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Every artist faces the day when his or her studio must become a showcase for a visiting client, dealer, or curator. It’s the moment when all the countless hours of work in solitude can at last be translated into attention and financial reward. But because it’s so important, the studio visit can also become a focus of more than a little anxiety. What’s the best way to present yourself and your enterprise to a prospective client? Clearly this is one of those potentially awkward occasions where socializing and business are combined. You want to make friends and interest the client in your work, but the subject of money is also bound to come up.

I asked four professional artists to share their expertise in handling these situations. Patricia Watwood, Gregory Mortenson, Marlene Wiedenbaum, and Marvin Mattelson are all successful representational painters. Mattleson is primarily a portrait painter and so regularly entertains potential clients. The other artists are represented by galleries but find that they must also invite clients to the studio as part of the sales process.

What’s your principal concern in preparing for a studio visit by a potential client?

Marvin Mattelson (MM): My intention when potential clients visit my studio is to have them become so excited at the prospect of my painting their portrait that they offer me the commission on the spot.

Gregory Mortenson (GM): Keeping the studio tidy and presentable. It’s always clean because I don’t want a dusty studio or dust in my paintings. The problem is that I tend to have multiple projects going at the same time; I might have a still life set up in the corner as well as several model stands in various places. Mine is a decent-size studio for New York City, but when I have all that going at the same time, it can feel small.

Patricia Watwood (PW): The first thing I do is to clean up the studio and make it look (mostly) orderly. I declutter the space by putting things away and then clean the floor and surfaces, making sure to leave some clean and open space for whatever belongings visitors may have in hand. I always leave some artwork, like sketches or drawings, around for them to see because I think one of the treats of visiting an artist’s studio is to see works-in-progress and learn about how the artist proceeds; however, I like to tuck away any work that’s still in “hot-mess” stages and only keepout the things that are finished or unfinished in a “lovely” way. Lastly, I’ll put out for viewing several finished works (that might be in a rack for safekeeping).

Marlene Wiedenbaum (MW): My main concern is that I know ahead of time what clients are looking for and that I’ve chosen works that appeal to them.

What kind of overall impression would you like to make on your visitor?

MM: I want my clients to feel they’re dealing with a highly creative and professional artist whose intention is to create a classical portrait that will exceed their expectations.

GM: I want the client to leave with a good sense of my painting process and the craft that goes into it. My studio walls are covered with drawings, preliminary paintings, and color studies, all of which go toward creating a final painting.

PW: First, I want the visitor to leave with the impression of professionalism and organization. The studio itself always tells a story about who the artist is. Mine is relatively “homey,” with tables and chairs for sitting and talking, and many objects that at one time or another have been used for still lifes or props. Photos and reproductions of artwork also tell about my interests and inspirations. I want visitors to feel comfortable, so I try to make sure there are chairs available and not too many fragile things they might accidently knock over.

Then, I want to have out whatever artwork or other materials the visitors are coming to see. I’ll also have a catalogue from a recent exhibition handy and promotional postcards to give them. I want them to leave feeling as though they’ve had a special experience–and to take an image of my artwork home.

MW: It’s important to me that a client knows that I’m a professional, that I respect myself and what I do. The relationship that develops needs to be one of mutual respect in order for it to work for both of us.

Is there anything you would try to conceal from a visitor?

MM: My studio is on the smallish end (12×20 feet), so I want to make sure that it’s neat, clean, and presentable because clutter and piles create a claustrophobic feeling. I also place on my easel a portrait that’s close to being finished (as opposed to a painting that’s at an awkward stage) because it’s difficult for most people to envision how an unfinished painting will ultimately look. I want my clients to harbor no doubts that I’m up to the task.

GM: Maybe I’d put out of sight some of the dorky audio books and podcasts I listen to as I work.

PW: I definitely hide any artwork that I don’t think is my best. Sometimes I have a new project underway that still feels too fresh and even vulnerable to be shared.

MW: Because my studio is attached to my house, I try to keep my office and living areas free of any personal items.

Do you feel it’s important not to show too many paintings to a potential client?

MM: Quality is more important than quantity, to me. I believe it’s a good idea to show paintings that are as similar as possible to what the client is interested in, particularly with regard to subject and size. On occasion for that very purpose, I’ve even borrowed a painting I’d previously sold.

GM: Most of the paintings that are in my studio are figure studies and process paintings that will help the client understand the amount of work that goes into a final painting.

PW: Looking at a large number of artworks can be overwhelming and even confusing. I’d say that three to eight of your very best paintings is about right–on the lower side if they’re large. Narrow the selection to focus on your strongest area and primary subject. One caveat: I recommend that you have one or two small paintings “just sitting around.” There can be a little magic involved in visitors noticing a painting they love, and you can often sell a small work through a client’s impulsiveness this way.

MW: It can be overwhelming if there’s too much to see at once. If collectors know what they’re looking for, a smaller, careful selection is helpful to me. However, I might put something into the selection that wasn’t requested, just to open a door that they may or may not walk through. For clients who just want to “see my work,” I select two or three examples of different series or subject matter with the offer that we can look further if they’re leaning in a particular direction.

If the subject of money comes up, how do you handle it?

MM: I’m very transparent with regard to my fees. My price list is posted both in my portfolio and on my website, so most of my clients are familiar with my pricing structure before we ever meet. I think it’s very important that, when we get around to discussing the commission, there are no big surprises.

GM: I just tell them exactly what the painting is worth. I don’t want to tiptoe around the matter in an apologetic way. I want the collector to know how much it’s worth and how much work goes into creating a work of art.

PW: Ahead of the visit, think about what you might sell something for. If you’re feeling nervous, I’d recommend you write it down so that in the moment you don’t suddenly say, “Oh, you can have it” or “It’s $40.” I know that sometimes when I’m in front of clients, I can suddenly feel the artwork has no value at all (just a little garden-variety artist neurosis)! You could even prepare a price list. The clients will feel more comfortable if you can give them the information directly. With a particular price stated, you might then open up some room to negotiate by saying, “I can offer some discount when I’m selling out of the studio.” But do not listen to that demon telling you your artwork isn’t valuable. Silence the demon and stand by your price.

MW: This is an uncomfortable area for me, so I try to be as prepared as possible. I might print a price list beforehand. If clients have seen a particular painting that’s currently at a gallery, I send them to the gallery. It might mean I’ve lost a sale because they wanted a bargain, but it’s better than possibly losing a gallery. If they saw my work on the Internet because they liked what they saw at a gallery, I honor whatever arrangement I have with that gallery for an outside sale. Commissions and direct client sales are sometimes discounted, bartered for, or handled on a payment schedule.

Studio Visit Checklist

  • Create a professional appearance by presenting a clean, neat, and welcoming space.
  • The presence of sketches and props can help create an interesting and unique environment, but don’t let things gettoo distracting.
  • Have catalogues, reviews, articles on your work, and printed announcements of exhibitions at hand.
  • Offer light refreshments as you would to any guest. Make sure there’s room for your visitors to move around and sit comfortably.
  • Don’t show too many artworks. Focus on the client’s interests if you know them.
  • Don’t leave works around that can confuse the client; paintings in difficult stages or completely different genres can distract.
  • Be clear and forthright about prices. Make sure you know what you’re going to ask ahead of time. A printed price list can be helpful.
  • If you have gallery representation, make sure that you’re clear about the agreed-upon financial arrangements when you sell out of the studio.

Despite the continued sharp decline in CD sales and doomsday predictions about the imminent end of physical retail, local record stores can still play a key role in establishing indie artists and music scenes.

It’s how many bands got their start: If someone at a local store likes a new album, they’ll recommend it to their customers. Even in this age of file-sharing and digital downloads, it’s the kind of endorsement that any act craves.

Mike Worthington knows the value of word-of-mouth promotion to underground music. The music industry veteran is head of sales, international and radio promotion for Tommy Boy Entertainment. He also manages artist-owned labels by veteran acts like Tesla and World Party. Worthington shares his thoughts on how emerging bands and labels can work with independent retailers to their mutual advantage.


The fact that you record and manufacture an album does not necessarily make it a good with market value that a retailer will make room for in his store. For a band starting out, I consider venue sales to be the equivalent of a traveling indie record store–if you can first get people at your show to buy your CD, then the next phase is getting people to buy your CD at a local indie retailer. You can easily load up the digital storefronts, while you build consumer demand in your local market through shows, venue sales and the word-of-mouth they generate.


Retailers that are highly engaged with their local music scenes, like Newbury Comics in New England, have had consignment programs with bands for years. This means you give the store a certain number of CDs and you get paid as they’re sold. Become friendly with your local store, find out who the buyer and marketing people are, work out a consignment deal and then work on building demand: You can get all of your family members to buy out a store’s stock, but you don’t want the next batch to sit on the shelves.


The best retailer-artist relationship is one in which each side has genuine enthusiasm for the other. For example, the Record Exchange in Boise, Idaho, reached out to us because they love our band Plushgun. So we totally followed up–sent them buttons for a gift with purchase, a signed poster for the store display. Now we’re planning the tour for July, and Boise is on the schedule, so we’ll consider bringing the band by the store, or we might offer a bunch of tickets to the show for the store to give away.

The next phase is that we’re looking to all the retailers like Record Exchange who have supported the band early, and we’re putting their logos and links on Plushgun’s MySpace page, which we expect to have a million hits per month by the end of the summer, doing a whole “Plushgun hearts indie retail” kind of thing. It’s just another way to drive home the concept of how important these stores and their communities are to the band’s success.


If your music is really special to you, then it’s up to you to make it really special to your potential fan base. So whether you’re a small band that will only release locally or a band with a larger base, consider making your local release (or core release) something deluxe and limited, available only through your local indie retailer. Interesting packaging that’s numbered for a limited run, unique local posters, rare tracks–some incentive so that anyone who takes the plunge feels like they’re a first adopter, part of the inside-the-rope team.


Just as you don’t want to invest in manufacturing far more albums than you can sell, you want to carefully weigh your optimal level of retail promotion. Are we meaningful enough to do an in-store appearance? Have we built enough of a relationship with this store to ask to do such-and-such with our upcoming album? Finally, determine if you’ve achieved a level of success at the indie retail level to reach out to a small, hip indie distributor like Junketboy, of which [indie rapper/comedian] MC Chris and I are big fans. Good luck!


Nagy, Evie

One of a series of stripped-down Custom Shop San Dimas guitars built for online retailer The Music Zoo (themusiczoo.com), the SD-2H features a body made from old-growth recycled redwood–which must have spent time in the bottom of a river from the number of small worm holes in it–and a bolt-on neck of beautifully flamed maple. As with other models in the Carbonized Natural Series (which includes versions with recycled ash and pine bodies), the SD-2H‘s woods are subjected to a kiln drying process that uses heat and pressure to drive out excess moisture in order to make the woods lighter and more resonant, and also very resistant to changes in climate. The “cooking” process effectively ages the wood by removing the hemi-cellulose that gives woods their flexibility, and the end result is that the stiffness to weight ratio of the woods is increased by 15 to 25 percent (depending on the species), which enhances the tonal response and also makes the woods easier to cut and machine. The lightness of the SD-2H is instantly captivating, and since the only finish is a thin coating of gunstock oil on the body and neck, the surfaces have a very warm, natural feel. This no-frills guitar has a pair of uncovered Seymour Duncan humbuckers (SH-2N neck, Custom 5 bridge), which are screwed directly into the body. The Volume and Tone knobs, as well as the exterior parts of the 3-way selector, are all made from machined brass.

The workmanship on the SD-2H is stellar. The jumbo frets are crowned and polished to perfection, the neck fits super tightly in the body, and the intonation in all regions of the fretboard is very good. The action is extremely low, and the playing feel is light and quick. I dig the neck’s slim profile, and my only gripe is that the brown position dots on the fretboard can be difficult to see in dim light.

The machined brass NOS trem is an old-school affair that features adjustable saddles and an arm that has to be threaded in carefully to avoid cross threading. It’s not great for bending anyway, so I just left the arm off and enjoyed the solid, sustain enhancing contact with the bridge seated flush to the top with three springs in place. If you’re a serious trem user you’re probably going to want to put a Floyd on this guitar and keep the NOS unit around for a paperweight or something.

The SD-2H sounded great whether dialed for crisp clean tones, warm solo textures, or moderately overdriven sounds when played straight into either a Fender Deluxe Reverb or a Victoria Ivy League combo. When using best distortion pedals (including a Hermida Audio Nu-Valve and Fuzz Face), the SD-2H tended to get a bit wooly sounding when pushing high gain settings, but by slightly backing off the Volume control (or lowering the gain slightly) the clarity instantly returned and sustaining notes sounded stringy and well detailed.

Light, toneful, and fun to play, the SD-2H definitely brings a sly, “parts guitar” attitude to a price category where the norm is flame tops and fine gloss finishes. This guitar radiates coolness, though, and anyone looking for a different take on a twin-humbucker solidbody should give it shot.

Group buys 50% stake in agency in deal based on “mutual recognition”

The indie sector has increased its presence in the mobile music market following a significant deal between Wall Of Sound parent group Pias and Indie Mobile.

In the deal Pias has taken a 50% stake in the Bristol-based mobile marketing and digital distribution agency after making a “significant”, but undisclosed investment in Indie Mobile, which represents more than 400 indie labels. A senior Pias executive is likely to join the Indie Mobile board as a result of the deal.

Both Pias group director of digital and business development Adrian Pope and Indie Mobile managing director Seth Jackson promise the synergies between the two groups will deliver better services to their labels – and the independent sector – while significantly increasing the revenues they are currently earning from the market.

Pope says Pias, which also includes Vital: Pias Digital, Vital Distribution and Pias Recordings within its group, has been performing well in the mobile market, earning revenues of the order of “hundreds of thousands of pounds”. However, with the market for full-track downloads doubling each month and a bigger appetite for indie repertoire, Pope explains that the company had a choice – to either grow organically or link with a suitable partner. He believes Indie Mobile fits the bill because of its focus on indie repertoire.

Mobile is already a significant part of our business. The deal was born out of a mutual recognition that the synergies were such that in combination we can create the definitive, professional mobile solution for independent labels and artists. We could have grown organically and invested in new people or invested in a company which could give us synergies. Indie Mobile understands the indie spirit and gives us new routes to market,” he says.

Pope believes the deal with Indie Mobile will also provide a better range of services it can provide labels, such as digital marketing and SMS campaigns. He adds, “There are several key points from this. The deal brings together all the premium content we represent and Indie Mobile has great content as well. It genuinely means revenues will increase and there will be a better resource for a route to market. There is also the opportunity to swell the labels’ digital marketing offer.”

On his side Jackson, whose company represents more than 200 rightsholders and distributes their mobile content across 23 territories, says a “bunch of money helps everything“. “It gives us more commercial clout and makes it easier to do network deals or get better commercial terms,” he says.

In addition to the resources and roster Pias provides, the Indie Mobile managing director also believes that Pias will be able to provide better accounting and feedback to labels because of the music company’s expertise and experience in royalty accounting.

They (a music company) are always going to do that better than a mobile aggravator,” adds Jackson. “The deal will allow us to do what we already do, just better and on a larger scale. We have always believed that independent music has the potential to be a significant player in the mobile arena.

Jackson and Pope also stress the international nature of the deal as helping to grow the business. Jackson recognises that Pias’s network of international offices, especially throughout Europe, will give it an edge on competitors who are not able to call on people with local knowledge of France or Spain.

Indie Mobile

Represents in excess of 70,000 tracks from more than 400 leading independent labels

Supplies the mobile networks and also offers labels mobile marketing and retail initiatives to support their products and campaigns

Indie Mobile campaigns have won the BT Digital Music Award for Best Use of Mobile twice in the last three years

Pias Group

Has offices in the UK, Netherlands, France, Germany and Spain in addition to partners in every other European country and affiliates based in territories such as Australia

Parent of Vital Distribution, the UK’s largest independent sales and distribution company, representing more than 75 labels, including Beggars Group, XL Recordings, Big Brother, Warp and Defected

Owns Integral, the marketing arm for independent labels, and digital distribution business Vital:Pias Digital, which represents more than 100 labels.

Hits in the near future: sales of Klaxons’ debut album increased almost five-fold in the 24 hours after winning the Mercury award.

CMP Information Ltd.

By the time you read this, I may be dead.

Okay, not dead. But I might have had a crusty bread roll thrown at me in anger–or even a tumbler of Sambuca ‘accidentally’ spilled down my shirt.

This was mine and Intent Media‘s first ever Music Week Awards. Our aim was to make the event a bit less stuffy, a mite more funny and a whole bunch snappier.

But if we were hoping to please the whole room, to gift each and every wine-guzzling table with silverware and glee, an extraordinary year for the market was never going to let us.

I’ll admit it: the domination of 2012’s event by the independent sector has probably left a few major label bonces feeling extra sore today–and may even have inspired some rude words to be pinged towards my email inbox overnight. (If you didn’t gently deliver them to me at the after-party first. If so, morning!)

This was an awards ceremony that reflected Adele‘s magic like none other. PIAS, Purple PR and, obviously, XL and Jonathan Dickins were all befittingly saluted for their role in the industry story of the decade. Richard Russell deserved his Strat for a special recognition to the market regardless–but it’s no fluke Ms. Adkins was the first to congratulate him on screen.

Yet that wasn’t the end of the indie triumphs; PIAS, Proper, Bella Union, Kobalt, Sound It Out–the non-PLC prizes just kept on coming throughout the evening.

A freak landslide? Nah. The manifestation of a shifting, thrilling modern market in which anyone–large or small–can grab the ascendancy? You betcha.

These were, after all, winners that you, the trade, decided. We promised the hundreds of Music Week readers who voted that their ballot would remain secret, and that guarantee remains. But I can say that our indie victors received ticks in boxes from senior executives across major labels, heavyweight publishers, dominant media houses, live giants and many more besides.

It was heartening to observe, proving that behind the heat of competition; behind the jovial backbiting and the rabid sales envy, people in this business know a hard-fought success when they see one–and they know when it deserves to be recognised.

It wasn’t all indie mania, of course. It was hardly a miserable night for the publishing arms of EMI and Universal, while Warner Music picked up two prizes. And, for the record, there were very few landslides–notably, the Artist Marketing Campaign, Promotions Team, Catalogue Marketing Campaign, PR Campaign and Live Music Venue categories were very close-run contests.

By now, we’ve all heard the apocryphal tale of the major label boss who says he doesn’t mind the indies having Adele this year so long as the next market phenomenon is all his team’s doing.

Until 2013, then. It should be a cracker.

But before all that–does anyone know how to get a tricky Sambuca stain out?

Tim Ingham,

Although still known primarily for their amazing acoustic guitars, Collings is continuing to make a glorious noise in the electric market, and this beauty is sure to take that up a notch or two. Picking up where the venerable Les Paul Special left off, the 290 DC is, as the name intimates, a double-cutaway slab of gorgeous mahogany with a pair of P-90s. Collings gussies things up with the cool tortoiseshell pickguard and sexy ebony headstock veneer, and caps it all in a righteous high-gloss nitro finish.

Right out of the case (a sweet, deluxe Ameritage model), the 290 DC rang with a huge acoustic resonance. You really feel the sustain through the body and the substantial-but-comfy neck. The guitar ships with .011s but they feel like .010s–the mark of a supremely well-built guitar. The frets are perfectly level and beautifully rounded, and, although the bridge can’t be adjusted, it does have an intonation contour milled into the top bearing edge, and as a result it intonates like a dream.

We plugged the Collings into a variety of amps and the best delay pedal and it sounded awesome through each one. The Lollar pickups have great output, but it’s the detail that really knocks me out. They sound balanced and rich with a clanging bottom end and a silky, musical treble response. On a recording session, I ran both pickups with the bridge rolled back to 7 into a mildly dirty amp and the tone was big, open, and very dynamic. I was especially impressed with how responsive the 290 was to where I picked on the string. Even a difference of an inch or two toward or away from the bridge produced noticeable, useable changes in timbre. And on the subject of the Volume controls, these are some of the best voiced pots I’ve ever experienced, with every part of the taper bringing out great new colors.

I seriously can’t find a single fault with the 290 DC. It’s all too easy for guitarists to say, “If I’m going to spend that kind of money, I’d just buy a (fill in the blank).” Nope. Not anymore. This guitar is not cheap, but it is worth every penny. We’ve long been impressed with this company’s acoustic offerings, but I have no choice but to view Collings as a serious player in the electric game from this day forward. Reasonable people can disagree on things like scale length, body wood, electronics, etc., but for what it is, the 290 DC might just be the perfect guitar. Well done.

Introduced in 1959, The Gibson ES-330 is one of many jewels in the Gibson ES line. Often overshadowed by the ES-335 and its brother from another mother, the Epiphone Casino, the ES-330 has been pressed into service by players such as Grant Green, Brian Jones, and B.B. King. Gibson’s Memphis, Tennessee, Custom Shop has brought this beauty back to life with an eye-catching “aged” reissue that gives this classic instrument the props it deserves. Sporting a VOS (vintage original specification) sunburst lacquer finish, the ES-330 pops visually, but it also exudes a satiny, worn-in quality that is easy on the eyes. The binding on the body and neck are aged to the point that they look like they have spent the past 40-plus years drinking coffee and smoking cigarettes, and the scatter-wound “dog ear” P-90s sport rusty polepieces that further add to the ES-330’s half-century-old vibe. These elements contrast with the nut and tuner buttons, both of which are pure white.

The minute I picked up the ES-330, I knew I was cradling a winner. It plays beautifully and exudes the ultimate in vintage cool. The classic neck shape is inviting to play, and, quite frankly, makes the ES-330 tough to put down. Everyone who came in contact with the guitar gushed about its playability and its tasty worn-in looks. Sonically, the ES-330 doesn’t miss a beat. The hollow body in conjunction with the trapeze tailpiece make for a lively sounding guitar–both plugged in and acoustic–and the tones leap out of the body and the speaker as the guitar bursts with sonic energy. Running through a ’52 tweed Fender Deluxe or a late-’60s Princeton Reverb, the ES-330’s tones are pure vibe, with a beautiful amalgam of chime, barky midrange complexity, and a lush burnished texture that can work in a variety of musical contexts. Hell, you can even mic the ES-330 acoustically and use it on a track–it’s that loud.

The ES-330 yearns to be plugged into a cranked tube amp where it can respond beautifully to every nuance of your playing. Some players may be bugged by the neck joining the body at the 16th fret, as it limits high-position access, but I found it refreshing as you get coaxed into a different way of thinking when you’re playing, urging you to respond to what the instrument is willing to give. From jangle to rockabilly to badass blues, the ES-330 can deliver. It features a unique sonic signature that is a boon for anyone searching for a tone tool that isn’t the garden variety Strat, Tele, or Les Paul thing. The ES-330 is lovingly crafted and it shows in both its outstanding cosmetics and wonderful playability and tones. Most excellent!

When is an indie not an indie? As major record companies become more involved with the independent label and distribution marketplace, it becomes increasingly difficult to draw the line between independent and major.

But each year, when Billboard compiles charts for this issue, we make the call. The determining criterion: The product must be sold exclusively through independent distribution.

A few factors to keep in mind:

Ownership by a major does not disqualify a label from consideration. As two examples, Tommy Boy is owned by Warner Bros., and PolyGram is the parent company of Island’s independent labels (i.e. 4th & B’way, Mango). But, the titles from such labels that appear on these charts were sold through indie channels.

Conversely, more and more indie labels–like Critique and Radikal–have worked out distribution deals with majors. In the cases where indie titles were sold by a major, those titles were excluded from these lists.

There are some arrangements by which a conventional single is sold through majors, while the maxisingle formats are sold through indies. In order to appear on the independent label singles charts, all configurations of a title must be sold through independents.

An act that qualifies for one independent chart might not be eligible for another. On the singles charts, K.W.S.’s “Please Don’t Go” is included, because it was sold through indies. But, the group’s album was sold by PolyGram Group Distribution, and thus is ineligible for the other charts.

The involvement of a major label’s promotion staff does not disqualify a single, so long as the title in question is sold through independents. This is the case with Dr. Dre‘s single. Similarly, Interscope‘s involvement with this project does not remove Dre from the independent album charts, because his album is sold by Priority.

These charts represent a 52-week span, from the issue dated Feb. 22, 1992, to the one dated Feb. 13, 1993. In addition to the charts included in last year’s Indie Spotlight, we have added a Top R&B Singles chart.

The lists are based on the same methodologies used to compile the year-end charts. With the exception of the charts that are based on The Billboard 200 and Hot 100 Singles, the results are based on a point system created by a complex inverse relationship to each week’s chart position.

For the Top Albums list, ranks are determined by the sales these titles registered during the time they appeared on The Billboard 200. The Pop Singles list is based on each title’s accumulated weekly point totals on The Hot 100, which factors in sales and airplay.

Sales data for The Billboard 200 is provided by SoundScan, which also supplies the sales information used in the formulation of Hot 100 Singles. Major-market airplay data on Hot 100 Singles is provided by Broadcast Data Systems.

For the last two-and-a-half months of the tracking year, BDS and SoundScan provided data to the R&B charts.

Waist training, also called tight lacing or corset training, is the process of slimming down the waist area over a period of few months through the use of an outfit known as corset. The practice had been quite prevalent in the Victorian era and it was always there, although not in the limelight too much. The recent obsession with a trim and toned figure has led many women to begin wearing corsets once again. Many female celebrities like Jessica Alba, Kyle Minogue, Blac Chyna, Salma Hayek and Katy Perry have proudly announced that they wear a corset for waist narrowing purposes. However, while they did it under proper guidance, you do not have the luxury. There are so many waist cincher reviews about 3 things you should remember while you are using a waist cincher.

Risk of various disorders

Wearing a tight fitting corset for a long time can slim down your waist and make your bust line and hips more prominent. You can get a curvy body shape in this way. Overuse or incorrect use of these dresses can lead to dehydration. You may also suffer a deformed condition of the lower ribs, known as Glenard’s disease. The disease can cause even organ failure in worst cases. You can also suffer from other severe conditions such as deformation of the stomach or the liver. With these dresses, you can get a voluptuous figure. However, you should keep in mind that these need to be used carefully as you may suffer from severe health issues otherwise.

Eat and Work Out Right

It is essential for you to remember that your body shape is often decided by genetics. If you are not genetically predisposed to an hourglass body shape, you will not be able to get this shape irrespective of how long you can wear the outfit. You should naturally eat and work out in the right way and wear waist cincher for a minimum of 4 hours per day. Constant usage of this outfit, along with drinking of 2 – 3 liters of water each day, and avoiding sugar and junk foods and following a 5-day exercise regimen and a healthy meal plan will help you to narrow down your waist within a short time. It is also recommended that you get as much sleep as possible.

Take care while washing corsets

It is recommended that you do not wash or clean your corsets on a regular basis, unless you wear it every now and then. Even if you do wash, do not completely submerge it in water. The majority of corsets consist of metallic bones and these can suffer damage, loss of shape or rusting if machine-washed. It is better to get these dresses cleaned with the help of a dry cleaner that is experienced in tidying up such outfits. If you are doing this at home, use fabric-safe, rust removing liquids which can be bought from local medicine stores. It is important to exercise a lot of caution when you are tidying up such dresses.