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Robert Peter Williams also known as Robbie Williams was born on 13th February 1974 in the village Newcastle-under-Lyme.

He sold tens of millions of albums worldwide and is one of the best selling artist not only in the UK but also world wide.

The take that period (1990-1995).

Robbie Williams started his career with the very popular boys band Take that (Robbie Williams, Mark Owen, Jason Orange, Howard Donald and Gary Barlow). They had several number one hits such as “back for good”. In total they had 10 UK number one singles seven of them were created when Robbie Williams was a member of the band.

In 1995 the band splitted however in 2006 they came back with a new single “patience” the band was reformed but this time without Robbie Williams.

Robbie William’s solo career

In 1996 he covered George Michaels’ freedom and reached number two in two in the UK hit parades. This number is very impressive because the original George Michael didn’t receive a top ten place in the charts. In September 1997 Robbie Williams released his debut album live trough a lens.

He received a top eight position in the UK charts, however he was struggling to reach the top 40 in the European charts.

In 1998 I worked together with Williams and chambers to make the album “Millennium”. At this time he had a relationship with Nicole Appleton a member of the band All Saints.

The band still active these days. With the single millennium he reached his first top one single in the hit charts. And he had not only success in Europe but also in Latin America. “She’s the one” another single from the album Millennium reached also the number one in the charts.

In 1999 he did a lot of promotions and tours and without doubt he was a very successful artist. He created also a knew album with the well known hits like “Rock Dj”, “Supreme”. He collaborated also with the Australian Pop artist Kylie Minogue (Kids).

In late 2001 he released a new album Swing when you are winning. In this album he had a hit with Nicole Kidman “something stupid” it was a cover from Frank and Nancy Sinatra. In 2002 Williams began working on what would be his fifth studio album, Escapology. It was the best selling album of this year in 2002. His ninth album was called Intensive care, his best selling studio career of his time with the single Rudebox that’s also the upcoming title for his next album.

His last album so far has the title Rudebox with hits such as Rudebox and she’s Madonna. This latest song was released with the Pet Shop Boys and is a love song to Madonna. In the video clip you can see Robbie Williams as a drag queen dressed in a white jacket.

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“We Need Protection” was a Top Ten Single in many mainland Europe countries. The original version featuring Terence Trent D’arby was never commercially released and is now a sought after jewel in the world of record collectors.

Ruppert has produced and engineered commercially successful songs and albums for numerous German, British and international artists. He received Gold and Platinum records awards for his sound engineering work with scottish pop band Wet Wet Wet and american born singer/songwriter Terence Trent D’arby. As a Producer, he has had chart success with Picnic At The Whitehouse, Ellis, Beggs & Howard, The Scientist & The Messiah. He is also one of the co-founders and owned a significant stake in the recording company Millennium Records, Headroom Studios London and a music publishing company, Millennium Songs.

He is also one of the co-founders and owned a significant stake in the recording company Millennium Records, Headroom Studios London and a music publishing company, Millennium Songs. New releases are upcoming on the cult label Some Bizarre.

http://www.my-infosite.com

After recording her debut album in 1983, her rise was meteoric, aided by the popularity of MTV, as she shocked and dared the public with her visible black lacy brassieres, bare midriff, outspokenness about virginity, abortion and out-of-wedlock births.

Madonna was born in Bay City, Michigan, the eldest of eight children (surely an error here as she is the eldest daughter, but third eldest child). Her father, Tony, was an engineer at Chrysler, her mother, whose name she was given, a housewife.

Later, the family was to move south to Pontiac where she shared a room with two sisters. As a girl, Madonna spent her summers working in her father’s vegetable garden weeding and spraying insecticide, or she was sent to her grandparents’ house in Pennsylvania where she would be expected to work on the house and garden. The regime was rooted in instilling ethical work.

The family was devoutly Catholic. On Good Friday, her mother would place a purple cloth over all the religious pictures and statues in the house. This was before she fell ill with breast cancer, which would take her life when Madonna was six. Like many children who lose a parent, Madonna expected her mother to return. But nobody talked about it. For years it seemed that way.

Three years later, her father married again, this time to the family housekeeper who never acknowledged Madonna as her mother did. Going t church before school, doing housework that was assigned by dad’s chore chart, and no TV. This, incidentally, is her top tip for successful parenthood; no TV.

Madonna was expected to defrost the freezer, wash the dishes, baby sit, and vacuum. She was a voracious reader and loved the stories her mother told her about a garden involving vegetables and a rabbit.

Like many teenagers, she knew that she would leave for the big city as quickly as she could. She says that she knew she wanted to leave Michigan from the age of five. She lasted one term at her Home-state University on a dance scholarship. Her heart wasn’t in it. Even though she’d never visited, there was really only one place for her: New York, the true home of the ambitious.

She arrived, in her late teens, at La Guardia airport and took a taxi to Times Square. She had no money or connections and lived hand to mouth, eventually settling in a tenement on the Lower East Side at 4th and Avenue B. Every weekend she went dubbing in search of A&R personnel and DJs who might be able to assist her career. She recalls dancing to ‘Don’t You Want Me’ by the Human League at New York’s famous Danceteria club. With her first royalty paycheck, she bought a synthesizer and a bike which she had to carry up all six flights to her new apartment, a loft on Broome and West Broadway.

Deep down she also carried much resentment about her family, was often unhappy and relied greatly on music, which she has written was ‘a vehicle for transcending misery (the story of my life)’ to get her through thin times.

Anyway, it is a pretty strange thing to sit and think about the fact that Madonna is one of the most famous women in the world. Fame is the defining aspect of her life, even more than her music, style, or the movies. Madonna will be remembered for being one of the most relentlessly self-realized people of the century. Along with Monroe and Ali, Madonna will be remembered for defining the times by inventing and changing and promoting herself with ambition and, in so doing, providing us with a way of understanding ourselves and remembering what we used to dance to, who we used to be.

Jonathon Hardcastle writes articles on many topics including Society, Alternative Health, and Family

The night is alive in Blackpool, one of the best clubbing venues in the north as well as a favorite destination for fans of live music and live theatre performances. The club scene is electric in Blackpool, with the resort town offering hot dance music, pop and old school tunes as well as R’n'B every night of the week.

Located in central Promenade, the Palace is probably the hottest club in town, with a full capacity of 3,200 clubbers swinging and swaying to its stylish tunes on Fridays and Saturdays. The drinks may be a tad expensive, but the spaciousness and elegance of the venue as well as the quality of the dance music make it worthwhile.

The beach bar/club Linekers is near the Palace and can comfortably accommodate about 300 guests. Top 40 chart music is played here throughout the night. The much larger Jellies Nightclub along the Promenade plays the same kind of music but it boasts of three dance floors and five bars spread over two floors.

Club One Eleven on Central Promenade is the venue of choice for serious clubbers and it can accommodate as many as 1,100 of them at a time. The speakers blast out house and old school music all night long. Meanwhile, die-hard dancers converge at two other clubs nearby: Heaven & Hell on Bank Hey Street and Rumours on Talbot Square.

Over on Church street is the Syndicate Super Club, which has been officially named as the UK’s biggest club. Its three levels can house more than 5,000 people. Top guest DJs regularly perform here to the delight of delirious crowds. Right above the Syndicate Super Club is Status, a new nightclub that targets the 25 and above set.

Liquidlounge on Topping Street is best known for its futuristic style interiors and is favorite haven of the ultra hip and sophisticated. It usually plays sexy, non-commercial music.

Flares Nightclub on the Promenade is the home to the Saturday Night Fever crowd that love to dance the night away. The top dance hits of the 70s are brought back to life here while clubbers strut their funky stuff.

There are two other nightclubs of note on Promenade: Time and Waterfront. Time caters to the 25 and above set and plays everything from cheesy classics to indie tunes. Waterfront caters to the below 25 set and plays modern chart music.

Rock and heavy metals fans usually end up on The Tache Rock Venue on Cookson Street, which has been entertaining this crowd for over 13 years. Thursday is student night.

When it comes to live music, Blackpool has plenty of venues that play everything from jazz and blues to classical and opera. There is also a lot of pop and rock and plenty of opportunities to cross paths with a famous or rising pop star or band.

Blackpool’s theatres are the main venues to see big-time celebrities. The Winter Gardens, which has excellent venues such as the Spanish Hall and the Pavilion Theatre, usually host pop acts like Scissor Sisters and instrumental artists like Tommy Emanuel. The Opera House, which is also part of the Winter Gardens complex, has featured major stars such as Katie Melua, the Beach Boys, Status Quo, Jane McDonald and Daniel Bedingfield.

The Musical Hall Tavern on Church Street is an excellent venue for live music in a traditional club atmosphere. It was awarded second place in the Variety Club Category during the 2002 Blackpool Tourism awards. Pianist Andy Knight regularly thrills the crowd at the Music Hall Tavern.

Situated on Church Street, the Musical Hall Tavern was runner-up in the variety club category in the Blackpool Tourism awards in 2002. This venue plays host to many different acts, including Andy Knight, who wows the crowd with his piano classics. The neighboring K2 Bar offers a more contemporary live music menu, mainly focusing on dance tunes.

Scruffy Murphy’s on Corporation Street has live Irish folk music during weekends, while bands at The Kite Club on Talbot Road play blues and rock and roll. New and up and coming musical acts are regular features of the Galleon nightclub on Adelaide Street.

Theatre lovers absolutely adore Blackpool because it has four main theatres and is one of the best venues for musicals, drama and a wealth of other shows. Not only that, the theatres are highly regarded historical institutions as well.

The Grand Theatre on Church Street is the finest and most famous theatre in Blackpool. Located at the heart of the town’s tourist area, the Grand Theatre offers an array of shows each year, including classics like Ken Dodd to performances by the English National Ballet.

The Opera House at the Winter Gardens, Blackpool’s oldest theatre, opened its doors in June 1889 and is still going strong today.

The Pavilion Theatre, which is also within the Winter Gardens complex, has undergone many changes since it was built in the 19th century but today features plays, musicals and dance shows.

The North Pier Theatre features many great musical acts as well as cabaret performances. It provides the most intimate theatrical experience among the four.

Article by Susan Ashby of Blackpool Singles. To read more articles like this or for dating in Blackpool visit htpp://www.Blackpool-singles.co.uk

Nelly Furtado was born on December 2 1980 at Victoria (capital of British Columbia in Canada) from Portugese parents. Nelly Furtado parents named her “Nelly” because of the Russian gymnastic champion Nellie Kim who won 5 gold medals (3 in 1976 and 2 in 1980) and 1 silver (in 1976) at the Olympic games.

Nelly Furtado learned to play the trombone, the guitar and the ukelele at the age of 9 years old and synthesizer at the age of 11. Passionate by music since her early age, Nelly Furtado already knows at the age of 4 years old she wants to become singer. Nelly Furtado sung with her mother at the choir, especially during the national day of Portugal. Nelly Furtado speaks fluently Portugese, English, Hindi and Spanish.

Since she is a teenager, Nelly Furtado starts to write songs and belong to a brass band. During this period, Nelly Furtado listens to R&B, hip hop, alternative rock, alternative hip hop, trip hop, fado, bossa nova and Indian music. The artists that Nelly Furtado like (and influenced her) are Jeff Buckley, Caetano Veloso, Amalia Rodrigues, Nusrat Fateh Ali Khan, Cornershop, Mariah Carey, TLC, Mary J. Blige, Digable Planets, De La Soul, Radiohead, Oasis, The Smashing Pumpkins, The Verve, U2, and Beck.

Nelly Furtado thanks her parents to have taught her hard working and ethic. Indeed, Nelly Furtado has spent 8 summers working as chambermaid with her mother. Nelly Furtado declares that coming from this background has positively contribute to forge her personality.

During a visit in Toronto, last summer, Nelly Furtado met Tallis Newkirk, member of hip hop band named “Plains of Fascination” and have contributed to their album in 1996 “Join the Ranks” on title “Waitin’ 4 The Streets”. After achievement of her studies in Mount Douglas Secondary School in 1996, Nelly Furtado leaves for Toronto where she finally formed duo/group Nelstar in 1997 with Newkirk. The experience has brought her back to her influences and allowed her to be more confident in the writing of her melodies and rhymes. Despite, “Like”, one of the Nelstar songs, received a subvention from VideoFACT to cover the production of the clip, Nelly Furtado estimated the duo didn’t reflect her personality and didn’t allow to demonstrate her vocal competences. Therefore Nelly Furtado quits the music band with the idea to come back to Victoria.

Before leaving, Nelly Furtado decides to take part to a contest (quite famous at that time), the “Honey Jam” which takes place at Lee’s Palace, a nightclub. Impressed by her performance, singer Gerald Eaton (Alias Jarvis Church) from band (The Philosopher Kings) offers Nelly Furtado a collaboration. It results a sample with participation of another member of The Philosoper Kings, Brian West. But Nelly Furtado leaves to travel in Europe and wanted to go to university to take courses about writing. Finally, Nelly Furtado comes back working with them and signs a contract in 1999 with DreamWorks Records.

Nelly Furtado continues to work with Eaton and West, who co-product her album, “Whoa, Nelly!” (….On The Radio (Remember The Days), Baby Girl, Hey, Man!, I Will Make U Cry, I’m Like A Bird, Legend, My Love Grows Deeper Part 1, Party, Scared Of You, Trynna Finda Way, Turn Off The Light, Well, Well), released in October 2000. The success comes from the singles I’m Like A Bird, Turn Off The Light, and …On The Radio (Remember The Days). Nelly Furtado album was nominated 4 times at the Grammy Awards in 2002. But Nelly Furtado has only received the award for Best Female Pop Vocal Performance for “I’m Like A Bird”, her first single. Moreover, Nelly Furtado has received a good critic for her innovative mix of various styles with different sounds. Then Nelly Furtado did a tour called “Burn in the Spotlight” and also the one of Moby, “Area:One”.

The second album, “Folklore” (Build You Up, Childhood Dreams, Explode, Forca, Fresh Off the Boat, Island of Wonder, One-Trick Pony, Picture Perfect, Powerless (Say What You Want), Saturdays, The Grass Is Green, Try), is released in November 2003. The album shows more diverse sounds, a more rock approach, an acoustic approach. As Nelly Furtado concentrated more on the writing, the BBC estimated that there was double more originality than in her first album. Nelly Furtado has attributed the maturity of her album to the fact she was pregnant most of the time of the recording.

Her title Força (which means courage and strength in Portugese) which is on her album Folkore was used for the European Football Championship in 2004 which took place in Portugal, at Lisbon. Força was sung during the final. However Dreamworks Records is sold to Universal Music during the release of Nelly Furtado album and that is why there wasn’t much promotion. In 2005, Nelly Furtado is taken by Geffen Records because Dreamworks definitely closes.

Nelly Furtado should be soon seen in an independent film on Iraq war. The movie is called Nobody’s Hero. But Nelly Furtado also prepared “Loose” at the same time that the filming. Nelly Furtado has also tried to make a film in Hindi but it didn’t make it.

Nelly Furtado just releases “Loose” (Afraid, All Good Things (Come To An End), Do It, Glow, In God’s Hands, Maneater, No Hay Igual, Promiscuous, Say It Right, Showtime, Te Busque, Te Busque (Spanish Version), Wait For You) in June 2006. The first Nelly Furtado single is “Maneater” for Europe and Promiscuous (feat. Timbaland) in America. Anybody needs to know there are different versions of this album according to the countries. Chris Martin, leader of group Coldplay, was to make an appearance in song “All good things (come to and end)”, but it didn’t make it, which has regretted the singer. Nelly Furtado has also collaborated with Juanes on her song “Te Busque” which we can also find a version in Spanish. Nelly Furtado has already done a duo with him on title “Fotografia” from album “Un Dia Normal” of the Colombia singer.

“Loose” is the Nelly Furtado album the most successful of her career, reaching #1 in several countries including the US and Canada. The singles “Promiscuous” and “Maneater”, are also ranked #1 in the US, Canada and the UK.

According to rumors, the next Nelly Furtado single should be “Say It Right”.

Nelly Furtado has had a child, just before “Folklore”, whose name is Nevis (born September 20 2003 at Toronto, in Canada).

The father is her ex boy friend, DJ and producer Jasper Gahunia alias Lil’Jaz. Nelly Furtado and Gahunia, who are separated in 2005, were together during 4 years and friends during many years before that. Nelly Furtado wanted to rise up Nevis at Toronto due to the cultural diversity, open minded and political activism of the city.

If you are a Nelly Furtado fan and love to listen to Nelly Furtado, then you can customize your cell phone by downloading Nelly Furtado ringtones. Ringtone Jam Jam Famous Singers has it all: Nelly Furtado lyrics, Nelly Furtado videos, Nelly Furtado pics, Nelly Furtado songs, Nelly Furtado biography, Nelly Furtado music, Nelly Furtado wallpapers, Nelly Furtado new album and Nelly Furtado ringtones.

However, it is first important to understand the basic forms of rights and compensation. Songwriters, publishers, and performing artists are compensated in a variety of ways. In the United States, there are specific rights in direct accordance with Copyright Law as well as rights associated with specific usages. Contracts are used to firmly establish rights and compensation in all cases.

First, Copyright Law provides for songwriter compensation and publishing compensation. The Law guarantees the payment of those folks holding the rights for a specific work. While these amounts have a set rate, they are generally split 50/50 between songwriting and publishing rights. Of course, songwriters, publishers, and record companies will negotiate for portions of these guaranteed payments and the provisions are generally outlined in a contract. This portion of the compensation is usually monitored and distributed for registered works through the professional rights organizations such as ASCAP.

These days, there are many more options available for an artist. The more traditional option is to sign with a record label that will take care of the distribution and marketing. For someone signing with a record label, there is additional compensation for performing a song. This is usually paid to the performer by the record company in accordance with a separate contract. This contract may or may not additionally address the above rights which are guaranteed by law. For example, payment from the record company may also be direct to an artist which does not necessarily involve the rights described herein.

Advances are a form of payment that a record company may offer to an artist, but it usually operates like a loan from the bank. That is, until sales reach a specified point, a specified portion of income received by the record company and expenses accrued on behalf of the artist are maintained in the artist’s account. In this case, the advance is already in the account as a form of “debt” to the record company. It is possible for an artist to actually “owe” money to the record company long after release if sales are weak and the terms are not favorable. Cross collateralization is a term that refers to using the funds from an additional, separate work to “pay off” the “debt” from a previous work.

By contrast, the independent artist will hire services or provide their own distribution and marketing. In this case, the profit from the sale of material becomes much less complex in nature but the ability to reach the public becomes very difficult as the traditional infrastructure for gaining exposure remains very much in play. That is, relationships that exist between record companies and the mass media outlets are very strong. Nonetheless, there are increasing numbers of independents who are finding markets for their music and the profit margins are much more favorable when an audience is found. The proceeds from the sale of digital downloads and tangible media are then collected and apportioned by the artist or someone managing the money for the artist.

There are also Mechanical Rights that are collected and paid for each public play or in most cases, compensated with blanket fees. These rights are monitored and collected in a similar fashion as the above described songwriting and publishing rights. The Harry Fox Agency is one of many companies that monitor the usage of songs as a service to an artist. Some publishers also perform this service on behalf of the artists they represent as it is also in their interest to make sure the publishing component of the fees are paid.

Finally, there are synchronization rights which are associated with films and television shows. Forms of compensation for commercials may vary but are generally paid directly to the associated parties by the sponsor.

All of these forms of compensation are separate and require specific agreements to protect the parties involved. These forms of compensation also require a level of diligence to insure that payments are received when the material is used. The following types of contracts are intended as an aid to help you, the music professional, better understand the types of arrangements that you are likely to encounter:

Artist Recording Contract – This contract is directly between an artist and a recording studio. It is intended for a specific recording. The provisions generally include the form of compensation for the artist as well as those people who perform on the recording. This is separate from a Record Company Contract as outlined below.

Artist – Record Company Contract – This contract is directly between an artist and a record company. In this case, a record company handles distribution and marketing of recorded materials for the artist. To distinguish from an Artist Recording Contract, a Record Company Contract allows an artist to work through the record company to obtain the services of a recording studio or a record company that may have their own recording studio. Again, the provisions are for the forms of compensation to the artists.

Assignment of Copyright – This contract is to assign the rights for a previously copyrighted material to a company or individual for the purpose of marketing. This assignment is a form of guarantee for the company or individual who intends to devote their time on behalf of the artist. This contract does not provide for a transfer of ownership. That is, the songwriter retains ownership of the work but has assigned the rights to another individual or company.

Collaboration Agreement – This is a type of contract that specifies the degree of ownership of a work that is done between two or more artists in a collaborative effort. While collaborations were frequently done without a contract between artists who worked side by side, it is now becoming necessary with long distance collaborations between people who do not know each other aside from correspondence and telephone calls.

Co-publishing Contract – This contract is usually between an individual or company (publisher) and a larger publishing company. It is a way for a smaller publishing company or individual to collect a portion of the publishing component of compensation in exchange for acting on behalf of the artist.

Copyright License and Contract – This contract is between the individual or company who holds the rights (or assignment of copyright) and a record company. This contract is used by publishers to obtain the services of a record company on behalf of an artist.

Exclusive Songwriter Agreement – This is a form of employment contract in which a publisher might hire a songwriter to write songs. This type of contract typically does involve transfer of ownership to the publisher in exchange for a salary paid to the artist. This type of contract sometimes does not provide for listing the songwriter’s name in association with a given work.

Exclusive Songwriter Contract – This contract is for a specific writer who is expected to produce a specific work over a designated period of time. It is similar to the above, but is not considered a form of regular employment as the contract has a fixed time and the intention is for a fixed body of work for which the songwriter will receive credit. Rights are typically assigned as part of this type of contract to the publisher or record company but ownership is retained by the artist.

Film Synchronization Contract – This contract is between the individual or company holding the rights to a song and a film production company. The compensation is generally tied to the performance of the film at the box office, but may also have a fixed advance with no provisions for royalties.

Foreign Agency Contract – This contract is used when an artist and the agent live in different countries. It is a form of agency that may be used to guarantee compensation for an individual who wishes to work on behalf of an artist who may or may not have an existing work in another country.

Publisher – Record Company Contract – This contract is between the publisher and the record company. It involves the normal forms of compensation to a publishing company who has the rights for a specific body of work. These forms of compensation, usually in the form of royalties, are related to the sales volume. It is also specific to the services that will be provided by the record company in exchange for the license to distribute the material.

Publisher Royalty Sharing Agreement – This contract is between the publisher and the assignee. Provisions in the contract are for the specific percentage of a royalty to be paid to an assignee. There may also be provisions for expenses. This contract is usually to establish a form of payment to a third party in exchange for a service or for exposure. For example, a publisher may use a portion of their compensation to improve the chances for success.

Publisher Royalty Sharing Contract – This contract is usually between the publisher and a record company which is an additional form of payment to the record company for a record deal with an artist. Record companies may negotiate for songwriting, publishing, and merchandising in addition to the compensation stipulated in the Recording Contract.

Single Song Option Contract – This contract is also referred to as a “hold”. It gives a publisher a set amount of time to find an artist, larger publisher or a record company who is interested in a specific song. This contract may also be used by the artist or by the record company who wants to have the option to use the song when it is time to record.

Sub Publishing Agreement – This contract is used when the artist and publisher live in different countries. It is most often used when the artist has a published work in another country. For example, if the artist has a cd in Germany, then the German publisher (or the individual or company holding the rights for the work) may wish to have the work promoted in the United States. A Sub Publishing Agreement allows the publishing company operating in the United States to act on behalf of the individual publisher or publishing company in Germany for a published work.

Each of the aforementioned contracts is available through any number of sources. While it is possible to modify an existing contract or purchase a basic contract online, it always makes sense to have someone review the contract or contracts prior to execution. Each contract should be very specific with regard to the parties and the work for which it is intended. Jurisdiction should be established to determine which laws will apply. Also, it is important to understand the idea of precedence. Contracts will be interpreted in accordance with different state laws, but they will also be interpreted in order of precedence. Precedence refers to the legal order of interpretation of each contract when there is a dispute. While most of the above contracts will stand alone, there are many cases in which more than one contract is required. There are also cases when there is a conflict with more than one contract claiming the same exclusive rights. Contract Law has very specific rules for determining precedence which should be understood prior to entering into a contract. It also helps to have an Arbitration Clause to reduce the potential for excessive court costs. The laws in the court system and the laws used by the American Arbitration Association are the same within any given state. In general, if exclusive rights are already properly bound by contract, they may not be claimed otherwise.

Article distibuted by permission of Del Boland and Bluemusepublishing.com. http://Bluemusepublishing.com is a free online community for songwriters, bands, and musicians.

What exactly is the “X factor?” You hear professionals in the entertainment industry referring to it. You hear artists alluding to it, but you rarely hear anyone defining “it.” If you are an aspiring music artist or an entertainer, it’s important that you know what “it” is because in the mind of the most seasoned and powerful industry professionals, having “it” is what determines if you are worth the investment of endless amounts of time and money.

In order to properly and accurately define what “it” is, we will approach the subject from two perspectives: emotional and visual. Visually, it goes beyond good looks. Good looks are often confused with the “X factor.” This can be traced back to the advent and popularity of music videos in the 80’s, which created a greater emphasis and need for artists that could give “good face” or in laymen’s terms, were photogenic.

But good looks only get attention. People who have “it” can maintain attention beyond a quick glance, or even a double take. They have something called magnetism. Magnetism is a combination of personal qualities such as: a sociable personality, self-confidence’ charm, inner peace, comfort with one’s sexuality, rebelliousness, obvious intellect, a unique viewpoint, intensity or focus, authority, or sense of humor. In some instances, it is truly indescribable, but very recognizable to those who have seen “it” before.

Emotionally, those with the “X factor” have a way of pushing our buttons psychologically. They make us feel good or inspired. Pissed off or aggravated. Challenged or validated. Regardless of how they affect us, they engage us emotionally and the “X factor” that lives within them, speaks to something inside of us, often times, something that we lack or yearn for.

Those who are talented and would like to pursue a professional career in the music industry as a commercial music artist must understand that for many of you, no matter how hard you work, your success and destiny have already been predetermined by the natural presence, or tangible amount, of “X factor” that you were born with and there is nothing you can do to change it.

If you have “it,” then it’s a matter of harnessing and directing the power of “it” to make “it” more easily recognizable to others. For many however, there is nothing to tap into. It’s nearly impossible to get “it” as you get older if you didn’t have “it” when you were younger. Maturity is a nice quality to have, but it will never be mistaken for magnetism.

In my opinion, and in accordance with the laws of the “X factor,” it is only appropriate that Michael Jackson is the top selling music artist of all time. As a child, he didn’t just have “it,” he had a whole lot of “it.” He had so much of “it” that he was able to infect his four brothers with “it.”

Throughout his teen years and well into adulthood, the immensity of his talent was intensified by the high abundance of “X factor” that his father identified and helped him to make more recognizable to others. We have yet to see the level of intensity and focus that he displayed as a young star. He was truly destined to become the King of Pop.

Other star music artists who have “it” are: Prince, Madonna, Usher, Justin Timberlake, Cher, Christina Aguilera, Beyonce, Bonjovi, Bono, Bruce Springstein, Barbara Streisand, Faith Hill, Tim McGraw, Garth Brooks, Eminem, Jay-Z, Ludacris, Missy Elliott, Bow Wow, Bebe & Ce Ce Winans, and Yolanda Adams to name a few.

Of course there are many music artists who have achieved success without having “it.”

Often times these individuals are driven and committed and are able to achieve their success as a result of hard work, determination, sacrifice, good timing, great marketing, or exceptional talent. These fine attributes may ignite attention, but without the “X factor” working for them, public interest and attention tends to diminish over time.

Compare Prince to Whitney Houston. Both entered the music industry around the same age (18) and both have a tremendous amount of talent (albeit in different ways). While the world was hypnotized by Whitney’s talented gospel like voice that was stored in a model’s body (a phenomenon that she helped to usher in and is now the visual standard for r&b female vocalists), Prince’s magnetism garnered interest and attention from many of those who didn’t know quite what to make of him.

People tried to define him: Is he black or white? Is he straight or gay? Is he a rocker or an r&b artist?Is he a Christian or a freak? It really didn’t matter. What mattered is that he had “it,” and “it” is what kept us intrigued. He, like Michael Jackson, has so much of “it,” that “it” tends to overshadow the immensity of his talents.

Whitney Houston on the other hand, with all of the grace and charm that she learned to fabricate while at the Wilhelmina Talent Agency, did a fine job of creating the illusion of having “it.” She did however, have a high abundance of all the other qualities that are often mistaken for the “X factor.”

Those who have “it” carry “it” with them from the cradle to the grave. Bad career decisions; a bad marriage; life’s mishaps; lack of fame; lack of money – none of those things can affect or eradicate “it.”

“It” should not be confused with attitude, which is often projected. “It” is not forceful and temporary. “It” is subtle and consistent. “It” is a serious advantage that is afforded to only a rare minority.

Gian Fiero is a recognized authority on commercial music who is best known for his comprehensive and insightful music reviews on The Muse’s Muse.com. He has been an influential factor in obtaining record deals for artists signed to RCA, Bust It!, Gasoline Alley and Interscope Records. He is currently active in the music industry as an Independent A&R Specialist and represents Grammy nominated music producer Cori Jacobs (Beyonce, Pussy Cat Dolls, Lauryn Hill, Teedra Moses, Brooke Valentine, and George Clinton) in addition to being an adjunct professor of Music Industry Studies at San Francisco State’s Music/Recording Industry Program.

So when I decided I wanted to drop a couple of pounds before the holidays hit I went back to my roots and signed up for a series of dance classes.

Going in I knew that dance requires creativity, focus, control and power. But driving home one day I thought about how much learning to dance is like running a business. Here are 5 business lessons I’ve learned from hanging out in a hip-hop class.

I can do a whole lot more than I thought.

Each lesson is broken down into sections. It doesn’t matter what class I’m in the instructor belts out 8 counts of new steps and I watch thinking, “my body doesn’t do that”.

You know what, after it’s broken down and we practice a bit, “my body can do that”. It’s the same with your business. What business tasks, systems, phone calls, and risks are you not taking because you think you can’t? All it takes is breaking it down and a little practice and you’ll be amazed at what you can do.

It gets easier with time.

My first day in hip-hop class I looked around at the room full of 20somethings and through, “what on earth is a tap dancer doing in a hip-hop class”? I tripped over myself, got frustrated with the steps and pretty much looked like an idiot. But the more I do it the easier it gets and the more fun it is. To top it off I’m surprised at how fast I’m picking it up.

In business you don’t start at the top. You have to try things that make you feel uncomfortable, self- conscious and maybe even (gulp), out of control. But keep at it because soon things that gave you the heebie jeebies become second nature.

It takes more than good feet to be a good dancer.

So there I was feeling a little cocky because I had all the steps down. I was moving all over the floor and then I looked in the mirror and I looked like CRAP.

My feet were perfect. But the rest of me was stiff as a board. I wasn’t moving my arms, hips, head, or shoulders. Nothing. I was only doing 10% of the work, but expecting 100% of the results.

It’s the same in business. If you have the perfect marketing plan, but no systems to back it up, it’s like you’re working at 10%. You need a balance of marketing, sales, accounting, products, staff, etc. Make sure you aren’t dancing with just your feet, use your whole body.

Why do I have to force myself to do something I love?

Sunday morning I’m curled up on the couch with my dog, a nice cup of tea and the TV. I love the dance class, you’d think I’d be ready to jump up and head off to class. But no I literally had to force myself off the couch.

Even though you love what you do, sometimes you’ll have to force yourself to work. Figure out what motivates you to get going even when you don’t feel like it.

A group of peers is really supportive.

When there is a really big class we split into two groups so at the end of the class each group has a chance to really let go without worrying about running into their neighbor. It’s great having more advanced dancers to follow in case I forget the steps. Then at the end the group watching claps and cheers – no matter we look like.

Find yourself a group of cheerleaders. Personally, I have a mastermind group, an accountability buddy, and a coach. All help me when I need help with the steps and cheer for me when I have even a small success.

© 2005 Beth Schneider. Want to reprint this article, feel free as long as you include the following: Beth Schneider, Chief Infopreneur of Process Prodigy, is a business process consultant who helps solo-entrepreneurs, small business owners and network marketers who want to systemize their business to increase profits, increase productivity and grow their business without having to give up the family oriented, flexible, balanced lifestyle they desire. Beth works one-on-one with her clients, offers home study courses, and teleclass boot camps. For more information visit http://www.processprodigy.com and sign up for your FR*EE 5- Step Process Starter Kit and FR*EE Process Tips.

Beth Schneider, Chief Infopreneur, uses her natural ability to create systems and motivate people, providing streamlined, effective and consistent processes and procedures.

It is not everyday you get such a talented, vibrant person and it is these artists that fans love all over the world. She has a beautiful voice, a beautiful face and a beautiful personality. Everything you need to become famous, and famous Lara became.

Yet her name is not a household name like Celine Dion or Enrique Iglesias, but she has all the talents these great performers have. She is frequently compared to Celine Dion but just like Celine, she also performed the soundtracks of movies like Final Fantasy and AI, she even played the voice of Esmeralda of the Hunchback of Notre Dame and sang the theme song of the movie “Que Dieu Aide Les Exclus”.

It is clear that Lara focuses on the European market, because she has so little English albums (2 English between a total of 8 albums), but who blames her. She did a great job with her album A Wonderful Life, with each song on the album being a hit on its own.

Her best English single would be I Will Love Again, which would also please the younger music fans. Having compiled such a rich album with songs that will suit most fans with a good taste for music, she did not find the response she was hoping for.

Her music has depth and besides the fact that she has wonderful vocal talents, is she an exceptional songwriter. Lara sees herself more as a writer with a beautiful voice; she knows her talents and did not hide them under a bucket.

Her charisma surrounds every audience wherever she performs and it is clearly visible by the loud cheers and applause she gets before and after performing her titles Lara gives her music so much life and excitement that you can’t ignore it.

Lara has been very successful, without the support of the people who can’t appreciate good music. She has won many awards, and has sold millions of copies of her records.

If everyone could see her great potential, both as a singer and songwriter, she could have sold maybe three times the number of copies than she actually did. But still Lara did not let that get her down. She showed that she also has the talent of not giving up, and Lara has not given up yet, there is still much more to come and there have been reports that she is working on a new album. Lets hope that one of her future albums will be an English one again, maybe people will show more appreciation for her work when that happens.

The rest of the world should show much more appreciation for artists like Lara Fabian, otherwise we would be left with the junk that’s hitting the Top 10 each month.

The author is mainly an accountant who does computer programming on the sideline. He has a wide range of music tastes, ranging from pop, rock, classical, country and techno. His favourite artist is Lara Fabian, because of the fact that she sings such beautiful and peaceful songs that enrich the soul and calms your mood while listening. Please check out the author’s homepage at http://myweb.absamail.co.za/coendb/cppgenius.htm

When it comes to net worth or cash in the bank, I am far from a millionaire. Some people have asked me why I think I can teach people how to become wealthy when I don’t have a million dollars? My response to that fair question is that people spend thousands of dollars on colleges and universities to be taught economics, finance and entrepreneurship, but how many of those professors you think are listed on the Forbes Richest list? None! Since that’s the case why not learn from someone who has done what you are actually trying to do?

The typical net worth of today’s average Black American family is only $6,000. I had a net worth of $10,000 six months after I graduated college. And since 65% percent of Americans live paycheck to paycheck and I have not worked for anyone in almost four years, I feel I am qualified to speak on the subject of wealth. The knowledge and research displayed on The Black Economy may not make you a millionaire. You may only want to make an extra $500 to $1,000 per month, I don’t know? But I do know that you will become financially intelligent, learn how to become an entrepreneur, graduate from an entrepreneur to an investor and be able to understand what’s going on in capitalist America. You will also learn how to finally take advantage of credit cards, build good personal and business credit, make money, reduce debt, accumulate wealth, and so much more!

My only credentials are that I graduated college with a business degree and got a job in corporate America. After working for only one year, I quit my salary job and became a self-employed hustler of hip-hop clothing with only $1,000 in start-up capital. I turned that $1,000 into a $250,000 retail business from the trunk of a 1992 Cadillac Sedan de Ville. I then switched my business model from retail to wholesale and created a $750,000 wholesale business. I don’t sell from the trunk of a 1992 Cadillac anymore, instead I go out and sell for fun sometimes in my new Lexus LS. There are only 9 million American millionaires, and a millionaire I am not, a millionaire in the making I am! And a millionaire’s mentality, I have.

With a millionaire’s mentality, you don’t think steal or rob. That’s the easy and lazy way of thinking. Instead the young black brother who got caught shoplifting should have asked himself, how can I legally get those clothes or socks and hat? What if he just did not have the money? Well, then he should have asked himself, how can I make the money to buy what I want? But he did not ask those questions for two reasons. The first reason is that he just simply did not care at all and decided his best option was to steal. The second and more important reason, is that he was not financially educated enough to think of money solutions to his problems stemming from the lack of money. People with a millionaire’s mentality are armed with the same financial knowledge available to everyone, but it’s how those 9 million American millionaires use the knowledge that makes them more financially intelligent than the rest of the 290 million Americans.

So first things first, you must get the financial knowledge provided to you free on The Black Economy.com. Second, you must learn how to apply the financial knowledge to your daily life. After you learn the basic ways of how to apply the financial knowledge, you will then naturally create your own wealth strategies and develop your personal financial style. Now, once you progress to this point and only at this point, can you finally say you are financially intelligent! So keep reading and studying business, economics and finance, but more importantly practice your business and financial skills and you too will develop a millionaire’s mentality!

Create Wealth, Enjoy Life!
James “Bird” Guess
President & Founder
The Black Economy.com
staff@theblackeconomy.com

James “Bird” Guess graduated college with dreams of climbing the corporate ladder and becoming a prominent financial executive. But after only working a year in “Corporate America”, James grew bitter of the politics and bureaucracy associated and decided to venture out on his own to become a full-time entrepreneur. With a repossession and other unpaid debts on his credit, James had a negative net worth. Determined to take control of his financial life, he began to study money, business, and wealth on a daily basis. Starting with only $1,000 saved from college, he single-handedly built a quarter million dollar apparel business from the trunk of his car. Shortly thereafter, his business model would transition from retailer to wholesaler of apparel, which generated $750,000 dollars in revenue