Hip Hop Dance has a dynamic history. From Breakdancing to the moonwalk from michael Jackson to Krump dancing to Bboy dancing to plain old head nodding. Everyone had their own way of expressing love
for hip hop dancing.

Hip Hop Dance History has people buzzing. Why you ask ? Because they are watching all these crazy Hip Hop dancing music videos on tv and they want to know the history of it. Where did this stuff come from.

The history of hip hop dance started with Breakdancing. It started around the late 1970s to early 80s. Breaking started in the south bronx new york. It was a form of Hip Hop dance that was used by street gangs to settle differences without using violence. This was a positive for black and peurtorican youths at the time. People were not losing there lives over bs ya know. One of the first Hip Hop Dance crews in History are the rocksteady crew.

They help usher in a new style of breakdancing that included acrobatic styles such as headspinning, windmills, backspins, waves and all that good stuff. The Rock Steady Crew dropped on the scene around 1979 to 1980.

They were encouraged by a legendary DJ by the name of Afrika Bambatta to use break dancing as a tool to achieve greatness. Afrikaa Bambatta was instrumental in pushing break dancing forward by motivating youth to pursue their love of the art form.

Trevor Bart better known as Anglewhiz is a hip hop expert that has been rapping for 10 years and has been a bigger fan oh hip hop forever. You can check him out and what he has to say at http://www.hiphopride.com

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There are many ways to increase the quality of your drumming and they can all be summarized into these 3 vital steps…

1. Develop Confidence

Many wanna-be musicians will choose the drums because they are shy and want to remain in the background (that’s where I was when I started drumming back in 1976).

The truth is your body may be in the background, but your musical presence will definitely be noticed!

If you are going to be the drummer in a band, then you will be the anchor of the band. The other musicians will be relying on you to provide strong beats that will keep everything together. Everything you do behind your drum set will not only be heard, but felt, simply because you will be the all-important time keeper.

This notion of wanting to be a drummer so you can hide behind a drum set is ridiculous. You’re gonna hide from no one! That’s why it is imperitive to develop confidence in your drumming, and the first way to do that is to forget about the notion that you are hidden. Your mind set should be to establish your place in the band. Know who you are and why you’re there. The rest will then fall into place.

2. Love Your Instrument

If any musician really wants to master their instrument they must absolutely love it. What do I mean “love it?” The best way to understand this is to relate loving your drums to loving a person.

Many people think “love” is a feeling, but it’s not a feeling. For example; I love my wife, but I don’t always like her (I suppose she can probably say the same thing about me).

Love is an action word. It means to adore, care for, learn about, edify, be loyal to, be devoted to, be committed to, support, protect, and promote. When you do these things the feeling of love automatically comes.

So, how can you tell if you really love your drums? You can tell if you love your drums by the priority you put on them. They must have some priority in your life , otherwise your drums are just a little hobby that you will only be mediocre at.

3. Remain Humble

If a drummer really wants to increase his or her level of playing it is critical to remain open minded.

The mind is like a parachute, it only functions when it is open. That’s why it is so important to remain humble. Arrogant drummers never grow beyond their current level of drumming because they don’t think there is any more they can learn. How foolish! There is always more to learn… and any advanced drummer can learn from an intermediate, or even a beginner!

As you continue to learn you will then be able to teach. When you begin teaching, you will be amazed at the additional things you will learn (if you are currently teaching you will understand).

It’s critical to continue to learn and grow if you want to increase your level of drumming, and remaining humble is the only avenue through which you can do this. As with anything else, you must absolutely be confident in what you’re doing and knowledge can make you confident.

Please don’t mistake confidence with arrogance. Confidence is what makes a good drummer a great drummer. Arrogance is what makes a good drummer a lonely drummer! I don’t know about you, but I certainly don’t want to play music with some cocky jerk who thinks he or she is better than everyone else.

Conclusion

When you develop confidence in your purpose as a drummer, learn to love your drums by giving them some priority in your life, altogether with remaining humble, your level of drumming will increase considerably.

Dan Brown has been drumming since 1976. Sign up for his FREE weekly newsletter and get great tips, ideas, articles, and merchandise!
http://www.dbdrumtips.com/

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You don’t need a brand new oboe to have a great oboe.

If you’d like to spend a little less, or are looking for an oboe that has already been
broken in, then a used oboe is probably the way to go. A used oboe can be a perfect
solution for students who know they need a better instrument than the plastic band
rental but aren’t quite ready for the cost of a new oboe, or can’t wait for the time it
takes to break in a new oboe well.

When looking for a used oboe, consult those you know. First ask your teacher if they
know of any on the market. Ask your fellow students. Never buy an oboe, used or
otherwise, from someone you do not know unless you have had a professional try
the instrument for you first. This is especially true when buying from stores and/or
people that do not not specialize in oboe-related products. Oboe shops that
specialize in selling new instruments almost always have used ones for sale as well.

A good choice, and our favorite, is Carlos Coelho Woodwinds, in Indianapolis. Carlos
sells Loree and other new oboes, and occasionally some used ones as well. You can
rest assured that any oboe you get from Carlos has been checked and adjusted to
the highest standards. All instruments are available on trial. Tell him Maryn sent
you…

Yet another way to locate an instrument is through an ad. If you are a member of
the International Double Reed Society and subscribe to their online service, you can
place an online ad, or view ads of oboes for sale.

When trying some used oboes, be sure to get the oboe’s history. Ask if and when
and where it has cracked, and be sure to see if it has been pinned correctly and
cosmetically. You can tell the age of Loree oboes by the serial number on the back
of the instrument. For every year an oboe ages, you want to subtract $100 from the
current selling price of a new oboe. The price may be negotiable for a used oboe,
but it should be in line with the age and condition of the oboe. Ask the seller how
much the instrument was played, and for what purpose. A 3 year old instrument
that was played day in and day out for three years may be noticeably different than
the 3 year old oboe that sat in someone’s close for two of those years.

Finally, try the instrument out…

Notice how the oboe plays, and if all the notes speak. Occasionally, the instrument
will have gotten out of adjustment during shipping, so if you find something that
doesn’t work, but you really like the feel and tone of the oboe, don’t be
discouraged. Often just a turn of a screw, by someone that knows what they are
doing will make it feel like a different oboe.

If you are trying oboes sent to you through the mail, they should be sent to you in
tip-top adjustment condition. Sometimes, however, rough shipping will knock the
adjustment out just enough to fool you into thinking it is a bad instrument. If that’s
the case, just get a second opinion to be sure.

Notice the way the oboe sounds and feels in all of the different registers. Try playing
some music. Then get out your old oboe and compare the way the two feel and play.
If you are used to a plastic student model oboe and are trying a professional model,
there are going to be some differences. The pro oboe, if it is wood, will be heavier
and will have some extra keys that the student model does not have (like the low Bb
key and pad, side F and F resonance). Also, most pro oboe models will have a “ring”
on the key that your fourth finger of the right hand uses. So, when you play a low D
on the pro oboe, for example, it may not speak if you are not used to having that
finger be very picky about how it covers that hole. Adjusting to this difference will
take some time, but don’t think there is something wrong with the instrument if you
have trouble getting the note out.

There may also be a third octave key near the back octave that you have never seen.
The third octave is useful, but not necessary. It may need to be opened with a screw
driver slightly to really work. Overall, the oboe you are trying out should feel and
sound a lot better than you are used to. If it doesn’t, don’t despair. Just try some
other oboes.

If you have a private teacher or know a professional oboist it is strongly suggested
that you get their opinion BEFORE buying an oboe, new or used. They may or may
not like it for themselves, but you want to find out from them if the oboe is working
properly or if it has any major issues they can see or feel. As long as you are in the
clear with those issues, and the price is fair, the final choice is up to you.

You’re the one that will ultimately be living with it and playing it. If you are a
student and your teacher is helping you pick an oboe, however, their opinion may
mean a little more to you. They might be able to tell which oboe would be better for
you, depending on how you play and the way your reeds are. Or they might tell you
that once the instrument is broken in, it will feel a lot different. All of these personal
preferences matter, so keep them in mind.

If you know you are getting a good instrument, don’t worry too much. You are never
“stuck” with your instrument. If in a year you really don’t like something about the
oboe, sell it! There is always somebody looking for a good used oboe.

Now, onto the practical side of either buying or selling an oboe. If you are buying
from a dealer, they may trust you and send you a few oboes to try. When you have
decided on one and are clear on the price (including the shipping cost it took to get
it to you), pay for it as soon as possible. Pack the remaining instruments back up in
the box, as securely and as carefully as you can. Ask the seller how they would like
them to be shipped, and send them back immediately.

It is probably wise to insure them for the return trip and send them in such a way
that you can confirm their arrival. It would not be fun to be responsible for 3 oboes
that have gotten lost in the mail.

Now, if you are buying from a private person, they may well ask for a check for the
full amount before the oboes are even shipped to you to try. This is standard, and
upon choosing one your check will be cashed. If you decide not to buy, your check
will probably be sent back to you or destroyed. This obviously protects the buyer if
they are selling to someone they don’t know. If you decide not to buy, you are also
responsible for all shipping costs. These are general buying/selling rules. Always
check with your seller first before assuming anything.

In summary, buying a used oboe is a great way to get your hands on a good
instrument without committing the resources required for a brand new instrument.

Good luck!

Oboist and online entrepreneur Maryn Leister helps beginner and professional
oboists to be more productive and have more fun on the oboe. She publishes the
weekly Oboe:Space newsletter and gives away more FREE oboe reed tips than she
can remember with her Reed Guru service.

Sign-up for the Oboe:Space newsletter and start getting your FREE oboe reed tips
now at http://www.oboespace.com

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“Love of beauty and the desire to create it is a primal instinct of man.” Eleanor McMillan Brown

This weekend brought me the privilege of chaperoning forty
musicians to the Catskill Mountains of New York for a youth
orchestra retreat. Designed as a scenic get-away in which to
ardently rehearse for an upcoming concert, it proved an
exhausting-but delightful-escape with teens.

Considering that I made the preliminary arrangements, and
actually booked the accommodations at the retreat center, I
thought I had a fairly good idea of what to expect. When the
retreat director described our cabins as “rustic,” I envisioned
cute and cozy. Campy. Kind of with a Ralph Lauren meets L.L. Bean thing going on.

She greatly oversold them. I had better luck in third-world
countries. While the kids rehearsed late that first night, I
searched for the cabins in the middle of absolutely nowhere-pitch dark-with a couple of flashlights, a poor-to-scale hand-drawn map, and two very tired orchestra moms as my only guides. We found these tarp-roofed, no-mattress-bunks-with-little-heat-and-bad-lighting-and-did-I-mention-no-locks-on-any-doors near midnight after a long three and a half hour drive and a very bad camp retreat dinner. We moms thought it would be a good idea to locate the cabins and get things “settled in.” Mortified when we finally found them by the thought that these cabins were really “ours,” we let out a half-hour litany of moans and groans, only to decide to make the best of the situation by trying to cozy them up. That literally meant
turning on the singular light and cranking up the space heater
per each cabin.

Then came the rain. It started as a sprinkle and turned into a
constant stream, silently but surely soaking the hundred-plus
suitcases, sleeping-bags and pillows that had been dumped onto
the ground (no, dirt) by the camp help. So at nearly midnight, in the cold downpour of the rain, we schlepped forty kids’ stuff
into one of the cabins. It was pitch black, excepting the two
puny flashlights and those five measly light bulbs.

Suffice it to say that the first night was character-building.
I had eight twelve-year-old girls in my cabin. Giggly, wanting
to chat well past “lights out,” but with the cutest tank-top-pajama-bottoms combos I’ve ever seen, (and more make-up than one could imagine for a weekend retreat in the middle of friggin’nowhere) I had the distinct impression that it could be an interesting two days.

And then came Saturday. And Mozart. Grieg and Bizet. Rehearsal
after concentrated rehearsal brought teenager to his instrument
and magic out of chaos. For somewhere beneath all of the acne
cream and the eyeliner came focus and discipline and the desire
to master music of magnificent proportion.

After all-day rehearsals, as well as sectional rehearsals with
master teachers brought in from New York City, the group came
together and practiced one last time, late Saturday night after
dinner. As they were tuning, I walked around the room making sure everyone was comfortable and ready for one last practice session. I walked up to my fifteen-year-old son and twelve-year-old daughter and whispered in their ears, “Create Beauty.” Fueled with little sleep and bad camp food, neither were amused. But then the conductor raised his baton, the cute high school senior lifted her flute, and thus began the genius of The Magic Flute. And then the oboist, a highschooler I had never met before, with a bandana covering her hair and too-many earrings covering her left ear, came in, followed by the clarinetist, to create extraordinary beauty. And I just sat there, with tears rolling down my cheeks, an uncontrollable reaction to witnessing magnificence.

It caught me quite off-guard that these kids-dirty from too much
of the retreat experience and too little of the available hot
water and soap, and sleep-deprived from too much sleeping-bag
chatter-could produce something so glorious.

Sometimes kids surprise us. Sometimes, after we want to wring
their necks for their appallingly irresponsible behavior (losing
their backpacks, forgetting their music, leaving their dirty
dishes for us to clear), they sit down and do the most astounding thing. They pick up and instrument and play something
extraordinary. Or they write an essay and it changes our
worldview. Or they perform ballet with perfect timing. And we
scratch our heads and think, “Could this possibly be my kid?!?”

Because just when you’re ready to throw in the towel, throw
your hands up in quiet desperation, and pound your fists on the
table in a round of madness, your kids will do something that
will convince you that they are filled with brilliance. That
they possess a hidden gift or an indescribable magic or a
hilarious gift of humor or a quick mind or a strong shoulder or
a gentle spirit.

And you are so thrilled to have had some small part of the
creation.

Carolina Fernandez earned an M.B.A. and worked at IBM and as a stockbroker at Merrill Lynch before coming home to work as a wife and mother of four. She totally re-invented herself along the way. Strong convictions were born about the role of the arts in child development; ten years of homeschooling and raising four kids provide fertile soil for devising creative parenting strategies. These are played out in ROCKET MOM! 7 Strategies To Blast You Into Brilliance. It is widely available online, in bookstores or through 888-476-2493. She writes extensively for a variety of parenting resources and teaches other moms via seminars, workshops, keynotes and monthly meetings of the ROCKET MOM SOCIETY, a sisterhood group she launched to “encourage, equip and empower moms for excellence.” Please visit http://www.rocketmom.com.

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In Alberobello, in the centre of Itria valley, surrounded by a lush countryside, dense woods and a number of trulli, rises the AGRITOURISM “MASSERA TORRICELLA”, the ideal place where to spend a holiday in completely relax. Here you can use all the services able to infuse wellness to the body and to the mind: massage room, swimming pool, cuisine based on biological products, bike service, guided tours in the woods where all the animals of the Masseria are in appropriate refuges.

You can take home, apart from the memory of a marvellous holiday, also the tastes of apulian cuisine: extra virgin olive oil (D.O.P.), local wines (fiano, primitivo, cabernet), typical cheeses (apulian canestrato D.O.P.), jams, season fruit…
You will reach in a few minutes the most beautiful places of Apulia: Locorotondo, Conversano, Ostuni, Martina Franca, Fasano and its Zoo Safari, Castellana Grotte, Marina di Monopoli, Polignano a Mare.

For the ones who want to join business and wellness, the Masseria disposes of a meeting room where it is possible to organise small meetings.
The structure, ancient medieval convent of Gerosolimitan monks, is composed at the moment of 20 comfortable rooms, all with private bathroom, independent apartments with kitchen where you can spend your stay in complete autonomy, some trulli and two restaurant rooms obtained from ancient stalls.

Planning a trip to Italy? The top 3 destinations in Italy are Rome, Venice and Florence; for example, in order to make it easy to find an hotel in Rome, you can have a look at our advanced search. Simple as 1-2-3, the same method can be applied to find guided tours in Naples, or to compare price for different hotels in Palermo, from bed and breakfast to Hotels.

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Let’s face it. Nothing compares to the beauty and attractiveness of a baby grand piano. The curves, the strings, the way the whole thing looks just makes you want to go over and play.

Baby grand pianos give the serious musician with limited funds the ability to own something that one can be proud to play and that will last for years and years.

While not as deep and rich sounding as their grand piano counterparts, the baby grand piano is perfect for students who are serious about music and who invest substantial time and energy into playing.

Small, yet not small in sound, baby grand pianos offer something the upright and grand does not, affordable elegance. There’s something about the way an instrument looks that either makes you want to play it or not. While an upright is fine for beginners and amateur pianists, it just doesn’t inspire those who need that certain aesthetic touch a baby grand provides.

And let’s not forget about the fact that a baby grand can fit into most living rooms as well. Many are 5 feet or less and can make a boring living room into a grand concert stage. It is the centerpiece of many musical homes and deservedly so! Houses with pianos in them seem to have more life. As soon as you enter the room and see a beautiful baby grand, you either want to play or hear it.

Expect to pay anywhere from $2000 to $10,000 or more for a decent instrument but also expect to get many, many years of enjoyment as well!

Edward Weiss is a pianist/composer and webmaster of Quiescence Music’s online piano lessons. He has been helping students learn how to play piano in the New Age style for over 14 years and works with students in private, in groups, and now over the internet. Stop by now at http://www.quiescencemusic.com/piano_lessons.html for a FREE piano lesson!

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Helping your older piano student learn to love music and keep playing piano for a life-time is really easy. All you have to do is clearly define your parental role and your piano student will know what to do.

Older children in piano lessons need a different kind of support from their parents than younger children do. Older children who want to be their own person become very confused when parents start being the student and the piano teacher has to be the parent. For older children piano lessons involve three clearly defined roles - the student’s role, the teacher’s role, and the parent’s role. When the boundaries defined by these roles become fuzzy, older children do not learn how to take responsibility for their success and feel their effort is unimportant. This is because there is nothing that drives a kid crazier than to have two adults telling them different things and being unable to please them both. Here are three Universal Laws of Piano Lessons for Parents of Children Ages 12 and Up. Follow these and your older child in piano lessons will be a lot more likely play piano for a life-time.

1. The Law of Who is the Student -

Your child is the piano student, not you. It is not your job to decide what music your child will play. That’s the student’s and the teacher’s job.

2. The Law of Piano Progress -

Progress is the student’s department. They will make the progress they want to make. If you don’t compare them to every other piano student you’ve ever known, they’ll probably make more progress.

3. The Seven to One Law of Piano Support -

Give your child in piano lessons seven encouragements to every one criticism. If you use the word “but” in your encouragement it doesn’t count.

Follow these Universal Laws for Parents of Piano Students and your child in piano lessons will be a lot more likely to learn to love music.

For great home piano activities parents can use to help children ages 5 to 11 develop their musical talent, visit Piano Adventure Bears Music Education Resources You’ll find a treasure box filled with piano resources to create an exciting musical adventure for your child - right in your own home! Visit their website and subscribe to their f’ree internet newsletter so you can download f’ree piano sheet music and mp3s of original piano compositions.

These exciting stories, games, piano lessons, and inspirational gifts feature the Piano Adventure Bears, Mrs. Treble Beary and her new piano student, Albeart Littlebud. Young students follow along with Albeart to learn what piano lessons are all about in a fun way that kids readily understand appreciate. Click here to visit PianoAdventureBears.com For a wealth of information about piano lessons, visit tallypiano.com

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Whisky Rocks Tara Slone!

Whisky Rocks Unplugged is a four-week promotion that runs into November 2005, in 600 LCBO (liquor) stores across Ontario, highlighting the world’s finest whiskies (including 20 new products in Canada) and one of Canada’s own: songstress TARA SLONE!

Tara Slone is the former lead singer of the Toronto-based band “Joydrop”. The band had their first release with “Metasexual” which included the hit single “Beautiful”. Joydrop’s juno-nominated follow-up, “Viberate”, contained the single “Sometimes Wanna Die”. The song was a hit at rock, and pop radio and won the band “best new group” at the Canadian Radio Music Awards. The video, featuring Tommy Lee, went to #1 on Much More Music. In the process of promoting their music, Joydrop toured North America extensively, playing hundreds of shows and making a name for themselves across the continent.

Having the LCBO support her is a wonderful surprise to Tara. “It’s nice to have had the exposure and the LCBO did call me up based on the INXS ROCKSTAR show, so it’s nice to have this chance to showcase my songs. Other opportunities are now starting to come my way and hopefully when my record comes out ……(which is?) who knows? The record is done, mix, mastered and ready to go.” I could have sworn that Tara Slone was a bit more of a beer connoisseur, but Tara insists, “I am all for alcohol. I am not as much of a whisky connoisseur, but I definitely recognize that whisky is all about the rock ‘n roll lifestyle. I am really happy to have the LCBO promote whisky and then show a little love with music. This is a great opportunity for me to showcase my songs and there is a lot of press that is associated with this too.” Spoken like a true rock ‘n roll gal!

Tara’s first performance at the LCBO on the QueenQuay went of without a hitch! A media circus ensued the talented Torontonian, but it went unnoticed by her as she belted out the tunes from her new album and a few from her former band THE JOYDROP. I have to say though, that everyone that attended the event seemed more interested in networking than listening to her. A heralded applause accompanied every set, but I just think if you are there to listen to an artist, that perhaps you should…I don’t know…listen? Anyway, unlike many other performances that we seen of Tara on television, the INXS songs of choice paled in comparison to hearing her sing her own! She really is ” Beautiful” inside and out.

Tara was seen around the world this past summer on the hit CBS show “Rockstar:INXS”. Chosen from thousands of candidates, Tara was one of fifteen singers handpicked by INXS as a potential singer for their band. Tara sang her way to the top ten and picked up an international fan base along the way! Sugarcain Entertainment was one of the first to feature her along with the other 3 Canadian hopefuls, before she headed off to compete. When asked if she enjoyed the experience, Tara had this to say, “Well, I got back in August and then I went back for the finale of the show. Towards the end I felt that JD FORTUNE was going to win. No particular reason, it was just more of a vibe than anything. I would have been happy to stay longer if I had felt like it was an easier experience for me, but the whole process was pretty stressful. I am a songwriter and the process of being molded into something other than what I felt I was, helped confirm to me that I was doing the right thing now.”

Tara is excited to be rocking the musical waters as a solo performer. Her debut album, “My Little Secret” is set for a 2006 release. Tara explains who is on this album and the differences between Joydrop and the Tara Slone album, “Joydrop had a lot of programming and this is a bit more raw, guitar based, drums - more so, this was an opportunity for me to write. In Joydrop there were 4 writers and with my project there is me and a guy named Jordon Zadorozy of Blinker the Star, whose drummer just happens to be Tony Rabalao.” She goes on to say, ” It was an easy process writing with Jordon, and for me it was just the right fit.” Two of the former JOYDROP members Tony Rabalao (drums - who is touring with a few bands now across Canada) and Tom McKay (producing with a variety of artists) will be accompanying Tara on her tour along with a couple of newcomers - Trent (seen in photo at LCBO) and Chris.

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On researching a snowboarding vacation the pick of ski destination can be sometimes hard. Especially whilst looking for a French alpine area good for self catering chalets. Luckily I’ve put together a top ten of the most suitable French ski towns most suited for self catered ski holidays:

Courchevel, La Chavanette, Val Thorens, Samoens, Les Grands Montets, Verchaix, Araches-la-Frasse, Risoul, La Chavanette, Val-d’Isere.

Pluto Herrmann from France is a Sales Representative, Textile Designs, I quizzed him about his first choice snowboarding area. Unsurprisingly he plumped for Plateau de Beille a ski destination famous for its bewildering number of luxury self catering chalets.

Why do you prefer self catered ski holidays over the traditional choice of a b&b?

Well I look forward to the flexibility which self catered chalets gives you. The luxury ski chalet is always good and rather than the boring meals in b&b I can concoct an excellent dish.

What happens if you’re not a adequate food maestro?

If that were the case you just visit a excellent pub.

So do you have a good insider tips for us?

For me it’s Bosdyks Restaurant run by Shriya and it’s double chocolate cherry bourbon balls is a winner.

Therefore if you are considering self catering chalets then why not consider some of ski resort on French skiing our list.

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Help buyers discover the answers they need to understand and align all of their decision variables.

In complex sales, salespeople often find themselves negotiating their way through a web of decision influencers, conflicting initiatives, and multiple priorities. The time it takes prospects to align all of their internal stars and planets for a buying decision can create painfully long sales cycles.

In the audio book, “Sound Advice on Sales Strategies,” Sharon Drew Morgen maintains that conventional sales precepts are the underlying cause for this and the other problems salespeople are experiencing.

According to Morgen, we need to rethink effective sales skills. The new sales definition must help buyers make decisions.

“Buyers no longer need us to sell product, they need help making sense of the ever increasing complexity within their environments,” says Morgen. “They need help understanding and supporting all of the elements that will face change when adopting a new solution.”

When a group makes a purchase, it affects their system of rules, norms, relationships, and initiatives. “It’s vital that the inherent systems be maintained or it will fight to keep itself static,” says Morgen. “Buyers will wait until they understand how to maintain equilibrium before bringing in change.”

The solution, says Morgen, is a new sales paradigm called Buying Facilitation. “Buying Facilitation is a sequencing method that supports buyers in managing all of those idiosyncratic variables that make up a prospect’s status quo. Its basis is to expeditiously align systems - the people, the management, the budget, the initiatives, and the partners - in order to add a foreign element into the system without chaos.”

“Instead of basing your communications on discovering needs or pitching features to sell, teach buyers how to line up all of their unique decision variables and criteria to create a solution for themselves. In this way, you’ll become a true trusted advisor.”

Sharon Drew Morgen, best-selling author of “Selling with Integrity,” offers sales advice each week in the free audio newsletter from What’s Working in Biz, http://www.whatsworking.biz/full_story.asp?ArtID=92

About The Author

Richard Cunningham is a principal of What’s Working in Biz, http://www.whatsworking.biz, a publisher of business audiobooks and online audio programs on marketing, sales, and small business strategies.

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