It’s not surprising to see today’s young musicians taking full advantage of new technologies; computers, the internet, recording programs and such, to create, produce and market their music. After all, most of them don’t know anything else, they grew up with PCs at home, cel phones, laptops, smart phones, iPads, and of course the now ubiquitous internet… But what about veteran performers who learned oldschool? For those whose wealth of knowledge and experience was gained in a time before computers, Pro-Tools and home-recording, iPhones, tablets, YouTube and Facebook, how do they adapt? If you are a member of WORLD5 you do it with a vengeance. These pros have proven that decades of experience combined with embracing cutting edge techniques and technology can be an amazingly powerful combo. This group is truly “global” in every sense of the word. Formed by musicians from the United States, New Zealand, Germany and Sweden these five talented musicians from different countries and cultures compose their songs remotely from the comfort of their own residences. Using every new tool at their disposal, they have conquered the geographical barriers to create music together. Utilizing digital technology to write and record their contributions to the band’s music, they then put the internet to work in order to communicate, collaborate and compose. Very long distances may separate them physically, but not musically. During the early stages of the creative process for each project, they discuss the vision of the song by Skype chatting, e-mails and midnight VOIP calls. Final tracks are uploaded to Randy Miller, not only a band member of World5, but also a sixteen-time nominated and four-time Grammy Winning Music Producer. Based in Austin, Texas, Randy tweaks and assembles all the individual recordings together, including lead vocals and backing vocals, completing each new song from WORLD5.
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a member of the high school concert & marching band. At this point, music became more than just a hobby, Stephan knew he must make it his career.
To give you an idea of the calibre of these artists, here’s some brief info on each…
STEFFEN GOERES - lead & acoustic guitars, trumpet, fluegelhorn, from Wellington, New Zealand.
After returning to Germany, he performed with many bands as sax/keyboard player and was involved in various production projects. Later he joined his old friends, Raimund Breitfeld and Steffen Goeres to form a group, and they were voted “Best Bavarian Newcomers.” They opened for major acts touring to the Munich area such as James Brown and the Climax Blues Band! Along with his musical endeavors, Stephan also developed his expertise with computer science, which has made him an invaluable asset to WORLD5 on many levels.
RANDY MILLER - bass, vocals, from Austin, Texas
Growing up in his hometown of Deggendorf, in Bavaria, Germany, Steffen’s initial musical influence came from his mother, an opera singer who encouraged all her children to learn the piano. Steffen quickly became interested in many other instruments as well, including the trumpet. At the age of 11, he picked up a guitar and hasn’t put it down since. Although his older brother discovered rock, and brought an electric guitar into the house, Steffen was instead attracted to the jazz and funk music of the 1970s. Steffen soon formed a jazz funk band with his friends Raimund Breitfeld and Stephan Goessl. The band played their own compositions, won competitions and became a local sensation! This early musical success prompted Steffen to continue his musical studies and he took up classical guitar and trumpet at the Richard Strauss Conservatorium in Munich. This led to a trip overseas, to the United States, where he studied jazz guitar in Los Angeles. Like most typical students, money was always a concern, so Steffen returned to Germany after a year in L.A.. His skill with the guitar earned him quite a reputation and word quickly spread. He soon found himself in demand for many types of projects. He played everything from classical concerts to studio sessions, to band gigs and tours throughout Europe. While touring in Austria, Steffen met his wife-to-be, who was a long way from her home in New Zealand. A couple of years later, they settled in Wellington, New Zealand, where he established himself as a professional musician and teacher.
STEPHAN GOESSL - saxaphone, keys, from Munich, Germany.
RAIMUND BREITFELD - drums, percussion, from Gothenburgh, Sweden.
At the age of four, Raimund Breitfeld decided to help his mother, a concert pianist, by operating the pedals of the Steinway as she played. It didn’t take long for her to decide that it might be better for him to operate the keyboard instead of the pedals, so he received his first piano lessons. This early love of music continued to grow, and Raimund soaked up as much as he could listen to, but the radio stations in Gothenburgh didn’t play classical music. Instead, Pop and Rock music became his early inspirations.
PAT HUNT - lead vocals, keyboards, from Katy, Texas, USA.
Born in Houston, Texas, Randy has been a part of the regional music scene for the last 25 years. In the 80’s he started the band Zen Archer. Fueled by his songwriting, the band was selected for several ‘best-of albums’ by local radio stations including KLOL, KRBE and The Arrow. Later, Bobby Ginsburg (drummer: Rod Stewart, Richard Perry) mentored Randy in the art of engineering. After Zen Archer split up, Randy joined a group called Walkee Talkee, and they also enjoyed local radio success, eventually getting invited to perform on the nationally televised Star Search show. In 1985 Randy built his first recording studio where he created his solo effort, “Stationary.” The song earned regional radio airplay. Later he took an engineer position in Houston at the world-renowned Sunrise Studio where he honed his craft and was able to work with such famous artists as Bob James, Kirk Whalum and La Mafia.
Steffen’s professionalism and musical talents in many musical genres were missed back in his hometown, and eventually a call from his old friend Raimund reintroduced him to pop music, as part of WORLD5.
Stephan Goessl was born in Munich, Germany to a musical family. During his early childhood there was always someone playing an instrument in the house. Like any kid, Stephan was eager to join in on the fun. At the age of seven he started violin lessons, but didn’t enjoy them, so he switched to clarinet and later to saxophone. He also began to learn piano & keyboards, and became so adept that in his early teen years he joined a school band and began playing concerts. Later, while living in the U.S. as an exchange student, he became
It was at Houston Sound Studio where Randy also co-wrote a song with Pat Hunt which was included on the Grammy nominated LaMafia album “Vida.” In 2005 songwriting legend Burt Bacharach hired him to record over 30 of his all time hits for a TV special. The next year, singersongwriter Johnny Nash hired Randy to remix the classic ‘I Can See Clearly Now.’ He is now working together with WORLD5 as songwriter, bass player and singer.
He was so intrigued by the music he heard over the airwaves, the young inventor decided to make his own guitar… One day while his parents were out of the house for a few hours, Raimund grabbed his father’s violin, a saw and some other tools. With a few modifications, and some added frets, Raimund’s first guitar was born. Eventually some pocket money was earned and a brand new electric guitar was unavoidable. Shortly after blowing up his grandparent’s radio in an attempt to amplify his new guitar, the inventor received a real amp as well. During his high school days Raimund and his good friend Steffen Goeres formed a band together. Steffen’s skills on the guitar were already so advanced that he was doing solo concerts, and Raimund decided he couldn´t keep up with his friend’s performances. Since there were very few drummers in their small town, a move from guitar to percussion seemed like a good idea. Raimund found his calling behind the kit. Drum lessons, music academy and the College of Music followed and Raimund ended up with a degree as a drummer and music teacher. Since then he’s played with many well-known musicians over the years, among them members of the bands Herman´s Hermits, Nazareth and The Beach Boys.
poll. They put out 3 albums and were included on Z107’S “Best of Houston” compilation CD as well as receiving much airplay and playing several events which were broadcast live. They continued performing together until 1994, but with the success of La Mafia’s million selling albums, Randy was asked to design and build a recording studio for them. The result; Houston Sound Studio was a qualified success with 4 Grammy winning albums produced there as well as a client list that included Marc Anthony, Kings X and Goldie Hawn (soundtrack work.)
In 1988 he revived Zen Archer with a new lineup and the band became “the most popular rock band in Houston, second only to ZZ TOP,” according to a Houston Press
Grammy award winner Pat Hunt achieved fame early as a finalist on the original Star Search television program, the forerunner of American Idol, which aired from 1983– 1995 and was hosted by Ed McMahon. Pat has been in the music business for over 40 years traveling the globe, opening for acts such as Al Jarreau, The Pointer Sisters, Patti Labelle, The Temptations, Willie Nelson, Merle Haggard, The Spinners and many more. He’s also produced CDs for the American country icon Mickey Gilley of Urban Cowboy fame as well as reggae legend John Nash. He has co-written “I Never Thought I’d Fall In Love Again” for Jennifer Holliday and “After She’s Gone” for Mickey Gilley. He’s worked with Grammy Award winning producer Randy Miller - “Con Todo El Corazon” for the Grammy winning, double platinum, international group: La Mafia. In total, Pat has played and arranged for five Grammy nominated CDs, one of which became a Grammy winner. He is married to singer Tareva Henderson who also worked with WORLD5 on their debut album. You can hear their music and learn more about WORLD5 by clicking this sentence and visiting their web site:
• InterMixx • independent music magazine
The Geometry of Songwriting : The 4 Dimensions of a Song and the Importance of Time by Bill Pere
“Time management” is a phrase you hear used all the time as a core principle for good business practice. It is also as core principle for maximizing the impact of your songs, but with an entirely different meaning. Music, by its very nature, moves in 4 dimensions: Melodies move up and down in pitch. The phrases move forward, building tension toward release and resolution. They move closer to and farther away from the ear as the dynamics grow loud and soft. They move through time with rhythm. It is usually easy to incorporate all four dimensions into the music of a song, because they are inherent components of music itself. But when it comes to the lyrics, you’re starting out with a dimensionless idea, an abstract concept that you have to fill with image, meaning, motion, and emotion. It’s a much more difficult task to think in 4-dimensional words, and thus, songs are often stuck in a one or two dimensions, when there are really four that you can use to create a memorable experience for your listeners. Steven Pinker, one of my favorite authors on the relationship between words and meaning, in his book “The Stuff of Thought: Language as a Window Into Human Nature, discusses the importance of our perception of 3dimensional space (height, width, depth) and its influence on how we use and perceive verbs.
(recorded ironically by the 5th Dimension) “Love Lines, Angles, and Rhymes”:
Love leads the lines of love in circles and angles Love runs deep like a tunnel with a pendulum beat That touches the heart in many directions Moving the mind in silent reflections Of the lines that touch the corners and fibers Of the feeling that keeps running inside you The technique of providing x-y-z- motion for the listener is clearly important, but when it comes to writing a truly great song, it is quite secondary to what comes next: the fourth dimension, time. When it comes to time, we don’t often think about it with the same sense of motion and perspective, because we don’t see it directly like height, width and depth, and we don’t feel the motion kinesthetically. Movement through time is implied and inferred by changes in distance, age, appearance, circumstance, etc. Thus, it is more difficult to get all the necessary information into the compact form of a lyric line. Yet it means so much to the listener to have that fourth dimension in a song, that we need to try.
Writing about time is not the same as writing about motion through time. There are clearly many songs about time: “Time Is on My Side”, “Time in a Bottle”, “Six O’ Clock”, A brief review from one of everyone’s favorite topics in “No Time Left For You”, “Nine to Five”, “Beat the Clock”, school, Geometry. Space is typically represented in 3 “Can’t Find the Time to Tell You”, and so many more; But dimensions: horizontal/width (x-axis); vertical/height (Ythese songs do not use time as a dimension in which the Bill teaches a songwriting workshop at the axis); and proximity/depth (z-axis). We can see think, and listener moves. They are about time, not moving through move along each of these, with lots of words and metaphors Independent Music Conference. time. It’s the equivalent of writing a song about up and to help us along the way. These find their way into songs, but are often focused on just a single dimension, because the more dimensions that are down, without actually moving the listener up and down. encompassed by the lyrics, the harder it is to write clearly and effectively and to fit the necessary words into the song. It is also more difficult to actually write about moving A key point here is that an x,y, or z-axis song when conveying motion, may imply time as well. If the axis has a specific and fixed reference point (a home, a person, an event, a along a dimension than it is to just refer to it while standing still, Consider: location) that you are getting closer to or farther from, there is distance involved and it takes time to traverse distance (remember your basic concepts of that Physics class you I’m standing here alone, I see the mountain there in the distance daydreamed your way through).
I want to get back home, want to be there in an instant It’s so far, so far, so far away But I know I’ll get back someday
This refers to distance (z-axis) and height (y-axis), but there is no motion. The singer (and the listener!) are rooted in one place. This is not particularly exciting (or moving) for the listener. Consider this re-write:
Moving closer to the mountain, I begin to make the climb Getting closer to my home now, been gone too long a time Though far and high, from dusk till dawn, I’m getting closer, pressing on. Now we’re getting someplace. The listener is being brought along by the singer on a journey. It’s better, but still missing something. Let’s look at some examples of x-y-z- hit songs... The 1973 classic “Stuck in the Middle With You” is an example of an X-axis song (horizontal, left/right space), written by Gerry Rafferty & Joe Egan of the band Stealers Wheel):
Clowns to the left of me, jokers to the right, Here I am, stuck in the middle with you. The many songs written about driving along a road, walking a path, or riding on a train are x-axis songs. The y-axis is the vertical one that orients us to us up and down. Everyone was lifted up in 1967 by the 5th Dimensions’ top ten hit “Up Up and Away” by songwriting great Jimmy Webb. The title/hook is in and of itself, a trip along the Y-axis. The Wicked Witch of the West takes us all into the air with “Defying Gravity” from the musical “Wicked” by Stephen Schwartz. Johnny Cash took us “down,down, down” as he “fell” into a Ring of Fire”. The Byrds took us (metaphorically) “Eight Miles High” while the Drifters took us (literally) “Under the Boardwalk”. For a ride along both the X-axis and the Y-axis , look at Diana Ross’ biggest hit as a solo artist “Upside Down”, written by Bernard Edwards and Nile Rodgers:
Upside down Boy, you turn me Inside out and round and round Looking at the entire lyric, it’s actually a very mediocre song from the craft perspective, but was made into a #1 hit in 1980 by the star power of the artist and the intricate production. Not great songwriting, but it does make use of our 3-dimensional thinking: Steppenwolf’s “Magic Carpet Ride” is a Z-axis hit song (near/far perspective) written by band members Rushton Moreve & John Kay
Any place it goes is right Goes far, flies near, To the stars, away from here Another z-axis example is the folk standard “Five Hundred Miles”. Songs about moving nearer to or farther from something are usually z-axis songs. Writer Dorothea Joyce metaphorically takes us in several directions with her 1971 hit
Edwin Starr’s 1969 hit “Twenty-Five Miles” has the singer moving closer and closer to his destination (z-axis) but we clearly experience time passing as well. The 1994 Rascal Flatts hit “The Broken Road” (Hummon/Boyd/Hanna) has the singer moving along the road of life toward a person, and thus we experience time. It is possible to have no x-y-z- motion but still move through time. Movement through time can be in the form of changes in age and circumstance, neither of which need to involve x-y-z- motion. A tree growing, ivy covering a wall, a graduation, or a gravestone all convey lots of time-related information. So what it all comes down to is this: As discussed in Chapter 9 of Songcrafters’ Coloring Book, there are two basic song formats: list songs and story songs. If you recall the Listener Response Matrix from Chapter 5 Songcrafters’ Coloring Book, the most difficult song presentation to write effectively is the story-song. However, it is the format that has the widest appeal, the greatest impact, and the best chance of having a long life. The reason that a story-song is more difficult to write is that it must have a clear flow of time. It can be forward, flashback, fast, slow, etc, but time must move. Given from the above discussion that time is the most difficult dimension to effectively include in a song, it becomes clear why most songs are not story-songs and thus do not have the full impact of really great songwriting. Consider which experience you would prefer to have: Someone talking to you for four minutes, telling you of months or years worth of experiences, or someone talking to you for four minutes telling you about how they feel in one single moment that you know nothing about. Which is the greater bang for the buck (the “buck’ being the four minutes of your life that you have invested in listening). In the first case you get more than four minutes worth of someone’s life experience to add to your own. Whether or not it is interesting or relevant is a different matter altogether – that is up to the storyteller (songwriter) to make it interesting and relevant to you. In the second case, you spent four minutes hearing someone talk about one second that never moved. While it is possible for that moment to merit being expanded 240 times beyond reality (four minutes is 240 seconds), most songwriters have neither the moment nor the craftsmanship to make it worth your while as a listener (and as a paying customer). The lower left section of the Listener-Response Matrix (attitudinal songs that only seek to evoke a transient feeling) may go something like:
I saw you there, my heart stopped. My world is frozen and I’m thinking of you. I’m hot, you would love me and I would make it worth your time I’m better than she is, you know it’s true, Give me a look give me a sign And I’ll be there and you’ll be mine Oh I’m burnin’ Oh I’m yearnin’ I’m turnin’ into being into you… This type of lyric is very common, but it leaves the listener with so many unanswered questions – who are these people, where are they, what’s the attraction, what’s the backstory, what is going to happen, where are they in a year from now, why is this relevant to me? This may be fun for a singer to sing, perhaps fun to see in live performance with lots of emoting in tight stage outfits, but it is unlikely for this to have a long life as a classic song that hundreds of other artists would want to record. It is not worth a listener giving up 240 times as much of themself as it gives back. With a some additional effort on the part of the songwriter to answer all of the above questions, this could instead be told as an actual story where the listener is led through the experience over a period of time,
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and thus is more likely to find points of relevance to relate to. (See Songcrafters Coloring Book Chapter 16.) A story-song is essentially a short movie. It uses all the cinematic and storytelling techniques of great directors and authors – characters, backstory, scene changes, camera angles, close-ups, establishing shots, tension, climax, and a treatment of time. One of the great songwriting examples of taking a short amount of time, perhaps a minute or two, and turning it into a five-minute song that is worth the expansion, is Harry Chapin’s “30,000 Pounds of Bananas.” Based on news accounts of the actual event, it takes the last minute of life of a truck driver as he hurtles out of control down a hill with no brakes and a load of bananas. The song lives on more than four decades later. In your own writing, when you think you are “done”, ask yourself how (or “if”) you have treated the flow of time in your song. Most importantly, make sure you clearly see the difference between actually moving through time as opposed to just talking about time. Consider this exceptional lyric from master songwriter Randy Edelman (I recommend that you add it to your collection of downloads).
Thirty Years Old (Mom) My head leaves the pillow, I know I must move on I’ve lived all my life here, but the time’s almost gone I don’t want to leave her, she’s begged me to stay But I’m thirty years old Mom today I put on my jacket, she hears that I’m awake She calls from the kitchen, as I smell the cake She lights all the candles and makes sure I pray But I’m thirty years old Mom today I’ve been reading books, but now I want to see the world at first hand I’ve been taking looks around, now I’m gonna show where I stand I’ve been too locked up to give my heart half a chance See, your baby has grown, it’s time he left home… She wanted to have me close by her side But the years have stacked up now, God knows, I’ve tried She wanted to know I was down the hallway, But your baby’s grown up Mom today I didn’t look back as I closed the old porch door I wanted no tears from that face I adore But there’s dreams I’ve been dreaming, and songs I must play And I’m thirty years old Mom today. This song clearly has motion through time BUT, when I ask folks at my workshops “What is the span of time that this song encompasses?”, most people quickly answer ‘thirty years’ or ‘a lifetime’. The song refers to thirty years, but the actual amount of time that the listener moves through is really just an hour, plus or minus. It runs from the time the singer wakes up, gets dressed, has some cake, and then finally leaves the house. That is the time span of the song. It moves in a forward direction at an even pace, marked by event mileposts (waking, dressing, eating, leaving). The mastery of the craft here is that in the 3 minutes of the song, we have spent an hour with the singer, and in that hour, we have shared his whole life – his past, his present, and his hopes for the future. This is what makes great storytelling and thus great songwriting.
Through the years as the fire starts to mellow Burning lines in the book of our lives Though the binding cracks and the pages start to yellow I’ll be in love with you. At first glance it seems like a simple love song in list format. But lets look closer at how a master storyteller subtly takes your through the better part of a lifetime: Longer than there’ve been fishes in the ocean Higher than any bird ever flew Longer than there’ve been stars up in the heavens I’ve been in love with you The use of the Present Perfect verb tense here says that “For an ongoing time in the past I have been in love with you”. Stronger than any mountain cathedral Truer than any tree ever grew Deeper than any forest primeval I am in love with you. The verb tense changes to present-tense “am”, meaning right now, i.e. as we arrive from the past into this moment, I still love you. I’ll bring fire in the winters You’ll send showers in the springs We’ll fly through the falls and summers With love on our wings. Now we move forward beyond this moment with verbs in future tense. As we travel through the years ahead (presented by the four seasons) we will continue to be in love with each other. Through the years as the fire starts to mellow burning lines in the book of our lives Though the binding cracks and the pages start to yellow I’ll be in love with you. This now bring us to the twilight of life after having spent years together that have written a life story. There is pluperfect verb use, and we still look forward with future tense saying “I’ll be in love with you”. Overall, this takes us through a lifetime of love, with subtle change of tense and metaphorical signposts, always making clear where we are. The first verse reaches backwards, the second verse is present, and the bridge and third verse move along a future path. A great handling of time that makes an ordinary love song become something extraordinary. In such a competitive music world, it is a losing proposition to just write a love song. It has to be an exceptional love song to get any traction. Finally, let’s look at a great example of moving through time with no other x-y-z motion at all.
Old Stone (by Kay Pere) Old gray stone How long have you been balanced While the lichens grow In symbiotic decadence In your mossy robe, Do you still recall the span
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Songs do not have to be complex to handle time effectively. Here is a simple lyric from the Hollies 1966 #5 hit “Bus Stop” (G. Gouldman):
Bus stop, wet day, she’s there, I say “Please share my umbrella” Bus stop, bus go, she stays, love grows Under my umbrella All that summer we enjoyed it, wind and rain and shine That umbrella, we employed it, by August she was mine. Here in four lines, we travel through about three months of time, at two different rates. Lines 1 and 2 recount a brief initial interaction that leads to a budding romance. Lines 3 and 4 take us through months to the end of summer where the romance has blossomed into love. An amazing amount of information conveyed in four simple lines. That is the craft of storytelling and the challenge of great songwriting. Here is another great example:
Longer (Dan Fogelberg) Longer than there’ve been fishes in the ocean Higher than any bird ever flew Longer than there’ve been stars up in the heavens I’ve been in love with you. Stronger than any mountain cathedral Truer than any tree ever grew Deeper than any forest primeval I am in love with you. I’ll bring fire in the winters You’ll send showers in the springs We’ll fly through the falls and summers With love on our wings.
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Of callused hands That pulled you from the ground Old Stone, silence unbroken Speak to me with wisdom unspoken Old stone wall How long have you been standing While the wild ferns grow And violets nod their deference To the things you know Lessons learned While seasons turned Three-hundred times around. Old Stone, Silence unbroken Speak to me Old stone house
How long have you been watching While the crops won’t grow And autumn snow descends A shallow well soon frozen Hard as quartz Heavy hearts Pray comfort can be found
of land evolve over the centuries (if there were cameras that long ago…) condensed into a four-minute presentation. All the visual elements are there.
Old Stone, Silence unbroken
To summarize: To maximize the impact of your songs, and thus their artistic and commercial potential, a most effective technique is to provide motion for the listener through time, in a clear way that conveys lots of information about who, what,where, when, what, how. It’s a challenge that can seem daunting, which is why many writers turn away from the task. If you are one of the few who work to see it through, you will have a great advantage by having a better end-product in a very competitive market. - - - - - - - - - - - - - - - - - - - - - - - -
Here, we have a story-song about a lifeless inanimate object. Yet, the storytelling from this New England writer is masterful, with a sweeping journey through more than 300 years, conveying the arrival of settlers to a virgin land who started tilling soil and farming, then building stone walls to define farm boundaries, and houses that withstand bitter New England winters. The only motion is through time, using age, and the change of an object’s environment and location as signposts. This could easily be rendered as video watching a patch
When the handling of time is done with great attention to detail, a song needs little else to connect with listeners and have impact.
Bill Pere, was named one of the “Top 50 Innovators, Groundbreakers and Guiding Lights of the Music Industry” by Music Connection Magazine. With more than 30 years in the music business, as a recording artist, award winning songwriter, performer, and educator Bill is well known for his superbly crafted lyrics, with lasting
impact. Bill has songs on more than 26 CD’s including a Grammy winner, and has received many awards for his philanthropy through music. He is President of the Connecticut Songwriters Association, an Official Connecticut State Troubadour, and is the Founder and Executive Director of the LUNCH Ensemble. Twice named Connecticut Songwriter of the Year, Bill is a qualified MBTI practitioner, trained by the Association for Psychological Type. As Director of the Connecticut Songwriting Academy, he helps develop young talent in songwriting, performing, and learning about the music business. Bill’s song analyses and critiques are among the best in the industry. Bill has a graduate degree in Molecular Biology, an ARC Science teaching certification, and he has received two awards for Outstanding contribution to Music Education. The New York Times calls Bill “the link between science and music. For workshops, consultation, performances, or other songwriter services, contact Bill via his web sites:
www.billpere.com www.ctsongwriting.com www.lunchensemble.com
© Copyright 2013 Bill Pere. All Rights Reserved. This article may not be reproduced in any way with out permission of the author.
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TRACY NEWMAN - FROM DIVING BOARDS TO DIVERSE REWARDS by Noël Ramos
There is MUCH more to Tracy Newman than meets the eye. She’s a bundle of energy fueling a wide array of talents and abilities, some more obscure than others.
For example, she was an original member of The New Christy Minstrels - an American folk music group founded by Randy Sparks in 1961 which recorded over 20 albums and had several hits, including “Green, Green,” “Saturday Night,” and “This Land is Your Land.” Their 1962 debut album won a Grammy Award and sat in the Billboard charts for two years. Tracy made a television appearance with the troupe on ‘Vic Damone hosts The Lively Ones,’ Season 1, Episode 3, in August of ‘62.
She performed in “Hootenanny ‘63” a show which drew beyond capacity crowds to New York’s famed Carnegie Hall, forcing Tracy to share the stage with attendees. She was listed as a “standout performer” in the September issue of Billboard that year. In the article’s accompanying photo, Tracy was depicted onstage with the overflow guests.
Speaking of much more than meets the eye... although Tracy may not be well known for working in front of the camera like her sister Laraine Newman who was part of the original ‘Saturday Night Live’ cast, if you ever chuckled at ‘Cheers,’ Bob, Fran, Drew, Ellen or Jim, it was probably Tracy who was making you laugh. Tracy grew up in Los Angeles so perhaps it’s not surprising she pursued the idea of becoming a performer from a very early age. She started
playing guitar as a young teen, usually sitting on the diving board of her family’s pool, strumming for hours each day. Back then she was mostly influenced by the Kingston Trio, because she could actually play some of their songs, especially “Tom Dooley” which had (and still has,) only two
Tracy is also one of the first performers in the groundbreaking Los Angeles-based comedy troupe The Groundlings, which launched the careers of many ‘Saturday Night Live’ stars including her own sister, Laraine Newman, and Will Ferrell. She wrote for ‘Cheers,’ won an Emmy and a Peabody Award for co-writing the groundbreaking “coming out” episode of ‘Ellen,’ and she co-created the ABC comedy, ‘According to Jim.’ And here’s perhaps the most arcane example of her skills - she was at one time considered the foremost (possibly only) female cardmanipulator in the world. In simpler terms, whenever you saw a woman’s hands expertly dealing or handling cards in a movie or on TV, they were most-likely Tracy’s hands. In 1974, she appeared on ‘The Tonight Show with Johnny Carson,’ displaying her skills in a sketch with the legendary host, and then discussing cards and cracking jokes with him later. Not your average folk singer this one.
chords. After high school, Tracy wanted to be a folk singer, but her parents insisted she go to college. Since she lived in California, it was only logical that she attended U of A in Tucson, Arizona, where she quickly immersed herself into the folk community. Soon she dropped out of school and was playing on street corners for money. Not surprisingly, upon learning of the radical course change her daughter’s life had taken, Tracy’s mother flew to Tucson and dragged her back to LA for “help.” The therapist, an elderly man in a suit and tie, kept nodding off during Tracy’s sessions. Apparently he couldn’t relate to an upper middle class teenage girl who just wanted to be a folk singer. In 1964 she moved to New York, where she was soon playing all the folk clubs including the legendary Bitter End at a time when groundbreaking comics like George Carlin were
first making waves. This comedy influence contributed to her decision to pursue comedic acting, so in the early 70s, she moved back to LA where she joined an improvisation class taught by Gary Austin. The class became the seeds of what grew into the improvisational comedy troupe called The Groundlings. Tracy was not only a founding member of the groundbreaking group, she performed, taught and directed there for 15 years. Her sister, Laraine Newman was the first Groundling to be discovered by Lorne Michaels for ‘Saturday Night Live.’ Other discoveries included Phil Hartmann, Jon Lovitz, Julia Sweeney, Will Ferrell, Will Forte, Kristen Wigg, and Chris Kattan. There were also other notable Groundling alumni Paul “Pee Wee Herman” Reubens, Kathy Griffin and Lisa Kudrow, amongst many.
350,000 songwriters. As a result, Tracy will become one of the artists featured on a highprofile compilation CD released this fall called “Life in the Years,” along with superstar artists like Carly Simon and Natalie Merchant. Tracy Newman still has the winning hand.
For info: www.TracyNewman.com
It was through the Groundlings that Tracy met her future TV writing partner, Jonathan Stark. They began working together on ‘Cheers,’ and the partnership continued through many shows, including ‘Bob’ (Bob Newhart), ‘The Nanny,’ ‘Ellen,’ ‘The Drew Carey Show’ and ‘Hiller and Diller’ (Richard Lewis and Kevin Nealon.) In 1997, they won the Emmy and the prestigious Peabody Award for writing the ground-breaking “coming out” episode of ‘Ellen.’ In 2001, they created the ABC comedy, ‘According to Jim,’ which recently completed its eighth and final season of production. “Aside from all the shows we worked on, we wrote eight pilots before ‘According to Jim’ sold. It was a big thrill to have that happen, but it was also mixed with the reality that now as Executive Producers we were responsible for producing a funny show week after week,” Tracy recalled.
Now that the pressure of working on a weekly show is off, Tracy has renewed her musical efforts. She never stopped writing songs and is once again performing full-time. She’s enjoying the return to her early passion and in some ways, starting over. “I didn’t stop writing songs when I was working in television, I wrote many songs for ‘Ellen’ and ‘According to Jim.’ I even wrote the theme song for a sitcom that stayed on for one season, called ‘Hiller and Diller,’ starring Richard Lewis and Kevin Nealon. That was very cool.”
PUBLISHER: Noel Ramos EDITOR: Christopher Marz
Her debut CD is called “A Place in the Sun,” and the band is called Tracy Newman and the Reinforcements. It features other stellar performers; Gene Lippmann, Rebecca Leigh, John Cartwright, John OKennedy and Doug Knoll. The music is most easily described as acoustic folk, but as should be obvious by now, this is no ordinary folk singer. The Reinforcements present a funny, moving and memorable show. It’s been a long strange trip from the days of plucking her strings while seated on a diving board, but if you are thinking of betting against Tracy finding as much success with her music career as with her writing, just remember her skill with the cards. Her song “I Just See You” was recently announced as a winner in an international contest with entries by more than
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Mandi Martin and John Braheny: Missed and Remembered by Dan Kimpel
Special thanks to Dan Kimpel, Editor of the Song Biz column in the national music monthly, Music Connection for these moving remembrances of John and Mandi...
John Braheny: 1938-2013 The man known as the “Songwriters Best Friend,” and the author of the best-selling book The Craft and Business of Songwriting died January 19, 2013, in Los Angeles. He was 74 years old. Along with partner Len Chandler, Braheny was the co-founder and director of the Los Angeles Songwriters Showcase (LASS), a national non-profit organization that provided exposure and encouragement to an impressive list of later-to-be-successful new writers and writer-artists from 19711996 including Fleetwood Mac’s Stevie Nicks and Lindsay Buckingham, Janis Ian, Warren Zevon, Karla Bonoff, Stephen Bishop, Wendy Waldman, and pop music’s most successful contemporary songwriter, Diane Warren, for whom Braheny and Chandler critiqued over 150 songs when she was only 15. In recent years, Braheny has taught songwriting and music business seminars across North America and classes at UCLA, Musicians Institute, LA Recording School (Hollywood) and the Songwriting School of Los Angeles. An a journalist, he published over 600 in depth interviews for a variety of magazines including the magazine he co-founded and edited for LASS, The Songwriters Musepaper. John conducted audio conversations with 55 hit songwriters for United Airlines in-flight Entertainment Network from 1998 - 2005, and was the ona i r co-
host of Samm Brown’s For the Record broadcast on KPFK, Pacifica Radio in Los Angeles. Born in Iowa, Braheny first broke into the music business as a touring and recording artist and released a solo album in 1970 titled Some Kind of Change. His songs were recorded by others including December Dream cut by Linda Ronstadt and the Stone Poneys. Braheny served three terms on the Board of Governors of the L.A. Chapter of the Recording Academy. He was past president of the California Copyright Conference (CCC,) and served on the Board of Directors of the National Academy of Songwriters (NAS,) the Songwriters Guild of America, and on the advisory boards for many songwriters organizations throughout the U.S. and Canada John is survived by his wife, JoAnn, a brother Kevin, a sister Mary, a son, Michael Toth, a grandson, Evan, and thousands of grateful songwriters. Plans for a memorial celebration are pending. For info, click the link to visit the Facebook page “Friends of John Braheny:”
About John Braheny: John was in demand as a top consultant for songwriters, performers and industry entrepreneurs. He was one of 5 national nominees in the Best Music/Performer/Artist Development Executive category of NARIP’s (Natnl. Assn, of Record Industry Professionals) 2011 Best In The Biz. He was a consultant and screener for Taxi, the worlds leading independent A&R company and offered valuable feedback on songwriting craft and business and career strategies for performers. He was one of the most respected people in the music industry, and, more specifically, in the songwriting community. He was often referred to as “the songwriter’s best friend” for his tireless efforts to create education and discovery opportunities for songwriters, to help bring public attention to songwriting as an art form and to champion songwriters’ rights. John co-founded and directed (with Len Chandler) the legendary Los Angeles Songwriters Showcase (LASS).This national non-profit service organization for songwriters (1971-’96,) which BMI sponsored for 18 years, was the first on-going, organized weekly showcase exclusively for contemporary songwriter/performers in the Los Angeles area. During the early years of the organization they provided exposure and encouragement to an impressive list of later-to-be-successful new writers and writer/artists in all genres including Stevie Nicks and Lindsay Buckingham, Janis Ian, Warren Zevon, Karla Bonoff, Stephen Bishop, Jules Shear, Wendy Waldman, Steve Seskin, and the world’s most successful contemporary songwriter, Diane Warren, for whom Braheny and Chandler critiqued over 150 songs when she was only 15. The live showcases evolved into an international membership organization whose members could submit songs on tape to industry professionals by mailing them in from anywhere in the world for the weekly Cassette Roulette and Pitch-A-Thon sessions. Braheny and Chandler were responsible for innovating songwriter events and activities that serve as models for organizations all over the world. Among them: • The Songwriters Expo, which for 20 years, starting in 1977, was the largest and most comprehensive annual education and discovery event for songwriters in the world. • The first weekly series of live interview sessions with more than 600 industry professionals and hit songwriters. • Created Cassette Roulette and Pitch-A-Thon, the first weekly, open-to-anyone opportunities to get songs critiqued by publishers and heard by producers and record company reps. • The first Professional Membership category to provide private, in-house opportunities and personal referrals for exceptional songwriters. Among the successes of this program were hits by Tiffany and Starship. As an author and journalist, Braheny wrote the best-selling and highly acclaimed book, The Craft and Business of Songwriting (Writer’s Digest Books 1988, 1995, 2002. 2007), now in its 3rd Edition. The National Academy of Songwriters called the book “A veritable songwriters bible. This is the definitive work on the subject of songwriting.” He had previously written the Songwriters Handbook for the American Song Festival, a bi-weekly “Songmine” column for Music Connection Magazine, and has contributed to Songwriters Market, Songwriter Magazine, Keyboard Magazine, Musician Magazine, The Musician’s Business and Legal Guide, American Songwriter, and Music Biz Magazine among others. Along with more than 600 interviews with music industry professionals and hit songwriters at the weekly Songwriters Showcase sessions and Songwriters Expo panels, Braheny conducted and edited more than 150 interviews for the Songwriters Musepaper, the monthly magazine of the Los Angeles Songwriters Showcase. For several years he co-hosted Samm Brown’s For The Record, a weekly music industry interview and call-in show on KPFK (90.7 FM) in Los Angeles. John’s expertise in interviewing songwriters is so well known and respected that in 1997 he was commissioned by Disc Marketing Inc.’s In-flight division to conduct an ongoing series of 55 interviews with both legendary and contemporary hit songwriters for United Airlines’ in-flight audio Salute to Songwriters Channel. The channel was a favorite on Air Force One. In November 2000, John was presented with an award by United Airlines in recognition of his contribution to their winning the international WAEA Avion Award in 2000 for “Best Overall Inflight Entertainment.” Johnn was constantly in demand to conduct songwriting/music business seminars for colleges, universities and organizations throughout the U.S. and Canada. He taught songwriting and music industry classes at UCLA, Grove School of Music and the Trebas Institute. He created the Anatomy of a Hit class at Musicians Institute in Los Angeles to teach new songwriters the elements of hit songs and records as well as marketing and sociological factors that influence the success or failure of records. He also taught a Music Business Overview class at the Los Angeles Recording School for three years and The Songwriting School of Los Angeles. He served three terms on the board of Governors of the L.A. Chapter of the Recording Academy (who present the Grammys) and edited their newsletter, The L.A. Record. He served as president of the California Copyright Conference, an organization of entertainment attorneys, music publishers and record company executives. He served on the board of directors of the National Academy of Songwriters (NAS), the Songwriters Guild of America, and on the advisory boards for many songwriters organizations throughout the U.S. and Canada including Just Plain Folks, the largest network of independent artists.
Mandi Martin, 1945-2012. We are sad to announce the passing of longtime songwriter, producer, manager and fierce advocate for songwriters, Mandi Martin. The world-record-holding pinball champion, avid sushi fanatic, and friend to many in the songwriting community, passed away at the age of 67, on April 30, 2013, at her home in Woodland Hills CA after a difficult battle with cancer. Mandi was an integral part of the influential Songwriters Expos, the first-ever conferences held for the songwriting community as produced by the Los Angeles Songwriters Showcase (LASS) in the mid ‘70s and continuing through the mid-90s. She also worked as an editor on their monthly publication, The Songwriters Musepaper and was an active volunteer for NARAS (The Grammys) and many other industry organizations. A Facebook page, “Mandi’s Prayhouse” has details about this longtime supporter on the Los Angeles songwriting community and her incalculable influence on legions of friends. Click the link to visit the page:
About Mandi Martin:
Veteran music producer/singer/songwriter Mandi Martin made a career out of making – and breaking – records, (and not just the kind you listen to...) The former Columbia, RCA and Epic recording artist, who produced and sold her first record in the early 1960s while she was still in high school, just happens to also be the reigning Guinness World Record holder for pinball endurance. Mandi was indoctrinated to the game in the early ‘70s by some of its most avid players: Waylon Jennings, Tompall Glaser, and Tennessee DJ Captain Midnight, who would face off in the wee hours of the night between writing and recording sessions while she was a staff songwriter for ABC Music Publishing (MCA) in Nashville. The trio taught her the nuances of flipper control, and she soon began showing them how to play all night on a single quarter. Her pinball prowess followed her to Los Angeles in the mid-’70s, where she set a new Guinness pinball-playing world record in 1978 with a time of 140 hours and 32 minutes. Within a few months that record had been broken, until Mandi struck back in 1979, turning in a 505-hour performance that stood for 21 years, until, incredibly, Martin herself broke her own record in March of 2000. She still holds the current Guinness World record at 555 hours, 55, minutes, and 55 seconds of continuous pinball play. Martin’s amazing pinball endurance mirrors the success and longevity of her career in the music industry. She began her professional music career in 1961 when, as a senior at Montebello (CA) High School, she wrote, produced, sang, and sold the 45 RPM record Picture of Love b/w Then You’ll Know I Care to American Records. While still a student, she graduated to singing background with industry giants Sam Cooke and Ricky Nelson, Jan & Dean, Chad & Jeremy, Barry Goldberg, Johnny Rivers, The Seeds, Brian Wilson and Jimmy Buffett among other greats. Before the decade was over, she’d managed Tangerine Music Publishing for Ray Charles (who taught her how to engineer and honed her production skills); and, as an artist, had signed recording contracts with Candix, Columbia, RCA, and Epic. In 1971, Mandi landed on the country charts with her self-penned / self-produced song Nice Girl on Prince Records. By this point in her career, the songstress’ tunes had been published by some of the biggest names in Nashviille and L.A.: Pat Boone’s Cooga Mooga Music, Al Gallico, April-Blackwood, Almo/Irving, and Criterion. While under contract as the first signed staff songwriter for ABC Music (MCA) in Nashville, Mandi relocated to Los Angeles in 1973, and began producing country, folk and R&B artists, including veteran Len Chandler and newcomer Oleta Adams. In 1974, Mandi began serving on the boards of several music industry associations. She served for 23 years as: Co-producer for the Los Angeles Songwriters Showcase (LASS), an internationally renowned organization that showcased many top songwriters (including Dianne Warren, Alan O’Day, Stevie Nicks, and Lindsey Buckingham.) She was Co-producer of 23 annual Songwriter Expos, the flagship event of LASS. Mandi was Associate Editor of the Songwriters Musepaper, the monthly trade publication of LASS. She served as President of the Organization of Women in Music (1978-79,) on the Board of Governors, The Recording Academy (Los Angeles Chapter) (for 10 years,) which annually bestows the prestigious GRAMMY Awards, and she was on the Board of Directors for LAWIM (Los Angeles Women in Music.)
In 1982, Mandi married the love of her life, pioneering holographer Jerry Fox. Thirteen years and one day after their wedding, he suddenly collapsed and died on June 28, 1995. After her beloved’s passing, Mandi remained ever-active in the music community, whose members she credited with helping her cope during her time of mourning. In 1997, she formed Mandi Martin Productions and re-focused her diverse expertise toward music production, songwriting, and artist management. She produced records for: • Country singer/songwriters Kate E. Oyler and Robin Bolden. • Guitarist/writer/artist and former member of The Flying Burrito Bros., John Beland. • Christian artist Deanna D’Amico. • Long Island’s Dead & Dreaming. • Joseph Bowman Scruggs. • Barry Keenan. • 3 Keepin’ Lane. • Singer/songwriter Amy Kuney, whose EP was named Music Connection Magazine’s highest rated indie CD of 2006. • Singer/songwriter Nick Daugherty, named one of Music Connection Magazine’s Top 100 Unsigned Artist for 2009, and for whom Mandi played matchmaker, introducing Nick to his future wife! Mandi could do anything!
RIP John and Mandi, we miss you dearly, and will remember you both always.
10 • InterMixx • independent music magazine
LASS Weekly Showcase. LtoR: Angelo Roman, Mandi Martin, Stephanie Perom, Dan Kimpel, Len Chandler, John Braheny, Josh Bernard , and Rik Lawrence.
Jan Linder Koda, Noël Ramos and Mandi Martin at the Independent Music Conference.
Mandi Martin and John Braheny joke around during one of many dinner gatherings.
RIGHT: Mandi Martin looks on as JoAnn Braheny makes sure all the candles are out on her birthday cake. John supervises from a safe distance. FAR RIGHT: John and JoAnn Braheny sit with Jerry Fox and Mandi Martin at a black-tie music industry event.
Mandi and her late husband Jerry Fox. A young John Braheny strums a song on his guitar.
InterMixx • independent music magazine • 11
Back Row, LtoR: Angelo Roman, Len Chandler, John Braheny, Stephanie Perom. Front Row, LtoR: Gabe, Mandi Martin, Sharon Hill and Dan Kimpel, in 1987 at LASS Office in West Hollywood.
LOWER LEFT: Mandi Martin poses with Sam Cooke and Ricky Nelson. This is thought to be the only known photo of Sam and Ricky together. Of course it was Mandi who made it happen! BELOW: John and Mandi pose with a fellow music industry icon, Gilli Moon. Both of them were heavily involved with Gilli’s international songwriters organization, Songsalive! They also gave generously of their time to many other music organizations and events, including our Independent Music Conference.
12 • InterMixx • independent music magazine
YOU’RE NOT IN THE RECORD BUSINESS by Noël Ramos
Most musicians never even wrapped their heads around what they actually sold. When
asked, most would answer, “music.” But that’s not accurate. If you ask a surgeon what he does, he won’t reply with “operations.” He’ll give you a detailed and precise description of his particular area of expertise. You can bet he knows exactly what he’s selling. Musicians actually used to sell bundles of limited usage rights. As an example, I often use the software licenses that you automatically agree to as soon as you break the
package seal. When a fan buys your CD, they have actually purchased a license to use that disc and its contents in very specific ways, and if they exceed those limited rights, they can become guilty of copyright infringement. But I said “used to sell,” because, as you’re probably well aware, nobody buys music any more. Sure, the recorded music industry still lingers on, and may well drag their denouement out for decades more, until they’ve squeezed every possible morsel of profit out of their dwindling cache of copyrights. Today’s independent musicians however, don’t have vaults filled with master recordings and a portfolio of thousands of copyrights gained from artists over the last 60+ years, so for you, that business is essentially a thing of the past. So before you even had the chance to figure out the exact product you were selling, it’s changed. Now your future is about accepting the current market realities and creating new ways to monetize as many things about you and your art as possible. The good news is that it’s already being done, and a new business model is rapidly emerging. You are no longer in the record business, now you’re in the business of interactivity. Despite these dramatic and obvious changes in the music market, many still insist on equating “success” with “record sales.” I bet that even though you’re only a few lines into this article, you’re already looking at that concept as an antiquated notion, as the reality that you have actually known for some time becomes fully realized. Compounding this problem is the fact that most industry measures: charts, awards, profit reports and such, are still based on this outdated concept. Faced with this new reality, this “interactivity business,” how can an independent music entrepreneur thrive in this new market? Here’s three basic starting points: 1.) Accept your new role as a community manager. 2.) Value the interactivity between you and your community (fans) as highly as your copyrights. 3.) Diversify your revenue streams, monetize anything you can. Now more than ever before, every musician is a start-up business that must rely on income from multiple revenue streams. Your job is to maximize the number of things you can monetize, as well as the amount of revenue each stream generates. Your biggest challenge may be the business of building relationships. Artists can no longer expect a team of middle-men to happen along who will maintain all that for them. Now, the direct access you provide to yourself is actually the product your fans will pay for. Building communities takes time, and requires dedicated effort. With that in mind, I’m creating a workshop for IMC2013 entitled “How To Be a Fanager, Managing Your Community of Fans.” In it, we’ll discuss the proven methods of community management that have worked well in the areas of social networking, marketing and promotion, and how they can be applied to your task of maintaining, growing, and motivating your fan base.
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14 • InterMixx • independent music magazine
Basic Facebookery for Professional Artists by Noël Ramos
This goes for pretty much any social networking site, or any web site where you have to create a profile, but since Facebook is currently dominating cyberspace, I’ll focus on it... There are certain basic things you probably want to cover if you’re serious about using the site to promote yourself and your art. I’m basing this article on years of frustration dealing with the same mistakes being made over and over by musicians who seemingly want to succeed with their business, and yet omit the simplest of details from their profiles... such as WHAT THEY DO, and other basics. It may seem obvious to you that you’re a badass frottoir player who writes killer original Zydeco tunes and fronts a busy touring band... but when someone surfing Facebook is looking at a tiny 1/2 inch square picture of you and wondering if they should click to learn more... how will THEY know that? Facebook and other social media sites purposely make it difficult to manage the data in your account. That’s because they want to make it harder for spammers to use it as a tool and also partly to maintain control and ownership of your data. An industry person or possible fan can’t easily search, sort and organize their friends list, and all other functions in Facebook are often similarly frustrating. So you have to be proactive! You have to make sure that your profile makes it easy for people browsing the site to quickly get a sense of who you are and what you do. In this short article, I’ll list a few of my pet peeves, and discuss simple ways to make your Facebook profile work harder for you... 1.) Are you even REAL??? You know as well as I do that a huge percentage of online profiles are totally bogus. In the worst case they are sneaker-pimping hackers and porno-spammers, in the least they are a huge waste of time. Make sure your privacy settings allow
the world to see enough information about you that there is no doubt about your actual existence. If you are an attractive person, be especially aware that your profile might look fake, unless you include enough valid info to make it look legit at quick glance. Don’t lose a valuable friend request because your profile pic shows you partying hard in a bikini while posing with duck lips, or bare-chested posing in the bathroom mirror, and there’s no other info to qualify you to that person. I understand privacy is often a sensitive topic, but if you’ve made the conscious choice to be a professional performer, you have accepted the fact that you’re going to have to open yourself up to public scrutiny. Learn how to use and manage Facebook’s powerful privacy settings, so that you can share what you need and want to share, and you can control what you want to keep more private. Even individual posts and photos can be micro-managed, so you can control who sees what. Just be sure to let the world see enough so they get the info you want them to have. Be aware of the hover-over pop-out windows and what info about you is included when people see you that way. Manage that properly and it can powerfully improve your response percentage. 2.) Are you even a MUSICIAN??? Like a lot of busy industry people, I have many thousands of Facebook friends. I am constantly frustrated by how difficult Facebook makes it for me to manage my friends list. It’s buggy and seldom loads into my browser properly, I can’t search it effectively and I can’t even see the whole thing most days! (grrrrrr...) It only makes matters worse if I can’t easily sort out my friends based on a quick glance. Try to imagine you are looking at your own profile as if you know absolutely nothing about that person. Does your tiny profile pic make it clear that you are a musician? Often that is the
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only way someone has of quickly sorting through a bunch of profiles on Facebook. It pays to have a pic that includes your instrument, or other obvious sign that you are a performer. 3.) Do you even HAVE A JOB??? Is your work information blank? How will I know you are a professional performer or songwriter if you don’t list that information? If it’s not there, it won’t show up in those all-important hover-over pop-out windows that make Facebook a tiny bit easier to use. When I hold my mouse over your name, what do I see? Does your header image present you in the best way? Is it obvious what you do? Does it make me want to learn more about you as a musician? 4.) Where the HELL are you??? This one is a HUGE PITA in my opinion. I just can not comprehend how so many people still seem unable to grasp the WORLD part of world wide web. If you want me to come to your gigs, and I can’t easily figure out where in the world you live and work... why should I even think about attending? Use that header image to mention your main stomping grounds. Work it into your work info if you can - any way that you can get that info into the lists and pop-outs is a good idea. Once upon a Facebook, we could sort our friends list geographically, but they took that function away from us too. (double grrrrrr...) So now it’s up to you! You have to be creative and find ways to get that basic info out there on your FB profile. 5.) Are you playing GAMES with me??? Be honest, do you really have time to play Bejeweled Blitz on FB if you’re serious about using the site to promote your business? Do you think it’s wise to risk sending “Musician Sent You a Farmville Request” to a busy industry person you were hoping to work with? Nothing irks me more than to have to keep blocking all these stupid game requests on FB from my musician friends. Be straight with me, do you TRULY think that’s
professional? Never mind that most of those games are hackware, malware or even in their most benign, still want to post as you, harvest all your data and spam your friends without your knowledge. I don’t recommend accepting or loading ANY apps on your FB profile. If you absolutely MUST play games occasionally, create one of those fake profiles and post all the duckyface party-pics you want, load apps and play games with that one. Keep your real profile as uncluttered and professional as possible. 6.) Are you living in a FANTASY WORLD??? No professional artist in 2013 should still be laboring under the false assumption that the internet is a fantasy playground where you are anonymous and can get away with crazy behavior. It’s never been true and now it’s even more difficult to remain anonymous online. Be aware that the ENTIRE PLANET is watching. Your information can often be seen in places, and by people that you might never have wanted to share with! Be careful how you present yourself online, and remember that stuff gets archived, and can often be found in searches many years later. Be conscious of your spelling and grammar, be aware of your behavior in online discussions and comments, watch what photos you post and consider how they might be perceived if taken out of context. That is one of the web’s biggest problems... often information is incomplete or presented in a way that sends a totally inaccurate message. Be professional, because you ARE a professional and Facebook is a tool, not a toy. You are not the average user, you’re a talented artist trying to advance your career by using the powerful new technological weapons at your disposal.
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INDUSTRY SEARCHLIGHT: DAVID IVORY - MULTI-FACETED AND MULTI-TALENTED by Noël Ramos
it’s probably no surprise to you that he is capable of such a wide array of successes. However, even if this article is your first introduction to David, you’ll quickly understand just how impressive this modern-day polymath really is. Here’s a few more of his efforts for your consideration: He produces a music series at a local venue called Puck, which is titled “David Ivory Presents.” It also gets turned into an online TV show of the same name, which he hosts: http://www.facebook.com/ davidivorypresents. He has presented, taught workshops and Mentored and Moderated at a large number of national music conferences, and he created and runs the Rock-N-Roll Boot Camp for music students. The RnR Boot Camp is billed as a “Summer Rock Music, Singing, Vocal, Performance, Recording and Production Camp.” David has a laundry list of awards and achievements: • 2005-2009 - Certificate of Appreciation for Chapter Board Governor of NARAS. • 2001 - RIAA Gold Record award for “Things Fall Apart” The Roots. • 2001 - RIAA Gold Record award for “Love and Fear” Syleen Johnson. • 2000 - Grammy nomination for “Best Hip Hop Album of the Year” The Roots. • 2000 - Grammy Awards Certificate for Engineer “Best Duo Performance.” • 1999 - Grammy Certificate Award for engineer on “Best Rap Performance by duo/group. • 1997 - RIAA Triple Platinum Record award for “Babuizm” Erykah Badu. • 1997 - Grammy Awards Certificate for best “R&B Album of the year” Erykah Badu. • 1996 - RIAA Gold Record Award “Gems” Patti Labelle. • 1996 - Ampex Golden Reel Award for “Gems” Patti Labelle. • 1989 - “Best Studio of the Year” Philadelphia Music Alliance. His Engineer credits include the Roots, Erykah Badu, Common, Patti LaBelle, among others, and his Producer credits include; Patti LaBelle’s “Timeless Journey” (Island) and Kindred’s “Surrender To Love” (Hidden Beach). He produced and developed Philadelphia’s own rock act Silvertide resulting in two releases “American Excess” / “Show and Tell” (J Records). Ivory’s latest success was discovering and producing the rock band Halestorm, signed to Atlantic in 2005. He produced their first release on Atlantic entitled “One And Done.” Currently Ivory is producing the Israeli Hip-Hop band Coolooloosh as well as co-writing with them. Over the years David Ivory has worked with some of music’s biggest names, and in the
You may know David Ivory, he is rather prominent, especially in the Philly scene. He’s served as President of the Philadelphia Chapter of National Academy of Recording Arts and Sciences (NARAS/GRAMMYs), he worked with a number of successful artists, such as The Roots, Erykah Badu, Patti Labelle, Common, Silvertide, and Halestorm.
As a songwriter, he’s seen his work performed by Molly Hatchet, Silvertide, Halestorm and appear on the TV series “Hack.” He’s won multiple RIAA Gold Record awards, Grammy Award Certificates
and other accolades. Ivory owns and operates Dylanava Recording Studios and is an Adjunct Professor at Drexel University. He’s currently on the board of Governors for the Recording Academy as well as the Montgomery County Community College, and also sits on the Advisory Committee for Community College of Philadelphia’s music industry department. If you do know of him, then
David Ivory’s Dylanava Studios in Gwynedd Valley, PA process encouraged some of their finest work while touching upon a variety of genres. In the music industry a record producer has many roles, among them controlling the recording sessions, coaching and guiding the performers, and supervising the recording, mixing and mastering processes, but Ivory believes that’s just not enough. He is not your traditional producer, and developing his artist’s songs, image, and live performance to the level that’s needed to attract the attention of labels and fans is what he sees as his job description. David’s unorthodox style brings out the best in his artists.
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U.S. CREDIT CARD DEBT PER HOUSEHOLD ($) $10,000 $9,000 $8,000 $7,000 $6,000 $5,000 $4,000 $3,000 $2,000 $1,000 85 87 89 91 93 95 97 99 01 03 05 07 09
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Susie Keynes of the Australian band Fruit noted, “I feel like David brought out more from us musically than we knew we had. He totally refined and helped define our sound.” Lzzy Hale of Halestorm wrote, “David took a chance on us. I learned more about myself as a songwriter and vocalist in those first 6 months than I could have on my own in 2 years. He really helped accelerate the process! He believed so wholeheartedly in what we can do and saw something in us, even in our rawest state.” Silvertide’s first release is a perfect example of Ivory’s skills in developing a band from its beginning to a commercial release. Another notable client of Ivory Productions is legendary Philly producer/songwriter Bunny Sigler. Sigler has been a producer and songwriter for Patti Labelle, The O’Jays, Nelly as well as working with hit-makers Kenny Gamble and Leon Huff of Philadelphia International Records. Bunny is not just a client but a long time friend and writing partner with Ivory. Ivory’s production and development style reflects his Renaissance man stature, and incorporates his many diverse musical influences. Although his roots are in rock, his first big shot came from recording and working with The Roots. Together they tracked four groundbreaking albums (Organix, Do You Want More, Illadelph Halflife and Things Fall Apart) that are revered by Hip-Hop fans worldwide. That same sound consequently evolved into the musical genre known as Neo-Soul. When Ivory opened Dylanava Studios in suburban Gwynedd Valley, PA, his idea was to create a quiet, convenient setting that would place the focus on creativity and expression while avoiding the distractions of a major city. The studio is located on approximately 3 acres outside of the white noise of a major metropolis. The onsite tracking/production facility allows Ivory to work closely with his artists and fully develop them in terms of songwriting, performance, and recording. It enables an artist the opportunity to unwind in a quaint cabin dubbed “The Vinyl Room” where classic listening sessions occur fireside. The ability to wear many hats makes David Ivory and Ivory Productions a “One-StopShop” for many artists needs. Click here: www.IvoryProductions.com for info.