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COMMUNICATION - ESSENTIAL TO YOUR MUSIC CAREER
by Mark E. Waterbury

Communication. Plain and simple, this is one of, if not the most important element in every relationship. Professional, personal...without communication most relationships are doomed to failure. Since the music industry is rooted in relationships, whether you are a musician or business professional, communication is absolutely essential. Without it, your career can grind to a halt or never reach its maximum potential.

Musicians should be well-versed in communication skills. After all, when you perform or record music, you are communicating your feelings or stories through your music. So there is no reason why musicians cannot effectively communicate with their bandmates and professional team on a regular basis to make sure everyone is on the same page.

For example, if you are working with a booking agent while still booking shows yourself, you need to immediately let the agent know if you just booked a show. Few occurrences can upset an agent more than to land you a gig only to find out that you had previously booked that date. If you have a publicist, it is wise to keep the lines of communication open about anything happening that they can publicize. If you have a manager or label who are overseeing most of your bookings, publicity and other career aspects, then frequent communication is a must. With the importance of deals in a music career, it is also wise to have communication options open with your professional team even if you are out of town. Something may happen such as an interview that has to be conducted with expediency, or a deal that needs your immediate approval. You really need to be available for contact 24/7 in case something comes along that is beneficial, but also time sensitive. With today’s available communication technology, this is easy to do. Make sure you have constant contact capabilities for all of your band members, too, in case a possible deal or show involves a unanimous band decision.

Just as in a marriage, romantic relationship or friendship, communication is also necessary on a personal level for your music career to survive. While this does not necessarily mean you have to let your bandmates or professional team know every detail of your personal life, it does mean you have to get problems, concerns or questions about your music career out in the open. You have to talk out issues and not hide them and let them build up until they may explode into a problem that is too big to overcome. No one is going to agree with everyone one hundred percent of the time, and everyone will have some issues to deal with, so this type of communication is paramount. Personal relationships can go up in flames from not communicating in this way, so you can bet your career will as well.
Unfortunately, a lot of musicians think that great music is all that they need.

If that music does not get into anyone’s hands, then it could be the best music in the world and still not do anything for you. When you are trying to get your music exposure, labels, booking agents, music supervisors, radio music directors, and journalists are some of the most obvious entities you want to send your music to. Speaking as someone who has been both a journalist and publicist, I have seen both sides of trying to get media coverage for bands and what surprises me from the journalism perspective is just how few musicians follow up on their submissions.

Most journalists, agents, music directors and the like are very busy people and to get noticed by them you have to bring something a little extra to the table. By following up either by phone or email, you are at the very least communicating that you are serious about your music. Even if you have to leave a message on their answering machine, it is better than not attempting to follow up at all. Granted, a lot of these people may not call you back. You still have to be persistent without being intrusive and try to get at least some answer from them.

It is an understatement to say that communication has come a long way since Alexander Graham Bell patented the first crude precursor to the telephone in 1876. You can pick up a phone in Atlanta and talk to someone in Australia like they are in the next room. PDA’s, email, computer video conferencing, there are so many devices and systems in place today to make communication easier.

Unfortunately, some people use these devices to avoid communication instead. Most professionals working for musicians realize that they have to be persistent and use all forms of contact to make deals for their clients. Still, many people hide behind their answering machines and emails, often causing frustration. Professionals have to be creative as well as persistent, although the people they are trying to connect with have to learn to use communication more effectively themselves.

While most indie bands and companies are not likely to speak with editors and top flight national magazines or decision makers at major labels, there is no reason they can’t hook up with the more independent prospects. Granted, there are a lot of busy people you have to deal with. Club bookers often multi-task and also cook, tend bar, or do other functions at the club. Indie publication editors sometimes do almost everything involving the publication process and they may have a regular day job. Yet if someone is taking the time to contact you to pitch theirs or their clients’ music, you should at least take a second to communicate with them.

Indie musicians and business professionals of all types need to communicate more to form a stronger overall successful independent music atmosphere. Just as some bands or musicians don’t make it with their careers, it seems like every week another music club closes or indie mag ceases publication. If they are ignoring people who are contacting them about their music without even looking into them at all, they may be missing out on a band or musician or company that can bring something big to the table. I wonder if there are club booking agents kicking themselves by ignoring phone calls from Nickelback asking for a gig in their early days; or editors lamenting what it could have done for their publication if they had taken that call to interview Coldplay when they were starting out.

Chances are if someone is being persistent in following up with you they have more to bring to the table then a band who sends you their CD and then forgets about it. You should at the very least give them some consideration. If you decide you are not interested, it only takes a few seconds to respond via email. You can’t really complain about someone who continues to call or email you if you do nothing to answer them or put a stop to it. You really should look at all options and possibilities because you never know who or what is going to increase the success of your career. This is extremely important whether you are a musician or business professional on any level.

I hope you all gleaned something from my communication efforts in this article. Whether you are a musician, manager, editor, agent or whatever, communication is beyond important for the enhancement of your careers. It is essential to hone your communication skills and communicate with everyone possible that has even the slightest chance of helping you. With all the avenues of communication available today, there is simply no excuse not to communicate.

iMove Music wants to make a relationship or partnership with every artist. If we all work together we can make something remarkable. We can make dreams become reality. You don’t need to sign to Major Corporation to promote your music for you, tell you what to do and how your music should sound! Why in the world would you want to be signed so that someone can tell you what to do with the music YOU made!

If you take the following advice you can be your own label with no binding contract and get paid for selling your music. Your music should sound the way you want it to sound. I never plan on charging an artist to setup anything; iMove Music will prove itself to you. We will invest in you because we love to help people who are passionate achieving their dreams."

iMoveMusic will also be actively involve in sponsoring events with musicians around the country. They also have contests and online radio plus much more on the site! So please visit http://www.imovemusic.com and join today

Artists Helping Artists (Aha!) is an IRS-recognized 501(c)3 corporation dedicated to building greater arts collaboration and recognizing and nourishing creative vision. We are an arts outreach and artists' service organization (omni-creative and inter-spiritual) open to all artists from all walks of life. We are devoted to igniting imagination in creative spirits and enhancing culture through the creative arts community. http://www.artistshelpingartists.org

Derek Sivers, the founder of CDBaby, offers many wonderful music
career tips at:
http://cdbaby.net/tips

"Our deepest fear is not that we are inadequate.

Our deepest fear is that we are powerful beyond measure. It is our light, not our darkness, that most frightens us. We ask ourselves, who am I to be brilliant, gorgeous, talented and fabulous? Actually, who are you not to be?

And as we let our own light shine, we unconsciously give other people permission to do the same. As we are liberated from our own fear, our presence automatically liberates others."

Connecting with your strengths is about learning how to acknowledge your own gifts, accept compliments graciously and to present yourself confidently as the extraordinarily unique artist that you are. We'll examine each of these three skills separately.

1. Acknowledge your own gifts

Ask other people what they love about you. Create a booklet of these "testimonials". Then, make a list of everything that’s wonderful about you and/or your creative work - the different roles you hold in life, your accomplishments, the failures you’ve learned from and survived, the losses you’ve endured, the gifts you were born with, the skills you’ve developed and the knowledge you’ve gained.

Read these lists every day and really take them in. It might seem like you're talking about someone else sometimes - focus and bring your attention back to the purpose of the exercise. Talk back to your inner critic and show him the evidence! For a more powerful experience, read these lists of your strengths out loud, beginning with the words, "I am ____".

This is a great time of year to connect with your strengths, and there's an exercise that I use and recommend for doing that. It also helps me to form my thoughts about my hopes for the upcoming year.
You can find "Celebrating the Gifts" on my website at: http://www.genuinecoaching.com/articles/celebrating-the-gifts.html

2. Accept compliments graciously

Notice. Begin by noticing what you tend to say when someone gives you a compliment. Do you minimize it by saying, "Oh, it was nothing,” do you argue with it by saying, "No, I don't look good, I look awful!" or do you find yourself so uncomfortable that you're at a complete loss for words?

Practice. You can learn to accept compliments more graciously. After noticing what you tend to do now, decide how you'd like to respond the next time you receive a compliment. Then, practice saying your new response (in front of a mirror is best) until saying it feels natural and sincere.

What to say? A warm and heartfelt, "thank you", coupled with a smile, is always appropriate and is usually enough. Be cautious of feeling the need to explain, justify, or return a compliment automatically.

Pause. When someone pays you a compliment, stop before you respond. This is where change happens - when we step out of autopilot and try something different. Take a deep breath and remember your wish to accept compliments more graciously.

Turn your attention outwards. Focus on the person who's giving you the compliment. Think about their intentions. Sometimes our inner critic tells us stories about the person being sarcastic, having some kind of ulterior motive or not truly meaning what they say. Instead, expect the best and act on the assumption that the person is sincere.

Focus on being kind and courteous to that person. If you make them feel good by accepting their compliment with genuine appreciation, they'll remember that and speak up the next time they have something positive to share with you.

Consequently, if you belittle their words by arguing, minimizing or looking as if they've just insulted you, they'll remember that as well.

Try it from the other side. Another way to get better at accepting compliments is to GIVE more compliments. Notice how other people receive them. This can improve your relationships greatly, because now you'll be focused more on the other person. As you're looking for positive things to compliment them on, you'll also be keeping your thoughts more positive overall, and you'll have less time for worrying and negative thinking.

3. Present yourself confidently as the extraordinarily unique artist that you are

Remember those lists that you made earlier to acknowledge your strengths? Well, did you know that you are the one and only person who has ever and will ever walk this earth that has that unique combination of skills, experiences, knowledge, creative gifts and perspective?

Say it with me: I am the one and only person who has ever and will ever walk this earth that has my unique combination of skills, experiences, knowledge, creative gifts and perspective.

Know that. Feel that. Believe that down to your core. It's virtually impossible to doubt yourself or to compare yourself unfavorably to other artists when you're truly acknowledging and believing in your uniqueness
.
There's a well-used phrase that advises, "Fake it till you make it.” How would you act if you DID feel confident? Who's another artist that you think of as confident, and how do they present themselves? Use them as a role model and imagine how they would handle the situation that you're in - what would they do or say? How would they act?

Remember that another artist who seems so confident sometimes has exactly the same worries and doubts that you do.

Another way to gain confidence is through daily efficient action. This is a concept first introduced to me in “The Science of Getting Rich” (download your free copy at: http://www.scienceofgettingrich.net/gifts/everyday_artist.html which I wrote about in my article, "Is there a science of creative success?"
http://www.genuinecoaching.com/articles/science-creative-success.html/

Approach each separate thing you do today with purpose and focus. Do your best, and finish each job one at a time. It's amazing how great it feels at the end of the day, to recognize that whatever you accomplished (and it's not the number of things that matters), you truly gave it your best and completed the actions successfully.

In her book, "Take Back Your Life!" productivity coach Sally McGhee points out that nothing makes us feel better about ourselves than doing what we said we'd do. And nothing makes us feel worse about ourselves than NOT doing what we said we'd do
.
The most important component of connecting with your strengths is your willingness to BE strong. Be willing to succeed. Be willing to master something. Be willing to finish what you start. Be willing to become the best person you can be. And then celebrate it.

Redefining Success - Strategies for Better Living Through Music

By Bev Stanton

For my first 10 years of playing music, I was in a succession of bands that went nowhere. Armed with the foolhardy belief that we were destined to succeed just by playing out and releasing product, we played gig after gig to dismal audiences and sent out hundreds of CDs to radio and media, yet received little notice. After years of frustration, I channeled my energies into a solo techno project. I hit pay dirt and was signed to a record company after sending out only 20 cassettes.

The success was short lived because the label went bankrupt. I subsequently dusted myself off and started using the Internet to pursue more strategic, proactive promotional and artistic strategies. Although I have not attained the fame and adulation I fantasized about in my early years, my efforts have yielded more satisfying results. I have managed to gain a small but loyal following, generate a sizable turnout at events, and derive more personal fulfillment through music
.
1) Listen To Music From Different Genres And Eras

I have been guilty of writing in bios that my band has "a unique sound." In retrospect, after listening to old CDs and cassettes from several years ago, I have to face the fact that everything is derivative. There is nothing wrong with having influences; it is all a part of how musical movements such as jazz and techno percolate and evolve. We can still be influenced by someone else¹s music, yet craft a distinct approach.

Listen to music from other worlds. Listen to music from the past. Don't just mimic, but absorb other sounds and make them your own. If you only listen to what's in the present, by the time your record is released your audience will have heard it all before. On the other hand, if music from a neglected genre or era resonates with you, explore that niche and create something new that will sound fresh to your listener. Don't let your personal background hold you back. For example, don't think that if you're white you can't play jazz or that you have to be from Ireland to explore Celtic music. When cultures blend, it can create an exciting synergy, as when Latin music and Jazz intersected in the 1940's, and American R&B begat Garage in the UK.

2) Practice Makes Perfect

I used to consider band practice as instrument practice and not spend enough time alone with my bass. To a certain extent this may have been due to time constraints, but it also may have been to fear of facing my own inadequacies alone. As a result I would be nervous onstage because, although our band was tight, I lacked the instrumental command to handle the unexpected. Sometimes my lack of confidence would manifest itself in overplaying and interfered with laying down an effortless yet effective groove.

The more comfortable you are with your instrument, the more you can demonstrate to people that you belong on stage. If you are nervous, it will make the audience uncomfortable. Act confident and you will BE confident. Don't be self conscious, focus on the music. If the crowd doesn't react the way you want them to, focus on the one person who seems responsive. If you question yourself, others will doubt you too.

3) Learn Theory - Increase Your Vocabulary

Although there are lots of brilliant musicians who don't know theory, in my experience it broadened my palette. I initially bought a theory book so that I could better communicate with musicians at the recording studio where I worked. Ultimately, an understanding of scales, rhythm, and harmony has given me an appreciation for how beautiful math can render a potpourri of moods. It is also more exciting to break rules when you know what the "right" way is.

4) Don't Be Deliberately Trendy

By the time you hear a hot new band, their music has been out at least a year. Then it can take you at least a year to record an album and release it, which places you two years behind the curve. Back in the eighties, I was in several bands that were influenced by the Smiths and The Cure. Many other bands back then were too, and by the time our music reached the ears of record industry reps, they had already heard enough clones.

Paradoxically, you can often reach back into the past to rediscover new sounds. Acid Jazz is an example of making something old new again. If you do like something new, try to pinpoint what makes it great and harness that quality in your own sound.

5) Visit Mecca

I am a firm believer in traveling to musically vibrant and historically significant places for inspiration. My personal Mecca is Britain because, although the fashion gap has closed, they are still two years ahead musically. When a commercial client says they want a futurist piece, they are happy if I give them something similar to what was big in the UK six months ago. If I can't afford the plane fare, I buy a bus ticket to New York and soak up the artistic energy
.
6) Be Inspired. Listen To Music. Listen To Silence

My songwriting changed dramatically when I started carrying around a recorder to capture random inspirations. Stay connected and try to view life from other peoples' perspectives. For example, when you watch the news, think about what it must be like to live in Afghanistan getting bombed by the richest country on earth. Or just go with what you know...there's nothing like universal human experience to help you connect with your listener!

7) Let Music Be A Metaphor For How You Live Life

Sometime the issues I have in life are mirrored in how I approach music. For example, I am often afraid to try new things out of fear of making mistakes. In life too, I am afraid to take chances. Once I realized to what degree my musical approach was an extension of my personality, I began using music as an arena to confront my shortcomings. For example, instead of playing the same repetitive bass line on a song, I would throw in a new riff. Once I developed the confidence to branch out artistically and deal with the consequences of possible mistakes, (i.e. just rolling with it when I hit a bad note), I was able to transfer these skills to real life in ways, such as trying new hobbies and changing jobs.

Provided by the MusicDish Network. Copyright © Tag It 2004 - Republished with Permission

Sometimes in the music business, with its fast pace, soaring ups and bummer downs, it's easy to forget how cool it is to be a musician, songwriter, or artist. How awesome it is that we are the eyes, ears, and translators of our culture. And how important the job of artist truly is.
People's lives are changed by art, people are touched on a level that is hard to reach without insightful and courageous art. Art that exposes the inner soul of its creator and gives the viewer a way to understand his/her own soul.

By Suzanne Glass

As I have said before in these pages, society does not always pay artists back in a financially meaningful way. We don't always earn what we are worth for our hard work. So artists can't depend on earnings from their work to validate the actual worth of their work.

This is really an obvious message; no artist got into the business because they were first and foremost interested in making a financial success of themselves. Instead, artists always get into it for the right reasons, like inspiration and a belief in positive change through art.

But the business does not revolve around the core beliefs typically attributed to artists, and when you've spent a lot of time enmeshed in the business part of your career, it's easy to lose touch with the simple joy of creating that attracted you to the arts in the first place. In other words, it's important to reconnect and consciously indulge your love for your work.

To do so, you'll need to set aside some time that you zealously guard for purposes of noodling around, writing ditties, listening to your own and other artists' music, and trying out the new ideas just waiting to burst forth from your brain. You can't worry about whether your work is "commercial", whether critics will like it, or even whether it's good or bad. You will create for the sheer joy and freedom of creating. Don't let any thoughts of "the business" creep in to your fun little party.

If you like, you can use a small 4-or-8-track porta studio, or your computer, to make simple demos of your songs. Record your wildest ideas, work on new harmonies, develop multiple guitar parts, whatever. The whole goal is to get to a point where music is really fun again, like you felt the very first time you recorded or wrote a song. Not the usual everyday career mindset, which is steeped in overblown expectations and boring work as far as the eye can see. Here's some other ideas you can try (but by all means, be creative and come up with your own):

• Jam with different musicians than usual, play different styles, play other people's music, or share your music in a song circle or open mic that you haven't attended lately.

• Help out musicians at a lower level by offering feedback or career help. The good karma will come back to you.

• Watch interesting films about artist's lives, so you can see we're all in the same boat as cultural muses. Some of us just handle it better than others.

• Buy yourself music you love and listen to it. Give yourself at least 30 minutes a week to listen to a piece of music you really love, undistracted by outside interruptions. Don't compare yourself to it - just enjoy it! Headphones are a great way to listen.

• Play music you love. For example, if you really love jazz, but play in a rock band to make money, make sure to play with other jazz lovers once in awhile. Or if you play in a cover band and long to produce your own songs, devote some time to your dreams, not just to what you "must" play.

YOUR ART AND YOUR DAY JOB

By Harriet Schock

It's almost a joke line, "Don't give up your day job." It usually
means "Whatever you're trying to do, you're not good enough at it to make a living, so don't give up your day job." First of all, Charles Bukowski kept his day job at the post office even after he was highly respected and making money as a poet. There is a case to be made for day jobs, like having money for demos, not having to give up your publishing, not having to make creative compromises, etc. And just because someone keeps it, that doesn't mean he's not good enough at a creative endeavor. He could just be smart. But this article isn't about how keeping your day job could benefit your career. It's about the converse of that.

I believe it's important FOR your day job, as well as the rest of
your life, not to give up your art and your dreams. I've had a
number of students tell me that they wanted to write songs but
their day job required so much time that between work and their families, they gave up the writing. Of course, that usually
happened ten years ago-during which time they aged about twenty years. They then come dragging in knowing there's something terribly wrong and wondering if it could be a good idea to start writing songs again. Not only is it a good idea, they should have never stopped in the first place. As I said in my article (now a chapter in my book), "WRITING IN SPACE," songs are not written in time but in space, so you can't use the old excuse that you have no time. That won't fly.

Your art fuels your soul which is what's running the show.
Without your creative life, your day job will suffer, your family
will suffer, all because your soul is not being fed. Of course,
not everyone needs to write songs. Some people go through life perfectly happy with day jobs and families and they never write a song. But these people are not songwriters. Songwriters need to write songs. And if they don't, they'll have hell to pay. You know this if you're an artist of any kind and have abandoned your art. It takes a toll on your soul, and thereafter, everything else. It's like removing the generator from your car and still expecting the battery to work endlessly. Where are you going to get the energy to do all the work your day job requires if you have cut off your power supply?

Of course, some people will make anything they do creative and that will fuel their lives. But I've seen so many songwriting students come in on their last leg and the minute they start creating again, they become enthusiastic (the Greek word for spirit is similar to the word for enthusiasm). Without enthusiasm, it's all just drudgery. Your art can give you that enthusiasm, or in some cases, give you back your enthusiasm-for life, for getting out of bed in the morning, even for your day job. After all, you have to get from home to the workplace. And isn't that drive more fun when you're thinking about your new song on the way?

The good news is that it doesn't really matter how much time has elapsed for the writer, the flame never really goes out. The
embers of creativity can be fanned into a full-fledged fire. Of
course, the skills may need some work, but the desire will still
be there. All that's needed is some real hope, not even of
success, but just hope that the process can continue. You can
write a song and someone will listen. You may not realize how
many other rooms in your life will be warmed by that fire and
it's not important that you know. But having seen so many writers get the fire back after so long a time away from writing, I can speak with certainty, that much good will come of it.

Nik Venet, the legendary record producer, used to tell his
classes "If you drive a cab and write songs, then you're a
songwriter. Driving a cab is your hobby." Whether you subscribe to that point of view or not, there is truth to be learned from it. If you respect songwriting as your chief endeavor, then you will see that it feeds the other areas of your life, like your day job.

I have a student who is a wonderful songwriter/singer. She's
also an excellent accountant. But I believe that if she were not
also a songwriter, she'd have pulled her hair out long ago from
looking at so many numbers. She's a calm, cool, collected
comptroller. Probably in the back of her mind at all times is a
song. And that song keeps her smiling, keeps the engine running. Her boss is happy. She's happy. The numbers add up. Everybody
wins.

Your #1 Success Tool: Choose Your Thoughts Wisely

Let me ask you something. Do things come easily for you?
Or do you struggle to get ahead?

Do you find new musical opportunities every day? Or only
more obstacles to success? The way you answer these
questions can reveal a lot about the way you think and
process your world.

As I ponder this topic, I'm reminded of something once
written by Dr. Wayne Dyer (author of "The Power of
Intention," "Real Magic" and other fine books):

" What you focus on expands in your life."

It's true. Whenever you concentrate on or obsess over a particular thought or attitude, you attract more of that thought or attitude like a magnet -- and better (or worse) yet, those mental images often materialize.

In a very real sense, thoughts become things. In the same way that the idea for a song becomes a tangible recording, so do your attitudes and beliefs manifest themselves in the real world.

Another thing Dr. Dyer wrote: State your goals in terms of what you are for, not what you are against. For instance, instead of being against the war, be FOR peace. Instead of being anti pollution, be FOR a clean environment. That simple switch in perspective can steer your entire manner of tackling the issue.

This attitude can be applied to your music career, as well. Are you against corporate rock, or PRO indie music? Do you rail against commercial radio, or show support FOR community stations?

Some may think this is empty, semantic flimflam, but I think it goes much deeper than that.

One more idea from Wayne Dyer: He has said that the Wright Brothers did not make aviation history by focusing on the" staying on the ground" of things. If they had, their early failures would have convinced them that human flight wasn't possible. They made history by concentrating on what they wanted: the flight of a powered airplane.

Do this with your pursuit of music ... and with life in
general. Focus on the positive outcomes you fully expect to materialize. As you get in the habit of doing so, you will become aware of and attract to you all sorts of wonderful" coincidences." Your accomplishments will grow. Small successes will breed larger ones. Amazing things will begin to happen to you.

But if you elaborate on how hard it is to succeed in music, how little money there is to go around, how much competition you face ... I guarantee you will attract a river of real- life examples to prove your negative claims. You'll start hanging out with people who share your pessimism, you'll put out vibes that you're cynical and lack confidence, people will "sense" you're someone they don't want to work with -- much less help.

Your circumstances are a merciless mirror of the thoughts you've had, the decisions you've made and the actions you've taken to this point in your life. What do you think of the reflection you're seeing these days?

If you'd like to get better results, start examining the
thoughts you focus on. Paint brighter, more empowering mental pictures. Be more upbeat in your conversations with others. Expect to uncover more opportunities. Concentrate on the end results you desire. Raise your energy level.

Then watch the material world slowly take on the shape of your inner world of positive ideas.

Now get out there, get busy and empower yourself!

Tips on Setting and Reaching Your Goals

Ready to make the most of your music in 2005? To help you rev up your ambition engine, I'm sharing this great article from Gary Ryan Blair, also known as the Goals Guy.

Ten Mind Munchies from the Goals Guy

1. A goal is created three times. First as a mental picture. Second, when written down to add clarity and dimension. And third, when you take action towards its achievement.

2. Focus creates a powerful force: goal power. The moment you focus on a goal, your goal becomes a magnet, pulling you and your resources toward it. The more focused your energies, the more power you generate. There is a seismic shift in performance that takes place when you move from decisiveness to focus. The shift is caused, enhanced, and accelerated by the intensity of your focus.

3. If how you play or perform were all that mattered, then why do all sporting activities have some form of scoreboard? Keeping score and inspecting your progress is important, not only in determining the ultimate winner of a contest, but also as a measuring device by which a person, team or company can gauge itself against the competition.

4. Nothing of any lasting value was ever created by someone who was reasonable. It is the unreasonable people, those discontented with the status quo, the dreamers and visionaries who nevertheless have their feet planted firmly on solid ground who improve people's lives and advance society.

5. From eureka to achievement, the evolution of a goal begins in the mind and immediately takes shape when pen is put to paper. The goal progresses from thought to sketch, from sketch to action, and finally from action to achievement in real time. The achievement of a goal is an exemplary tale of power, purpose, and potential.

6. The essence of success is a narrow focus. You become stronger, your vision clearer, your resolve deeper when you reduce the scope of your options. You can’t stand for something if you chase everything.

7. Why you want to achieve a goal is more important than the goal itself. Before taking action on anything it is imperative that you ask yourself this key question: "Why do I want to achieve this goal?"

8. The success of your life is not measured by one extraordinary achievement but by the consistency by which you go about all matters.

9. The truth will prevail, one way or another and usually sooner rather than later. It is better to face facts and reality at the planning phase, and to convince others to do the same. This is not for the sake of building character or maintaining mortality. It is a matter of survival. Whether or not you face it, truth will create consequences!

10. There will never be a day that will not require dedication, discipline, good judgment, energy, and the feeling that you can improve. Each day offers an opportunity for improvement. Each moment an advance or retreat in the pursuit of your goals.

Gary Ryan Blair is President of The GoalsGuy. A visionary and gifted conceptual thinker, Gary is highly regarded as a speaker, consultant, strategic planner, and coach to leading companies throughout the globe. Visit The GoalsGuy at

http://www.GoalsGuy.com.

How Do You 'Unleash' Your Musical Talent?

By: Bob Baker (The Buzz Factor)
2004-08-30

Let's talk about one of my favorite topics: artist empowerment.
Several weeks ago I presented one of my first "Unleash the Artist Within" workshops. While promoting the event, I discovered that different people have different interpretations of what it means to "unleash" themselves as an artist.

Many people assumed at first that the workshop was about developing your creativity, along the lines of Julia Cameron's book, "The Artist's Way." Some of what I talk about does relate to giving yourself permission to create and feeling worthy to do so, but my definition of "unleash" is more far-reaching than that.

What do I mean by "Unleash the Artist Within"? Well, I believe that to be a successful musician, you must be willing to ...

- Unleash your creative leanings, artistic inclinations and natural talents. Yes, exercising your creativity has many benefits. For one, it's personally rewarding. Denying yourself the opportunity to write, perform and record music can lead to stagnation and frustration. By feeding and answering the call of your creative urges, you improve the quality of your own life while enriching the world with your talents.

- Unleash your potential to create something of beauty or significance. When you take action on your musical interests, you bring your ideas to life. Too many people only dream about their creative desires and never see their talents materialize. When you "unleash the artist within," you transform your music into a tangible form that can be enjoyed, experienced and shared. And that's a powerful thing.

- Unleash your belief in yourself. While you're busy unleashing, be sure to set free your confidence, desire, optimism and enthusiasm. Many creative people are plagued by fear and doubt. It's no wonder, with all the misguided "struggling artist" advice heaped on creative people. Don't buy into it. Your fears are self-imposed. So brush the self-doubt aside and choose to let your belief in yourself shine through.

- Unleash your creative gifts and your artistic contribution to the world. Playing music and being recognized for your talents feels good. It's this personal reward that draws most people to music in the first place. However, I believe the most successful musicians quickly evolve and begin putting more emphasis on the benefits they deliver to fans. Making an artistic contribution and sharing your unique brand of music should be the ultimate thing that drives you. And, interestingly, putting a priority on your fans leads to more personal satisfaction for you.

- Unleash your worthiness to receive and be rewarded for your creative contributions. I also believe that empowered musicians go through three stages:

1) Playing music for themselves.
2) Playing music for the benefit of others. And ...
3) Playing music for profit.

But many people get hung up on #3. To truly "unleash the artist within" you must know that making money with your talents is not only acceptable, it's part of the abundant nature of the universe. You have something of value to offer, and you deserve to be rewarded for your contribution to the world.

To hammer home these thoughts on why it's important to "unleash," let me share a great quote from Patanjali, who is credited with founding the philosophy of yoga more than 2,000 years ago:

" When you are inspired by some great purpose, some extraordinary project, all your thoughts break their bounds: Your mind transcends limitations, your consciousness expands in every direction and you find yourself in a new, great and wonderful world. Dormant forces, faculties and talents become alive, and you discover yourself to be a greater person by far than you ever dreamed yourself to be."

Think about that as you contemplate your rightful place in music.

Till next time ... get out there and promote yourself!
-Bob

Writers of Song Lyrics: Find Your Collaborator
The music industry is always looking for the next hit song — the complete hit song. This means lyrics plus music. If you write the words and you want to break into this market, first you need to find your second half — someone to create the melody.
by Dan Kimpel

To the outside world, the songwriter is often perceived as a solitary gnome, hunched over a battle-scarred piano. The real scenario is this: songwriting today is big business, the fuel of a billion dollar music industry. Successful songs need to be connected: to collaborators, artists, producers, publishers, performing rights organizations, film, television, new media (CD-ROM, CD Interactive), video games and the Internet as well as technology so revolutionary it may well be developed before you even finish reading this sentence.
Successful songwriters possess certain traits: determination, ambition, tenacity, resourcefulness and heart. Most importantly they are individuals whom others wish to see succeed. As a 20+ year veteran of this music business, I deliver this testimonial: every deal I’ve ever seen go down is a direct result of a personal contact. Very early in their careers successful songwriters form crucial collaborative relationships. Their successes are ultimately determined as much through these contacts as through their considerable abilities.

COLLABORATORS
A perusal of the Billboard charts shows the majority of hit songs are written by collaborative teams: two or more writers who create the words and music and often produce the cut.
The first important contact for a beginning songwriter is another songwriter. It is difficult to create in a vacuum without honest feedback, collaborative energy, or emotional support. Only another songwriter truly understands having words and music deep inside you and the overwhelming need to release them through the magic creation of songs. Try explaining to your accountant (or worse, your mother) your penchant to call and sing into your answering machine, or your burnt fingers from using tiny lighters in dark bars to shed light on the words you’re inscribing on a soggy napkin.
How to meet them
You will meet collaborators at expected places: music business events, clubs, open mics and songwriter nights. If you have a computer and an online service, you will discover many websites burgeoning with songwriter information. Just type in the keyword "songwriter" and a new world will open. The unexpected places to find a collaborator are just about everywhere else. Songwriters are very often anonymous. Unlike many other areas of show business, you need not be of a specific age or race or particularly glamorous to be a successful songwriter. If you tell everyone you know and meet you write songs, you may be surprised who shares your avocation.
You need to be realistic in locating collaborators. We'd all love to work with million-selling writers but this is not a practical expectation. As music industry professionals, we need to hone our ears and our instincts to find collaborators who may be the next Diane Warren or Bernie Taupin.
Many of the most beneficial collaborations are derived from working with co-writers who have complementary, not identical, skills. If you're great at lyrics find collaborators who write wonderful music and vice-versa. Experiment with different styles and textures, listen constantly for new music and sources of musical inspiration. Keep your songwriting fresh. Listen to the radio, write from your heart with an ear for the market. Find writers who excite and energize you, and make sure you give back to them.

MUSIC PUBLISHERS
The role of the music publisher has changed drastically in this last decade. With record companies preferring to sign already-proven talent, music publishers will often take the first crucial steps to develop writer/artists for future deals. Smaller, independent publishers are the most approachable. Do research in directories and trade magazines (you're holding an incredible source in your hands at this minute). Also read the small print on CD covers to locate publishing information.
How to meet them
Songwriter organizations often invite publishers to screen material at conferences and workshops. Never be afraid to ask a publisher for his/her business card. Learn how to submit a professional package. The Songwriter's Market Guide to Demo Submission Formats (Writer's Digest Books) will help you. Remember: the best response a publisher can give you is to ask for more material. Don't be resistant to suggestions. Even though we feel our songs are our tender babies, they often have to be rewritten, recast and reworked before (hopefully) being recorded.
Most of the serious song business occurs in New York, Nashville and Los Angeles. If you are not currently living in one of these cities and you are serious about your career as a songwriter, I would recommend making periodic sojourns to the music capitals to make (or renew) contacts, to pitch songs, and to network with songwriters and music publishers.
Music professionals are absolutely deluged with material from legitimate sources, yet the irony is they are in constant need of good songs. Many music publishers do not accept unsolicited material because of the legal risk. Two possible results from sending unsolicited tapes to publishers (particularly to a major) are that they will be returned or, worse, placed in the circular file.
How do you go from unsolicited to solicited? By receiving permission in advance to submit songs. In some cases a brief, well-written letter will open the door. If you attend an industry event and make a favorable impression on an industry pro, ask for a business card.
Remember, the way you come in is the way you're perceived. It is crucial that you understand the protocol of the music business. Don't be pompous or arrogant, but, on the other hand, don't be overly humble or obsequious. Be professional and direct. Do your homework; make sure the person to whom you're submitting songs can actually use them. Know the complete track record of anyone you deal with, their successes, histories and especially their tastes. Music Connection Magazine is a West Coast music trade publication that profiles music publishers and compiles this information in a special "Songwriter/Publisher Issue" that comes out annually in October. It's an invaluable resource.

ARTISTS
If you're a non-performing songwriter you'll need someone to sing your songs. Historically, songwriters including Hal David and Burt Bacharach, Jerry Leiber and Mike Stoller, and Ellie Greenwich and Jeff Barry developed artists to perform their songs. Today Babyface, an accomplished producer as well as a gifted writer, follows in this tradition. Recently writer/producer Glen Ballard was connected by his publisher to an unknown songwriter/artist named Alanis Morissette with whom he both co-wrote and produced a debut record. It sold over 16 million copies.
How to meet them
Again, be realistic. Contact bands and singers who are in need of songs. Collaborate locally, go out to clubs and find bands, and become a part of their world with your songs. Work on a local level to develop the music that already exists all around you. Cooperation is the key: singers often need original songs for demos. You have songs, they have a voice. Even the greatest rock bands often need songs and outside collaborators.
There is a point at which we can engage ourselves in other's careers. Keep your eyes and ears open for emerging artists who have a buzz and whom audiences respond to. Trust your instincts and don't be shy, introduce and ingratiate yourself. Songwriters succeed when they lead, not follow – so take control.

PRODUCERS
Becoming a successful songwriter means becoming fluent in the language of the studio. Record producers are very often also songwriters. Collaborating with a producer as your songwriting partner means you'll at least have an opportunity to make a great-sounding demo, and possibly have another avenue to find an artist to record your songs. If you write alone, you'll need to meet a demo producer, someone who can take the raw ingredients of your songs and turn them into finished demos.
The state of the demo today is very different from ten years ago. Today, many demos sound not unlike finished masters. Because most music industry listeners have very sophisticated ears, they will often respond enthusiastically to production. They are not clairvoyant. Therefore, we cannot expect them to listen to an out-of-tune track recorded in the living room on a cheesy cassette deck and hear the brilliance of the song through the tape hiss.
If you are an accomplished player you may already have the necessary equipment to record stellar demos. Equipment which would have been unattainable in the past is now quite affordable. The ownership and mastery of studio equipment will most certainly increase your desirability quotient to a co-writer.
How to meet them
You can find demo producers through songwriter organization newsletters and publications, but the best hook-up is always a personal referral and recommendation. If you hear a demo you like, find out who produced it and contact them. The same applies to singers, musicians and collaborators you hear on others' demos.

FILM & TELEVISION MUSIC SUPERVISORS
The trend in the record business is toward artist and producer-driven projects. With the notable exception of country music, the market for outside songs has tightened up considerably. Fortunately new markets have arisen which are voracious consumers of songs: television, film, video and new media (CD-ROM, CD Interactive, the Internet).
The proliferation of cable television systems, and the programming required to fill the blocks of time, is a boon for songwriters. Music supervisors decide what music is used on these shows. Often these decisions, though not made lightly, are made very quickly. In order to have your music considered, all of the rights – mechanical and publishing – must be secure. You must be in full control of both the composition (words and music) and the recorded performance.
Placing a song in a film can lead to tremendous exposure for your material, plus a synchronization fee and, if it's a major film, mechanical royalties from the sale of the soundtrack.
How to meet them
Film schools and colleges are good places to begin to place songs. Back Stage West, a Los Angeles-based actor's publication, has a weekly listing of films and videos being made that require songs. Check out production schedules in Variety and the Hollywood Reporter and invest in a good reference book, like The A&R Registry, for a listing of music supervisors.
As our world becomes more technologically developed, we all run the risk of becoming more isolated. But developing good people skills will continue to be a key to success, in all endeavors, especially the music business. Keep your sense of humor, be positive, uplifting, and as interested in others as you would like them to be in you. Be a good person, someone others will want to meet and hopefully, help succeed.
Editor's note: The Organizations, Publications of Interest, and Conferences & Workshops sections of Songwriter's Market </store/booksdisplay.asp?id=10719> provide more information on these and other song writing-related groups, events and publications.

WHERE TO MEET YOUR FIRST CONTACTS
Songwriter organizations and conferences
Local and national songwriter organizations are wonderful places to develop your career as a songwriter. You'll meet writers with different skill levels, different musical interests and different perspectives. You'll have access to information and support. There are a number of seminars, conferences and events for songwriters held annually in the U.S. and Canada. At many of these events, music industry professionals from Los Angeles, New York and Nashville listen to, and evaluate, tapes. There are live shows, classes, panels and workshops on every aspect of the music business.
Be apprised that just paying your dues to an organization, no matter how shiny their reputation, is not enough. You have to use your membership. Many songwriting organizations are strapped for funds, so rather than just attending meetings and workshops, become involved by offering your ideas, energy and organizational skills. Volunteering is a great way to make contacts. Most grassroots songwriter organizations, with their limited budgets, depend on high energy, resourceful people to help plan and execute their events.
National songwriter organizations can be beneficial if you live out of town and need major contacts or advice when visiting New York, Nashville or Los Angeles; The National Academy of Songwriters (NAS), Songwriters Guild of America (SGA) and Nashville Songwriters Association International (NSAI) are based in the major music capitals.

Performing rights organizations
The American Society of Composers, Authors and Publishers (ASCAP), Broadcast Music, Inc. (BMI) and SESAC – in order to be properly paid, a songwriter must join one of these three organizations. Which one? To determine which best suits you, call to ask for material and do your homework. Which organizations do your favorite songwriters belong to? Which organization best supports the type of music you write? How friendly is the person who answers the telephone?
Create opportunities to meet representatives of these organization one-on-one at conferences and music industry functions. All of the performing rights organizations sponsor events, showcases and workshops in different regions across the U.S. Remember their concerns are the concerns of their current and future membership. Having a champion at a performing rights organization to make a well-timed call or referral to an industry heavyweight on your behalf can be an invaluable stepping stone in your career.
DAN KIMPEL is a Los Angeles-based personal manager and PR consultant.

http://www.craftofsongwriting.com/organizations.htm songwriting education resource

TIPS FOR SONGWRITERS