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Volume 1: Issue 6 | The B# Newsletter | July, 2000
Publisher: N.M.A. (National Music Agency)
http://www.kennylove.net
Editor: Kenny Love
P. O. Box 1404
Crockett, Texas 75835-1404
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Copyright © 2000 N.M.A. (National Music Agency)

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"The B# Newsletter" is published exclusively for
unsigned and independent musicians and recording
artists. Its intent is to inform and enlighten artists
through articles, resources, products, and services
that will significantly benefit them in their careers.

We will never rent, sell, or release your private Email
address to any third party. Your discreet privacy in
becoming a subscriber is assured.

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IN THIS ISSUE

1. Editor's Blurb

2. Music Career Stuff

3. "Holding Out For Your Price"

By Genie Webster

4. "A Quick Guide To Copyrighting Your Music"

By Joy Butler

5. "Why a Good Photo is Worth 1000 Words...
...And a Bad One Never Sees the Light of Day"

By Suzanne Glass

6. "Music Industry Wakeup Call: Adapt Or Die"
(An Historical Perspective on Music Media's
Acceptance/Rejection)

By Christopher Knab

7. "Creating A Proactive Business Plan"

By Derek Sivers

8. "Relax Already: An Example In Posturing"

By Mark Baxter

9. "Lost In Las Vegas: The EAT-M Conference"
(The key to, and importance of, strategic planning)

By Tim Sweeney

10. "Hut 1!...Hut 2!...Hu-!...Oops!..."
Fumbling On The Music Biz' Goal Line

By Kenny Love

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1. Editor's Blurb:

Hi! A most hearty welcome to the July issue of the
B# Newsletter. We would like to also welcome each
new subscriber who has joined us since last month's
issue. We sincerely thank you for having chosen to
become a part of this newsletter.

Celebrating this month of U. S. Independence on its
224th birthday, also means we have incorporated
some "heavy-hitter" articles,exclusively, for
independent musicians. Never let it be said that B#
is stingy with its knowledge and content. :-)

"KFM" ("Keague/Farrell/Munoz"), a crossover Pop/Jazz
group, is the first of several acts to be released by the
National Music Agency this year, beginning in
September. The act, of which the members consist of
Dinny Keague, Peter Farrell, and Glen Munoz, is
similar in sound to "Sting," "Steely Dan," "Sade," and
"Jamiroquai."

"KFM" has already begun receiving great radio
response to its demo lead single, "Time," as we have
already begun a pre-promotional media campaign for
it. And, this demo was not even recorded in a studio.
However, if its production quality is any indicator of the
final version now being produced in one of New York's
top studios, it's going to be truly nice being associated
with this act in 2000.

Get a bit of more information on this act, as well as
listening to the single by going to
http://www.kennylove.net/KFM.htm. To listen, simply
click on the blue "Time" link.

Lastly, but not least, I wish to take another opportunity
to administer a special thanks to all the writers of the
B# Newsletter. Their wealth of advice is truly like a
security blanket. If their articles have been a benefit
to you, or even basic encouragement to press on,
may I ask that you contact them and let them know?

No one person knows everything, which is why when
initially creating this newsletter, I refused to, allow my
ego to cloud my judgement by attempting to create all
content on my own. For as long as I have been in this
business, I was fully aware that there were others who
had been in even longer, were more knowledgeable,
and/or who were significantly more versed in their
respective areas than I was.

This is also a lesson other independent artists, and the
music industry as a whole, could stand to learn (and
implement). And that is, no one is an island. There is
something to be learned and acquired from anyone you
touch, or come in contact with, no matter how
insignificant you deem them to be.

So, again, please do ME a favor and begin to let the
B# writers know how much we all appreciate them, the
work they do but, above all, the invaluable advice they
provide in benefiting our careers each and every month.

Believe me...without the writers, there would be no
B#, nor a C-flat. :-) And now, let's review some
of their wealth of advice.

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2. Music Career Stuff

* What's so unique about "CDSTREET.COM?"
- No need to give up a HUGE chunk of each sale
- CDStreet.com collects ONLY 15% in service fees
- NO set-up fees
- NO waiting for 3 months to collect your sales
royalties
- You are paid monthly for your CD sales
Check them out at http://www.cdstreet.com and tell
them you learned about them in "The B# Newsletter."

* The Musicians Resource Page is a one-stop
directory for music information. Find information
about Songwriting, Recording, Promotion, Legal
Issues, Festivals, Instrument Instruction, MP3, Radio,
Zines and MUCH more. Read the "Indie Music
News" to stay up-to-date in an ever changing industry.
Submit material for review by The Musicians
Resource Page staff and have two songs added to
The Musicians Resource Page Radio play list.
"Consider us a stepping stone along your path to
greatness." http://www.themusiciansresource.com

* BIG METEOR PUBLISHING offers FREE exposure
for your music site! www.bigmeteor.com -
bigmeteor@...

* Indie Link Exchange: an easy way to increase
traffic - it's FREE!

* INDIE RESOURCELAND: Submit your site today! -
it's FREE!

* bestmusiczines.com: Post a beautiful display - it's
FREE! Indie Contact Bible: Do you qualify for a
listing - they're FREE! bestmusicbooks.com:
HUNDREDS of music books to advance your career!

* New to the music business, or need ongoing
guidance, and can't seem to get qualified managers
interested? For our consulting services, send a blank
Email to mailto:consulting@....

* Super-Charge your Music Career! Enhance
EVERY aspect by sending blank Emails to
mailto:musereport@... and
mailto:muservice@....

* Now, that you're getting your music career on the
fast track, isn't it about time you also visited a
few of those other important areas of your life as
well? Such areas as; you and your family's safety,
your basic financial well being, or perhaps, even
your health? For more details, visit "The Shield"
web site at http://www.kennylove.net/shield.htm.

* Promote your own Music-Related Product, Service,
or Information in this space for only $5 for a whole
month! Deadline is the 25th of each month. We also
reserve the right to reject ads we deem inappropriate
for this publication.

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3. "Holding Out For Your Price"

By Genie Webster


The music business is the only industry that I can think
of where you can advance your skill levels, your
creativity and productivity, and invest in top-of-the-line
tools and technology... only to have to take a decrease
in pay when you graduate from entry level.

Let me explain where I'm coming from...

I started out in music like most singer/songwriters...
open mics, coffee houses, bar gigs, benefits, private
parties, etc.

Then, I reached a point where I wanted to make my
living at music. I wanted to become a professional
singer. So I did my research and moved to a market
where there was a lot of work for singers -- Reno,
Nevada. It was a good move. Within ten days of
landing in Reno, I had three job offers.

Within two years, I was one of the most working
female vocalist in town. I continued to develop my
skills, my repertoire, and I continued to invest in better
technology and gear. Soon, I was at the top of the
pay scale for a cabaret singer.

I was, then, ready to move to the next level. Because
I had been making good money as a singer, I was
able to finance the production of an album of my own
songs. Once the album was completed, I would slip
an original song into my cabaret act, and people
would buy my CD.

Many people made comments like, "You do one hell
of a Patsy Cline (or Grace Slick, or Bonnie Raitt, or
Alanis Morrisette, or Celine Dion, etc.), but you sing
your own songs the best of all." That gave me the
encouragement I needed to keep moving forward
and putting my own show together.

So, I took all my experience and skills and technology
and gear that came with the cabaret show, and
added the magical ingredient of original material, and
guess what...I was demoted! I started getting offered
a lot less money per show!

Next Saturday, I am going to take my mic and plug it
into a sound system that is already setup, then sing
standard cover songs for 1-1/4 hours. I'm not even
going to break a sweat and I will take home $125,
plus tips.

Alternatively, if I wanted, the next day I could haul all
my sound gear down to Border's (or the Brewery, or
the Cafe), and would not only break a sweat, but
probably break several nails in the process, sing and
play my guts out for 2-3 hours, pack the joint, and
only take home $50.

What is wrong with this picture? What is wrong is
that it seems that I have to start at the bottom again
on a different career track altogether. The
singer/songwriter soundtrack.

Why is it that singer/songwriters who play their own
material make much less money than professional
musicians that play other peoples' songs? That
doesn't make sense, does it? The answer is that
professional musicians see themselves as
professionals, and most singer/songwriters (not all,
but most) see themselves as hobbyists, not
professionals.

If they saw themselves as professionals, then they
would demand (and get) decent compensation for
their work. At least, after they've proven they can
attract and keep a crowd.

So what is a professional to do?

1. Identify and seek out the venues that pay
professional-level fees.

2. Hold out for your price.

But the harsh reality is that no one knows my songs.
People like to listen to what they are already
familiar with. Only a very small percentage of
concert-goers like to hear new material. Haven't you
ever been slightly annoyed when you went to see a
favorite artist in concert, and they played new material
from their soon-to-be-released album? People want
to hear the hits of yesterday and today...not tomorrow.

THE BOTTOM LINE

I do not accept the demotion in payscale that comes
with graduating from professional cabaret singer to
singer/songwriter. I will, however, accept a lateral
move. That is, no decrease in pay, but I'll live with no
increase either (for now).

And, I will gladly and joyfully add cover songs to my
show in order to maintain my status and dignity as a
professional.

The burden is on me to write and perform songs that
more and more people will request and want to hear
in the soundtrack of their lives. And, if that means
sandwiching my songs between other artist's great
songs...I consider it a privilege.
________________________________________

Editor's Note: Genie Webster is a singer-songwriter
whose debut CD, "Walk the Dream," was released in
1999. Genie also publishes "Temenos Journal," a
newsletter with essays about new-millenium feminism,
songwriting, and spiritual activism. Her website is
located at http://www.geniewebster.com.

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4."A Quick Guide To Copyrighting Your Music"

By Joy Butler


Registration is NOT required for a valid copyright.

First, understand that you don't need to register your
copyright with the United States Copyright Office in
order to have a valid copyright. You have a valid
copyright as soon as your song or sound recording
is "fixed in a tangible medium of expression". This
is a term used by the Copyright Act and means that
your song or sound recording must be written down
or recorded.

Although registration with the Copyright Office is not
required to have a valid copyright, registration does
provide several benefits:

* the establishment of a public record and evidence
of your claim as the valid copyright owner of your
songs and sound recordings

* the ability to file a federal lawsuit against someone
who uses your song or sound recording without your
permission

* eligibility to receive statutory damages and attorneys'
fees in the event you file and win a copyright
infringement lawsuit

THE REGISTRATION PROCESS

Registering your copyright is fairly straightforward. To
register your copyright, you must send three items in
the same package to the Copyright Office:

1) a completed application

2) A deposit of your song or sound recording

3) the filing fee (currently $30)

It will take the Copyright Office approximately six
months to process your application and send you a
certificate of registration. However, the effective
date or your registration is the date on which the
Copyright Office receives your completed
application package.

THE APPLICATION FORM

Copyrights in sound recordings are always registered
on Copyright Form SR. Copyrights in songs are
usually filed on Copyright Form PA. However, if you
are the copyright owner of both the song and the
sound recording of that song, you can use Copyright
Form SR to register both elements together.

By registering the song and sound recording together,
you will pay one filing fee instead of two. Another way
to avoid multiple filing fees is to register several of
your unpublished songs or sound recordings as a
collection on one Form PA or Form SR.

The Copyright Office will give you free applications
along with detailed instructions for completing them.
You can get the forms from the Copyright Office's
internet site (http://lcweb.loc.gov/copyright/forms/).
You can also request the forms by calling the
Copyright Office's forms and publication hotline at
202-707-9100, or by writing to the Copyright Office
at the following address:

Library of Congress
Copyright Office
101 Independence Avenue, SE,
Washington, DC 20559

THE DEPOSIT OF YOUR SONG OR SOUND
RECORDING

Your deposit consists of samples of your song or
sound recording. The deposit requirement is usually
one copy for unpublished works and two copies for
published works. A sound recording should be
deposited on a phonorecord (such as a cassette tape,
CD, LP, or disk as well as other formats). A song can
be deposited either in notation form on lead sheet
or sheet music, or in the form of a phonorecord.

FOR ADDITIONAL INFORMATION

The Copyright Office publishes several information
circulars about copyrights in songs and sound
recordings. Again, you can get the information
circulars by calling the forms and publication hotline
at 202-707-9100, or through the Copyright Office's
internet site. Here are some of the information
circulars that may be most helpful to you:

* Circular 50, Copyright Registration of Musical
Compositions

* Circular 56, Copyright Registration of Sound
Recordings

* Circular 56a, Distinction Between Copyright
Registration of Musical Compositions and Sound
Recordings

In addition, the Copyright Office's information
specialists are available at 202-707-5959 on
weekdays from 8:30 a.m. to 5:00 p.m. EST to
respond to basic questions concerning copyright
registration. Recorded information is available
24 hours per day at 202-707-9100.

DISCLAIMER

This article is offered as an educational and
informational tool only, and should not be relied on
as legal advice. Applicability of the legal principles
discussed may differ substantially in individual
situations. If you have a specific legal problem, you
should consult an attorney.
________________________________________

Editor's Note: Joy R. Butler, Esq., is a principal and
the general counsel of Sashay Communications, LLC,
a publishing and media production company located
in the Washington, D.C. metropolitan area. She is
also author of "The Musician's Guide Through the
Legal Jungle," a 3-hour audiobook offering a faster,
easier way to understand music law. Visit
<http://www.legaljungleguide.com/musician.htm> for
audio excerpts and a detailed outline of "The
Musician's Guide," and for free music law resources.

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5. "Why a Good Photo is Worth 1000 Words...
And a Bad One Never Sees the Light of Day"

By Suzanne Glass


Having a good photo of your band is an absolute
necessity. While this sounds obvious, you'd be
surprised how many bands and artists neglect to do
it.

While surfing the Web recently looking for new bands
to feature at Indie-Music.com, I encountered a
frustrating problem: less than half the websites
contained high quality photos of the band. Sometimes,
I had to eliminate a band even after I heard their music
and loved it - just because there wasn't a good enough
picture to use!

Lots of the sites had "live" amateur photos available,
which were cool to look at, but they weren't suitable for
my use at Indie-Music.com. Why? Too dark, some
members not in the photo, too cluttered looking, you
name it. They just wouldn't reproduce well for my
feature.

Publications need good pictures to print. This is an
important point to remember. If your picture looks
like crap, it won't be printed. It isn't just the
commercial nature of the music business that
demands a quality photo image, it's the print
demands of publications. This includes newspapers,
magazine, websites, and most other places you
might get press in. Low quality (or just plain bad!)
photos will look completely awful when reproduced.

Getting your photo printed is worth a lot. Even if you
just get a small picture in the calendar section, it
makes your gig (and hence your BAND) stand out all
the more. Photos catch people's attention. This is
good.

So, what exactly IS a "good" photo? The basic
requirements include good brightness and contrast,
close-up enough to see the faces, and without too
much background clutter to distract from the band (or
look weird when the size is reduced). A clear simple
photograph is always better than a fancy, artsy one
that didn't come out the way you planned. The best
photos capture the band's look and image, creating a
seamless package with the music and other promo
materials.

First, seriously consider hiring a professional
photographer. Sometimes, you can find a talented
student in a local college photography department.
Someone with experience in entertainment/promo
photography is best. You can get by in a pinch with a
talented friend or spouse, but remember that you
really need a PROFESSIONAL photo.

When interviewing potential photographers, pay
attention to the rapport you feel with them. Being
comfortable is an essential part of getting good
pictures. (Also, make sure you ask the photographer
how he handles copyright and reproduction rights).
Be willing to spend a few bucks, and it will pay off in
more pictures of your band being printed, thus,
increasing the overall effectiveness of your
promotional campaigns.

If your budget allows, you can provide photos in both
black & white, as well as color, and color slides.
Some artists even provide a selection of photos (such
as one horizontal, one vertical) in their media kits.

However, for the rest of us who are on a budget, good
old B&W 8 x 10 glossy photographs are still the
industry standard. These are surprisingly cheap when
purchased in quantity (see
<http://Indie-Music.com/photos.htm> for good photo
reproduction places). They can print your logo and
contact information on the copies.

It's also important to take new promo pics on a
regular basis, at least once a year, if possible. Old
pictures are obvious to those publications you have
sent ten press releases to, and nobody wants to print
the same one twice.

If a band member is replaced, get a new picture as
soon as you can afford to. Avoid those weird
uncomfortable situations where you have to say,
"Well, this is a picture from before I was in the band,
but..." while the editor looks at you like a moron.

Try to keep a positive attitude in the band about
photo sessions. They are part of your job as an
entertainer. Shoots can even be fun if you have the
right attitude and the right photographer. Don't be
afraid to let your personality shine through. Try to
relax, so you can avoid the dreaded "deer in the
headlights" look.

Good photographers will give you feedback when
things are looking good, encourage you to "act
naturally" and have fun, and may even snap the pic
when you aren't expecting it. Try not to let your
hang-ups from 3rd grade school photo sessions
prevent you from getting a successful photo now
(actually, it's probably a good idea not to let ANY of
your 3rd grade hang-ups affect your music career,
but that's another article!).

Sometimes shooting a LOT of photos is the easiest
way if you're not an experienced model. Later, you
can view all the proofs, and only have prints made of
the best shots. Wear your stage clothes, and feel
free to bring changes of clothing with you. Shoot in
an interesting location. Either inside or outside is
fine, as long as the background is not too distracting.

Even if your first batch of pictures are disappointing,
don't despair. Just as you learn about playing in a
recording studio by listening back to the tape, you
can also spot problems by looking at the photos. If
your "serious sexy look" comes across as angry on
film, you can see it now and lighten up a bit for the
next photo shoot. Study other band's photos, and
even pictures in magazines to get ideas. Make it fun!

If you want more press, understand the publication's
requirements and provide a great photograph.
Remember that bad photos will not reproduce well.
They won't get printed...simple as that. Home pictures
probably aren't suitable. Following this plan won't
guarantee coverage. But NOT following it, guarantees
you WON'T get a big glossy feature article.
________________________________________

Editor's Note: Suzanne Glass is Pres./CEO of Indie-
Music.com, where you can save time & promote your
music free! 1000's of contacts for musicians, no cost,
no hassles. Download a FREE College Radio
E-Guide at http://Indie-Music.com/radioguide/.

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6. "Music Industry Wakeup Call: Adapt Or Die"
(An Historical Perspective on Music Media's
Acceptance/Rejection)"

By Christopher Knab


When FM radio began taking away listeners from the
inferior sounding AM band in the late 60's, the
recording industry viewed that as a threat to their
sales.

"Why," they said. "People will begin taping off
the radio onto reel-to-reel tapes and they will have a
near perfect analog master...people will never buy
records again."

Needless to say, people still bought vinyl LPs and 45s
by the truckload.

When the cassette tape arrived in the 70's, the
recording industry was so concerned they lobbied for
(and got) a blank tape tax to cover any possible
losses of income they might incur from people
dubbing vinyl recordings for private listening.

"Why," they said, "People will never buy records again."

Again, people still bought vinyl LPs and 45's by the
truckload.

When CDs came out in the early 80's, the recording
industry was concerned that a digital recording in the
hands of a consumer would severely hurt their sales,
so they raised the price of the new CDs and left their
recording contracts with artists with a clause stating
that, because CDs were a new technology, the artist
should be paid less per unit sold.

That clause can still be found in some recording
contracts today. They also encouraged the rapid
demise of vinyl records from retail store shelves in
order to force the consumer to adapt to the new
technology.

People bought their new and favorite old music over
again on CD and the recording industry went from a
multi-million dollar annual business, to a multi-billion
dollar business in less than a decade, as people
bought CDs by the truckload.

When downloadable digital music arrived in the late
90's, the recording industry saw another threat to their
income. Instead of embracing the new technology
immediately and seeing MP3 as the greatest
promotional opportunity of the century, they huddled
in hotel meeting rooms devising ways to encrypt and
watermark music.

And, while they were spinning around and around like
an old 78, computer nerd music lovers were busy
downloading and sharing the label's music, becoming
an army of unheralded promo reps.

Napster was born...and, people began downloading
music by the gigabyte truckload. All hell broke loose,
and computer illiterate label executives lost their load.

"Off with their heads! Put those SOB fans and
greedy young computer genius turks in jail! We are
the only ones who can be greedy!" they screamed.

And the recording industry became a police force
armed with laden lawsuits to punish their customers
for spreading the music around for free. Lies were
spread, press releases were written, and many
outraged millionaire artists piped up threatening also,
to sue their fans, (those dirty bastards who dared
support them when they were nothing).

Why the next thing you know, some of those mighty
celebrities might even threaten to stop recording
altogether. Ahm come on, say it isn't so!

It is an outrage...can you imagine? People are taking
music for free off the internet and not bothering to
pay the artist properly the way a record company
has always paid an artist(?!)

"We can't have people taking for free, a digitally
perfect master recording of the music we own. Why,
its not fair!" said the labels.

MP3...the same as a digitally mastered studio
recording?????

Well, let's pause for a moment to reflect on some facts.

* In 1999, the sales of music product went up again.

* Almost $14 billion truckloads of dollars were spent in
the U.S. on music. We are a long way from music fans
completely detaching themselves from the emotional
attachment they have to a plastic storage device that
contains a plastic disc surrounded by paper product
with pictures and lyrics of musicians on them.

* Yes, the future of the music business will mean an
eventual shift in the general order of things, as more
and more music lovers will continue to take, legally or
illegally, the music of creative people.

* Yes, both artists and labels will have to adapt to this
inevitability.

* Artists and labels will always need each other, as
not all artists will want to start and run their own
businesses devoted to promoting and selling their
music.

However! All parties need to get a bit of a grip!
Right now!

* The number of people downloading legal and illegal
music files will be growing rapidly.

* As of the spring of 2000, over 3,000,000 blank
CDRs are being sold every month.

* As CD burners become cheaper and included in
more and more computer packages, the number of
people burning their own CDs of favorite music will
escalate dramatically.

What this means is that there will be an ever-
increasing need to investigate other sources of
income from music. For example, the live
performance and touring phenomenon will never go
away.

* You cannot download the live experience of being
at a club or concert

* You can't autograph a bit or a byte, so there will
always be a demand for popular acts to play live

* Musicians should prepare to live on the road more
weeks out of every year.

* Also more creative thinking will have to come about
regarding finding alternative sources of income from
music.

* Songwriters and Publishers will have to devote
more time to securing film and television
synchronization deals for their songs, as well as
advertising opportunities.

* Merchandising of artist-related products must be
produced and sold more aggressively by aspiring
artists, as well as the time-tested classic acts.

The internet itself will also continue to open up new
ways for musicians, labels and music fans to benefit
from working together.

But it is time to stay on your toes, and looking for
alternative ways to expose and sell music should be
an around the clock activity for the new Millennium
musician.

Things are changing. Adapt or die.
________________________________________

Editor's Note: Chris Knab is one of the most influential
individuals in the commercial music industry. His
company, FourFront Media & Music, provides a unique
consultation and education service for independent
musicians and record labels that combines advice with
instructions on how to establish a music related career.
See his web site at http://www.knab.com.

************************************************************

7. "Creating A Proactive Business Plan"

By Derek Sivers


A good biz plan wins no matter what happens. In
doing this test marketing, you should create a plan
that will make you a success even if nobody comes
along with their magic wand.

Start now! Don't wait for a "deal."

Don't just record a "demo" that is meant only for
record companies.

You have all the resources you need to make a
finished CD that thousands of people will want to buy.
If you need more money, get it from anyone except a
record company.

And, if you're following your great business plan,
selling hundreds, then thousands of CDs, first selling
out small venues, then larger venues, getting on the
cover of magazines...you'll be doing so well that you
won't need a record deal.

And if a record deal IS offered to you, you'll be in the
fine position of taking it or leaving it. There's nothing
more attractive to an investor than someone who
doesn't need their money. Someone who's going to
be successful whether they're involved or not.

Make the kind of business plan that will get you to a
good sustainable level of success, even without a big
record deal. That way you'll win no matter what happens.
________________________________________

Editor's Note: Derek Sivers is Pres./CEO of CD Baby.
He and his organization are instrumental forces within
the independent music movement. Visit his web site at
http://www.cdbaby.com.

************************************************************

8. "Relax Already: An Example In Posturing"

By Mark Baxter


Another sweltering dog-day afternoon. Think I'll grab
a few frosty tall ones, find myself a shady tree and just
sit back and tense a while. I know that doesn't seem
like a cool thing to do, but the fact is most of us don't
know how to relax. Underlying tensions keep the
body taunt, even when we assume we are at rest.

If you lie an infant down on a beach blanket, an imprint
is made of the entire body. When an adult lies back,
the sand is only dented by the head, shoulder blades,
elbows, butt and heels. As we sing, this rigidity
inspires us to increase force, compromising
coordination, breathing, tone, pitch and range.

Of course, some tension is involved in singing, but
since you cannot feel your vocal folds or diaphragm
at work, it's safe to say any efforts you add are
suspect.

An obvious example of unnecessary tension is the
stiffness that accompanies a lousy day. Anger,
anxiety and stress can turn your neck into a tree trunk,
the jaw into a hydraulic press and make your limbs
feel as if you are moving through quicksand.

It's important to remember that excessive muscle
activity is always in response to an emotional state --
not a need for strength. A good warm up can do
wonders for a rigid body and mind.

* Focus on simple vocal tasks; don't ask for too much
too soon or you'll just get more pissed off.

* Take time to mellow out, even if it means delaying a
rehearsal or gig. The band might not appreciate it at
the time, but it's worth the prima donna tag if a
distracted vocal performance can be avoided.

* Don't confuse a bad mood with expressing anger
while singing. The tension necessary to rage has a
specific target and, therefore, is more likely to
release when the song is over.

It is the suppression of anger which causes muscles
to remain rigid. All the hard-core singers I know are
mellow people off stage.

Another source of underlying tension is poor posture.
It's a commonly held misconception that bones hold
the muscles in place (actually, it's the other way
around).

Muscles act as guy wires, suspending the skeleton in
position. Repetitive behaviors, like slouching while
playing drums, or shouldering the weight of a guitar,
force one muscle group to work harder than their
counterpart. This imbalance reshapes the body and
restricts the flexibility needed for singing.

Stretch often to maintain equal mobility and length in
your limbs; check your shoulders for position and
height. Drape your head over the side of a bed while
lying on your back and stomach to reverse neck
compression.

Fan your ribs with side stretches to free breathing.
Splurge every once in a while and get a professional
massage. It's not an extravagance -- it's preventative
maintenance for your instrument.

By far, the most stubborn tensions come from a lack
of coordination. Instinctively, we tighten up when we
feel out of control. Like a student driver's white
knuckles, singers often clench their jaws as a
solution for cracks and pitch problems. Constantly
adding external muscle overwhelms the tiny internal
coordination needed for singing and tires the body.

I know it's hard to believe "less is more" when your
neck is bulging and you're still flat, but true control is
only found by minimizing muscle activity.

Think of how your driving has improved since you've
released your grip on the steering wheel, and adopt
the same "light touch" approach to singing. Yes, the
voice will falter occasionally, but only due to a short
term imbalance.

Practice in private, allow yourself to crash and you
will discover a much more relaxed sense of control.
Avoid using words like "hit," "belt" and "support" as
they tend to instigate tension. Instead, think in literal
terms like "stretching" for high notes, "aligning
overtones" for volume.

Watch your jaw; it's the best gage for monitoring
overall body effort. Stress, posture and control issues
all show up there. If your jaw refuses to hang freely,
you are harboring tension.

And lastly, remember that learning to release is a
process. Every step towards proportion and balance
rewards your voice. The last thing you want to do is
stress out over not being loose. So, relax already!
________________________________________

Editor's Note: Mark Baxter is one of America's
leading professional Voice Coaches to Grammy
Award-winning recording artists. See his
instructional web site at http://www.voicelesson.com.

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9. Lost In Las Vegas: The EAT-M Conference"
(The key to, and importance of, strategic planning)

By Tim Sweeney


While I know that I have yelled and screamed in the
past about the importance of a marketing plan in your
career, it became more than evident to me to repeat
the message after my recent trip to the EAT'M
Convention.

I was amazed at the hundreds of artists who seem to
aimlessly wander around looking for someone to tell
them what to do. While there is no fault in looking for
the advice of others, it is important for you to have
your own sense of direction and goals.

Simply ask yourself, "What is my final goal for my
music and career? A record deal? Greater sales?
National exposure?" Regardless of the answer, it is
important for you to understand that you must have a
goal to strive for.

Even if it changes or multiplies as you begin and
continue on the journey towards it. Understand that it
is that journey, and your drive and determination
toward that (or those) goal/s, that will create new
opportunities that will, in turn, create even greater
results for your music.

Now, to eliminate your staring for hours at a blank
piece of paper and saying, "This is too hard," allow
me to 'jump-start' you...

The key to a good strategic marketing plan is to
identify everything in front of you. This is the basic
problem for most artists. For example, when I asked
various artists at EAT'M what they hoped to
accomplish, they replied, "I want a record deal," or
"To sell more CDs," or, "To play at bigger clubs, to
more people."

Now, here are the questions:

1. How are you going to get a get a record deal at a
music convention by simply playing or giving
someone a CD?

2. How are you going to sell more CDs when
everyone here is in a band?

3. How are you going to play at a bigger club when
you can't fill the current one you are playing at?

To succeed in this business you have to understand
that all of those things I just mentioned are possible
and have simple answers, but you have to "build"
towards them.

Instead of looking for a record deal at a convention,
or for more sales or greater shows right away, these
artists had to be taught that, in order to accomplish
these goals, they needed to start with the basics of
networking, and a belief in anti-competition (by the
way, this works in your everyday music career as
well!).

What does that mean? Well, let's begin to "build"
our story of success, first, taking the goals of the
artists at the convention.

1. How do you get better shows?

* Simple. Understand that you need more people to
come to your future ones so you can "out-grow" the
place you are playing right now.

2. How do you do that?

* Network with other artists. Combine your
audiences. Do joint emailing, sample tapes, etc.

* Be aggressive in finding new fans. Don't just mail
to your mailing list. Hit the streets around the clubs
to give out tapes and meet new people as if you are
running for political office. Don't just hand out flyers.
Give people something they can listen to!

As you get more people to your shows, especially
those you have talked with and/or who have heard a
copy your music, people will buy more CDs at your
shows.

* Be aggressive at your shows. Get everyone on the
mailing list AT THE DOOR of the club, NOT during,
or after, the show.

* Jump off the front of the stage and walk up to people
and introduce yourself. Ask them if they have your
CD. If they don't, tell them it's only $10.

Understand, for most independent artists, 75%+ of
all of their sales come from live shows and the
promotion surrounding it. Hence, the "word of mouth."

Once you can start playing bigger venues and selling
more CDs, guess what? The record companies
become interested. Find out what else they want to
see from you if your goal is to get signed.

Stop and understand that each goal is reachable, but
you must create a plan to reach it. Now, if you're still a
little lost, think about a few of these simple goals to
accomplish first this month.

* Get your own web site with your own domain name
(if possible).

*Please don't put it on those "free sites or services."
Look and be professional.

* Finish your CD. Don't play shows until you have
something to sell.

* Research and learn which radio stations, record
stores, press and venues are best for you, and who
are the "right" people to contact at each.

* Set up your record company so you get tax breaks
and get a check back from Clinton of some of the
money you have been spending.

* Go to other band's shows to meet them and talk
about working together.

Without a plan, even a short monthly one of the basic
things you should do this month, and minor goals you
are trying to reach first, it is impossible for you to
know not only if you are making any progress in
reaching them, but you won't even know when you
have accomplished it.
________________________________________

Editor's Note: Tim Sweeney is author of "The Guide
to Succeeding at Music Conventions," as well as the
best-selling author of "The Guide to Releasing
Independent Records." Contact him directly at
909-303-9506, as well as paying a visit to his web site
at http://www.tsamusic.com.

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10. "Hut 1...Hut 2...Hu-...Oops!"
Subtitled: Fumbling on the 'Music Biz' Goal Line

By Kenny Love


If you've ever watched your favorite football team
in a Super Bowl game, you can readily relate to
the maddening frustration of this with, hopefully,
some exclusions contained herein...maybe...

There your team is...4th quarter, 3rd and goal. The
opposing team is leading with a score of 21 to
your team's 20. Instead of using a bit of insurance
by electing to punt for the extra point to, at least, tie
the ballgame and buy some "overtime," some bright
idea is circulated throughout your team to, instead,
run the ball into the end zone.

"No! Don't do it!" you yell.

However, your yells and screams at the television
go largely unheeded (I wonder why?) You have an
instant premonition of Murphy's Law coming into full
effect. In fact, Murphy's Law is now upon you.

The quarterback cries, "33! 46! 33! 27! Hut! Hut!
Hu-..."

Crash! Boom! Knock!

"Ouch! Get off my finger!"

This sudden interruption in the quarterback's final
"Hut!" was largely the result of several very LARGE
men, with even larger uniforms, piling atop him.

"Well, on the final 30 seconds, a brick wall was
awaiting the quarterback," the television announcer
comments.

Oops! Ye olde Quarterback Sneak just ain't what
it used to be...the linemen are much smarter today.

When America's team, the Dallas Cowboys, would
lose in this ostentatious manner, in my house, you
had better be long gone from the room, and out the
front door, lest an unexpected trip to the Emergency
room awaited you.

For my brother, who was a wee bit more than simply
an avid fan, would literally cry, curse, slobber, break
furniture, hurt innocent bystanders and, subsequently,
seek a small caliber handgun for full effect (it is truly
awful to witness a grown man react in this manner).

Several minutes later, about a mile down the street,
and from behind a tree, I would yell back, "Mickey!
They're getting millions of dollars to lose the game!
All YOU'RE getting is acute hypertension! May I
come home now?"

While this article isn't about football, it is about a
game...the serious game of "Music Business." The
goals on each end of the field are called "online" and
"offline." The main player is you. Your opponent is
"publicity." Strange game, isn't it? :-)

One of the widely held misconceptions about the
Internet, especially for independent musicians, is that
it is an alternative, a replacement, a "savior," from
the traditional processes of the music industry.

I often wonder how many Indies, upon learning the
'Net could be used for promotion and distribution,
executed the "middle finger salute" to offline
distributors and record companies.

I can hear them say, "Ha! I don't need your distribution!
I don't need your record deal! Look at me NOOOOW!
Check out MY piece of the world! Ha!"

Any independent recording artist or label that believes
the surefire road to maximum CD sales success is
strictly through allowing the Internet to replace any
offline promotional efforts, is certainly misleading
themselves.

And, the reason it is misleading is, primarily, due to the
fact that the greater number of consumers (and potential
buyers of their music), for whatever reason, still are
without Internet access. And, one certainly can't
afford to ignore this particular sector.

But, the same is, otherwise, true of musicians and
labels, independent or major, that are still functioning,
primarily or exclusively, WITHOUT promoting their
recordings via the Internet. What this particular group
sacrifices in its promotional efforts and successful
results by NOT using the Internet, is time and the ability
to quickly establish business relationships in the long-
term promotional process.

What BOTH of these types of artists/labels need to
understand is that, in order to get the maximum
yardage out of the whole musical playing field,
they must utilize BOTH ends (online/offline) of the
field, together and effectively. Using both ends of
the musical field today, is the only way to score a
musical touchdown and, ultimately, a win.

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

* * * * * * HAVE A GREAT 4TH OF JULY!!! * * * * * *

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Publisher: N.M.A. (National Music Agency)
http://www.kennylove.net
Editor: Kenny Love
P. O. Box 1404
Crockett, Texas 75835-1404
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