Written by Samantha Barrow

In a world of ever growing corporate control, where artists are losing creative freedom and financial autonomy by the minute, what’s an indie rocker to do? Resign himself to a life without healthcare and long hours under florescent bulbs at a patchwork of day jobs? Sell her heart-sculpted songs to a conglomerate machine that may buy the rights and never release her album? The mainstream choices are rather dubious these days for those of us without enormous trust funds, but beneath the shiny veneer of a stardom that will probably never happen to you, little pockets of feisty music biz dreamers are creating new options.

One of these determined indie thinkers is Noel Ramos, the driving force behind the upcoming Independent Music Conference that will take place in Philadelphia August 28th-31st 2003. Not only does he encourage musicians to follow their hearts instead of the allure of major label dollar signs, he actually puts his money where his mouth is. The bulk of Noel’s energy goes into providing tools for artists and small music business owners to carve out their own freedom.

Next summer’s Independent Music Conference (IMC) is an example of just that. The four-day event will be comprised mainly of intimate workshops, not anonymous lectures, that offer knowledge & advice on everything from contracts to graphic design, microphones to booking agents. There will be one-on-one mentoring opportunities from business professionals. But as Noel puts it: "it's not only a professional gathering of serious, career oriented independent musicians who understand the importance of education, it's a celebration as well, of the music that these talented performers create and share with us."

In that spirit, there will be plenty of opportunities for musicians to perform and swap inspiration with like minded talents while taking back the industry that has been working to alienate artists from the source of their power: control of their own creativity and their connections with each other.

This is clearly not a conference that materialized on a whim. To find out more about the inspiration behind all the work and planning, I distracted Noel from his busy schedule to ask him a few questions.

How long have you been planning this conference? Have you done something like this before on a smaller scale?

The concept of the IMC had been formulating in my mind for quite a few years before I actually began actively planning it. I guess it officially became a reality when I launched the IMC website back in November of 2001. I have organized many similar events on a smaller scale, and I've also been heavily involved with quite a few larger conferences in various capacities. I've organized, produced and hosted many, many showcases over the years and in 1997 I organized and produced the Mixx Magazine Music Conference in Waterford CT. While the event was awesome in many ways, the location and the weather proved to be disadvantages and I vowed to try it again in a city that would be more appropriate. I don't think there could be a better place for the first Independent Music Conference than Philadelphia, the birthplace of independence.

Other than its history, what is it about Philly that makes it the perfect breeding ground for the indie music community?

Philly features a strong and supportive original music scene with a huge variety of styles represented. It's in a great location, being situated on the doorstep of the Northeast and still quite accessible to the Middle states. There is also an equally strong and supportive business community in Philly, and that's critical to any large event like this. For example, the Sheraton, where the IMC2003 will take place, has itself been instrumental in the event's planning. The Hotel's staff has been really supportive.

You talk passionately about the role of mega conglomerates and how they make $ off the backs of indie artist. Could you tell a story or describe a moment when all this hit you, sank in on a personal level, and made you realize that this is where you need to put your energy?

I could tell you so many stories! I wish that were not true and that the problem was not so prevalent, but unfortunately it's the norm. One such story, which took place in the earlier years of my efforts, concerned a band that was formed by some fellow Connecticut neighbors of mine. Kevin Totoian and his group, Tall Stories, were signed to Epic Records in the early 90's. They were like every other young band newly contracted to a huge record label and assumed that having been "signed" they had now achieved stardom and success.

Their self-titled debut album did very well and spawned a huge radio hit. But soon after, "record label reality" set in and the band quickly began to learn about the negative sides of being "signed." Their second album was "shelved," meaning Epic was never going to allow it to be released. Contractually obligated to the label and no longer in control of their own music, careers or destiny, the band was forced to break up, essentially ending what had been a life's dream for the musicians.

Today, Kevin plays in a wedding band, and also a cover band that performs at local CT clubs. While both of these types of gigs are entirely worthwhile endeavors and should certainly not be taken for granted, it's still a far cry from the success story that Tall Stories should have, and would have become if the industry were run properly. As I said, I have encountered many such situations over the years and each time the same result; bands that signed a typically usurious record label contract, losing ownership of their music and control over their careers.

Noel Ramos

What is the most important thing that has to happen in order for the event to be a success in your eyes?

Cooperation. In order for indies to succeed in their efforts to create an alternative music industry that allows a greater number of musicians to find success on their own terms, they must all work together. The only weapon that indies possess which is powerful enough to compete with the deep pockets and 50 year entrenchment of the mega congloms, is the sheer weight of their numbers. In reality, the music industry is actually made up of the millions and millions of indies who do most of the consuming of music related products. Without them, the big corporations would be nothing more than a bunch of suits in tall buildings with no product to sell, and nobody to sell it to. If all the attendees and showcasing performers work together, the IMC can't possibly be anything but a successful gathering.

What aspect of all this organizing, do you enjoy the most?

The MUSIC!!! Interacting with all these wonderful artists is my second favorite thing.

Tell me a story of one individual you have inspired by doing what you do and what that meant to your work.

What an honor to be able to inspire another! I can only hope that I have and that my efforts are making a difference. The kind of feedback that I do get is usually of a more immediate and practical nature; such as when I finish presenting a workshop at a conference. I always ask if I have been helpful and the responses have always been positive, and sometimes even very flattering. In a business that can often be incredibly hard on the spirit, that sort of stuff re-charges my batteries. I don't think many people truly realize the power of a kind word or two. A few musicians telling me that my workshop was "awesome" erases hundreds of negative things that the industry has dumped on me.

I love to teach and I get the opportunity to do so quite frequently now. It's been very rewarding and one of the most powerful ways it has affected my work is that I discovered you actually learn more about a subject if you are required to teach it! My own personal knowledge and experience have been augmented in the process of trying to help others. That's a pretty cool side effect.

Want to get involved? Then check out IMC2003 for more information.

The showcase application deadline is March 31, 2003