Second Runs Second Chances: How Rewrites Multiply The Reach For A Journalist Or A Writer And What They're Writing About

 Since stepping out of the ghostwriter shadows and finally signing my own name (2019),

I’ve been introduced to a little industry magic trick called the "rewrite."

A rewrite happens when another publisher likes your story enough to run it, but not exactly as you wrote it the original time. They may want you to switch up the language, trim or expand the piece, swap in a few new photos, or reshape it to fit their format.

The beauty of it? The writer gets paid again for the same original work, and the people who are written about—musicians, athletes, friends grinding in their lanes- get double or triple the exposure they would’ve gotten from the first run alone.

At the end of the day, rewrites aren’t just a publishing trick—they’re a reminder that nothing in life is locked in its first draft. Stories evolve, writers evolve, and people evolve. I’ve learned that giving a piece a second run can open doors, boost visibility, and breathe new life into something you thought was finished. Maybe that’s the real lesson here: every one of us has a rewrite in us. Tighten a few lines, cut what no longer fits, add what makes you stronger, and step back into the world with a cleaner, sharper version of yourself.

Gary England

From Five Bucks To Five Hundred Dollars: What It Means To See Your Favorite Band Way Back When And Today!

 Concert Ticket Prices. Are they worth it today? $$$$

There’s a special kind of fan who carries a band with them across decades—the ones who were there in the 80s or 90s when tickets were cheap, the venues were small, and the band was still hungry. These fans didn’t just attend concerts; they witnessed the beginning of a story. And now, years later, they’re seeing that same band again—only this time the tickets cost hundreds of dollars, the production is massive, and the band is a global brand instead of a local secret.

So, which show meant more? The early, rough‑around‑the‑edges nights—or the modern, high‑production spectacle?

The truth is more complicated than nostalgia alone.

The Early Years: Sweat, Grit, and the Thrill of Discovery

Fans who caught their favorite bands in the 80s or 90s often describe those shows with a kind of reverence. Tickets were cheap—sometimes five or ten bucks. You didn’t need a payment plan or a presale code. You just showed up.

The venues were small enough that you could feel the bass in your chest and the sweat from the stage. The band was still proving themselves every night. They played like their future depended on it—because it did.

There was no elaborate lighting rig, no pyro, no synchronized video walls. Just raw sound, imperfect mixes, and a crowd that felt like a tribe. Fans weren’t just watching a show; they were part of the band’s climb.

For many, those early concerts weren’t just better—they were formative.

The Modern Era: Precision, Power, and Stadium‑Sized Spectacle

Fast‑forward to today, and the experience is completely different.

The band is older, wiser, and far more polished. The sound is cleaner. The production is enormous. Every note is supported by a team of engineers, lighting designers, and video directors. The show is a machine—tight, impressive, and built to deliver the same impact to 20,000 people at once.

But the price tag reflects that evolution. What once cost a few dollars now costs a few hundred. Fans who once saw the band in a club now see them from the upper deck of an arena.

And yet, there’s something undeniably powerful about witnessing a band you’ve loved for decades command a massive stage. It’s a reminder of how far they—and you—have come.

Which Show Was Better? Fans Give Two Very Different Answers

Ask long‑time fans which era they preferred, and you’ll hear two dominant themes:

1. “The early shows were magic.”

Fans often say the intimacy, the unpredictability, and the sense of discovery made those early concerts unforgettable. You weren’t just watching music—you were watching potential.

2. “The new shows are breathtaking.”

Others say the modern tours feel like a reward. The band survived. The fans survived. And now everyone gets to celebrate with a production that simply wasn’t possible decades ago.

Most fans don’t choose one over the other. They describe the two eras as different chapters of the same story—one defined by grit, the other by grandeur.

The Real Difference: What You Brought With You

The biggest change isn’t the ticket price or the production. It’s the fan.

Back then, you were younger, wilder, and maybe a little reckless. You didn’t care about parking fees or seat assignments. You just wanted to be close to the music.

Now, you bring decades of life with you—memories, losses, victories, and a deeper appreciation for the band’s longevity. When they play the old songs, you don’t just hear them. You feel the years attached to them.

That’s something no lighting rig can replicate.

{My Take}

The early shows were raw, intimate, and unforgettable. The modern shows are powerful, polished, and emotionally rich.

Which one was better? Most fans say the same thing: both mattered, but for different reasons.

One show introduced you to the band. The other reminded you of why you never let them go.

In the end, whether you cherished the raw electricity of those early club nights or the sweeping power of today’s arena‑sized productions, the real joy comes from realizing you’ve been on the ride the whole time. You’ve grown up with this band, watched them evolve, and carried their music through every chapter of your own life. The ticket prices may have changed, the stages may be bigger, and the sound may be cleaner, but the connection—that unmistakable spark that first pulled you in—still hits just as hard. And that’s what keeps fans coming back, decade after decade, ready to feel it all over again!

GE

Top Ranked US Cities Where Musicians Can Make The Most Out Of Their Profession

 I hear a lot of complaints about how the Local Las Vegas music scene has declined over the past few years, and how working conditions and pay have went down. Can the music scene in Vegas be this bad? After a few phone calls to my friends in Nashville and New York, and after a few hours of research, I dug up some facts about what US Cities have the best consistent pay opportunities for professional musicians., 

The U.S. cities with the most performing opportunities for professional musicians typically combine several elements, which include:

1. High volume of venues and gigs. 

2. Active nightlife and tourism. 

3. Industry presence (labels, studios, media). Festivals, events, and residencies. 

4. A strong local demand for musicians and for entertainers.

5. And a vibrant music culture (scene).

Based on recent data gathered from across the US. (2024–2025)

Concert listings, venue statistics, and industry rankings. Here are the top U.S. cities for consistent paid performance opportunities.

1. Las Vegas, NV

Why: The most active live entertainment market in the U.S.

Key facts:

2,500+ concerts/festivals annually ([Betway 2025])

Home to artist residencies (Bruno Mars, Janet Jackson, Shania Twain)

Dozens of casinos, lounges, bars, hotel showrooms, pubs, restaurants, and a number of small to medium-sized local venues that offer nightly gigs

Great for: Cover bands, tribute acts, pop, rock, DJs, jazz combos

2. Nashville, TN

Why: Offers nonstop gig potential in honky-tonks, music halls, and songwriter rounds

Key facts:

Over 100+ venues in the Broadway/SoBro district alone

Daily songwriter and acoustic sets; frequent industry showcases

Great for: Country, Americana, folk, singer-songwriters, session players

3. New York City, NY

Why: One of the busiest and most competitive music scenes in the world

Key facts:

Thousands of shows across boroughs weekly

Vast range of venues: jazz clubs, lounges, hip-hop bars, clubs, arenas

Many artists do multiple sets per night in different neighborhoods

Great for: Jazz, classical, indie, hip-hop, Broadway musicians

4. Los Angeles, CA

Why: Major entertainment hub with studio gigs + live gigs

Key facts:

High concentration of session work, TV/film scoring, and showcases

Large venue variety: from Hotel Café to Whisky a Go Go to Sofar Sounds homes

Great for: Pop, R&B, hip-hop, singer-songwriters, film/tv/session players

5. Austin, TX

Why: Known as the Live Music Capital of the World for a reason

Key facts:

250+ venues and bars host nightly shows

Regular festivals (SXSW, ACL) create short-term and year-round performance demand

Great for: Rock, indie, country, alt-folk, blues

6. New Orleans, LA

Why: Gig culture is deeply embedded in the city’s DNA

Key facts:

Frenchmen Street + Bourbon Street offer constant gigs for soloists and bands

Second-line parades and street gigs are paid performance traditions

Great for: Jazz, brass bands, funk, blues, Zydeco, traditional music

7. Chicago, IL

Why: Historic music hub with vibrant club and bar scene

Key facts:

Dozens of clubs, lounges, and festivals (Blues Fest, Lollapalooza)

Steady jazz, blues, and indie scenes

Great for: Blues, jazz, rock, alternative, hip-hop

8. Atlanta, GA

Why: Major market for hip-hop, R&B, and urban music, with growing live scenes

Key facts:

Many performance nights for open mics, label showcases, and lounges

Active studio-to-stage crossover for hip-hop/R&B artists

Great for: Hip-hop, R&B, gospel, trap, Afrobeats

9. Miami, FL

Why: Latin music capital with thriving nightlife and events

Key facts:

High volume of clubs, cruise line gigs, Latin festivals

DJs and Latin bands in high demand in tourist zones

Great for: Latin pop, reggaeton, DJs, jazz, international music

10. Denver, CO

Why: Fast-growing music scene with lots of touring and local gigs

Key facts:

Red Rocks is nearby, many breweries and indie venues

Good pay-per-gig structure for pros and locals alike

Great for: Indie, jam bands, bluegrass, electronic

{My Take}

For maximum quantity of paid gigs, Las Vegas, Nashville, and New York City lead the way.

For genre-specific scenes, Atlanta (hip-hop), New Orleans (jazz), LA (studio/live blend), and Miami (Latin) dominate.

For affordable living and consistent local work, consider Austin, Denver, or Minneapolis.

{In closing}

Whether you're a music maker chasing the spotlight or steady stage time, these U.S. cities offer the richest mix of performance opportunities to help professional musicians thrive, grow, and stay booked all year long.

Comments Always Welcomed.

GE

Which Pay Structure Is Used More In The Music Business Pay To Play Three Walling, Or Four Walling And Where Are They Used??

 {Part 3 Musicians & Pay}

Part 1 - The Good The Bad And The Not So Ugly Sides Of Pay To Play In The Music Industry

Part 2 - What Are Three Walling And Four Walling In The Music Business?

Part 3 Today - Which Pay Structure Is Used The Most For Musicians To Get Paid, And Where Are They Used?

In the music business, the most commonly used structure depends on the level of the artist, venue, and market. 

Here's a breakdown of each model and its prevalence in the business.

Pay to Play

This is more common in smaller venues, especially in major cities with competitive music scenes (e.g., Los Angeles). Unsigned or emerging artists often face this model, where they must sell a certain number of tickets or pay upfront to perform. While it's frowned upon by many musicians, it's still widely used for local showcases and battle-of-the-bands events.

Three-Walling

This is a hybrid approach where the venue handles some aspects (like the bar, security, or ticketing), while the artist/promoter rents the space for the performance. This model is more common in mid-sized venues or independent theater-style venues that aren't primarily music clubs.

Four-Walling

In this model, the artist or promoter rents the entire venue and controls ticket sales, production, and all associated costs. This is most commonly used for higher-level independent artists or promoters who are confident in their ability to sell tickets and make a profit. It's often seen in theaters, casinos, and some larger independent venues.

Where Are They Most Commonly Used?

Pay-to-play dominates small club scenes but is mostly avoided by established artists.

Three-Walling is common for mid-tier artists and promoters who want some venue support.

Four-Walling is used by bigger independent acts, tribute bands, or promoters who want total control.

In general, three-walling and four-walling are more prevalent in the industry than pay-to-play, especially for artists with an established following. 

All three are forms of self-financing in the music business, where artists or promoters cover upfront costs. Three-walling simply means renting a venue while sharing profits with the house. Four-walling is fully renting a space and keeping all revenue, while Pay-to-play requires artists to buy or sell tickets to perform.

Pick Your Poison (Wisely)

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