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Volume 1: Issue 11| The B# Newsletter | December, 2000
Publisher/Editor: Kenny Love
P. O. Box 1404
Crockett, Texas 75835-1404
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http://www.egroups.com/group/BSharpNews
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Copyright © 2000 Kenny Love

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"The B# Newsletter" is published 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. B# RoundTable Discussion List

3. Music Career Stuff (Necessary Evils)

4. All In Jest...

5. "Self-Perspective"

6. "Working With A Designer"

By Carolyn Ballen

7. "Career Planning - Part 3"

By Christopher Knab

8. "Dodging the Risks of Live Performances"

By Joy R. Butler, Esq.

9. "Power Breathing - Part 2"

By Mark Baxter

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1. Editor's Blurb:

Welcome to Fantasy Island, er, I mean, the Dec.
issue of the "B# Newsletter!" As you can tell, I am
already getting a jump on the spirit of the season
and a positive attitude required for each annual
ritual of what must set a Guinness record for
commercialism. And, on that note, pardon the pun,
I wish to impart a very Merry Christmas and Happy
Holiday season to you.

In the interest of the season, and as I do so annually,
I have drafted my ritualistic letter to Santa. But, this
year, the letter is taking a twisted turn only Stephen
King could appreciate. In fact, in my letter this year,
I am asking Santa for things *not* to bring me. And,
I thought I would briefly share several of these items
with you, so here goes...

My Wish List of Things for Santa *Not* to Bring:

a. Musicians who send me CDs for review, and in
order to guarantee the review, attempt to strong-arm
me by threatening a shortage of my life span with
lotions, potions, chants, curses, cantankerous
incantations, and other vile and unnatural things that
go bump in the night. For an example, review
http://www.musicdish.com/mag/index.php3?id=2132.

b. Musicians who upon my refusal after 6 months to
continue representing them, ask for their CD back.

c. Or, "Christian" recording artists who get upset
with me for refusing to "manage" their careers, and
tell me to go to hell.

d. Then, there are the musicians who aspire to
become recording artists, sending me 30-page
emails in ALL CAPS, bragging on themselves,
bragging on their next of kin, and just plain
bragging for the sake of bragging. For an example
that occurred on a recent Halloween (literally) see
http://www.musicdish.com/mag/index.php3?id=226.

e. Finally, there are the band managers I also wish
to avoid who spew their venom touting long-term
experience in the music industry but, alas, can't
seem to get up enough nerve to make a simple
phone call to a club manager on behalf of a band
they are managing for a gig.

These are but a few of "my favorite things" I am
asking, no, begging Santa to leave at the North Pole,
and to not place in my stocking this year. He's,
generally, a good chap about honoring my wish list.
And, I have been an awfully good boy this year, well,
except for that little notice I posted for my label back
a few months ago for a 20-something artist that got
me burned at the stake faster than Joan de Arc.

So, how about you? Got your "wish list" together
yet? If not, you'd better hurry. And, for our
subscribers who are in Florida, I've been instructed
to inform you that you have an imposed deadline of
Dec. 12/5:00 p.m. for having all letters to Santa
postmarked. After that, the Secretary of State,
allegedly, will not allow the local postmaster to
authorize any re-deliveries to the North Pole.

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2. B# RoundTable Discussion List

Check out the "B# RoundTable" discussion list, a
'members-only' list exclusively for regular
subscribers of the "B# Newsletter."

a. List member Nige Brown says:

"Hi, I've only been a member a few days, however,
I would like to say that the B# newsletter is brilliant,
the most informative writing I've read about the
music business, and it covers all areas. I'm really
pleased about all the tips I've picked up and am
currently reading all the back copies. Keep those
words of wisdom coming!"

~ Nige
http://www.peoplesound.com/artist/stereovision

b. List member Glen Willows says:

"The B# RoundTable is an informative, but never
dull, discussion of all things musical. It hosts an
impressive array of knowledgeable industry insiders
and musicians, and engages all the hot-button
issues of today's music industry.

As a host, Kenny contributes his own witty
comments while keeping things in line in a graceful
and unobtrusive manner. Could be the perfect list
for musicians and those who love music!!"

~ Glen

We'd also like to get your thoughts on how you have
found the "B# Newsletter," or if you are already on
the discussion list, how you find it as well. We'll
post them right here, along with a link to your CD,
site, business, or service. So, let us know, okay?

To join the discussion list, simply send a blank
Email to:
mailto:BSharpRoundTable-subscribe@egroups.com.

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3. Music Career Stuff

* CD Street.com Points of Note:

- 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
- You can accept credit cards for CD sales at Gigs

Check them out at http://www.cdstreet.com and be
sure to tell them you learned about them in
Kenny Love's "B# Newsletter."

* PayPal...A Music Friend Indeed...

Having trouble setting up a merchant account for
credit card sales on your own web site due to bad
credit or no credit? Or, want to get your money for
web site sales instantly without waiting 30 days on
other sites? Then, PayPal lets you eliminate both
these dilemmas. To get started, just click on the
link below.

https://secure.paypal.com/refer/pal=kennylovepr%40yahoo.com

* "Big $ With Your Computer"

During off nights & gig breaks, why not put your PC
& software skills to great use in 2 little-known, but
high-profit ventures. Get more detailed info at
skills@....


* Need some professional Radio Airplay & Press
Publicity, but can't afford all the scary high prices
you've seen from other promoters and publicists?
Check me out at kennylove@....

* Promote your own Music-Related Product,
Service, or Information here 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.

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

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4. All In Jest

a. A manager searched everywhere for the lead
singer of his band that was scheduled for its debut
appearance on "Showtime At The Apollo" in only
2 hours.

Finally, finding the lead singer plastered in a
drunken stupor, and instantly having a sudden
realization that the 'Apollo' crowd would, possibly,
laugh the band out of New York, the manager
disgustingly said...

"If I was in your condition, I'd just shoot myself."

To which the lead singer responded...

"If *you* were in *my* condition, you'd miss!"

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

b. During Texas summer months, it gets so hot
during outside gigs, that we once saw a musician
chasing a club owner for his money after the gig,
and they were both crawling.

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

5. "Self-Perspective"

By Kenny Love with Alan Horvath


This is a special perspective that was shared on the
"B# RoundTable" discussion list by member Alan
Horvath, who has had an extensive career within the
commercial music business that I felt would benefit
us this month.

This interchange regarded a perusal of two long-
standing artist perspectives in the commercial
music industry...artists who are generally
considered "fast-buck, quick-sell fads," VS. artists
who are generally considered ones providing
"standards" and leaving legacies, but who will also
rarely experience the true financial "brass ring."

Perhaps, upon review of it, you will come away with
your own unique perspective as well. You can also
review this communication on the MI2N web site at
http://www.mi2n.com/press.php3?press_nb=15364
complete with Alan and his favorite axe...live and in
living color.

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

> Alan, if you've noticed over the years, and I'm sure
> you have, the youthful bubble-gum artists like
> Britney Spears, NSync, BackStreet Boys, etc.,
> most are so shallow musically, phony vocally, and
> rarely ever last.

*Always*...it's always been that way. Which just
goes to show...there **is** hope in the world! :o)

> The one reason I'm glad to be a Jazz artist, and
> the same reason you are probably glad to be a
> Folk artist, is that our styles don't get trapped into
> that ~~~wavery~~~~ voice style, or that same old
> backbeat being beaten into your back.

For sure. I studied at an unusually early age, and
got a degree in commercial art & illustration, and
it was the same kind of deal -- no way was I gonna
draw newspaper models that "look" like all the
other ad types. I was into the *fine* arts ... and
knew I'd surely starve to death going *that* route...
but then a much worse death would choke me over
the years, drawing repetitive and meaningless "art"
to sell more lettuce on the planet. So I just do it for
my "self" now.

At least as a folk artist (especially in the late
60s/early 70s) I could get some attention on a
number of levels and make a living - which I've done
successfully (even through the Decade of Disco) for
some time now. :o)

Man, I've walked away from more piles of crap...
and *never* batted an eye about it. A lot of people
have given me stuff like, "You walked away from
*that!?* How *could* you??!!"

And I kind of blink in amazement that so many can
get so excited about something that, if you *really*
looked at it, you'd have to be certifiably insane to
even consider!

"Yeah, but, oh man! If I *just* had a ***record***
UMPH!***deal***UMPH!!!"

"A what?"

"A RECORD DEAL, man!"

"What's that? What's a RECORD DEAL?"

"Well, you see, I'd be a superstar if I had a record
deal...I'd, umm, be able to do my art, man...and,
uh, I wouldn't have to suffer anymore like this."

"Suffer? You don't look like a sufferer to me...
didn't you just spend $2500 on a pair of head-set
monitors, so you wouldn't have to be *distracted*
on stage? C'mon, bro'...the *only* deal you're *ever*
gonna get is the one you *got* when you were born!
Now **THAT'S** a BIG deal!"

Why is everybody always *waiting* for someone
else to do *it* for them? I know a manager...he
wants to make me a star...I know a producer...he
thinks I *am* a star...I know my Self...the producer
is right. :o)

The manager wants the producer to spend a
hundred grand cutting his dream-takes on me...the
producer wants the manager to cough up the
hundred grand so he can produce his dream-tracks
on me...who *said* I wasn't a sex-symbol?

The story continues with...Neither one of them ever
*does* anything because they are always waiting for
someone else do do something that makes it *easy*...
a sure thing...a no-lose, safety-net, situation...which
never occurs. So they wallow. And I'm too busy
*doing* what gets them both so excited, to bother
answering the phone when they call. I've rejected
contracts from both of them. More than once. In
various decades. And never regretted it.

> Which serves to be even more confusing why
> these mature artists try to copy or duplicate these
> young kids. For instance, a coupla years ago
> when Lauryn Hill hit big and won about 8 Grammys,
> all these mature artists who had been in the
> business for 20 years or more, started saying they
> were gonna get 20-year-old Lauryn to produce
> their Touch. I thought, how sad of these older artists.

I went to a show in the Village recently with Bill
Aucoin (former long-time mgr. of KISS), to see this
girl he was managing...on the way to the gig, he
started giving me this "routine" about how "She's a
Female Bruce Springsteen...Well...I broke up...

"What are you *saying,* man! NO ONE is a anything-
bruce-springteen. God! I hate that stuff! It's *total*
bullshit! She doesn't have anything to do with Bruce.
She is who SHE is. Why do we always have to
resell what's already happened when we all know
the next big thing is always nothing like anything else."

Well...Bill is indescribably cool...and he comes back
at me with,

"C'mon, Alan - gimmee a break. I *have* to talk this
way to get people interested. It *speaks* to them...
they can relate to "sounds like Bruce"...it gives them
something familiar to hold onto and believe in."

I hate it when he does that. He's completely right. It
*is* only fair and logical. So...how come it still *sucks?*

I'd rather be quietly happy, writing and recording my
stuff in the woods and doing some *really* cool gigs
when they come up...than to be Mr. Successful, too
busy to scratch my own itches, and miserable about
all the freaking financial/legal/strategic stress, and
all the other stuff that goes along with feeding a
MACHINE.

I just want to enjoy being who I am...and making
large groups of people feel inspired, and more
hopeful about who they are and what we are all
doing here together, through my work as an artist. I
**don't** want to be a freaking corporation -- and
*that's* really funny, because I am presently
incorporating!

That's what I get for being uncontrollably ambitious,
I guess.

Pardon the rant.

pax,
Alan
http://AlanHorvath.com
Acoustic Rock ... for real.
http://mp3.com/horvath
_________________________________

Editor's Note: Rant On, Bro. Alan...Rant On!

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6. "Working With A Designer"

By Carolyn Ballen


As soon as you possibly can, it's well worth your
while to get a professional designer to establish
your base "identity" for you. Depending on your
budget, this might just be a logo and some
suggestions.

Consider getting letterhead & business cards
designed. This would combine your logo and your
contact information, as well as any other graphic
elements that you choose to include. Just make
sure that there are no graphic elements that will
interfere with printing and readability.

Once you have letterhead created with your logo
and contact information, you can then use it for all
the materials in your press kit by easily printing from
your home printer. Again, this creates a strong
consistency for your materials, as well as providing
a fail-safe way to make sure that all your contact
information is included with everything you send out.

Don't forget: Double-check dates against a
calendar to make sure that the day and date match
up. Also, double-check telephone numbers by
calling them. Double-check spelling by laying out
your text in a word processing program that has a
"spell-check" feature.

Finding a Designer:

Take my word for it - you need a real designer. Do
not simply "learn" Pagemaker and assume that your
materials will be okay...they won't. Here are a few
options to consider.

Inexpensive options:

a. Art students

b. Fans who's are designers


Medium-cost option:

a. Free-lance designer specializing in the music
industry (there are plenty of these people around,
particularly in large cities)


Higher-cost option:

a. Design agency

Regardless of which cost option you choose, make
sure you review a sufficient number of work samples
before making your selection of designers. Choose
a designer you are very comfortable with. Start with
one small project, and see how it goes before
committing to a long-term relationship.

Such easy projects could include; postcards, club
cards, flyers, and posters.
________________________________________

Editor's Note: 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. "Career Planning - Part 3"

By Christopher Knab


This is the 3rd of 3 columns devoted to what is
called a 'Career Plan' for a new band or musician
intent on establishing their career in a professional
manner. Since most newcomers to the business
of music have very little experience in dealing with
the business side of their music, a Career Plan is
an essential and useful tool for serious musicians
to consider.

GOAL #9.
(a short but important goal)

BAND BANK ACCOUNT:

A band bank account is definitely something you
want to have once you generate some income. I
don't believe it really matters which bank you open
an account with, other than a bank you feel
comfortable with.

There are two items you'll need in order to open
up a band bank account:

1. A Business License

2. A Federal EIN (Employer Identification Number)

Note: Some banks will also allow you to open a
"business" account with your Social Security Number.

Always think about keeping a good record of your
income and expenses. This will make it so much
easier when filing taxes.

GOAL #10:

Entertainment Lawyer

Attorneys in the music business do more than simply
review contracts and advise clients on the law. They
are also very much involved in structuring deals and
shaping artists' business lives as well.

One of the major assets to look for in a lawyer, is his
or her relationship in the industry. Lawyers have
evolved into one of the most powerful groups in the
music industry. Attorneys see more deals than
anyone else and, thus, have more knowledge of
what's "going down" around town.

Record companies, for instance, can't ignore phone
calls from important lawyers, nor can they afford to
treat them shabbily in any particular transaction
since they're going to be dealing with these lawyers
repeatedly, and don't want to make enemies out of
them.

So, a lawyer with good relationships will get your
deals done quicker and, if they are competent,
they will obtain the maximum possible for you that
can legitimately be obtained.

Here are some other aspects for you to consider
when lawyer-"shopping.":

Experience:

Does he/she have expertise in the music business?
Be sure that the lawyer you are hiring is an
entertainment lawyer with, at least, some experience
in the industry.

Fees:

There are, basically, three ways attorneys in the
music business charge their clients:

1) Hourly Fee

Some lawyers charge on an hourly basis. The rates
range from $125 per hour for new lawyers, up to
$450 or more for more established, reputable
attorneys.

2) Percentage:

Other attorneys charge a percentage between 5%
and 10%. If the lawyer does a percentage deal,
make sure he/she fully explains how it is computed
because each is different!

3) Value Billing:

Some lawyers work with an aspect known as "value
billing," often with an hourly rate or retainer against it.
A "retainer" is a set monthly fee that is either
credited against the ultimate fee, or is a flat fee
covering all services.

"Value billing" means that, once the deal is complete,
the lawyer asks for a fee based on the size of the
deal and his or her contribution to it. For instance, if
the lawyer had very little to do with shaping the deal,
but simply executed the contract, the band should
expect a fee that is close to that of an hourly rate.

On the other hand, if the lawyer created a unique
concept or clever strategy that made the band
substantial sums of money, or the lawyer shaped or
created the deal from scratch, he or she will request
a much larger fee. If your lawyer "value bills," you
should get some idea up-front what it will be so
there aren't any rude surprises.

Also, ask your attorney if, in addition to fees, he/she
charges for any other costs, i.e., long-distance
telephone calls, messengers, photocopies, faxes,
etc.?

References:

Lastly, request references from artists at your level,
and check them out. Does the attorney return calls?
Does he/she get deals done in a reasonable period
of time? ("Reasonable" in the music business is not
going to be anywhere near the speed you would like.

It's not uncommon for a record deal to take four or
five months to negotiate, especially if you're a new
artist and can't force the record company to produce
a draft quickly. Four to five months is a realistic
time frame, but if it goes beyond that, someone isn't
doing their job).

Well, there you have it. 10 goals for you to consider
when building your career.
________________________________________

Editor's Note: Chris Knab is president of FourFront
Media & Music, an organization providing unique
consultation and education services for independent
musicians and record labels. See the web site at
http://www.knab.com.

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8. "Dodging the Risks of Live Performances"

By Joy R. Butler, Esq.


When considering the risks of live performances,
not getting paid or not making a profit for the show,
might be the first thing that comes to your mind. And,
while that's a real risk, live performances present
another risk which can potentially result in great
expense to you. It's the risk of a patron suffering an
injury or some other harm, and holding you liable.

Patron injury can range from a sprained ankle, as
the result of tripping in a dimly lit stairwell of the
venue, to a tragic death by trampling in a poorly
managed crowd of fans. The consequences of a
patron injury can reach you, whether you're the
owner of the venue, the promoter, or the performer.

There are, at least, two separate questions you will
need to ask yourself when weighing the potential
consequences of a patron being injured at a live
performance:

1. What is the risk of an injured person filing a
lawsuit against you?

2. If a lawsuit is filed against you, what is the risk of
your losing the lawsuit?

After looking at each risk in turn, we'll look at ways
to minimize your exposure to these risks.

I. The Risk of Being Sued

When an injured person is contemplating a lawsuit,
it's not unusual for him to identify and name as a
defendant, everyone whose actions may have
contributed to his suffering the injury.

While the owner of the venue may be the first on the
list of potential candidates, the performer and the
promoter, as people who played a role in and
derived some economic benefit from the event
where the injury took place, are also potential
targets.

It's important to understand that whether you'll be
sued by an injured patron, is a separate question
from whether you'll be held liable and have to pay
money as compensation for the person's injuries.
Lawsuits are sometimes filed even though there is
no realistic chance of the plaintiff winning.

However, being named as a defendant in a lawsuit,
even if that lawsuit has no merit, forces you to
spend time and money to defend yourself.

II. The Risk of Losing a Lawsuit

This leads us to the second issue. If you're named
as a defendant in a lawsuit, what is the likelihood
that you will lose the lawsuit and be responsible for
paying money to compensate the person injured at
the live performance?

Like so many things in the law, it really depends on
the circumstances. When determining the question
of liability, a court looks at whether you exercised
due care with respect to your role at the performance.
There are hundreds - if not thousands of legal cases -
discussing what actions and circumstances satisfy
the obligation of exercising due care.

And, the requirements of due care can vary greatly
from one state to the next. To simplify matters for
the purposes of this article, you can think of due
care as a synonym for "good sense" or "sound
judgment." The court examines whether there was
a foreseeable risk of which you were aware or
should have been aware.

The court also examines what actions you should
have taken, could have taken, and did take to
minimize any such foreseeable risks. Hence, the
question becomes..."Did you use sound judgment
with respect to the role you played in the running of
the live performance?"

Here are some of the factors a court might consider.
Of course, all of these factors won't be relevant in
every situation, and may not be relevant to your role
at the show.

Are there any conditions at the venue that present
a safety hazard (e.g., locked emergency exits,
unstable equipment that might fall, slippery floor
surfaces, etc.)?

Does the venue or performer tend to attract a crowd
that is "rowdy" so that additional precautions should
be taken to minimize the risk of someone being
injured at the performance?

Does the performer encourage aggressive
behavior among audience members?

Is there adequate security to monitor the actions of
patrons during the course of the evening?

If alcohol is served during the performance, do the
servers refuse additional alcohol to people who
have had enough?

Are patrons removed from the venue if they have
too much to drink, or their behavior becomes
overly aggressive?

Does the staff intervene immediately in any
arguments that could escalate into a fight?

Are any actions taken to ensure patrons don't have
weapons in their possession?

Are police summoned as appropriate?

As part of the analysis, a court may also consider
the degree of control you had over the planning and
logistics for the live performance. In many situations,
the owner of the venue will have more control than
the promoter, and the promoter will have more
control than the performer.

This doesn't necessarily mean that you can escape
liability simply by claiming to have had no control
over operations. If a promoter or performer chooses
to have his show in a venue where the owner clearly
doesn't take proper precautions to protect the
patrons, that decision alone could be viewed by a
court as a failure to exercise sound judgment in the
set-up of the show.
________________________________________

Editor's Note: Joy R. Butler, Esq., is a principal and
the general counsel of Sashay Communications,
LLC, a publishing and media production company,
as well as author of "The Musician's Guide Through
the Legal Jungle." Visit her web site located at
http://www.legaljungleguide.com/musician.htm.

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

9. "Power Breathing - Part 2"

By Mark Baxter


Last month, I outlined the advantages of capitalizing
on atmospheric pressure when singing. Using a
balloon as an example, the point was made that
there is no need to push with abdominal muscles
when the air in your lungs is already pressurized.

Harnessing this pressure requires a controlled
release -- not a controlled contraction. Another
under-appreciated source of power is "recoil." The
muscle best positioned to take advantage of this,
is the diaphragm, which people often think is
driving the air when they sing. It can't.

The diaphragm is responsible for inhaling, so it only
works to bring air in -- not out. So how does it
"support" the voice? The answer lies in the
architecture of your anatomy.

It is said that the body is a temple, but I believe it
more resembles a tenement. Imagine your body
as a building that has one studio apartment on each
level. Let's call the first floor the "legs" of your
structure.

The second floor represents your abdominal cavity,
and the third level is the thoracic cavity (if you want
to get fancy, you can call your head the penthouse).
It doesn't take very long when you live in a building
like this to appreciate that one person's floor is
another person's ceiling.

This rule is the same in your body. The diaphragm
is both the floor to the lungs (thoracic cavity) and the
ceiling to the abdomen. Move this divider up and
down, and it enlarges one cavity while compressing
the other. That's how you breathe.

As your diaphragm descends for an inhale, it
pushes on everything inside your abdominal cavity.
Since this "room" is jam packed with furnishings
like a stomach, liver, and intestines, everything gets
shoved toward the walls.

This is why your tummy sticks out when you inhale
correctly. It's not filling with air down there, it's just a
response to the ceiling coming down. Compressing
your abdominal cavity doesn't take much effort, as
long as its walls are relaxed.

Sucking in your tummy when you inhale locks
everything in place, so the diaphragm can't come
down. The result is a shallow breath that doesn't
pack much punch. As you can imagine, creating a
big inhale is important. Even more importantly,
though, is not pushing once you're fully loaded.

You've already worked for the energy; all you have
to do is release. The automatic reaction to
compression is recoil. If you push down on a spring,
then quickly release, it will jump back to its original
form. The more force you use to compress, the
more force you get back on recoil.

Push down on the spring again, but this time, slowly
raise your hand. The spring returns at the hand's
speed. This is a controlled release. Notice that, to
control the motion, your hand only needs to push
downward; there's no need to pull upward on a
spring.

The same is true for your diaphragm. Once the
abdominal cavity is compressed, it wants to spring
back. As if it was holding back the recoil of a spring,
your diaphragm should continue to apply downward
pressure to regulate the air pressure passing
through your larynx.

In other words, it "supports " your voice by making
sure that the vocal folds aren't overwhelmed.
Combine the spring-back action of your abdominal
cavity with the momentum of high pressure from
fully inflated lungs and you'll have vocal power to
spare.

Notice that both of these power sources are passive,
that the work was done during the inhale. If you need
more thrust, your abs are always there to add it. As
they press in, though, your throat will tighten and
cause problems.

So, figure abdominal push as a last resort, not a first
line of strength. It may take a little while to re-train
your body to release during an inhale, but the pay-off
will be a voice that's truly bouncing off the walls.
________________________________________

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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Volume 1: Issue 11| The B# Newsletter | December, 2000
Publisher/Editor: Kenny Love
P. O. Box 1404
Crockett, Texas 75835-1404
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