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Volume 1: Issue 1.1 | The B# Newsletter | February, 2000

Publisher: National Booking Agency
http://nba.jumptunes.com
Editor: Kenny Love
P. O. Box 1404
Crockett, Texas 75835-1404
Web Site Sign-Up: http://www.onelist.com/community/BSharpNews
Email Subscribe: mailto:BSharpNews-subscribe@onelist.com
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Newsletter Sample: mailto:bsharp0200@...
List owner: mailto:BSharpNews-owner@onelist.com

Copyright © 2000 National Booking Agency

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"The B# Newsletter" is a FREE monthly music industry
newsletter published by the National Booking Agency.
It is focused toward independent musicians and
recording artists. Its intent is to inform and
enlighten artists through articles, resources,
products, and services that will significantly
enhance them in their music careers.

"The B# Newsletter" is brought to you each month via
Email ONLY at your request. We will never divulge,
rent, sell, or utilize your private Email address for
any ulterior motive or purpose. Your discreet privacy
in becoming a subscriber is assured. Please enjoy…

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IN THIS ISSUE…

“Editor’s Blurb”

Article 1: “Plagiarism: Now, There’s A Hit!”
By Kenny Love

Article 2: “Using Free MP3 Sites Wisely”
By Holly Figueroa

Article 3: “Introducing ‘Indiva’: Goddess Of
Indie Women”
By Genie Webster

Article 4: “Tips On Effective Music Promotion”
By Derek Sivers

Article 5: “Where Is The Money?"
By Mary-Ann Thomas

Article 6: “Awakening Your ‘Total’ Financial Genius”
By Kenny Love

7. Booking & Record Promotion Info

8. Music Services

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EDITOR’S BLURB:

Hi! Hope you had the opportunity to pick up our
“abbreviated” sample of “The B# Newsletter.” The
reason it was referred to as such, is that we wanted
to get people introduced to just a bit of its future
type of content in order to gauge the viability of it
in advance.

Well, we’re happy to inform you that if any of the
advance positive response is any indicator, we plan
to be around for quite some time, as many musicians
and recording artists have expressed their enjoyment
with the initial content.

This is the full-blown edition we promised. This
particular edition incorporates everything contained
in the “sampler.” We also have signed on such
successfully operating Independent businesspersons as;

1. Ms. Holly Figueroa, Independent Recording Artist
and President/CEO of “Indie Girl”

2. Ms. Genie Webster, Recording Artist and List
Moderator of “InDiva”

3. Mr. Derek Sivers, whom many, if not most, of you
will recognize as the President/CEO of “CD Baby” and,

4. Ms. Mary-Ann Thomas, Author of “Keys To Music
Success,” as well as President/CEO of “East Coast
Music Publishing”

So, sit back and prepare to experience some major
insight from people who are in the trenches, and in
the thick of it on a daily basis, just like you are.

Perhaps, we can provide just a little insight from
our own personal experiences that will greatly
benefit you. At the very least, perhaps we can become
a community of helpful friends. A ‘Thousand Thanks’
to you for becoming a member of this newsletter. You
are sincerely appreciated.

Please enjoy…

P.S. Oh, Yeah! Almost forgot! We’re starting the
Newsletter off right by running an ongoing contest.
Now, here’s the deal:

If you can get 3 of your Independent music-minded
friends, associates, co-horts, partners in crime, or
whoever, to sign up for the newsletter within any
given month, we will send you a FREE copy of a
Special Report containing even more “inside” info on
marketing your music. Now, it’s really simple…only a
2-step plan, so here goes…

Step 1: Your referral joins by simply clicking on
mailto:BSharpNews-subscribe@onelist.com, then clicking
on their “Send” button. That’s all there is to it,
just the same as when you joined. They don’t even
need to type anything in the Subject field, or the
Body of the Email.

Step 2: Next, they send a blank Email to US at
mailto:bsharpnews@..., with the CURRENT month,
along with YOUR Email address you used when
subscribing, in the “Subject” area of the blank Email.

For example, if Batman was already a subscriber to
“The B# Newsletter,” then decided to refer Catwoman
to “The B# Newsletter,” after which Catwoman,
subsequently, decided to become a subscriber this
month, THIS is what we should receive within the
subject line of Catwoman’s blank Email:

“FEB - batman@...”

Now, listen...I know some of you are probably tempted
to click on the above Email link referencing Batman,
but PLEASE! Don't do it! Cause, I've got enough
problems, and certainly don't need the Caped Crusader
breathing down my neck...besides, I heard that spam
is one of his pet peeves.

A similar notice regarding this ongoing contest will
appear in each edition of the newsletter, reflecting
the current month of publication. Good Luck!

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ARTICLE 1

“Plagiarism: Now, That's A Hit!”

By Kenny Love


I once had the displeasure of being a member of a band
with the infamous Baber Twins, a couple of obnoxious
blokes who attempted to 'play' the guitar, often
murdering it.

They also claimed to be identical, however, that
didn't seem right, as there was approximately a
6-inch difference in their heights.

I also did not relish conversing with them, as the
other would almost always join in the conversation,
with one of them beginning a sentence, while the
other finished it.

I never did figure out how they managed to accomplish
such a feat so effectively, as they were masters at
it. I suppose this level of accomplishment could
only be attained with a great deal of practice. I
have no idea whether this is a valid term or not, but
I, subsequently, dubbed them 'telepathic verbals'.

To add insult to injury, they would also execute this
irritating stunt on the telephone, which, naturally,
placed you at an even greater disadvantage.

Anyway, to make a tall story shorter, the Baber Twins
seemed to believe they were experts on which song was
a potential 'hit', and which wasn't, though they never
could accurately predict which of their own songs
would be (wonder why?).

So, I get this call one day from them after I had left
the band asking me to come over for a "surprise.”
Now, being recently released from a four-year stint
in the Army, often spent in what is known as "the
field," which included night raids, I should not need
to explain my distaste for surprises.

But, reluctantly, I proceeded to their residence, all
the while trying to figure out just what the Baber
Twins had in store for me. Would they have a waiting
party of five who would bum-rush me, knock me to the
ground, bind my hands and feet, then force me to
listen to the Baber Twins spew their split-infinitive
sentences upon me...for hours on end?

Or worse, would the Baber Twins, once I was inside,
seal all exits and force me to listen to their
screeching guitar volumes maxed out on their Marshall
stacks? Dang! Forgot the Army earplugs I kept from
the service days.

The only thing that remotely made sense was
remembering their continual pleading for me to allow
them use of a particular song to record upon my
leaving the band, my answer always a resounding 'No'.

So, as I pulled into the driveway, I was met with
their beaming smiles that had so commonly become
their trademarks.

"Kenny! Kenny! We've got something we want you to
hear!" each said, perfectly dividing the sentence as
usual.

"What is it? What is it?" I responded twice, careful
to insure neither felt cheated, through my own
display of equal talent at split-infinitive response.

"Come on up!" one said (or was it both?), as they led
the way upstairs.

Upstairs, one of them pops the 'Play' button on the
cassette deck (no CDs yet...this was 1983). There
playing, was almost an identical copy of the song they
had begged, borrowed, and now stolen.

"You wouldn't let us have yours, so we wrote one just
like it!" one of them beamed, as I steamed. They were
proud of themselves! I could tell! And, they expected
me to be proud of them as well! Now, I do not
subscribe to the idea of imitation being the sincerest
form of flattery.

I can't remember much of anything after that, except
that on that day, I found another of my 1001 reasons
to remain as a solo artist.

Haven't heard much from the Baber Twins lately,
although I did hear a rumor to the effect that shortly
after this stunt, they received some free 3-5 state
lodging. Now, that's a 'hit'!

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ARTICLE 2

“Using Free MP3 Sites Wisely”

By Holly Figueroa


While online companies like MP3.com may not be the
most rewarding for artists, they are not the evil
empire. INACTION is the reason many bands never make
it past their first CD release party. Inaction and
being, in general, clueless when it comes to promotion.

MP3.com can be a great promotional tool, IF, you work
it and know how to promote it correctly. For
instance...why on earth would someone put every song
they have ever recorded on MP3.com?

Instead, upload only ONE song, then, all over the page,
place links to where the listener can buy your CD. The
cool thing about MP3.com is that virtually EVERYONE
knows what it is, and if you don't have your own domain
name, or even a website, you can sell CD’s from that
page with a link to your distributor.

It can work. MP3 does a lot of promotion and gets a
lot of exposure, and you can benefit from that if you
are smart. One out of every 5 of my REAL CD sales on
CDBABY.com comes from a direct link from my MP3.com
page.

I was recently at my sister’s apartment at OhioSU, and
her roommate had a CD burner, burning MP3's off of the
Internet like it wasn't illegal. When I asked how many
people he thought did this, he said of his 5 closest
friends, 4 had CD burners, and all 5 pirated music
(Indie ESPECIALLY...because we are too poor to go after
them, however, the majors might find out and shut you
down, but we, in general, cannot afford to do so).

Maybe they are the exception, but I think it would be
silly to assume that. They are your everyday, ‘go to
school’, ‘go to work’ college kids whom in their spare
time, listen to music. It’s a great time to be a
college kid, with all of the free music on the web.
And it’s also a great time to be an independent
musician, if you use the free MP3 sites wisely.

People are going to do this…like it, or not. It is
similar (but not the same as) taping tunes off of the
radio, having someone borrow a CD and taping it,
bootlegs, etc...its going to happen, and it isn't a
necessarily bad thing for virtually unknown Indies,
though it can be an issue for independent artists who
are somewhere in between being unknown and established.

What can we do to benefit from this exposure? Here
are some ideas:

1. WATERMARK our MP3's with software from companies
like cognicity.com.

2. ENCOURAGE our little music pirates/angels out there
to be responsible in their distribution...meaning:
tell people they are giving our music to where
they can find out more about us, where they can buy
our CD, etc.

3. DISCOURAGE complacent behaviours and attitudes
(such as "we're just little Indies, and we're gonna
get taken, no matter what, so we might as well put all
of our tracks up on MP3.com"). Screw that! Be smart!

4. WORK FOR CHANGE Visit (http://www.simanet.org).
“Society of Independent Musical Artists.” This
organization is working to change the way the music
industry sees Indies.

There are several articles posted on the site that
are a lot more eloquent and succinct than I am in
making similar points, as well as ways that you can
get involved. Support independence in all its forms.

Now, Get to Work!
_________________________________________________
Editor's Note: Holly Figueroa is President/CEO of
IndieGrrl (http://www.indiegrrl.com), in addition to
being a professional recording artist. For more info,
please visit her web sites at
http://www.hollyfigueroa.com and
http://www.indiegrrl.com.

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ARTICLE 3

“Introducing Indiva: Goddess of Indie Women”

By Genie Webster


One of the benefits of getting involved on the
Internet has been meeting other women who are doing
the same thing I am... making albums on our own and
marketing the music, without the financing and clout
of a major record label. I also meet other women
artists in person as I travel to different cities on
my musical journey.

We are called Indie artists. I also call myself an
Artist/Entrepreneur. There are communities of women
Indie artists on the Internet, one of which I founded
(IndieWomen at www.OneList.com)

The more I get to know these women on the list, and
the more I explore the awesome depths of some of the
talent, the more I want to do my part to help these
sisters walk their dreams.

So I invented Indiva, the goddess of Indie women
(Indie+Diva=Indiva). Indiva is the patron saint and
protectress of Indie women, and she wants us to
succeed and to shine. We look to the goddess Indiva
when we need inspiration, courage, and the confidence
to be a star. We look to other Indie women for
sisterhood, learning from each other, inspiring each
other, and helping each other become and be the Divas
we were meant to be.

The Indiva Profile is my offering to Indiva and her
followers. I will be profiling Indie women who
epitomize the spirit of Indiva in their work and
their lives. Indiva artists are individualists;
extraordinarily talented and ambitious; fiercely
independent; artistically courageous; and
authentically soulful.
_____________________________________________________
Editor’s Note: To be considered for an Indiva Profile,
visit Genie Webster at http://www.geniewebster.com, or
feel free to send your CD and press kit to her at:
P.O. Box 1062, Reno, NV 89504.

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ARTICLE 4:

“Tips on Effective Music Promotion”

By Derek Sivers


Being behind the scenes at CD Baby, I get to see how
some people sell tons of records while some people
sell none. Every time someone sold LOTS, I asked
them how they did it. Here's what I found out, mixed
in with some of my own thoughts:

1. Get a database or contact management program

Getting a program to help keep track of all the people
you're going to meet is THE most important thing. In
order to promote your music you're going to be dealing
with large quantities of people. You NEED a program
to keep them all straight. Not just a word processor
for making labels, but a real database program that
keeps track of each person, info about them, history
of your communications, and keywords.

Keywords are things like "radio" or "guitar" or
"friend." You should be able to search by these, so
that if you want all radio stations in California, you
search "CA" in state and "radio" in your keyword.

START THINKING IN QUANTITY. It's not enough now to
say, "Oooh I'm getting played on the college station
near my house!" You need to get played on 300 college
stations at once to even make the smallest dent on a
top 200 chart.

Stay in close touch with hundreds of people. Get
used to that concept. My favorite database program
is Filemaker Pro because it works the same on Mac and
Windows (so you can share databases between them) –
and, it's totally customizable. It’s also one I can
assist you with. Other good database programs are
ACT!, Outlook, Goldmine, and even MS Access. Get one
ASAP.

2. Think TEST MARKETING

Okay - you wanna get famous. Yeah, yeah, yeah…we all
do. You want a record deal. It's not so important
that you sell that CD you made. It was just meant as
a demo to get you the big deal, right? Wrong! Go
SELL it! Think "test marketing."

Beer companies test a new product in a few cities
across America, to see what a small percent of the
population thinks of it, so they can improve it on
that small level before sinking millions of dollars
into a national roll-out. Think of your band/CD this
way. You're testing it small to prove it works –
so you can get major money behind it for the big push.

Design a business plan that will sell CDs and earn
you money, even without a record deal. Then if a
major label wants to sign you, you're in a much
better position to negotiate, and won't get screwed
over (much).

All of the things I'm going to discuss next are how
to become more successful on your own…not just how to
get a record deal.

3. This is gonna be WORK

Yes, it will be FUN work, but it will also be HARD
work. You have to really want this. If you HATE
talking on the phone, or, you are terrible at
returning calls, or don't really want this music thing
to interfere with your day job, then you can stop
reading now and turn over the promotion chores to
someone else.

"Whatever scares you, go do it." If it scares you in
an excited way, that's a good sign. BUT WHATEVER YOU
DO - IF SOMETHING IS MAKING YOU MISERABLE AND DRAINING
YOUR ENERGY, PLEASE STOP. Life is telling you that is
not the path for you.

Biggest mistake I ever made was taking someone's
advice on a major career move, even though I walked
out of his office with slumped shoulders, miserable.
It was good advice, but not for me. (He wanted me to
start a record label because I had done so well with
my band).

I wasted years of my life unenthusiastically trying
to make it happen. I wish I would have paid attention
to my lack of enthusiasm and stuck with the things
that excited me. Please don't make the same mistake.

4. Think like a Publicist

Think like a publicist. When you are promoting, TURN
OFF YOUR MUSICIAN BRAIN, and get into “Publicist” mode.
Get ready with sound bites, witty one-liners, and
colorful descriptions of your music.

Appeal to REAL PEOPLE WHO DON'T CARE ABOUT YOU..k.
(yet!) (Hint: they don't care where your drummer went
to school).

When real people ask you who you sound like, they
don't want to hear "Uhhh.... No one really." - You
just blew a perfect chance to get someone's attention.
You could have said, "A cross between James Brown and
the Beatles," then watched their curiosity grow. (Or,
you can say something even wilder like, "We sound like
the Incredible Hulk having sex.")

You HAVE to read the book, "Guerrilla P.R." by
Michael Levine. Order it today or die in obscurity.

ANNOUNCE THINGS CONSTANTLY. When your CD is up for
sale in CD Baby, announce it to the world. When it's
in the top 5 sellers, announce it again. When it's
the top seller, announce AGAIN. When you win any
contest, or climb the college radio charts, or
ANYthing - announce it to the world! Stay in the
forefront of people's minds.

5. Touring Still Rules!

The biggest selling bands on CD Baby are the ones on
tour, signing up everyone to their Emailing list,
putting on a great show, doing interviews at all the
college radio stations where they go, meeting the
local record stores, and WORKIN' IT!

Yeah, I know…if you have a day job, that's hard. But
I'm just tellin' ya what works best.

6. Leave 'em Wanting More

The most effective band websites are not the ones that
tell every story behind every song. They're the ones
that tell something interesting, suck 'em in, give
them SOME music, and leave 'em wanting more.

Hold something back. Put up a few songs on MP3.COM,
then direct potential customers to buy your CD. On
your website, have your "Buy our CD!" buttons
everywhere. INSPIRE PEOPLE TO ACT, instead of read,
shrug, then move on.

You REALLY have to inspire someone if you're going to
expect them to pull out their credit card, go to a
website, find you, and type in all their info. When
was the last time YOU did that - and how much did it
take to inspire you to do it? It's definitely more
than a few good reviews. Someone has to hear it, want
it, need it, miss it, remember it.

7. Have fun - do NOT be ‘Corporate’!
Never use corporate marketing-speak.

Be weird, Be a real person, Sound like one person
speaking to one person.

This is a big reason why it's COOL to be Indie instead
of corporate. Real people respond better to the weird
fun stuff.

8. Have someone connected working the INSIDE of the
industry while you do the groundwork.

This is my only regret about my own album release a
couple years ago. I did a great job at the dirty
work described above, but no one was workin' the
inside of the industry to get us onto higher-profile
tours, press, movies, or distribution. We just kept
touring and touring and touring...

To move up in the world, SOMEone needs to be
connecting with the gatekeepers to the next level.
It's not just about getting a record deal. It can be
opening up for Ani DiFranco (like Rachael Sage), or
for the Samples (like Seeking Homer).

Please, please! Don't get so caught up with
inspecting the roots so much, that you forget to pick
the fruit.
___________________________________________________
Editor’s Note: Derek Sivers is President/CEO of
CD Baby (http://www.cdbaby.com), one of the premier
and leading online music sales sites on the Internet.

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ARTICLE 5

“Where’s The Money?"

By Mary-Ann Thomas


When people think of the music business they think of
big money. Where is the money?

Lately, I've been hearing from artists about how the
majors aren't cutting good deals. They keep bringing
up that the majors give a deal with recoupable costs
and sometimes the artist makes very little money due
to this fact. So if the money isn't in the major
labels for artists, where is it?

When people look at publishers, they always see
$ signs. They will always ask, “Well how much money
will I make?” I remember with my own first publishing
contract, I expected to make ‘big money’, only to wait,
month after month, to hear false promises. I wasn’t
aware of the process of the business at that time.

So, here's how it works when a publishing agreement
is executed:

Firstly, realize that the material still has to be
pitched, then picked up at the next level. A
publisher uses (or should) his/her own money to pitch
songs, making contacts, and then, hopefully, getting
them placed. If not, they lose money. Even major
labels must make sure the artist has a track record
with doing gigs because they too can easily lose money
on an artist.

Secondly, independents take it upon themselves to
invest in themselves in order to make things happen.
It's a good idea, because Indies can earn a great
income.

Also, there are flaws with the major labels, such as
internal fighting, huge turnovers on A&R staffs, etc.
And yes, there is that occasional artist who is left
out in the cold when the labels don't put proper
promotion behind the artist.

However, this generally occurs when the label sees
the artist isn't getting the attention the label had
hoped for. In other words, the artist flopped and
didn't draw in the fans and sales the labels
anticipated.

Thirdly, income is earned through royalties, so the
more exposure and promotion that gets your product
air play, sales, and licensing for film, television,
and commercials, the better off you are going to be.

Unfortunately, royalties take a lot to build up.
Where is the money? It's there, but it takes a lot
of consistency in a different areas to get it. You
can make money in music, no matter which route you
take, and no one knows the best route.

Just remember this is a business and a tough, highly
competitive and slightly corrupt one. If you are
doing it ONLY for the money, you will probably be
disappointed. You must do it, initially, for the love
of it. Again, it's a lot of work, but when you reach
your goal, you will smile at the thought of knowing
someone loved what you created from nothing.

Where is the money? It’s waiting out there for you…
________________________________________________________
Editor’s Note: Mary-Ann Thomas is Author of a new
music reference titled, “Keys To Music Success,” as
well as President/CEO of East Coast Music Publishing
(http://community-1.webtv.net/EastCoastMusic/KEYTOMUSICSUCCESS/)

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ARTICLE 6

“Awakening Your 'TOTAL' Financial Genius”

By Kenny Love

Pssssst...come here...quietly, please...want to know
what's frustrating? No, I mean, REALLY frustrating...
in the music business? It's seeing, on a daily basis,
the incredible amount of wonderful independent music
not being given its maximum opportunity by its creators
(songwriters).

This misfortune is known as 'slipping through the
cracks'. How so? Well, the common problem I see among
as much as 98% of artists (yes, it's that much) is
that they are often overly anxious, releasing product
before they are financially capable of doing so on
their own.

Now, as a Booking Agent and Record Promoter, I receive
quite a bit of product from independent artists
seeking bookings, radio airplay, press publicity, or
a combination of any of the above. Again, I'm
speaking of really great product...not some raw
garage-recorded stuff. So here's the general process...

A musician, believing he/she has, oh, 10 or so hits
(yes, most think that), either goes into a local
studio with fees that are moderately-to-expensively
priced, in the hopes of obtaining a high quality
production of their material, or opt to purchase
state-of-the-art studio equipment to produce
themselves.

Either way, a significant cash outlay is at stake.
Once the recording is completed, including mixing,
mastering, and manufacturing, there are two directions
the artist can choose to take.

The artist who is truly overly confident that he/she
has the latest "hit" that the entire world can't wait
to hear, foregoes common sense and sends his/her
recording to the big major labels. What this particular
type of artist fails to realize is that it is now an
independent's world, and the music business, primarily,
doesn't turn the direction of the majors any longer.

So, after waiting on record company responses for
month's on end, which aren't forthcoming, the artist
begins to wonder why he/she is the only one that could
see the recording was a "hit." After beginning to lose
some of that overly confidence, then perhaps wallowing
in a brief phase of self-pity, the artist makes one
last desperate attempt to "save" the recording.

The artist then attempts to, at least, break even by
sending the recording out to managers, agents, and
anyone else who will listen and, possibly, become the
knight in shining armor that saves the day.

And, while it's great the artist may have played clubs
for several years, there is much more to obtaining a
strong record deal from any of the majors.

On the other hand, is the type of artist who is more
in tune with the reality of today's music industry and
the process by which things are accomplished today.
This artist, at least, understands that it is,
practically, useless to initially submit product to
major labels since he/she does not, generally, have an
established 'track record'(pun intended) with the
recording.

Established track records include having independently
acquired some degree of radio airplay, video airplay
if you have one, press coverage (interviews, reviews),
and most importantly, sales through distribution...even
if sales are only in your region.

That, combined with the fact that majors can now
simply kick back in their easy chairs, with no artist
development any longer in existence, and watch the
independent chart activity.

Then, once an Indie sticks out of the pile like a sore
thumb, with all of the above mentionables such as
airplay, press, and sales, the major (knowing now it
sees a financial winner), comes calling and jumps on
the Indies bandwagon, so to speak.

But! Neither of these artists is out of my woods yet
because their common denominator is that while ALL
desire to become the next superstar, MOST have NOT
given any consideration to financially budgeting for
the promotional aspect of their recording.

Perhaps, it is a natural trait of the musician's
expense calculation to end with the manufacturing
phase of the recording, for when I inquire if they
are prepared financially for a national release, and
provide them the itemizations of the budget, i.e.,
shipping material, postage, document creation, I
often witness a horrid expression.

So, how do you not become one of the many artists who
fail to even become a 1-hit wonder? As I will venture
to say that 1 in a million artists today has a chance
of signing directly with a major label WITHOUT any of
the aforementioned requirements, the first step is the
to face the truth regarding this.

The second step is to realize that you will be
required to do it yourself...go it alone, if you are
going at all. You will need to figure out HOW you
get the airplay, HOW you get the press, and again,
most importantly, HOW you will get the sales that are
needed to convince labels to take you to the next
level. This will amount to you convincing managers
and agents that your recording is worthy of being
taken to that level.

The third step, and perhaps the most crucial, is
realizing you are in business, and have created a
product that requires promoting, publicizing, and
bringing as much attention to it as possible. And,
for this, you will need a financial budget in order
to successfully implement promotion, just as you
needed a financial budget to implement the recording,
mastering, and manufacturing phases of your product.

Still too difficult to grasp? Well, let's make it
slightly simpler. Let's say you reside in New York,
but are planning a week-long vacation to Los Angeles,
with no one in LA whom you can stay with gratis. How
will you get there? How shall you eat? Where will you
stay?

Will the airlines allow you to fly free? Only if
you've managed to rack up frequent flyer miles. How
about food? Won't that require money for purchasing?
And lodging...will the hotels allow you to stay over
absolutely free? All in all, won't every aspect of
your trip require "financial budgeting?" I believe you
get the point.

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8. Booking & Record Promotion Info:

To receive immediate information on our Booking &
Record Promotion services, please send an Email
request to mailto:kennylove@....

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9. Music Services:
To receive immediate information on our Industry
Services specially tailored for Independent Musicians
& Recording Artists, please send an Email request to
mailto:services@....

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Got Questions, Issues, Answers, News, or anything of
value to add to the content of “The B# Newsletter?"
If so, we encourage you to please feel free in
contacting us at: mailto:bsharpnews@....

Also, if you are aware of any fellow independent
musicians and recording artists who might benefit
from this newsletter, why not inform them about it?
Or better yet, why not forward them a copy of this
edition for them to preview?

Thank you for reading us...until next month…

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This newsletter is FREE to registered subscribers: we
do NOT send Unsolicited Commercial Email (UCE) - or
spam. Also, we will NOT sell, rent, give away, or
supply any third party with your Email address. We
respect your right to privacy. See trailer at bottom
of this page for removal instructions.

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Publisher: National Booking Agency
http://nba.jumptunes.com
Editor: Kenny Love
P. O. Box 1404
Crockett, Texas 75835-1404
Web Site Sign-Up: http://www.onelist.com/community/BSharpNews
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Copyright © 2000 National Booking Agency

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