot.com — has caught a few people’s eyes. The stuff I write about, the ideas I throw out there, the advice I give… it works. And suddenly people are asking: Who is this guy? This guy says the music scene needs fixing, and he’s bold enough to claim he’s the one who can fix it. Is he crazy?

No. I’m the guy with six decades in the biz — the guy who’s been there, done that, and still has the scars and the stories to prove it. A few recent events in my life have changed this old guy, and if you don’t take me seriously, maybe you’ll listen when I finally take the Lone Ranger mask off. I know some will take this post as me shooting my mouth off — ha! — but like I said, a few people have figured the old guy out. And a few have started asking questions about who this old guy really is.

But that’s not the question. The real question is: When is somebody — or someone with a little pull — in the local entertainment scene going to call my “All In” bet that I just might be the old guy who can fix what’s broken around here?

Gary England

Riding The Highs Surviving The Lows: The Music Biz Rollercoaster How Not To Fall Off

 Life’s a wild ride, man — every path you take is lined with peaks that make you feel ten feet tall and valleys that punch you right in the gut. I play poker on the side, and if you want a masterclass in emotional whiplash, sit at a table for a few hours. One minute you’re a legend, the next you’re wondering why the universe hates you.

And the music industry? Oh, brother… that’s a whole different beast.

It’s loud, it’s chaotic, it’s beautiful, and it can chew you up like a broken guitar string. I’ve watched killer musicians — real-deal talent, the kind that makes your spine tingle — get knocked so far off their game that they either walked away for a breather or bailed out completely. That’s the kind of heartbreak you don’t forget.

So, what’s the secret to surviving the storm without losing your soul? After digging through a few hours of research, swapping stories with one of my closest friends — a local psychologist who’s seen the backstage bruises up close — and mixing in a little of my own life mileage, here’s what I’ve learned.

Stay grounded — When the spotlight hits, it feels like you’re floating. When it shuts off, you can crash hard. The pros who survive know how to keep their boots on the ground even when their heads are in the clouds. It’s the difference between riding the wave and getting dragged by it.

Build your tribe — Every great musician has a backstage army: bandmates, friends, mentors, the bartender who’s seen it all. You need people who remind you who you are when the industry tries to tell you otherwise. Lone wolves burn out. Crews endure.

Protect your mental game — This business will mess with your head if you let it. My psychologist buddy said it straight: musicians are emotional athletes. You’ve got to train your mind like you train your chops — rest, boundaries, perspective, and knowing when to step back before you snap a string.

Remember why you started — When the grind gets ugly, go back to the spark. The first riff that made your chest vibrate. The first crowd that screamed your name. The first time you realized music wasn’t a hobby — it was oxygen. That memory is your compass when the industry tries to spin you around.

Adapt without selling your soul — The biz changes faster than a Vegas slot machine. Trends flip. Venues close. Algorithms rewrite the rules overnight. The survivors evolve — but they never let the machine rewrite their identity. Bend don’t break!

Play the long game — Overnight success is a myth sold to rookies. Real careers are built brick by brick, gig by gig, heartbreak by heartbreak. The ones who make it aren’t always the most talented — they’re the ones who refuse to quit when the road gets dark.

Celebrate the small wins — A killer rehearsal. A new fan. A song idea that hits you at 2 AM. These are the sparks that keep the fire alive. Stack enough of them, and suddenly you’re unstoppable!

{My Take}

(This post is dedicated to two awesome musicians (friends of mine) who have experienced the highs and lows of the biz! I love you both. And wish you all the luck in the world in your return to music, because the music biz needs ya, and so do I)!

When you strip away the noise, the egos, the late‑night doubts, and the industry chaos, it all comes down to this: music is a long, loud, beautiful fight worth showing up for. The storm will come — it always does — but if you’ve got your tribe, your purpose, and your fire intact, you’ll walk out stronger than you walked in. Keep your head up, keep your heart plugged in, and keep playing like the world needs your sound, because it does! I do too!

Gary England

How Local Bands And Musicians Take The Next Big Steps To Rock Star Status

 What does it take for a local band or a local music artist to make it Big in the music industry?

To find out, I talked with a few of my friends who tour and perform all over the world, a handful of local music artists, venue management, and two agents who handle top names in the music biz. 

This is what I learned.

Moving from a local band or solo act into a touring or featured band status takes a combination of talent, strategy, networking, and business sense. I call this "Doing Everything Right"! 

Master the Local Scene

Polish the live show. Every performance should be tight, engaging, and memorable.

Build a fanbase. Consistently draw crowds locally. Promoters pay attention to ticket sales and engagement.

Dominate local media. Get featured in blogs, newspapers, podcasts, or local radio.

Create a Strong Online Presence

Professional branding. High-quality photos, logos, and videos.

Consistent content. Post regularly across social media platforms.

Release original music. Distribute via Spotify, Apple Music, Bandcamp, etc.

Engage with fans. Treat social media like your virtual merch table.

Build Industry Connections

Network with booking agents, venue owners, and other bands.

Open for touring acts when they come through town—this is a huge way to get noticed.

Attend music conferences or trade shows (like the Las Vegas Guitar Trade Show / The Las Vegas Drum Show).

Prove Marketability

Show promoters real numbers: ticket sales, social media growth, Spotify streams.

Develop a press kit (EPK) with bios, live footage, photos, and reviews.

Start Touring Regionally (When Ready)

Book small out-of-town shows. Use local support acts to help draw a crowd.

Keep touring costs low—prove you can make it work on a budget.

Build mailing lists and engage with fans in every city.

Get Professional Help (When Ready)

Management: A good manager helps open doors and guides long-term strategy.

Booking agents: They can plug you into bigger venues and tours.

Publicists: Help you get press and boost visibility.

Capitalize on Breakout Opportunities

Win or place in reputable contests (e.g., “Battle of the Bands” or national unsigned artist competitions).

Get a song featured in a film, TV, or social media virality.

Have a standout performance at a major festival or opening slot that catches industry attention.

{My Take}

Breaking out of the local scene and into the world of touring or featured band status isn’t just about talent—it’s about dedication, smart decisions, and relentless hustle. Every show played, every fan gained, and every connection made is a step forward. For those who are serious about their craft and ready to treat their music like a business, the road may be long, but the destination is well within reach. Keep grinding, stay authentic, and let your music lead the way!

Keep Rock'N

GE

What Are Three Walling And Four Walling In The Music Business?

In my blog yesterday, I talked about "Pay-To-Play" structure in the music industry. 

If you're unsure about what it is, or how it works. You can read my blog <Here> 

Today I'm going to talk about "Three-Walling" and Four-Walling". 

In the music business, three-walling and four-walling are terms related to venue rentals and promotions, often used in live concert events.

Here is a short & simple explanation about what the two structures are.

Three-Walling

The venue covers some costs, such as security, ticketing, or promotion.

The promoter or artist is responsible for additional expenses like production, marketing, and staffing.

The profit is usually split between the venue and the promoter based on an agreement.

This arrangement is common in situations where a venue partners with an artist or promoter to share risks and rewards.

Four-Walling

The artist or promoter rents the venue outright, covering all costs, including security, staffing, and ticketing.

The venue does not share in ticket sales; instead, they make money strictly from the rental fee.

The artist or promoter keeps 100% of the ticket sales but also assumes all financial risks.

This model is often used for independent artists, comedy acts, and special events where full control over the event is desired.

Now that I've discussed what Pay-To-Play, three-walling, and what four-walling are. 

In my blog tomorrow. I'm going to be talking about where are the three types of structures most commonly used at in the music business.

Have A Rock'N Day!

GE

   

The Good The Bad And The Not So Ugly Sides Of Pay To Play In The Music Industry

 A few of my friends in the music business have asked me what I think about Pay to Play.

After a handful of conversations and some research. This is what I came up with.

Pay-to-play is a controversial topic in the music industry, especially in cities like Las Vegas, where competition for stage time is high. Here’s a breakdown of the good, the bad, and the not-so-ugly sides of pay-to-play:

Good Sides of Pay-to-Play

Exposure for Emerging Artists – Provides a chance for new or unsigned musicians to play at well-known venues, potentially gaining new fans and industry attention.

Opportunity to Perform on Big Stages – Some pay-to-play shows take place in venues where artists wouldn’t normally get a shot, allowing them to say they've played at a major club or festival.

Networking Potential – Can lead to connections with promoters, other bands, and industry professionals, which might open doors to better opportunities.

Control Over Performance – Since bands are essentially buying a slot, they sometimes have more control over their setlist, promotion, and guest list compared to being booked by a venue.

Potential for Profit – If ticket sales are handled well, bands can actually make money by selling more tickets than they’re required to buy upfront.

The Bad (And The Not So Ugly) Sides of Pay-to-Play

Financial Risk – Bands may have to front money for tickets they can't sell, leaving them out of pocket.

Devalues Artists – Instead of being paid for their talent, musicians are essentially paying to work, which can set a bad industry standard.

Not Always a Fair System – Watch Out! Some promoters take advantage of eager musicians, charging high fees for little to no real exposure.

Can Lead to Poor Crowds – Since some bands may struggle to sell their required tickets, shows can end up with weak attendance, leading to a disappointing gig.

Hurts Local Music Scenes – It can push out talented but financially struggling artists in favor of those who can afford to pay for stage time, leading to a scene built more on money than skill.

There are more sides and variables to "Pay to Play" in the music industry.

I'll be talking about them in my next blog post.

 

{My Take}

While pay-to-play can offer opportunities, it’s often a risky and exploitative model. Musicians should weigh the potential benefits against the downsides and consider alternatives like building a strong local following, networking with venue owners, or seeking fairer booking deals.

It's all about making money. Right?

But by whose expense?

(To Be Continued)

Comment Below.

GE