Starting From
See all Rates

Comfort Inn & Suites

Selected Favorite

 1555 E. Fabyan Pkwy. , Geneva, IL, US, 60134

  • Phone: (630) 208-8811
  • Fax: (630) 208-7844
Exceptional!
4.6337 out of 5 (172 reviews)

Local Events

En Güzel Aşk Şarkılarını Erkekler Yazar
Oda TiyatrosuFebruary 10, 2015 6:30 PM
İstiklal Cad. Çimen Sokak Vakıf Apt. No: 8
Ankara, 6050
View More >
Teho Teardo Music For Man Ray
Auditorium MAXXIFebruary 07, 2015 9:00 PM
Via Guido Reni, 4
Rome, 00196
View More >
Uçlar
Akatlar Kültür MerkeziFebruary 11, 2015 6:30 PM
Zeytinoğlu Caddesi No.8
Istanbul, 34330
View More >
Tackle The Tower
The Galleria at ErieviewFebruary 09, 2015
1301 East 9th Street
Cleveland, OH 44114
View More >
The Three Tenors
Chiesa Evangelica Valdese February 07, 2015 8:30 PM
Via IV Novembre 107
Rome, 00187
The Three Tenors is a name given to collaborative concerts of the three operatic tenors Plácido Domingo, José Carreras and Luciano Pavarotti. The trio began their collaboration with a debut concert at the ancient Baths of Caracalla in Rome held on the eve of the 1990 FIFA World Cup final in Italy, on July 7, 1990, with Zubin Mehta conducting the Orchestra del Maggio Musicale Fiorentino and the Orchestra del Teatro dell'Opera di Roma. The idea of the concert was originally conceived by the Italian manager/producer Mario Dradi. The first concert was held to raise money for Carreras's foundation and also as a way for his contemporaries, Domingo and Pavarotti, to welcome their friend and colleague back to the world of opera after his successful treatment for leukemia. The three subsequently sang together, in concerts produced by Hungarian Tibor Rudas and others, at Dodger Stadium in Los Angeles for the 1994 World Cup finals, at the Champs de Mars, below the Eiffel Tower in Paris during France '98 and in Yokohama during the 2002 tournament. They have also played in other cities around the world, usually performing in stadiums or other large outdoor venues. User-contributed text is available under the Creative Commons By-SA License and may also be available under the GNU FDL.
View More >
The Whole Music Business: Learn What To Say, Think, and Do (See Below For Detailed Description)
The Roger SmithFebruary 08, 2015 10:00 AM
501 Lexington Avenue
New York, NY 10017
I created The Whole Music Business to serve the serious musician. Its the music business workshop I needed when I was a 22-year old musician on the verge of spending thousands of hours and dollars pursuing my passion for music as a livelihood. My workshop is a high-impact, full day workshop that bundles a ton of critical information about the new music business for singers, songwriters, bands, managers and producers.   I stand by my work. If youre not completely satisfied, Ill return your money.  - Alan Johnson, Esq.   PRELIMINARY AGENDA   10 -11:30 AM                 Copyright law for musicians                 Songwriting collaboration and business                 Income #1: The Performance Right!                 Traditional radio and Digital Streaming   12 1:30 PM                 Music Publishing                 Income #2: Mechanical Reproductions                 Sampling issues                 Trademark law for musicians                 Contracts survey of important clauses in various key relationships   2:30 4:00 PM                 Income #3: Record Sales & Streams                 Negotiation overview risks/rewards. Self-preservation & defense.                 Accounting for profits / losses                 Income #4: Synch licenses & Practices   4:30 6:00 PM                 The role of managers, agents, lawyers                 Live Engagements Touring                 How & Why to do everything you do   TESTIMONIALS   The music business is not a place where, "ignorance is bliss". Today's music world has become a dense, complex, multi-layered puzzle. Alan Johnson's seminar and workbook, "The Whole Music Business", really helps to fill in the gaps for artists and creative minded people. Highly recommended!    - Gil Parris, Grammy-Nominated, Major-Label Recording Artist, Preeminent Guitarist, Sideman to the Stars   "Alan's 2013 appearances at The Music Building in New York and at Staten Island Arts were amazing. He's engaging, funny, practical, and down-to-earth."     - Ruhi Shamim, The Music Building, NYC   "I suddenly had a lot happening with gigs and my band, and I needed answers FAST. Alan's workshop and workbook provided that, and more. He showed me what I didn't know that I needed to know."   - Bobby Paltauf, 16-year old blues/rock guitar prodigy   As a hiphop Artist, Alan Johnsons music business class The Whole Music Business helped me In a Great way last summer! His workbook is a mini Bible to the Music biz!!! Do Yourself and your art a favor and see this man for some lessons. Peace!          - Jahan Nostra, Recording and Performing Artist - NYC   As a singer/songwriter who is dedicated to taking my music to the next level, I found The Whole Music Business Workshop to be an invaluable assetrich with information about copyright law, music publishingand much, much more. I found it so informative that I attended twice! After attending, and with the accompanying workbook, I feel so much better equipped to move forward.   - Sharon Winberg, Brooklyn, NY   The Whole Music Business workshop gives a fantastic overview of the multitude of issues facing artists in today's constantly changing industryAlan has the advantage of having worked from both sides of deals which allows him to even better inform artists about the issues they face these days, giving them some insight on what the other side of the table is thinking about."    -Ben Lindell, audio engineer/producer - NYC   An essential step for anyone serious about success in the music industry, highly recommended for even seasoned professionals          - Miguel Nogueira, Producer/Composer/DJ at Multimind    WHATS THE WHOLE MUSIC BUSINESS ALL ABOUT?   Its an immersive look at the recording, publishing and touring industries, with the power of a LIVE presentation. Its ME, telling YOU how to run YOUR business, using universal concepts applicable across musical genres.   MY WORKSHOP IS NOT: a casual, passive, touch-and-go, get-your-feet-wet, feel-good experience. It costs money, pushes your attention span, and arms you with critical information about working in the music industry.   WHY SHOULD I ATTEND THIS WORKSHOP? Mastering your craft is hard enough; add in the time it takes to rehearse and book gigs theres practically no time or energy left for reading books on the business. When a real opportunity arrives, will you be ready? Or, will you feel intimidated, overwhelmed, and resort to the romantic, perilous default position: leave the business to the business people - ? Dont be that guy/girl. Let me teach you the rules of the game.   BUT, ISNT THERE ENOUGH FREE STUFF OUT THERE AND ON-LINE? There is nothing comparable to my workshop available on-line. I consult on-line resources and attend many music industry events, so I know whats out there. FREE is often the enemy of GREAT.   Producers of free content and events want the prestige associated with a packed-house or lots of views. Yet, despite all of this free information, musicians still don't know what to do, get into trouble, or worse, have nothing happening at all. The same super size concept that makes a person buy enough soda and fries to feed a small family also works with panel events and festivals: you think I am going to learn so much because there are so many experts on this panel!  You attend because you perceive more value. Right?  But, it's just an illusion. I believe we must earn and own information before we can use it for anything of value. But dont take my word for it. Ask yourself:  With panels, does each panelist thoughtfully explain something important to you, built upon what the other panelist contributed, or do a few panelist dominate the discussion primarily with their charm and humor?  Didn't a small few aggressive audience members dominate the Q&A session (assuming the panel hasnt run overtime)?  I see this a lot.  At CMJ (which is awesome), did you see 30 of the 900 bands available, or 4?  I saw 4.   I don't mean to be a jerk, but dont feel badly for those who cant afford a paid event like mine. People afford what they prioritize, and all too often their priority is cigarettes, alcohol, drugs, designer clothes, and other instant gratification items, rather than a long-term asset like my workshop. Besides, those with a true financial need usually find a way to get involved via scholarship or work-exchange if they qualify. I agree that it is not resources that matter to a man, it is the resourcefulness the man makes with what he has. Thank you, Eleanor Roosevelt. [note: 'man' was just the language of the day]   If you drift or lose focus during on-line courses, or get incomplete or unreliable answers, or if working from the vacuum of your bedroom leaves you uninspired, get off your butt and attend my LIVE workshop. Seeing other musicians at a live event will inspire you. You can only get the lawyer ramble (the occasional sidebar about a topic, with reference to news or real experience) at a live event where a trainer can be candid.   WHAT'S IN STORE ON FEBRUARY 8TH:  Youll sit in a comfortable seat at a table in a private room at the Roger Smith Hotel (which has a comfortable, art-gallery vibe). My 200 POWERPOINT SLIDES are coordinated with my 60-page workbook. These learning tools are used to foster your retention of information. There could be as few as 15 people, but not more than 50. You will be eye to eye with me, call me Alan, and youll feel so safe you can literally ask any question about the music business without any reservation. I likely know your questions. Ask em!   A mind that is stretched by a new experience can never go back to its old dimensions. - Ralph Waldo Emerson (and reused by Oliver Wendell Holmes)    SHOULD I ATTEND? My workshop is not for absolute beginners although anybody can attend. Its intended for musicians already in a gigging band, SNWP (serious-newbies-with-a-plan), and its a great refresher and idea pool for experienced pros.  Do you have a working understanding of copyright law and trademark law? Do you know the difference between a corporation and an LLC? Do you know the key activities your lawyer, manager and agent will be doing for you if your career gets traction, and how to monitor their performance? Do you know the primary income streams; who gets what and when; and, what rate to charge somebody who wants to use your music or song on a TV show? These questions will be answeredand more. The Whole Music Business is also great for engineers, managers, and producers. Youll learned how you how to structure your deals with clarity and transparency and thereby build a solid reputation based on the careers you cultivate.   WHATS IT COST? HOW DOES $27 PER HOUR SOUND? The $200 entrance fee gets you six hours of pre-planned training with my 60-page workbook (FREE - a $40 value). So, the $200 day rate breaks down to $27 per hour. Military veterans may attend for $75 with thanks for your service of Country.   WMB Alumnae and their guests can take $50 off (cannot be combined with other offers). GROUP RATE: Buy 4 tickets get one free.   Ive spent twenty years of my life negotiating deals and working with great musicians, $160,000 on law school, and hundreds of hours organizing this information for you. You may have even heard that entertainment attorneys can charge $500, $600, even $1,000 per hour for their time. Compare the hourly cost of my workshop with music or voice lessons ($75 to $150 per hour), personal training ($100), or drinking/smoking habits ($500 per month). Losing or dropping your phone costs more than my workshop!   Ignore friends who dont want you to grow or succeed. Explore the inner voice telling you I am not real, or that $200 is too much to pay. Read this brochure twice.   If you were like me years ago, youre thinking workshops like this come along all the time. Well, thats just not true. No other entertainment attorney, anywhere in the country, is offering what I am offering you on February 8, 2015. I have the music business training you want and need, tightly packaged in a box with a bow, just for you. This is the workshop and price youve been waiting for. The price is only going to increase in the future. There is no better time than NOW to give yourself this experience. Find the ORDER NOW button above and use it. I hope to see you on February 8th!   THANK YOU for reading today.  -  Alan  ABOUT ALAN JOHNSON, ESQ.:  I am an attorney admitted to practice in the state and federal courts of New York and Connecticut.  In my attorney role in 2014, I negotiated recording artist agreements, producer agreements, management contracts and music licenses (including digital distribution enrollment agreements for most major digital distributors); I advised a group of musicians who, collectively, earned approx. $2M in live fees in 2014.  Also in 2014 I formed companies, litigated contract disputes in state and federal court, and worked on numerous copyright and trademark matters. I represented legendary NBA player/coach Earl Lloyd, the first African American ever to play in an NBA game, in a documentary film life-rights negotiation. And I attended industry events like CMJ, Music Biz, and the Billboard Touring Conference & Awards.   Before I was a lawyer, I was a drummer. Ive heard my band on the radio, have performed in every important East coast music venue and in venues across the country as big as a 20,000 seat amphitheater, and can drop rock star names like the Vikings drop footballs. I know what it feels like to receive $1,000 an hour to play drums, and continue to earn music income today, long after I stopped caring about rock stardom. Ive also failed miserably, lost money on projects I cared about, and embarrassed myself, often, in front of peers I deemed important. Trust me: the failures are more valuable than the triumphs. HOST YOUR OWN WORKSHOP AND BUILD YOUR COMMUNITY.  Alan Johnson works directly with universities, vocal studios and rehearsal spaces.  If interested in producing a workshop event, whether full day or on one segment of the business, send an email to wholemusicbusiness@gmail.com describing your idea.   RISK-FREE SATISFACTION GUARANTEE: If you are not 100% satisfied with the workshop, return the workbook and I will refund your money. Complimentary or discounted enrollments are not eligible for refund.   SUBSTITUTIONS & CANCELLATIONS:  If you register but are unable to attend for any reason, you can have someone substitute for your participation in the workshop. Call me at least 24 hours prior to the event to transfer your enrollment. Previously transferred, complimentary or discounted tickets cannot be transferred. If you cannot attend and do not wish to substitute, contact us at least seven days prior and we will return your money; once you are within the seven days leading up to the event, we can only convert your enrollment to a non-refundable credit (unless we can re-sell your seat without special effort on our part) that you may apply toward the next The Whole Music Business workshop within one year from your original event date. A complimentary enrollment, if issued, is valid for the event date only and is non-refundable/non-transferable.   CONCLUSION:   The only way to succeed in the music business is to create wonderful music or work with those who do. If you are already doing that, my $200 workshop will help you more effectively interface with the lawyers, managers, agents on whom you depend, and the companies who pay you. Attending my workshop is a phenomenal way to accelerate the learning process, lessen anxiety, and reduce costly missteps.   IMPORTANT READ THIS CAREFULLY: This workshop is for educational purposes only and does not provide legal advice. You are not retaining an attorney when you register or attend. Always consult an attorney practicing in your state for actual legal advice if you have an issue. Neither registering, attending the workshop, nor visiting my website forms an attorney-client relationship between us.   Important policies and restrictions: Once booked, seating is first come, first served. On the day of the event, please allow sufficient time for traffic, parking, registration and seating. We must start and end on-time, so consider arriving :30 minutes early for best results. Doors open at 9:00 am. Please exercise care traveling to/from the event I want to see and hear from all of you again.   No food or beverages (other than fresh water) will be provided. Please eat breakfast prior to arriving; Trust me, youll need your energy. There will be a lunch break and you can find lunch in many places around the hotel neighborhood.   You must be eighteen years old to attend the program alone: if you are 17, Id like to speak to a parent or guardian first; if you are 16 or under you must be accompanied by an adult. You may not attend the workshop if you are an attorney without my prior written consent.   Ive told you about my 100% satisfaction guarantee. But always be aware that no single program can make you a music star. The whole purpose of attending workshops and similar events is to improve your possibilities through acquired information and direction. Email wholemusicbusiness@gmail.com with questions.   ATTORNEY ADVERTISING.   Alan Johnson, Esq. 1510 De Kalb Ave. Brooklyn, NY 11237 © 2015 Alan Johnson. The Whole Music Business is a trademark owned by Alan Johnson Questions? Email wholemusicbusiness@gmail.com
View More >
1 of 754
Earn valuable points toward free nights.