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Volume 1: Issue 9 | The B# Newsletter | October, 2000
Publisher/Editor: Kenny Love
P. O. Box 1404
Crockett, Texas 75835-1404
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Copyright © 2000 Kenny Love

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"The B# Newsletter" is published, primarily, for
unsigned and independent musicians and recording
artists. Its intent is to inform and enlighten 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. Performance/Gig Gear News

3. Keep Those CDs Comin'!

4. B# RoundTable Discussion List

5. Music Career Stuff

6. "Seeking Sponsorship" - Part 1 of 3

By Carolyn Ballen

7. "PROs & Cons"
(Performing Rights Organizations)

By Suzanne Glass

8. "Career Planning" - Part 1 of 3

By Chris Knab

9. "Covering Songs" - Part 2
(If Licensing is Required to Cover the Song)

By Joy R. Butler, Esq.

10. "Fear of Falling"

By Mark Baxter

11. "Alternative Marketing & Thinking"
(The key to "sparking" CD sales and
buzz about your music)

By Tim Sweeney

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1. Editor's Blurb:

Welcome to the October issue of "B#." Finally! Some
cooler days are now cresting the mountains of Texas!
("I thought all of Texas was flat!"). What? You mean...
you mean, you didn't know Texas has mountains? Oh,
you're right! Sorry...I'm thinking of Germany. :-)

As I mentioned last month, the web site will be offline
for a while, as I revamp it to focus on newer directions
in which I am taking. Again, I've recently ceased
operating in many of the music areas. I'm now only
working with a few select clients in regard to Promotion
and Publicity while, primarily, concentrating on my
writing career.

And, speaking of writing for a moment, among my
writing interests is the upcoming publication of my 2nd
Fiction novel titled, "JigSaw," which I'm also happy to
report will be published next Spring. Yeehaa! I,
particularly, love the Fiction aspect of writing, and
delving into this arena has brought about a great
degree of satisfaction.

The "JigSaw" synopsis and 2-chapter excerpt has
already garnered some major media interest, among
which are quite a few reviewers, and a literary agent
for rights sales. If, in addition to music, you also like
Mystery novels, I invite you to check out the synopsis
and first 2 chapters of "JigSaw" by sending a blank
Email to mailto:jigsaw@.... I'd also
appreciate learning what you think of it. In advance,
thanks.

================

2. Performance/Gig Gear News

Know how you're always worrying about getting
your gear ripped off at gigs, while loading, unloading,
or on tour? Well, have *we* got a security device for
you! Since gear bags are fairly easy for thieves to just
pick up and keep going unnoticed, we've just become
a distributor of an amazing new security device called
the "Pacsafe" that will now eliminate the chances of
your gear getting stolen, whether you have it closeby,
or not. So, get more information by sending an Email
request to mailto:safegear@....

================

3. Keep Those CDs Comin'!

Keep those CDs comin' in for review consideration.
I've found some great jewels in the packages I've
received so far, and they are, indeed, a pleasure to
listen to. Again, I'm not only now reviewing for the
"Orlando Weekly," but also for about 150 additional
music publications that consist of both online *and*
print media as well. So, a favorable review for your
CD in even one-fourth of these publications could
mean a substantial stepping stone in your career,
along with increased sales. So, keep 'em comin'!

Again, make sure that your CDs are recent productions
with a *CURRENT* Copyright date. I'm not reviewing
any product with less than a 2000 Copyright date. And,
at this point in the year, you should also begin to place
the "2001" Copyright date on your work if it is still in
production, or is en route to the manufacturer.

To learn why, see my tip in the "Editor's Blurb" of last
month's issue of "B#" for more in-depth "inside" info on
Copyrighting your recording in a timely manner for the
media by sending a blank Email request to
mailto:bsharp0900@....

Also, if you have any questions regarding Copyright,
you should definitely read Music Business Attorney
Joy Butler's articles on Copyright in several previous
issues of the "B# Newsletter."

================

4. B# RoundTable Discussion List

Check out the B# RoundTable discussion list for various
opinions and assistance regarding your music career.
Some great "pow wow" is always taking place over
there, and if you are not yet a member of the discussion
list, and are simply waiting each month for the newsletter,
you are truly missing out on the sharing of some
very important and invaluable "real time" info.

This is information, whereby, it may be months before
being addressed in the newsletter, or may never be
covered at all. So, yet, another reason to sign up for
the "real time" discussion. There is also a nice eclectic
mix of music people on the list which includes artists,
radio disc jockeys, managers, music magazine
publishers, and others...and, all members of the "B#
Newsletter."

Not only might you pick up some great info from several
different areas of the music business for your own career,
but you probably have some info of your own that *we*
who are already on the list, need to learn about as well.
So, go ahead and subscribe. We'd love to have ya. To
join, simply send a blank Email to
mailto:BSharpRoundTable-subscribe@egroups.com.

Remember, the discussion list is *exclusive* to members
of the newsletter, and you *must* be a regular newsletter
subscriber prior to joining the discussion list.

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5. Music Career Stuff

* CD STREET

What's so unique about "CDSTREET.COM?" Well
now, let's see...

- 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 get paid from CD sales
- You are paid monthly for your CD sales

Hmm...yep...this is a *lot* better set-up than those
"other guys."

Check out Glenn, Brad, Courtney, and the rest of
the gang at http://www.cdstreet.com,and tell them
you learned about their great service in Kenny Love's
"B# Newsletter."

* ELIMINATE GEAR THEFT AT GIGS

Tired of worrying about getting your instrument or
gear ripped off at every gig you play? There's a
lot of that going around, ya know. And, if you're tired
of stressing out over it, you need to pick up the new
high-security system called, "Pacsafe," that is every
"pick-up-and-run" thief's worst nightmare. To read
all about it, send a blank Email request to:
safegear@....

* MI2N Unveils New Web Site Consisting of Following:

- Redesigned Site Featuring E-wire, An Email
Self-publishing Tool, And QuickNews - A Rapid News
Retrieval Feature
- Joins forces with iSyndiate partner to market private
label content solution
- Announces R2N, daily source for news on radio and
the net

Check out the respective web links at:

http://mi2n.com/press.php3?press_nb=13116
http://mi2n.com/press.php3?press_nb=13117
http://mi2n.com/press.php3?press_nb=13116

* Do a fellow musician a wonderful favor today...tell 'em
about the "B# Newsletter," or simply forward this copy
to them.

* Promote your own Music-Related Product, Service,
or Information in this space for only $10 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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6. "Seeking Sponsorship" - Part 1 of 3

By Carolyn Ballen


Whether you're in a band, organizing an event, or
fundraising for an organization, sponsors can offer
you crucial financial and/or promotional support.

Here's the key: If you have people coming to your
shows or events, you're also attracting people who
someone or company might wish to market and
promote to. Music fans are a "market segment" that
offer value to a wide range of companies. If a ton of
people are coming out to your shows, there might be
a company that will be willing to cover all touring
expenses for a year, the cost of CD replication, a new
wardrobe, or all of it...

All of this, however, often depends on how good a
salesperson you are, and how many calls you make.
It's a numbers game, and persistence pays off. The
more people you call, and the more comfortable you
get with your sales technique, the higher your chances
are that someone will say, "YES."

Remember...sales is another entity all of its own, and
there are about a million books written about it...books
on tape (which I love), and which you can probably get
at your local library. You can also search around on the
Internet. I found some good tips at the following Web
sites:

http://www.tracyint.com/baxterbean/ta.htm
http://www.cybertip.net/samples/sales.html
http://www.adja.org/salestip.html

One thing that can help (if you don't have a velvet
tongue) is to let your materials do most of the "talking."
Create a sponsorship profile that is professional and
explains the benefits that you can provide, as well as
providing important background information.

Creating Your Sponsorship Profile:

When your materials speak for you, it minimizes the
time needed to sell the event. Also, remember that the
printed page can be well structured and organized,
whereas, your oral presentation can fall short due to
time limitations, nerves, or a host of other factors.

Your Sponsorship Profile should include several
sections outlining and describing your music or event.
Your goal should be to give people a sense of what
you are doing...from a broad perspective, to a narrow
perspective, depending on how deeply they delve into
your Profile or, quite literally, how many pages they turn.

You must start from the broadest prospective in case
someone only reads the first page. At the least, in
doing so, they will have a grand sense of the event. If
you had only 5 seconds to make your pitch, the
information would be very different than if you had a
half an hour.

1) Title Page: The 5 Second Pitch

This should simply include the basics about the event.
Start with the title of your event as well as the materials
you will be sending them. In the case of this article, you
are creating an "Event/Band/Artist" & Sponsorship
Profile.

My Title Page then lists my confirmed upcoming
schedule (or the date and time of the proposed event),
a table of contents (for long profiles), and contact
information.

Note: If things are unclear as you are reading them,
they may become clearer if you see an example in
action. My contact information is at the end of this
article if you are interested in seeing a copy of the
Event & Sponsorship Profile that I use for The Indie
Music Forum.

2) Event Overview: The 5 Minute Pitch

If someone opens your Event & Sponsorship Profile,
and turns to the Event Overview page, they are in
effect saying, "Okay, tell me a little more...what is this
all about?"

Now that you've gotten their attention, you want to give
them a quick taste of what the event is, why you are
doing it, and how it's great and unique!

Your first sentence should convey the complete story,
then dive into more specifics from there. (e.g. "The
Indie Music Forum is an educational seminar designed
to provide musicians, managers, or those starting new
labels with a better understanding of the core elements
crucial to handling the business side of music.")

As you proceed, you want to support your first sentence
by explaining how that broad goal is realized and
ensured, the elements that are unique to your event,
and what you hope to accomplish. Your profile should
make people want to read more, hear more or, at least,
consent to speak at another time.

Your goal: Make readers want to turn the page and
see what's next...

3) The Benefits of Sponsorship:

What's in it for them? Keep in mind that this is one of
the most important parts of the proposal. Think about
all the ways you can provide value to a potential
sponsor. I recommend listing as much as you can, then
asking around for more ideas, and thinking about it
more.

When away, make notes on scrap paper. Make this
section as "beefy" as possible. You know how your
event or gig runs, and what aspects that would service
a sponsor with the best promotional band. Emphasize
and explain these things as well you can.

Possible Benefits of Sponsorship could include:

*Personal endorsement from a Loyal Customer
(meaning you would spread the good word with
conviction!)
*Large loyal following
*Banner at all gigs
*Ad in CD
*Hand out brochures on Merch table at shows
*Raffles & Giveaways
*Stage Mentions & Testimonials
*Logo on Printed Materials (Flyers, Posters)
*Web site Promotion
*Promotion in Band Emails

Your goal: Make people say, "Hmmm, there are so
many aspects of promotion here, I think that this would
really expand our brand awareness and expose us to
the people that we're looking to get our message out to."
________________________________________

Editor's Note: Be sure to review Part 2 next month.
Carolyn Ballen produces The Indie Music Forum, a
traveling seminar for those just starting out in the music
business or just getting involved in the business of their
music. See her web site at
http://www.IndieMusicForum.com.

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7. "PROs & Cons"
(Performing Rights Organizations)

By Suzanne Glass


One of the most often asked questions in the music
business involves Performing Rights Organizations
(PROs) like ASCAP, BMI, or SESAC.

"What are performing rights organizations?"

"Why should I join one?"

"Which is the best to join?"


What are PROs?

PROs collect the royalties due artists for public
performances of their copyrighted works. This includes
radio and TV performances, use in other forms of
media, and public performance (live or on a jukebox).
The copyright owner is entitled to varying royalties from
each performance of his music. The PROs track,
license, collect fees, and distribute royalties. They
collect royalties for, and represent songwriters, lyricists,
composers, and publishers.

What are PROs NOT?

PROs are not record labels, publishers, or promoters.
Nor, are they unions. They do not license mechanical
rights (rights to make CDs, tapes, or other copies).
They are also not booking agencies or personal
managers.

Who Can Join PROs?

Writers and Publishing companies can both join a PRO.
You can join as a songwriter, or if you have your own
publishing company, you can join as a publisher.
Membership requirements vary, but they generally want
proof that your music has been publicly performed or
published. As you can see, most songwriters already
qualify for membership.

Publishing Companies can be a bit more complicated
(and expensive) to register, but are necessary when
more than one person holds rights in the creation or
ownership of a song.

You can only be a member of one performing rights
organization at any given time. Anyone who meets the
requirements can join ASCAP or BMI, while SESAC
uses an approval method to grant membership.

What are the names of the PROs in the United States?

There are three PROs in the U. S., and a writer may join
only one. The US PROs have reciprocal agreements
with PROs globally, so you can be paid if your music is
performed internationally.

ASCAP - The American Society of Composers,
Authors, and Publishers

ASCAP, with over 80,000 members, was formed in
1914 and has offices in New York, Los Angeles,
Nashville, London, and other cities. Become a
member by requesting a membership application at
http://www.ascap.com/membership/whereisascap.html.
Once approved for membership, annual dues are $10
for writer members and $50 for publishers.

BMI - Broadcast Music Incorporated

Formed nearly 60 years ago, BMI has offices in
New York, Nashville, Los Angeles, London, and other
regional locations. They are the largest PRO, boasting
140,000 writers and 60,000 publishers.

To join, songwriters and publishers choose the office
in the area in which they live/work and send an e-mail
message to the appropriate Writer/Publisher
Representative. See http://www.bmi.com/about/contact.asp.
Fees: No fees required for writers to become members,
however, there is a $150 or $250 fee to become a
publisher member.

SESAC

SESAC is headquartered in Nashville, with offices in
New York and London. SESAC is smaller than
ASCAP and BMI. It began in 1930, supporting
European and Gospel artists. Since then, SESAC has
diversified to include most forms of popular music.

Unlike the other performing rights organizations,
SESAC has a selective process by which to affiliate
songwriters and publishers. For more information
about becoming affiliated with SESAC, check out the
writer/publisher relations section on their web site
http://www.sesac.com/Affiliations.htm
Fees: None, if you are selected for membership.


"How Do PROs Work?" Should I Join?"

You should join a PRO if you want to be paid for the
public performance of your compositions from radio,
media, and other music users such as bars, shopping
malls, concert halls, etc. Since it is relatively
inexpensive to join a PRO, you might want to join as
soon as your music is being performed in public. Once
you join, the PRO asks for information on each of your
songs or compositions.

It then tracks performances, airplay, processes the
data, then distributes payment to its member artists.
Each PRO tracks the royalties due only to its members.
It is possible, though, for two co-writers to each belong
to a different PRO. Tracking and royalty payments may
vary substantially between the different PROs, meaning
one writer may earn more money quicker than the
co-writer who is with the other PRO.

Unfortunately, tracking methods for public performances
are not exact. Artists are not paid for the exact number
of plays. The PROs use sample tracking data that they
then manipulate mathematically to arrive at their
payment schemes. Some artists feel that current
sampling methods favor established hit-making
superstars over smaller indie artists when payday
comes.

PROs charge licensing fees to radio, venues, and
other music users annually, and this is how the money
is derived that pays artists royalties.

PROs also offer various educational and networking
opportunities, including seminars and showcases.
These are often conducted in cities that have local
PRO offices. More information is available at the
PRO web sites.

"Which PRO Should I Join?"

This is a hotly debated question that has no clear cut
answer. Some people have had a great experience
with one PRO, while the next guy has had the opposite
experience. Member satisfaction seems to be based
more on the personal experiences writers have had
with representatives of the PROs.

Since each writer's goals are different, the best choice
is to read the information from each PRO, talk to the
representatives, and ask your fellow musicians. Many
musicians have a passionate story about their
experience with a particular PRO or representative.

Companies sometimes even form both an ASCAP
and a BMI Publishing company so they can collect
royalties easily, no matter which PRO a writer belongs
to. The PRO you choose to represent you will be
determined by your unique needs, location, music
style, and more. Your instinct will point you in the
right direction.
________________________________________

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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8. "Career Planning" - Part 1 of 3

By Christopher Knab


Starting a band is more than just finding the right
musicians, writing songs, rehearsing, and getting
out and playing them. For any serious group of
musicians who believe it has great songs ready for
the consumer marketplace, it should consider setting
business goals. The following prototype of a career
plan is an in-depth look at how much work is involved
in launching a career.

As with any prototype plan, the following information is
advisory only. It contains information about the
business of music as it pertains to the initial start-up of
a band.

There are 10 goals to examine, and I hope these ideas
get your wheels spinning in the right direction. I also go
into detail regarding WHY you need to consider each
goal, as well as providing you with some detailed
information on what issues may arise when tackling a
goal, as well as some specific advice on how to carry
out some of the goals.

Goal #1:

Band Agreement

The time to make an agreement is now, when
everybody is friendly and you are just about to start a
possible career. It is sometimes impossible to solve
the problems of a band that's been together for a fair
amount of time, signed record deals and performed
live. No one likes to talk about anything negative (like
breakups) when everything is working well but, when
everything is going well, is exactly the time to discuss
it, because it can then be done in a friendly way.

It's like insurance...you may never need it, but you'll sure
be glad you have it *should* you ever need it. No lawyer
is required to execute a band agreement. It is a good
idea, though, to have an entertainment lawyer review
the agreement before you further undertake any major
obligations, such as signing a recording contract. Here
are some issues you should resolve in a band
agreement:

1) Copyright Ownership

Set up a publishing company as soon as you have a
commercial market for your music. You do not need a
publishing company until there is activity from (and with)
your songs. Please consider the following options:

* Set up a publishing company making all band members
owners and equal partners (writers) of that company and
the songs previously written.

* Set up some kind of participation contract in a situation
where there is only one main writer, but the writer wishes
to share a certain percentage of writer/publisher royalties
with band members for good will.

2) Contribution

"What kind of vote does it take to make band members
contribute to the band (put in money the group needs to
buy equipment, cover unexpected expenses, etc.)?"

Decisions may be based on the concepts of either
"majority rules" or "unanimous."

3) Share of Profit and Loss

You will have to define how the money (profit or loss) is
divided. Either make all band members equal partners
and divide profit or loss equally, or distribute the profit
or debit the loss based upon the percentage owned
(i.e., in case you founded a corporation with each
person owning a certain percentage).

4) Band Name

You should also discuss if you want to give all members
ownership of the name. Please consider the following
options:

* No one can use the name if the group breaks up,
regardless of how many of the band's members still
perform together.

* Any majority of the group members performing
together can use the name. For example, if there are
7 people in a group that breaks up, then 4 of them
together can use the name.

* Only the lead singer, (name), can use the name,
regardless of who he/she is performing with.

* Only (name), the songwriter who founded the group
and created the name, can use the name, regardless
of who he/she is performing with.

* (Name of songwriter who founded the group and
created the name) and (name of lead singer) can use
the name as long as they perform together but, if they
don't, no one can use the name.

* "Majority rules." If the band doesn't do anything, what
most likely will happen is that the band name will be
treated the same way as any other business partnership
asset...meaning, that any of the partners has the
nonexclusive right to use it.

5) Firing

"What kind of vote does it take to fire a band member?"

Basically, the choice is between "majority rules" or
"unanimous."

6) Hiring

"What kind of vote does it take to hire a new musician
or to hire a lawyer, agent, or manager?"

Once again, the two basic options are "majority" or
"unanimous."

7) Quitting

"Is everyone free to quit at will?"

There is no way to force someone to continue working
with a group. Please consider the following options:

* Let people go if they're unhappy, as long as they don't
walk out in the middle of a tour.

* Stop a band member from working as a musical artist
after quitting, or require the member to pay his or her
solo earnings to the partnership (meaning the other
group members get a piece).

8) Incurring Expenses

"What kind of vote does it take to approve the group's
spending money?"

The two basic choices are, once more, "majority rules"
or "unanimous."

9) Amendment of the Band Agreement

"What kind of vote does it take to change the terms of
the band agreement?"

I would suggest that the band either lets "majority" rule,
or require an "unanimous" decision.

10) Ex-Members

"What happens after one person is terminated or after
somebody quits?"

One option is that the person who leaves the band
keeps his/her percentage level for past activities, or
another option is that the person who leaves the band
does not keep his/her percentage for future activities.

11) Sole Proprietorship, Partnership, or Corporation?
In a later stage of your career you will have to think
about and define the "relationship" among yourselves.
Especially once you start generating income you will
have to decide what form of business ownership you
want to set up.
________________________________________

Editor's Note: This columns series will be continued
in the November, 2000 issue. Chris Knab's company,
FourFront Media & Music, provides consultation and
education services 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.

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

9. "Covering Songs" - Part 2
(If Licensing is Required to Cover the Song)

By Joy R. Butler, Esq.


This is Part 2 of a 3-part article on covering songs.
When you cover a song, you are making a recording
of a song written by, or owned by someone else.

In Part 1, we talked about determining whether the song
to be covered is in the public domain. Part 2, we
address which licensing rights you'll need if the song
isn't in the public domain, while in Part 3, we'll discuss
special Copyright registration considerations for your
cover song.

If you determine that a song is protected by copyright
law, you will need a mechanical license in order to
cover it. This license can be a compulsory mechanical
license, or a negotiated mechanical license.

A. Compulsory Mechanical License

The compulsory mechanical license is a creation of the
United States Copyright Act, and here's how it works.

Once a song has been commercially released, you may
can your own recording of that song and sell copies of
your recorded version. You must give certain notices
and accountings to the song's copyright owner, and pay
him the mechanical license fees set by law.

In order for a compulsory mechanical license to be valid,
the copyright owner must have authorized the
commercial release of the song, and the song must be
non-dramatic. While the Copyright Act doesn't provide
a specific definition for the term "non-dramatic song,"
most people think of it as a song that's not from a
musical or an opera.

The compulsory mechanical license rate (also referred
to as the statutory rate) is periodically modified. The
current statutory rate is 7.55¢ per song, per record,
distributed for recordings of up to five minutes. If the
recording is more than five minutes, the rate is 1.45¢
per minute per record.

The next change is scheduled to become effective on
January 1, 2002. As of that date, the statutory rate will
increase to 8¢ for recordings up to 5 minutes, and
1.55¢ per minute for recordings over 5 minutes.

A compulsory mechanical license allows you to make
another musical arrangement as necessary to conform
the song to your style and interpretation. However, you
cannot change the basic melody, the lyrics, or the
fundamental character of the song without permission
from the song's owner.

B. Negotiated Mechanical License

Because the notice and accounting requirements of the
compulsory mechanical license are quite cumbersome,
most mechanical licenses are, in fact, negotiated.
Nevertheless, the statutory rate still has substantial
importance because it provides a guideline for setting
the negotiated license fee.

If you opt for a negotiated license, you may want to start
with the Harry Fox Agency, which is authorized to issue
mechanical licenses on behalf of more than 22,000 music
publishers. You can get the mechanical license request
form online at http://www.nmpa.org/hfa/mechanical.html.

The Harry Fox Agency issues a standard mechanical
license which, other than relaxing the notice and
accounting requirements, substantially mirrors the
compulsory mechanical license. That means you will
pay the statutory rate, and have authorization to make
a new musical arrangement.
________________________________________

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.

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

10. "Fear of Falling"

By Mark Baxter


Learning to sing is a lot like strapping on a pair of roller
blades for the first time. Some people are fearless (or
maybe reckless is a better word) and fly off with little
regard to the laws of gravity. They immediately fall flat
on their ass, laugh, and get right back up to try again.

Most people, though, would rather not spend the day
bouncing on the pavement. These folks approach the
challenge with one agenda: do not fall. This mindset
dominates their muscles. As soon as they are hoisted
onto their wheels, they forget to bend. They shuffle
along stiff-legged, clinging desperately to any lamp
post, tree, or person within reach.

The irony is that these people constantly hit the ground.
The rigid body, which reflects their fear of falling,
causes their loss of balance. Their inability to loosen
up also prevents them from developing a feel for shifting
body weight from skate to skate. So, at the end of the
day, both personality types have sore butts, but the
carefree people have at least learned how to roller
blade.

We often brace in anticipation of singing a bad note
as if it will hurt our bodies. It won't. A bruise to the
ego and a bruise to the vocal folds are completely
different things. Like fearful skaters, it's the singers
who fear a vocal slip that cause themselves the most
problems.

Perfectionists, introverts, and people who pride
themselves on having good pitch, are usually the worst
offenders. Ironically, tone, pitch, emotion, and longevity
all suffer due to the over involvement of protective
muscles like the tongue, jaw and neck. A cautious
attitude doesn't even insure that you will avoid vocal
strain. Like falling, stiffening your muscles because
you fear injury often causes more damage than if the
body was loose.

Singing is a balancing act. The expectation that notes
should always roll perfectly out of our mouths,
especially when we're just learning, is absurd. But,
don't be too hard on yourself if you're finding it difficult to
let go...it's not your fault. Pressure is placed on us the
moment we begin to explore our voices. For some
reason, children are allowed to be clueless on every
instrument except the voice.

Nobody rips the violin out of little Suzy's hands as she
saws her way through, "Three Blind Mice," but heaven
forbid if she's out of tune when she sings the same song.
Kids who struggle with singing in grade school, are
usually detoured into sports programs, or given a
tambourine. Wouldn't it have been great if they did that
with math? Later in life, the stigma of falling off pitch, or
hitting a crack, silences many would-be singers.

It is vital that you allow yourself to sound bad as you
work to improve your voice. Find a private place where
no one can hear you; it's hard enough to tune out your
internal critic, let alone opinionated roommates and
family members. Your goal, when vocalizing, is to
minimize muscle involvement -- no matter how bad it
sounds at first.

For this reason, it is important to distinguish the
difference between sound and feel. We often say a
note feels bad when it actually just sounds bad.
Sounding bad is okay, feeling bad is not. Some
people will put up with tremendous discomfort in
order to make something sound better.

Singing should feel like nothing...like rolling down a
stretch of smooth pavement. Correct notes are just
as easy to sing as incorrect notes, so don't add any
effort when you want to sing something better. Cracks
are simply a momentary loss of balance. They do not
hurt you physically, so try not to wince if one zings out
unexpectedly.

To gain control of your voice, you need to learn to
release your face, jaw, tongue and neck. Just like
relaxing your arms and legs when skating, this usually
creates a short term loss of control. Re-visit this
slippery feeling until it's trusted and you will be
rewarded with effortless singing. The only difference
between singing and roller blading, is that you won't
have to sit funny while you're learning.
________________________________________

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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11. "Alternative Marketing & Thinking"
(The key to "sparking" CD sales and
buzz about your music)

By Tim Sweeney


Its always interesting when I am giving workshops
around the country, and artists come to me and tell me
about their "new" marketing ideas. The funny part is
that when they tell me their "new" idea, it's usually
something I have been preaching and using on my
developing artists for the last 18 years.

Since I ran across an example of this last night, I
thought I would share with you...a philosophy I have
been teaching indie and major label artists for years.
I call it, "Alternative Thinking." Here's how it works.

Most artists' careers become limited or stagnate
because they rely too heavily on the commercial or
college radio stations to play their music and the press
to write about them to gain exposure. The problems
for the artists start when the radio and press either do
not have a current interest, or no longer have any future
interest in them.

Without "Alternative Thinking," most artists are usually
dropped from their labels and/or get discouraged from
putting out more CDs and playing shows.

Here's an example of where you can use "Alternative
Thinking" to solve the problem of commercial radio
stations not being interested in playing your CD.

First, identify the station in the market that you believe
should be playing your CD.

Second, after you have sent in your CD, and they
rejected you, listen to that station faithfully and review
their web site to find out when and where they will
host their "free events," i.e., station events that are held
at malls, beaches, or parks, and events where station
personnel hands out free concert tickets, tee shirts,
station junk, etc.

Third, show up with back packs full of free sample CDs
or tapes (with your contact & web site info on them and
when & where you are playing next) and hand them out
to everyone there. Tell the people it is an "advance"
sample of your new CD and the station will probably be
playing it in the next month. Right now, you are there to
hand out these free samples copies to let people know
when the CD is coming out, or where you will be playing
next.

Now, let's stop and think for a moment! You want radio
airplay to capture the attention of that station's fanatical
fans because they buy CDs, go to shows, and spread
the word of mouth about a new artists, right? Since the
station won't play your songs, but they are "kind enough"
to gather the fanatical fans for you at an event, why not
take advantage of their generosity?

Go meet the listeners of the station directly that you
want the station's airplay to put you in touch with in the
first place! After all, don't fanatical fans want to "meet
the artists" and "bond" with them?

Think "Alternatively" and you will see that you are selling
more CDs with a bigger buzz around town. If you want
more "Alternative Thoughts" on how to sell more CDs,
and create more attention for your music, check
out a copy of my cassette series, "The Living Room
Sessions."
________________________________________

Editor's Note: Tim Sweeney is host of "The Living
Room Sessions," an audio cassette series, 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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Volume 1: Issue 9 | The B# Newsletter | October, 2000
Publisher/Editor: Kenny Love
P. O. Box 1404
Crockett, Texas 75835-1404
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