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

Roxy’s Battle Cry: — A Music Venue’s Fight To Keep The Amps Warm And The Doors Open For Business!

 

Thanks to Christina Vitagliano and Rob Hussey— two of the undisputed trailblazers in our Las Vegas music tribe — for dropping a Facebook flare this morning and spotlighting Hangout Bar & Grill’s post about the heavy reality hitting ROXY’S BAR & GRILL. Not about the circumstances around the post. But the reality of the venue side of the music industry.

ROXY’S BAR & GRILL is grinding in the trenches of bar life, kitchen chaos, and the live‑music battlefield, fighting to keep the amps warm and the doors open.

If you want the straight, unfiltered truth about what it takes to survive in this business, their post is a must‑read. Hit the link to get enlightened Here.

Las Vegas needs to stay wide awake to the hazards lurking in the music‑venue game — this town has watched more stages go dark in the last few years than any city built on neon and nightlife should ever go through! Each closure should be a reminder of how brutal the fight is to keep live music alive in a city that claims to run on it!

After reading ROXY’S BAR & GRILL’s post about their fight to stay alive, it doesn’t just tug at you — it detonates in your chest like a stack of Marshalls pushed past redline. It’s the kind of raw truth that should light a fire under every fan in this city.

Because this isn’t just about cheering for your favorite local bands. This is about backing the venues — the gritty, neon‑soaked battlegrounds where those bands are born, tested, and unleashed. These places pour their souls into the food, the drinks, the atmosphere, the stage, the sound, the whole damn experience… and people forget one crucial thing:

These aren’t just hangouts. They’re businesses fighting for survival in a city that claims to worship live music.

So, if you love the bands, love the scene, love the nights that turn into memories, then you need to show some love to the venues that make it all possible!

Gary England

Right Time Right Place And Work Your Butt Off: The Road To Discovery In The Music Industry

 

Classic rock and country don’t just lead the tribute & cover‑band world — they rule it like outlaw kings. The crowds crave it, Vegas management eats it up, and every weekend this town turns into a neon‑lit proving ground for musicians who are one lucky break away from the big stage. These players aren’t hobbyists; they’re what I call “Right Time, Right Place” musicians — the kind of artists who, when the right set of eyes and ears lock onto them, they disappear overnight and reappear on a tour bus headed straight for rock stardom! After conversations with some movers & shakers in the music industry, and a few heavy-duty rockers in the biz. Here is what they said.

Vegas doesn’t hand out fame — it tests you, breaks you in, and then dares you to rise above the neon noise. The musicians who make the leap from local legend to rising star are the ones who treat every stage like a launchpad and every crowd like a scouting session. This city is a pressure cooker for talent, and the decision‑makers — the producers, bookers, A&R hunters, festival curators — are always scanning for the next spark loud enough to shake the industry. The fast track isn’t about luck alone; it’s about showing up everywhere, sounding unmistakably like yourself, keeping your digital footprint razor‑sharp, and flooding the world with your music until the right ears finally lock in. Vegas rewards the bold, the relentless, and the artists who play like the spotlight is already theirs!

Local musicians who want to get seen by the power players of the music industry have to attack the Vegas grind like it’s a nightly audition for the rest of their lives. That means playing relentlessly — every bar, lounge, festival, jam night, anywhere a stage and a power outlet exist — because the more you show up, the more chances you create for the right set of eyes to land on you. It means carving out a signature sound that punches through the noise and makes people remember you after one song, not ten. It means keeping your social media sharp and professional, dropping high‑quality recordings that prove you’re the real deal, and getting your music on Spotify and every major platform so industry scouts can find you even when they’re not in the room. It means networking with intent, showing up at showcases and songwriter nights where gatekeepers actually gather, collaborating with other artists to expand your reach, and building a loyal local following that packs rooms and forces people to pay attention. In Vegas, the musicians who rise are the ones who stay loud, stay visible, and stay ready — because the moment opportunity walks through the door, you don’t get a second chance to hit that first note.

{My Take}

At the end of the day, breaking out of the local circuit isn’t magic — it’s momentum. The musicians who rise are the ones who grind harder, play louder, stay visible, and treat every night like the universe might be watching. Rock stardom has always been a cocktail of sweat, timing, and a little cosmic luck — but the legends remind us that luck only shows up for the ones who never stop swinging. As Tom Petty said, “You have to work hard. You have to give it everything.” And Billy Idol nailed it even cleaner: “Luck comes from working your ass off.” Keep pushing, keep playing, keep showing up — because in Vegas, the break comes fast, and the ones who earn it are the ones who never stop chasing the spark.

Gary England

Keeping The Beat Alive: Las Vegas Local Musician Dwayne Stiff’s Take On The Local Music Industry

 Earlier this month, I wrote an article titled: 

Is The Las Vegas Local Music Scene Going Down For The Last Time?

In my article, I discussed how the popularity of the local music scene seems to be dwindling around Las Vegas. Let's just say that the article drew many comments on my Facebook page from venue management, fans, and from the entertainers (musicians) themselves, including this well-thought-out In-depth comment (article) from Dwayne Stiff ( Throckmore ). 

I was blown away by his comments and thoughts below about the current situation that the local music industry is facing in Las Vegas. 

I believe that many others in our local music industry have much the same feelings and outlook that Dwayne expressed. After you read Dwayne's article, please feel free to comment below the article.

Dwayne's Article (Comments)

Why local patronage—not nostalgia—will decide its future

Recent conversations around town, sparked by a thoughtful piece from local writer Gary

England and echoed in a discussion I had with a venue owner whose only goal is to bring

live entertainment to his community, have raised a familiar, uncomfortable question: Is

the live music scene in Las Vegas really dying?

After more than two decades of calling Las Vegas home, my answer is this: it’s

complicated. In some ways, the scene is struggling. In others, it’s quietly surviving. What

happens next depends largely on whether locals decide the music scene is worth

supporting.

Big on Spectacle, Small in Reality

When I moved to Las Vegas from the East Coast 20 years ago, one thing became

immediately clear: Vegas is not the sprawling metropolis it appears to be. The Strip creates

an illusion of endless scale—resorts stacked back-to-back, tourists ferried from one

spectacle to the next—but the city itself is relatively compact and geographically isolated.

Compare that to places like Florida’s I-4 corridor, where interconnected cities support a

dense network of venues, musicians, and fans. There, local scenes overlap and reinforce

one another. In Las Vegas, entertainment has always leaned heavily toward high-dollar,

tourist-driven productions rather than grassroots, neighborhood-based culture.

That focus has consequences.

The Dual Reality of Las Vegas Entertainment

Las Vegas earns its title as the Entertainment Capital of the World. Legendary

residencies—from Sinatra and Elvis to Celine Dion—built its reputation. Today, massive

productions like Cirque du Soleil, Blue Man Group, and nonstop A-list tours fill arenas such

as Allegiant Stadium, T-Mobile Arena, and MGM Grand Garden Arena more frequently than

any other city in the world.

Mid-sized venues like House of Blues, Brooklyn Bowl, and Freemont Country Club provide

important bridges between mega-shows and local stages.

But when people talk about a “dying” scene, they aren’t talking about stadiums. They’re

talking about the neighborhood venues—the places that support cover bands, tribute acts, and local original artists trying to make a name for themselves. That’s where the strain is

real.

The Economics No One Wants to Talk About

In most cities, live music survives on a simple formula: modest cover charges or advance

ticket sales that help pay for the bands. Five or ten dollars at the door has long been the

norm in the majority of markets I have been in. There are some exceptions to this rule in

places like New Orleans and Nashville, where there are streets lined with bars for the

multitude of tourists who are there to drink and hop from bar to bar. Or the beach bars

where a guy with his acoustic guitar and a backing track can entertain customers and

tourists with a little "Cheeseburger in Paradise". Both exceptions have a common

theme...they are tourists destinations. But, outside of those tourist driven areas, cover

charges and ticket sales still exist as the norm.

Las Vegas has a deeply ingrained culture of free entertainment. Casinos have spent

decades offering lounge acts at no charge to keep people gambling and drinking. And there

are casinos sprawled across the small city for tourists and locals. However, that mentality

has spilled into the local music scene. Many local patrons actually resist paying cover

charges—even small ones.

Independent local venues can’t survive on that logic.

A bar is a business with serious overhead: rent is higher in Vegas than most other cities not

named New York, Los Angeles or Chicago (one off-Strip venue cited $16,000 a month for

6,000 square feet). Then there are utilities, insurance, maintenance, staffing, and licenses

(just to scratch the surface). Live music adds additional expenses for sound systems,

engineers, repairs, and legally required music licenses on top of those everyday operating

costs.

Yes—licenses. Under U.S. copyright law, venues must obtain permission to publicly

perform copyrighted music (Covers and Tributes). That permission comes through

Performance Rights Organizations (PROs) like ASCAP, BMI, SESAC, and GMR. Most bars

pay for a blanket license so bands can play freely—but those licenses typically cost

between $300 and $1,200 per year.

Just to break even, a bar with a $16,000 rent (plus normal operating costs) must sell

approximately 600 drinks every night just to break even. That is before factoring in paying

bands and those additional costs for entertainment.

Without consistent cover charges or ticket revenue, more and more venues are being

forced to either cut band pay—or shut their doors altogether.

The 2025 closure of Count’s Vamp’d, a beloved rock venue that operated for more than 16

years, is a painful example. High costs, shifting economics, proper bar and restaurant

management knowledge as well as operational challenges eventually made survival

impossible according to a recent interview with former owner Danny "The Count" Koker.

From the Bands’ Side of the Stage

Local musicians generally fall into three groups:

Cover bands, playing familiar hits by other artists

Tribute acts, recreating the illusion of iconic artists

Original artists, creates and performs new music in hopes that everyone else will

eventually play in Cover bands

No matter which one you are in (many musicians are in multiple), bands face their own

expenses—gear, rehearsal space, transportation, recording, promotion, merch, etc.. Yet

pay has stagnated or declined.

Here’s a reality check: in 1992, minimum wage was $3.75 an hour. That same year, I was

making $100 per night per musician playing in a five-piece cover band. That’s $500 paid to

the band per night—33 years ago.

Today? Many bands are still lucky to get $500 for a night’s work. And before I get attacked in

the comments from the "Online Keyboard Warriors" saying "I get paid more than that!" OK,

a few are getting paid more and think it's because you are the best in town and worth it. It's

OK rockstar, we all know how special and great and amazing you all are, get over it! I am

talking about the average pay across the Vegas music scene, not you special ones with

inside ties.

It's not nostalgia—it’s math. Band pay has effectively seen zero growth, sometimes worse,

while nearly everything else has tripled in cost. Minimum wage has risen roughly 300%.

While bands continue to make the same or less than they did 33 years ago.

At the moment, Vegas seems especially drawn towards Tribute acts--what we used to call

"Impersonators". My only guess is Tributes tend to fare better as "sure draws" due to the

lower cost than seeing the real thing, thus boosting attendance, which in turn boosts bar

sales. The House of Blues in Mandalay Bay and my friends at Outlaw Entertainment seem

to have found a great working model. They have been able to consistently pack the house

by offering free tickets to tribute shows while charging premium on-strip prices ($25+) for

drinks. Since it is on the strip, they are drawing in both locals and tourists using a model

that once built Las Vegas, the "Vegas Free Show"! The venue is making money from high drink prices and volume, the bands are making money by drawing in the crowds, and the

crowds are packing the joints. But this model can only work best on the strip where tourists

can contribute to the venues bottom line though high-priced drink sales. Off the Strip, that

approach rarely scales.

One of the most frequent criticisms directed at off-Strip, locally focused venues concerns

drink pricing. Prices typically range from $3 to $15 per beverage—averaging around $10—

depending largely on a venue’s proximity to the Strip or downtown tourist corridors. While

these prices are often compared unfavorably to expectations for “local” establishments,

they remain far below the $25-and-up drink prices commonly found at Strip resorts.

Even accounting for commercial rents that can be two to three times higher in Las Vegas,

beverage pricing at off-Strip venues is largely in line with comparable live-music and local

entertainment spaces in other major markets.

“I Don’t Pay for Drinks—I Gamble for Them”

I recently overheard someone at a bar say, “I don’t pay for drinks—I gamble for them.” That

statement perfectly captures the Vegas mindset.

Here’s the reality: when you put $20 into a bar-top slot machine, you’ll usually play until you

either win or lose that $20. If you lose, congratulations—you just bought yourself a $20

drink instead of a $10 one. If you win, it feels like a victory. But the math doesn’t lie. The

average bar-top slot machine in Vegas pays out about 90%. That means the house keeps 10

cents of every dollar played. Over time, those “free” drinks cost roughly the same as paying

for them outright.

Those machines aren’t there to make you rich—they’re there to keep the lights on. And if

you enjoy live music in that venue, that math matters.

Why Local Patronage Matters Now

The local music scene in Vegas isn’t doomed—but it is fragile. And it won’t survive without

local support.

Here are my personal observations regarding the current state of the local Las Vegas music

scene.

In many cases, the audience at local shows is composed largely of other musicians and

members of local bands—artists supporting one another on nights when they are not

performing themselves. While friends and family do attend, the broader general public

appears increasingly disengaged from live music at neighborhood bars and local venues.

One contributing factor is the instability of these venues; many do not remain open long

enough to cultivate a consistent, loyal customer base. Thus, making it difficult for the

owners to consistently have the income to cover high rents and operating costs.

Compounding this challenge is the pervasive culture of free entertainment fostered by the

casino-driven economy. That expectation that has spilled into the local market, leading

even resident patrons to resist cover charges or ticketed events at independent venues that

do not benefit from tourist-driven revenue. As a result, local music spaces face mounting

difficulty sustaining both attendance and long-term viability.

With tourism dipping in 2025 (down 6-11% in some metrics due to costs and perceptions),

and costs rising across the board, sustaining local culture matters more than ever.

Paying a $10 cover is less than a latte or a even a few spins on a slot machine. Tipping

bands, buying their merch, and showing up to discover new music from original artists all

make a difference. These venues and musicians aren’t faceless corporations—they’re

neighbors taking real risks to create something meaningful.

If we want nights filled with live music, discovery, and community, we have to invest in

them. Otherwise, more venues like Vamp’d will disappear, leaving only the high-priced

mega-spectacles behind.

Las Vegas can have both.

But only if locals (music fans) decide the music scene is worth showing up for!

Spoken like a most knowledgeable, traveled musician of many years!

What an awesome article you wrote Dwayne Stiff ( Throckmore ) 

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