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The Muse's News |
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Issue 4.5 - August 2001 ISSN 1480-6975
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This issue sponsored by:
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I n T h i s I s s u e :
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@-- Editor's Musings
@-- Q&A with Nancy A. Reece from Carpe Diem Copyright Management
@-- Music Reviews - by Ben Ohmart
@-- Songwriting Book Review - by Jodi Krangle
@-- Featured Article - THE BUSINESS OF MUSIC: Club Contracts
- by Charles Katz
@-- Musical Notes - Songwriting Contests & Market Info.
@-- Muse's Clues - by Irene Jackson
@-- Featured Article - OYSTERS & MUSES by Harriet Schock
@-- On Site Featured Article - An article already online for your
viewing pleasure.
@-- Classifieds & Useful Services
@-- Contact information
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ISSN 1480-6975. Copyright 1998 - 2001, Jodi Krangle. For more contact information, see end of issue.
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This ezine featured at EzineCenter.com - the Ezine Search
Engine(tm) - http://www.ezinecenter.com/
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S p o n s o r M e s s a g e :
(Please support the sponsors that support this newsletter! Thanks!)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
FREE WEB SITE FOR YOUR MUSIC!
At OnlineRock bands, musicians and songwriters can build their own
Web site, interact with other musicians, listen to music or just
browse through many of OnlineRock's helpful articles related to the
music world. Each week OnlineRock spotlights a different artist,
song and Web site. OnlineRock offers 25 megs of Web space, easy to
use Web building software, Chat rooms, Web based E-mail, Equipment
giveaways and reviews, Classifieds and more.
OnlineRock - Empowering Musicians http://www.onlinerock.com/?mm
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E d i t o r ' s M u s i n g s :
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I'm going to keep this musing fairly short (yes, I can hear the
sighs of relief out there. :) ) and simply say that there is tons
of new stuff around the site. Have a look at
http://www.musesmuse.com/whatsnew.html for a detailed listing.
Also remember to have a listen to Radio Muse at
http://www.musesmuse.com/radiomuse.html . Support your fellow
artists by listening to their music and send in your own music for
consideration! I'd love to hear you.
This month's raffle winners are:
Shima Daniels of Cordova, CA, who has won a copy of Lyricist
Software generously donated by the folks at Virtual Studio Systems
(see http://www.virtualstudiosystems.com/products.htm for details)
and Scott Jarman of Milroy, IN, who has won a copy of Mark W.
Curran's book, SELL YOUR MUSIC, reviewed below (and an *excellent*
start to any online marketing campaign!).
This month's newsletter features a brand new, never seen before
article by Harriet Schock (thanks, Harriet!) and another
installment of Charles Katz's THE BUSINESS OF MUSIC. Also included
is a forum discussion between Nancy Reece and Duff Berschback on
how international copyright laws affect and relate to US copyright
laws. It's a very interesting and informative read. And of
course, there are the other features you've come to expect.
Oh - and I can't help but mention that the Muse's Muse Merchandise
store now features caps and tote bags. Cafe Press is VERY cool and
I invite you all to check it out - www.cafepress.com . The url to
pick up Muse's Muse merchandise is included below.
Thanks for reading, folks! All the best with your musical and
other endeavors,
--Jodi
Back to Menu
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SHAMELESS PLUG:
Drop by http://www.musesmuse.com/musemerchandise.html today to pick
up your very own Muse's Muse shirt, mug or mousepad! And while
you're at it, think about starting your *own* store. It would be
pretty cool to sell your own band's logo or design on promo items,
wouldn't it? And starting up a store requires no investment of
money on your part at all. Details on how to do that are only a
click away...
http://www.cafepress.com/cp/info/storeref.aspx?refby=musesmuse
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C o p y r i g h t & P u b l i s h i n g Q & A :
International Copyright Laws and the US Copyright Law
This is the second of many panel discussions by attorney Duff
Berschback and administrator and licensing executive Nancy Reece.
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Q: What is the Performing Rights Organizations Role?
What is the World Intellectual Property Organization (WIPO)
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A: FROM DUFF:
The WIPO is an arm of the UN, and it serves as the Secretariat for
the Berne Convention (among others), an international copyright
treaty.
Over the past 10 years, WIPO has considered draft clarification
about the scope of Berne. In 1996, two new treaties, the WIPO
Copyright Treaty and the WIPO Performers and Phonograms Treaty,
were negotiated, and over 20 countries have adopted them. (The
1998 DMCA in the US was, in part, enacted to allow the US to join
the internet treaties). If you're interested in learning more
about this organization, visit www.wipo.int .
FROM NANCY:
There are 177 States that are members of the organization, a
complete list is at the web site. However there are several States
that are members that have historically been poor administrators
and protectors of Intellectual Properties.
Their mission statement: "To promote through international
cooperation the creation, dissemination, use and protection of
works of the human spirit for the economic, cultural and social
progress of all mankind."
Don't miss the virtual tour at the web site:
www.wipo.int/about-ip/en/index.html?wipo_content_frame=/athome/en/
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Q: ...I am new at songwriting-exposure and currently only write for
pleasure and contests. But, now I think I'm ready for more. Upon
placing a web ad for potential collaboration, I received a reply
from a foreign band looking for songs. I'm ready to send a CD and
feel that I should be getting some legal backing prior to this
collaboration. Can you tell me what the steps are that I should
take prior to and during this collaboration?
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A: FROM DUFF:
A good first step would be to register your copyrighted
compositions in the US Copyright Office. Is the band in a country
that is a member of the Berne Convention? If so, having US
protection gets you a certain reciprocity with the other
country--they can't treat you any worse than one of their
citizens, and have to adhere to the minimum standards of the
convention. When sending your CD, tell the band whether or not the
songs have been released or not--in the US, you, the creator, have
say over who cuts the song the first time, but thereafter anyone
can get a "compulsory license" to record the song (provided they
give you notice and pay royalties). If you anticipate mostly
foreign royalties, you should check into entering sub-publishing
arrangements to help collect the publisher's share of those monies.
More basically, make sure you've joined a PRO (performing rights
organization, i.e. BMI, ASCAP, SESAC) to collect your writer
public performance royalties. Good luck.
FROM NANCY:
I agree with Duff. It is important that before you send material
to folks you should go about registering the works for the peace of
mind it gives. However, I'd like to share one thing I have noticed
in my years working with several selfpublished performing
songwriters. When you record your own song for commercial release,
(that independent CD you made, for example) that is the first
release of the song. The compulsory licensing that Duff mentions
does go into effect at that point.
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Q: ... If I copyright a song in the United States, and the song or
a portion of the song gets translated into other languages in
foreign countries, would I legally still have the right to collect
royalties? Even if a publisher, producer, or record company
purchases the copyright?
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FOR THE ANSWER TO THIS AND MORE QUESTIONS, SEE THE REST OF THE
DISCUSSION AT:
http://musesmuse.com/columnistsgreylogs/archives/00000040.html
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TO VIEW OTHER QUESTIONS AND RESPONSES, SEE NANCY'S "COPYRIGHT &
PUBLISHING Q&A" ONLINE AT http://www.musesmuse.com/pubq-a.html OR
DUFF'S "THIS LAW GOES TO 11" COLUMN AT
http://www.musesmuse.com/songlaw.html .
Please note: These two received a *lot* of e-mail in a month. If
you sent in a question but have not heard a reply, it's very likely
it already *has* an answer online. It's always a good idea to
thoroughly look through the Q&A's online to see if your question
has already been asked before you send in a request. Thanks!
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*****
ABOUT NANCY A. REECE:
Carpe Diem Copyright Management's owner and president, Nancy A.
Reece has been involved in the music business since 1983. She was
the president of an independent advertising agency for eight years
as well as a successful personal artist manager for nine years. She
represented the careers of several recording artists and
songwriters including those with EMI, Zomba and Liberty Records as
well as Benson, Starsong, WoodBridge, Temple Hall and N'Soul
Records. She also represented, for a number of years, a Grammy and
Dove nominated record producer. Reece has won awards of excellence
in print magazine advertising and has been named as one of 2,000
Notable American Women (1995) as well as being listed in the
International Who's Who of Professional and Business Women (1993).
She was also named Cashbox Magazine's Promoter of the Year (1989).
In addition to her work at Carpe Diem Copyright Management, Reece
is a Licensing Executive specializing in Corporate and Healthcare
compliance in the General Licensing Department at BMI.
ABOUT DUFF BERSCHBACK:
Duff Berschback is an entertainment lawyer in Nashville, TN. He
represents singers, songwriters, publishers, and other assorted
industry types, with a particular focus on digital entertainment
and new media. He spends spare time hanging with his family,
playing with his Lab, reading, and, of course, listening to music.
A bit scattershot in his musical taste, at any given time he can be
found listening to Bach or Martina McBride, Wagner or Robert
Johnson, Muddy Waters or (old) U2, Dire Straits or Dwight Yoakum,
The Rolling Stones or Frank Sinatra, and (old) Van Halen or George
Winston, among others.
**If you would like to ask either of these two a question, you can
send your e-mail to Nancy at nreece@musesmuse.com or to Duff at
duffb@musesmail.com . They can't guarantee they'll get to all of
the questions, but they'll certainly try.**
Back to Menu
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M u s i c R e v i e w s : by Ben Ohmart
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Sean Croghan – From Burnt Orange To Midnight Blue
The lazy entrance to this 9 track, 45 minutes goes by the name of
'Gweneveire,' a musically blue ballad that takes me back to my REM
days of the late 80s (indeed Sean has that kinda voice at times,
just not nearly as whiny). Hard to believe this guy was in a punk
band (Crackerbash), because even the upbeat tracks are without
driving malice. If anything the tone is that of forced patience,
driven on by life's repetition of rut and unhappiness.
But at the same time there's a sense of humor that's dominating (as
indeed there must, if singers are to remain sane) and encircling
cuts like 'Cupid's Credit Card,' and 'John McConnell's Ghost,' the
latter being an acoustic alt-rock tune with red blues coursing all
the way thru its veins and brain throbs.
Intelligent songs from start to finish. If I had the lyrics
anywhere – even on the webpage – I'd share them in a second. Even
if you can't decipher all words, the emotionalism of every moment
you come up to and then pass is crafted, amazingly, without
soppiness, but with a morbid realism that's difficult to turn away
from. Like rubbernecking a good car crash on the highway? No,
that's too dramatic. This is the stuff we all go thru. Every day.
And that's more tragic, more soul searching, more wearing down.
Yeah, the simple voice and piano of 'Space Room' could depress. But
personally, I find it freeing, like expensive commiseration at the
cushion of a poor head doctor's couch. Like any good pornography,
living through another's pleasures and pains bleeds the soul for
much needed release.
Oh, and a stop over at the kicking 'It's Gonna Be Alright' will
recharge your batteries if you're feelin' low.
www.inmusicwetrust.com
www.cdbaby.com/croghan
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OTHER NEW MUSIC REVIEWS SINCE LAST MONTH INCLUDE:
Organic Brain Syndrome -
http://musesmuse.com/columnistsgreylogs/archives/00000030.html
Osho Zen Tarot -
http://musesmuse.com/columnistsgreylogs/archives/00000034.html
Clyde -
http://musesmuse.com/columnistsgreylogs/archives/00000032.html
Colleen Coadic -
http://musesmuse.com/columnistsgreylogs/archives/00000035.html
Scott Hallock -
http://musesmuse.com/columnistsgreylogs/archives/00000031.html
Tunji -
http://musesmuse.com/columnistsgreylogs/archives/00000033.html
The D's 3 -
http://musesmuse.com/columnistsgreylogs/archives/00000036.html
Kelly Joe Phelps -
http://musesmuse.com/columnistsgreylogs/archives/00000042.html
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******
Ben Ohmart has had 100s of stories and poems in zines and
journals, and had 4 plays produced last year. His lyrics will be
on 2 CDs this year, 1 a gothic album, the other a rock album.
He's currently writing films, with hopes of having one done in
Malaysia soon, and is also trying to break into the prison of
television. He's white, 26, single and loves British comedy. He
lives in Boalsburg, PA, and enjoys watching rabbits eat his
garbage. Contact him at: ohmart@musesmuse.com .
**Ben has kindly consented to do music reviews for this
publication and also for The Muse's Muse itself. If you have an
independently released CD or tape that you'd like to get
reviewed, send it off to: Ben Ohmart, P O Box 750, Boalsburg, PA
16827 or drop by his Music Reviews web section at
http://www.musesmuse.com/musicreviews.html for more details.**
Back to Menu
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S o n g w r i t i n g B o o k R e v i e w : by Jodi Krangle
SELL YOUR MUSIC: The Musician's Survival Guide To Direct
Distribution On The Internet ~ by Mark W. Curran
http://www.nmdbooks.com/promobook.html
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"Make your music with passion, make the packaging attractive, offer
value for the money, and push it hard. These are the tenets of
great online marketing."
Mark is actually one of our columnists here at The Muse's Muse (see
http://www.musesmuse.com/col-markcurran.html for details) - and
reading this book through, I am reminded of just why I was thrilled
to have him on board. Now admittedly, this book is geared towards
musicians with product to sell rather than songwriters looking to
get their songs noticed. But there is a great deal of very good
advice in here that can be applied to both situations - as well as
many situations that don't even involve music at all.
Just about every online mode of distribution and marketing is
explored here, starting with getting your own web site and setting
up ecommerce, and going all the way to writing press releases and
setting up your own internet record label. There are also several
interviews with successful web musicians so that you can read about
how they did it. Some of their techniques may surprise you. Along
with all this, there's information on how to set up a home studio
and if you're confused about the details of ecommerce (I know *I*
have been in the past. It's not an easy subject to get a handle
on...) there's more explanations about merchant providers and using
third-party credit card processors. Lots of information is
contained in the appendices including search engine placement tips,
how to distribute your press releases via e-mail, creating your own
internet radio station, listings of helpful web sites and lots of
other tidbits that you'll find extremely handy.
Mark's writing (and you can sample it in his columnist section if
you're so inclined) is laid back and easy to understand. If there
are terms or organizations mentioned that may not be familiar to
everyone reading, he explains them in little grey boxes throughout
the text.
There is a LOT more in this book that I haven't even been able to
touch on due to limited space. Suffice it to say that if you are
interested in finding a way to effectively market the music you've
worked so hard to create, this is a book you should definitely pick
up and read cover to cover. There are few enough books out there
that deal specifically with the internet as a marketing medium, yet
this particular environment (no matter what the major news sources
try to tell you) is here to stay. If you want to be a success
outside of the traditional commercial system, this is a great
publication to start with.
SELL YOUR MUSIC is comprehensive do-it-yourself advice for the
modern musician and well worth the read.
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F e a t u r e d A r t i c l e :
Charles will be providing us with a series of articles discussing
common problems performing songwriters might face within the music
business.
THE BUSINESS OF MUSIC: Club Contracts - by Charles Katz
©2001, Charles Katz. All Rights Reserved. Used By Permission.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Jackson Browne wrote a great song in the late 70's
"Running on Empty"
"Looking at the road-rushing under my wheels" is the lead verse.
As a performing songwriter, you put in a lot of miles between
venues and you want to be assured when you arrive at a performance
that it is booked and you get paid!!
Without a Club Contract, you will be "Running on Empty".
A situation happened recently to a performing songwriter I know
who resides in the US.
She is releasing her CD, hosting a party, and showcasing for the
event at a well known local club.
The artist has a six piece band coming from another city to
headline and open for her. This event has been planned for 4
months. All the press releases have gone out and commitments have
been made. The club changed their booker, no performance agreement
is in place and the new booker arranged for a DJ to play that same
night at the club. What a disaster.
Now the artist has requested I get involved, obtain a club
contract, and remedy the situation as best I can.
My bottom line is "Get It in Writing".
Oral agreements are easily disputable.
A written performance agreement should contain the following items.
1. Name of Band ("Artist")
2. Name of venue
3. Person booking performance ("Purchaser")
4. Date(s) and time(s) of performance
5. Number of sets
6. Time for load-in
7. Time for sound check
8. Total compensation
9. Merchandise Riders
10. Dressing Room Arrangements
11. Security
12. Hospitality
13. Clippings & Posters
14. Insurance
15. Sound System
16. Video and Audio Taping
The most important consideration for the performing songwriter is
total compensation. This usually is a combination of percentage of
the gate and guarantee to perform.
Make sure you get paid at the end of the night. Do not let the
club owner say he will mail the check. You have your contract.
Stay tuned for next month's article:
Showcasing
******
Charles Katz owns a high-tech company, Printerm, established for 20
years, and manages a Record Label, Windrift Music Inc. He currently
has a CD "Night Driving Music" installed at Internet sites in the
US, UK, and Asia collecting royalties. Charles is presently working
on his second CD with a female recording artist and has established
a virtual band, Spencer K for that project. As a business leader,
musician, publisher, and promoter, he is now providing his
expertise for fellow artists. Contact: ckatz@windriftmusic.com
Back to Menu
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S p o n s o r M e s s a g e :
(Please support the sponsors that support this newsletter! Thanks!)
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
UNLEASH THE FULL POTENTIAL OF THE INTERNET WITH SONGSCOPE.COM!
SongScope is a valuable tool enabling you to build an on-line song
catalog, accessible only by proven industry professionals. Receive
FREE email informing you every time record producers and industry
professionals make requests. Song listings are only $29.95 per
year. An ecommerce enabled marketing/promotion page and tour
calendar are also available for performing songwriters to get
further artist exposure. See www.musesmuse.com/songscope.html for
details or contact: writerinfo@songscope.com ~ Tel: 770.754.4543
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M u s i c a l N o t e s : Songwriting Contests & Market Info.
In the interest of conserving space, I will only be including
changes to this listing in this newsletter. All other contests
and market information that have already been listed here, are
displayed at http://www.musesmuse.com/contests.html &
http://www.musesmuse.com/markets.html . Please check there
regularly for updates!
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NEW 'RADIO MUSE' WEBCAST FOR INDEPENDENT SONGWRITERS
- NOW SEEKING MUSIC!
The Muse's Muse & Host, Jan Best of Independent Songwriter
Web-Magazine, are putting together a series of shows, one every
month, featuring the songs of independent songwriters just like
you! See http://www.musesmuse.com/radiomuse.html for details on how
you can send in your own music for consideration.
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THE 2001 MIDWEST MUSIC SUMMIT - AUG. 10-11, 2001
The 2001 Midwest Music Summit will be held in Indianapolis, IN this
year. August 10th and 11th Indianapolis will host the first ever
major midwestern music convention. Over 2000 music industry
executives will take party in panels, showcases and power
networking during this weekend. Register online at
www.midwestmusicsummit.com. This years headliners include KRS-1,
Michelle Malone, Dust for Life, Factory 81, Aphrodite, Heather
Heart plus over 120 of the midwest's (and the nations) hottest
unsigned talent.
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PRAIRIE MUSIC WEEK, SEPTEMBER 27-30TH, 2001 DON'T MISS IT!
IMAGINE you are a student, teacher, musician or conductor with a
burning desire to make it as a professional musician, a songwriter,
a recording artist, a business manager or recording engineer.
PICTURE an environment where you could ask any question you want
about the music industry, from songwriting and performance to
engineering, management and production, and have it answered by
successful professionals from all parts of the industry. ENVISION
yourself speaking one-on-one with managers, booking agents,
songwriters, publishers, record labels (major and independent),
SOCAN or FACTOR and they are giving you constructive feedback on
how to get their attention. Now realize that you can.
The Prairie Music Alliance presents Prairie Music Week (PMW). A
component of Prairie Music Week is the PMW Conference. The PMW
Conference is a 3-day conference presenting dynamic ‘hands-on’ and
creative ‘interactive’ workshops on different aspects of the music
industry. Workshops this year include songwriting, music contracts,
skill training (vocal / guitar/ drums/ recording / engineering,
etc.), career planning, Internet marketing, and much more! Learn
how to make your way in the ever-changing world of music.
For more information on how to become involved in Prairie Music
Week contact:
Prairie Music Alliance, Suite #200 – 1654 11th Avenue, Regina, SK
Canada S4P 0H4
Tel: (306) 780-9830 ~ Email: info@prairiemusicweek.com ~ Web Site:
www.prairiemusicweek.com
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UNISONG - Created By Songwriters...For Songwriters
Over $50,000 USD in cash and prizes!
The 2001 UNISONG International Song Contest is open for entries!
Don't miss this fantastic opportunity! Prizes include Cash, AKG
Acoustics Performance Vocal Microphones, Legendary Pignose Amps,
Magazine Subscriptions, TAXI Memberships, Songscope.com Listings
and more! All entrants who provide a valid e-mail address will
receive a free, current issue of Bandit A&R Newsletter by e-mail.
Also, look for an amazing opportunity tba in the environment/human
rights category!
Once again our unique Grand Prize, not awarded by any other
songwriting competition, is an all expense paid trip to Jamaica to
participate in the next Music Bridges project in March 2002.
Previous grand prize winners have won the opportunity to write with
the likes of Burt Bacharach, Peter Buck, Jimmy Buffet, Gary Burr,
Beth Nielsen Chapman, Stewart Copeland, Rodney Crowell, Lamont
Dozier, Mick Fleetwood, Peter Frampton, Indigo Girls, Montell
Jordan, Gladys Knight, Lisa Loeb, Me'Shell Ndegeocello, Joan
Osborne, Lee Roy Parnell, Bonnie Raitt, Brenda Russell, Andy
Summers, David and Don Was, and many others during past Music
Bridges events.
Entry deadline is November 30, 2001. Enter before September 15th
to take advantage of our early bird entry fees! Enter your songs
via CD, cassette or MP3! See
http://www.unisong.com/uisc/index.html for more details.
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NEW SONGWRITING CONTEST: WENDY'S SIZZLIN' SOUNDS OF LATE NIGHT
Do you have that hamburger hit? Wendy's Sizzlin' Sounds of Late
Night, a songwriting contest, is asking amateur musicians to
compose a two-minute ode to your Late Night cravings for the hot n'
juicy hamburger. There are some "BIGGIE" prizes being offered by
program partners RolllingStone.com, Shure Inc., and Sonic Foundry.
Hurry up and start sizzlin' on your song as the last day to enter
is August 31, 2001.
For more information, visit www.sizzlinsounds.com
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CMT & Country.com PRESENT THE 2nd ANNUAL NSAI SONG CONTEST
Here's your chance -- the second annual NSAI Song Contest is
underway. If you write the winning song, you'll receive an all
expenses paid three-day trip to Nashville, introductions to music
industry executives, a radio appearance on Nashville 95, a Bluebird
Cafe appearance, a mentoring session with an award-winning panel of
professional songwriters, a Big Baby Taylor Guitar, an AKG C4000B
studio condensor microphone, and, last but certainly not least, an
appearance on CMT Most Wanted Live. Plus, many more prizes from
participating sponsors. WOW! That's a prize package that totals
over $10,000!
Everyone who enters will receive a scoring report for each song
entered. The judging system will tell how each song performed, with
tips on structure and commercial appeal. Enter before August 31,
2001 and receive $5 off your entry fee, plus you'll
be entered into a raffle for a Big Baby Taylor Guitar.
Final deadline: November 9, 2001
Visit http://www.country.com/comm/sweep/nsai/ for more information.
Or call 1-800-321-6008. Good Luck!
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HELP DESIGN THE SEMINAR OF YOUR DREAMS!
Music Industry Insider, Moses Avalon, author of Confessions of a
Record Producer and Secrets of Negotiating a Recording Contract, is
preparing a series of special seminars that will reveal the inside
scoop on how things really work behind the closed doors of record
companies and publishing companies. To further the quality of these
seminars we would like to know what areas you are interested in
finding out about. Go to http://www.musesmuse.com/mosesavalon.txt
to give your input.
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MID-ATLANTIC SONG CONTEST
The Mid-Atlantic Song Contest of the Songwriters Association of
Washington (SAW at http://www.saw.org/) is accepting entries in
multiple musical and composition genres through August 13th.
Please contact me, Joel Pomerantz, at pomeranj@hotmail.com for
details or entry applications.
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AUDITION SHOWCASE SONG CONTEST,
sponsored by Songwriters Circle of Kansas City
This contest is open to all performing songwriters. The 32
finalists will perform in an Audition Showcase at the Heartland
Folks Fest, which will be held on October 5, and 6, 2001. A&R reps
from Demagogue Productions and Trifecta Records will listen to all
of the finalists and pick 3 winners. These three will perform
20-minute sets that evening on the Heartland Folks Fest Main Stage.
There are also cash prizes for all three winners and studio time
for first place.
Entries will be judged on the strength of 2 songs (submitted on
CD), the performance and a promotional package that must be
submitted with the songs. Any 2 songs may be entered. There are
no song categories.
Deadline: August 1, 2001. Entry Fee $15.
For more information: http://www.SongwritersCircle.org
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VOCAL SCIENCE SEMINAR
Tuesday August 28th, 2001, 6:30 pm - 10:30 pm
at The Holiday INN - (Beaufort Room West, Downstairs Lobby)
7095 Woodbine Ave., Markham, Ontario - Telephone: (905) 474-0444
Price: $125.00
Early Bird Special: Register before August 10th and get $25.00 off
- seminar for $100.00.
Includes:
Interactive Workshop,
Fitness Break Meal
and a complimentary copy of the book Vocal Science - Flight to the
Universe by Diana Yampolsky
For more information please call us at: 416-229-0976
Email: info@vocalscience.com
or visit our website at www.vocalscience.com to register and
reserve your spot at the seminar.
Back to Menu
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M u s e ' s C l u e s : by Irene Jackson
©1998-2001 Moonstone Productions All Rights Reserved. Used By
Permission
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Lately I've been involved in a project for television, writing
theme and background music for a new series. It can be a lot of
fun, but it can also be a struggle. I liken it to what it must
feel like to be a staff writer for a publisher trying to come up
with a great song for an artist releasing an album...you're under
the gun to come up with exactly the right piece of music and they
always need it yesterday! In the end, there's no guarantee that
the show will be successful, anymore than there is a guarantee that
an artist's album will be.
Having said all of that, getting your music on a successful local
television series can be very lucrative! There are several ways to
go about it...in my case, the personal contacts I had helped a
great deal, but there are other options. This month, take a surf
on over to an article by Michael Laskow (the founder of TAXI)
called "Television Pays!". You'll find it here:
http://www.audio-recording-center.com/article-tv-music.html
The article explains how television producers often turn to music
libraries for cuts for their commercials, corporate videos, series
and other productions. These libraries are always looking for new
music, since they often update the entire library on an annual
basis. There are even libraries that are looking for
songs...meaning music and lyrics. So if you haven't thought about
it before, you might want to consider using your musical talents in
a way that could actually pay :-)
******
Irene Jackson is a performing songwriter from Victoria, BC in
Canada. Aside from writing, recording and performing, she also
maintains a website for songwriters that includes tips, articles
and more links of interest. Her eagerly anticipated CD "Catnip" is
finally here, and her earlier recordings have had attention
everywhere from Japan to South America.
Songwriting Tips: http://www.irenejackson.com/tips.html
Homepage: http://www.irenejackson.com/
Songs on MP3:
http://www.mp3.com/artists/20/irene_jackson.html
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F e a t u r e d A r t i c l e :
OYSTERS & MUSES - by Harriet Schock
©2001, Harriet Schock. All Rights Reserved.
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An oyster makes a pearl because some foreign piece of matter, like
a grain of sand, has entered the oyster and he covers it with
layers of nacre (mother of pearl). Basically, he's sort of spitting
at it because it's an annoyance. I think songwriters are like that.
If something is stuck in our craw, so to speak, we spit at it until
we get a song. Or if we are longing for someone, unbearably, we
write a song to give an outlet for all the feeling we can't express
to the missing or oblivious person. There's usually an element of
"reaching for" or "unfulfilled" or "discontent" before a pearl of a
song comes out.
This doesn't mean all songs are going to express anger or longing.
Sometimes, there's a longing to express gratitude or abiding
devotion. But there's a longing there, nevertheless. It's hard to
express these things in day-to-day existence. I just got an
assignment from one of my correspondence course students which is
going to lead to a very positive love song for his wife. I dare say
it will have some lovely pearls she has never heard, even over the
most romantic dinner. Art has a way of condensing and purging
deeper emotions that mere conversation isn't capable of expressing.
So where do we get the piece of sand? I'm sure there are a few
things bugging you at the moment, but they would not all be great
songs. In looking for a dry and boring subject to illustrate this
point, my first thought was that the IRS would not necessarily
inspire a good song, but then I remembered Alfred Johnson's "W2"
and realized that in the hands of a skillful songwriter there are
no bad subjects. But is there a rule of thumb? What might work
better than what?
I've been interested for a long time in what brings inspiration. It
seems that having a certain distance from that which is inspiring
us is essential, even if you have to find a way to get that
distance on purpose. It's no accident that there's an expression,
"Never marry the muse." A muse is worth its weight in plutonium.
I've known people who have stayed in totally bogus relationships
only because of the songs that person inspired, when in fact, there
was no real relationship in the first place. But it was the
equivalent of the eggs that Woody Allen mentioned at the end of
"Annie Hall." He did it for the eggs. We do it for the songs. And
for some reason, doing anything that will close that distance
changes the person from being a muse to being someone too close to
serve that purpose.
I recently read a poem by Wislawa Szymborska, a Nobel prize winner
and one of my favorite poets. It's called "I am too close," and one
of lines, and the recurring theme, is: "I am too close for him to
dream of me." She writes about having her arm under her lover's
head as he is dreaming of an usherette he saw once. She nails this
concept better than I've ever heard it discussed. We frequently
write (and dream) about fantasies and longings, much more than we
dream of those closest to us.
On the other hand, those of us who want to have it all try to find
a way to long for what we have. Goldie Hawn once said in an
interview that she fantasizes about Kurt Russell, her long-term
partner. This keeps the dream alive and is something I consider
very good advice. There's a rampant viewpoint that the thrill of
the chase is the only thrill there is. After the "prize" is "won,"
the game is over. This is patently an unevolved viewpoint, but it's
so ingrained and reinforced by films and novels and songs, that we
sometimes forget we have a choice. The reason I mention this in a
songwriting article is that it affects the way we write. It's not
just ruining our love lives; it's ruining our songs. It's also
helpful to know the difference between something you're writing
about and something you want to curl up with for a lifetime.
Some people try to harness the muse and get it to go in an
"appropriate" direction. The catch-22 of this is that only when you
know yourself very well can you get this to work. And most people
who know themselves very well have given up trying to steer the
muse. They just let it be where it is.
I have lots of students who are happily married who write about
some old relationship they never quite felt complete about. That's
where the juices are. They don't want to be back there in that
relationship. But that's where the muse is perched. So that's where
they go for the characters and the songs. I think this is fine. I
once asked my producer, Nik Venet, why a particular couple (both
very creative, great songwriters) couldn't make it together in life
when they were obviously so much in love and they wrote such
powerful songs about each other. He answered with a succinct wisdom
he was known for: "Fire needs more than fire. It needs wood."
So back to our oyster analogy. It used to require a search of over
1000 oysters to find one pearl. Now, cultured pearls are made by
putting a bead in an oyster and putting him back into the water.
Then the pearls are collected. The cultured pearls are made the
same way as naturally occurring pearls, except that some
enterprising person decided to help nature irritate more oysters
into making pearls. I realized while thinking this through that I
do that on a daily basis with songwriters. I don't have to insert
the bead. They already have them. They just don't know where to
look until I direct them. Once they get the knack of it, they're
off and writing.
Take a look at your own life. See where your beads are, and I don't
mean the perspiration on your forehead when you're trying to pull a
song out of nothing. There are plenty of sources of inspiration.
Get out your radar and find that muse. She may be perched on the
question mark of an old relationship. She may be looking out from
the eyes of your present beloved. Or she could be leaping from the
pages of an editorial that gets you crazy. Muses love to hide. But
you're a songwriter. It's your job to find them.
******
Harriet Schock is a gold and platinum songwriter/recording artist
whose songs have been recorded my numerous artists and used in
films. "Ain't No Way To Treat A Lady" has become a standard and was
nominated for a Grammy. Her fourth and fifth CDs, American Romance
and Rosebud, both produced by Nik Venet, have recently been
released, as well as her book, Becoming Remarkable, published by
Blue Dolphin. In addition to performing worldwide, she speaks,
teaches and consults in person and offers a correspondence course
via the Internet. For further information about her book, CDs,
concerts or consultation, go to http://harrietschock.com/ or call
(323) 934-5691. For reviews of her albums go to
http://allmusic.com.
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" O N S I T E " F E A T U R E D A R T I C L E :
Arranging the Psychic Sonic Furniture
By James Linderman
http://www.musesmuse.com/art-linderman2.html
James gives hints on how to arrange chords within your song to make
use of emotion - tension and resolution.
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C l a s s i f i e d s & U s e f u l S e r v i c e s :
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Contact us for more information: Phone: 877-980-7700.
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GET YOUR COPY OF THE INDIE CONTACT BIBLE & START MAKING WAVES!
This is an absolutely priceless resource for indie musicians. If
you want your music reviewed, on the radio, *heard*, THIS is the
resource you need to have. It's not going to tell you "how" but it
will *certainly* tell you "who". I highly recommend you pick it up
in order to compliment your other music marketing techniques. Have
a look at this url and read through a few sample pages to see what
I mean: http://www.bigmeteor.com/muse
(Full review at http://www.musesmuse.com/3.4-July00.html#book)
=================================================================
ADVERTISING RATES: For Classifieds: US$25 Max. 8 lines, where
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contracts must be prepaid. Write to: editor@musesmuse.com
For Newsletter Sponsorship rates and other advertising
opportunities, please see http://www.musesmuse.com/media.html .
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C o n t a c t I n f o & C r e d i t s :
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Jodi Krangle ............................................. EDITOR
Kathryn Obenshain ...........................GRACIOUS PROOFREADER
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The Muse's News is a free monthly newsletter for and about
songwriters. Subscribers are welcome to recirculate or reprint
The Muse's News for nonprofit use as long as the appropriate
credit is given and the ENTIRE text of the newsletter is
included (including credits and information at the end of each
issue). Others should contact me at editor@musesmuse.com.
All articles copyrighted by their authors.
Back issues and other information will be available at:
http://www.musesmuse.com/musenews.html
The Muse's News is part of The Muse's Muse, a web resource for
songwriters: http://www.musesmuse.com/
For further information, send your e-mail to:
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The Muse's News.
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editor@musesmuse.com - To submit articles,reviews,ideas,etc.
SNAILMAIL: Please contact me first at editor@musesmuse.com ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
Back issues of the newsletter can be read at the National Library of Canada ecollection:
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