The vocalist magazine (spring 2014 issue)

VO THE

LIST SPRING 2014 ISSUE

MAGAZINE

EMMA

HEWITT TALKING CARE OF YOUR VOICE ACHIEVE OPTIMUM VOCAL CONTROL VOCAL HYGIENE TIPS HOW TO MAKE YOUR VOICE LAST A LIFETIME ESSENTIALS: HOW TO SAVE YOUR VOICE

EXCLUSIVE

HOW THE VOICE WORKS: LISA POPEIL MARTA WOODHULL: HOLLYWOOD VOCAL COACH CHARLES LAFORTUNE: THE VOICE OF QUEBEC

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DIANE BIRCH JARVIS CHURCH LINDI ORTEGA VITA CHAMBERS YUNA

CANDACE COREY - CELEBRITY Make-up Artist STYLE FILE - The Sachika Collection - VICTOR PERRY

ICON

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16 MICROPHONES

The Vocalist - Microphones Headphones

23 20 Ways to Blow People Away With Your Voice

By CARI COLE*

ICON

26 RISING STAR EMMA HEWITT

40 ICON

BRUCE SPRINGSTEEN

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VOCALIST SPOTLIGHT

YUNA 68 MUSIC XRAY IN SPOTLIGHT

VICTOR PERRY

SPRING

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VOCAL CARE

HOW TO MAKE YOUR VOICE LAST A LIFETIME VOCAL HEALTH FOR PERFORMERS

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COACH CORNER VOCAL HYGIENE TIPS

79 HOW THE VOICE WORKS: LISA POPEIL STYLE

84 MARTA WOODHULL:

HOLLYWOOD VOCAL COACH

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VOCALIST IN RANGE

KYLIE MINOGUE ELLIE GOULDING

CONT

170 8

12

EDITOR LETTER

LANA DEL REY PATTI LABELLE

103 VOCAL HEALTH

HOW TO SAVE YOUR VOICE ENERGY FOODS FOR PERFORMERS ACHIEVE OPTIMUM VOCAL CONTROL IS GINGER ROOT GOOD FOR THE VOICE?

113 VOCALIST BUSINESS

CHARLES LAFORTUNE - La Voix: The Voice of Quebec CYNTHIA BALLESTEROS: Executive Director RAW MONTREAL

129 THE LOOK BOOK

CANDACE COREY Makeup Artist STYLE FILE: THE SACHIKA TWINS SPRING 2014 READY TO WEAR: ROBERTO CAVALLI

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RISING STAR

JARVIS CHURCH DIANE BIRCH LINDI ORTEGA VITA CHAMBERS

204 VOCALIST RESOURCES 210 The Best Music Festivals of 2014

ISSUE

162 VOCALIST INTERVIEWS

TENTS

162 9

BUY NOW!!!

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PUBLISHER / EDITOR: Samuel Biks samuelbiks@yahoo.ca ASSOCIATE PUBLISHER: Jennifer Meade jamvocal@hotmail.com JUNIOR EDITOR: Anna kroupina annakroupina@gmail.com ADVERTISING MANAGER DEPARTMENT samjam@me.com ART DIRECTOR SENIOR: BBMC Marketing and Promotion ART DIRECTOR: Besher Al Maleh / Faywan C.K. Kwok

MARKETING ASSISTANT: Julie Parenteau samjam@me.com PUBLIC RELATIONS (PR): Marie Gagne-Fournier samjam@me.com

CONTRIBUTORS: Jennifer Meade, Andy Fidel, Nana Yeboah, Malik Shaheed, Anna Kroupina, Diva Devodee, Sharon Zarabi (Voice Council Magazine), Hugh Hession; Dr. Katherine Verdolini ; Shelagh Davies ; Cari Cole; Marta Woodhull; The American Academy of Otolaryngology; Duke Voice Care Center; Jamie Koufman, M.D; Judy Rodman; Tara Carson COVER: Credit Photo Bruce Springsteen/Credit Bruce Springsteen, Columbia

CREDIT IMAGES: Emma Hewitt (Photo Credit: Emma Hewitt); Lindi Ortega (Julie Moe); Cynthia Ballesteros (Cynthia Ballesteros / RAW); Cari Cole (Cari cole); Candace Corey (Candace Corey); Marta Woodhull (Katherine Kirkpatrick Photography); Sachika (Patrick Neree/Sachika); Vitor Perry (Victor Perry); Yuna (Yuna); Lisa Popeil (Lisa Popeil); Charles Lafortune (Charles Lafortune); Jarvis Church (Jarvis Church); Diane Birch (Diane Birch); Vita Chambers (Vita Chambers); Kylie Minogue (Kylie Minogue); Ellie Goulding Ellie Goulding); Lana Del Rey (Lana Del Rey); Patti LaBelle (Patti LaBelle); Roberto Cavalli (Roberto Cavalli)

QUESTIONS or FEEDBACK Email Info: samjam@me.com

TVM: 372 Ste Catherine West. Suite 121. Mtl QC H3B 1A5 Canada

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What does business have to do with vocalists?

THE DREAM, THE GOAL, THE PLAN, THE TEAM

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uccessful vocalists are lifelong learners. They know how to manage relationships, build networks and understand that they can’t do it alone.

“A successful vocalist is the one who can develop both his creative and business mind, because he (she) understands what needs to be done.” - Dick McVey There are three elements for a successful vocalist career – THE GOAL, THE PLAN, and THE TEAM. “You have a product (the singer / band), a salesman (the manager), advertising (publicity person), a manufacturer (record label and producer), shipping (booking agent), promotion / marketing (record and concert promoters) and legal department (entertainment attorney). The key of success is to coordinate all the above ingredients into a package that sells the product to the public through tickets, recordings and concession sales,” writes producer, publicist and manager Dick McVey on his website www.dickmcvey.com Six interviews in this issue of The Vocalist Magazine touch upon this theme, from Jeri Goldstein and Cari Cole who explain how to book yourself and have kick-ass vocals on your next recording, to vocal coach Micah Plissner who’s worked with vocalists such as Katy Perry, Babyface, and Pussy Cat Dolls. Bob Barker talks about the importance of social networking and how to navigate your career with one click. Attorney Gregory Bloom explains why getting signed to a record deal isn’t always the best thing for your career. Manager and publicist Stephanie Christie take us through the various and often forgotten details of artist management and publicity.

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PRESIDEN

Then there is our rising star Lianne la Havas, who greets us with a broad smile and a European kiss on the cheek, with her eloquence and astounding vocals. Juno winner July Black, one of Canada’s finest top 25 vocalists, explains why she almost lost her voice forever. Tom Keifer, best known as Cinderella’s frontman actually lost his voice; he was told he would never sing again. Sean Garrett, Da’ Hitman, gives The Vocalist Magazine some insight into his mindset and vocal regime, while melodic soul singer/songwriter Glen Lewis continues to surprise and enchant his audience with his easygoing charm. They share with us their vocal challenges and how important it is to keep their voice in good health.

We are honored to feature Justin Timberlake, a businessman and vocalist as our Headliner in this issue. He’s an example for vocalists, and reflects all that we believe in and promote at The Vocalist Magazine. He is one of the most commercially successful vocalists in the last decade, with each album exceeding sales of seven million copies worldwide.

This issue also shines with Sara and Jessica Taddio as “Idie & The Mirrors” - the perfect blend on spotlight. We also reveal the winners of The Vocalist Magazine and Reverbnation contest, Mad n Mack and Molly Hunt.

Where would careers like that of our vocalists be without look and style? In this issue, Sir John B, Beyonce’s favourite make-up artist, explains how to get perfect smokey eyes, choosing the best shade for your skin complexion and hair colour. Finally, stylists Joanna Kulpa and Erica Wark share with us the ins and outs of how to get your style fix from a chic, Canadian perspective.

Jennifer Meade

NT’S LETTER

Co-founder of The Vocalist Magazine jamvocal@hotmail.com

INTERESTED IN ADVERTISING? CONTRIBUTING? CONTACTING US?

ADVERTISERS

If you are interested in advertising in future issues of THE VOCALIST MAGAZINE, please email us at samuelbiks@gmail.com Files We Accept: We accept ONLY the following hi-res formats: tiff, jpg, psd or pdf’s.

Supported Applications: Photoshop CS5 (All Photoshop files up to latest CS5 Version). Illustrator CS5 (All Illustrator files up to latest CS5 Version). InDesign CS5 PLEASE NOTE: All Photoshop files must be built at 300dpi, saved in CMYK format, with all layers, including text and images flattened, and saved as either a hi-res tif, jpg, eps, or psd file.

We are open to other advertising media as well, including infographics, videos, audio recordings, survey, email blast, etc

CONTRIBUTORS If you would like to contribute to a future issue of THE VOCALIST MAGAZINE, we welcome the submission of articles, videos, graphics, and other contribution.

WHY CONTRIBUTE? Share your expertise and knowledge with peers and potential clients.

Become a thought leader in your field of expertise.

Build name recognition and credibility for you and your brand.

Drive traffic to your web properties.

Please send an email to Jennifer at: samjam@me.com with a brief description of the content you’d like us to consider.

OPINION Everyone wants artist management, but are you ready for it? by Hugh Hession

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ne thing is for sure, artist management is one of the least understood roles, especially in today’s music business.

Which brings me to a valuable point: If you have it all figured out, then what benefit will a manager bring?

For those of you looking for career guidance – if you truly want to secure the services of a legitimate and professional artist manager, then you need to have a clear understanding that to create a successful manager/artist relationship, there has to be a high degree of trust and confidence from BOTH SIDES.

One of the principal roles of an artist manager is to work with you to cast the vision, develop the strategy and execute the plan.

A great manager always stays in tune with the vision and keeps the goals in check.

However, if you’re unwilling to embrace the plan, disregard advice and remain disengaged, it’s impossible for even the best managers to be effective. If no one is on the same page, how can there be any unity? More importantly, how do you expect to move forward?

Managers bring varying skillsets to the table. For instance, because of my background in performance and producing, I take a hands-on approach to artist development and A&R. To me, that’s a major benefit that I provide for my clients who need it. However, if they ignore that aspect, then that only shows me they aren’t serious about what it takes to compete on a major level. It also brings up those trust issues we spoke of.

Are you manageable?

This may seem like a paradox, but you also have to be willing to loosen up on the reigns and let your manager do their job!

There’s a certain working dynamic involved with the artist/manager relationship that I find is unknown to a good many artists until they’re in the middle of it. Simply put,they don’t know how to be managed. They’re so use to doing everything themselves that instead of using their manager as a valuable advisor, coach and leader, they tend to keep doing things the old way. Why would you continue to do the very things that you hired a manager to help you with? Why would you do the same stuff that doesn’t work? It defies logic.

In all fairness, I will mention that it is the job of the manager to also listen intently to their artists and understand their needs, as well as being dedicated and loyal to them.

It’s certainly a two way street and to sustain that trust, both the manager and the artist need to work together for the common goal. As my friend Cappriccieo Scates says, “when you’re clients interests are protected, yours should be as well.”

Hugh Hession - http://www.makingitinmusic.net/ 15

AEA A840

Mojav

Large-diaphragm Powered Ribbon Microphone with 141dB SPL Handling, 20Hz-20kHz Frequency Response, and High Output

LargeMic fo

The exciting AEA A840 is a powered version of the acclaimed R84 microphone. Now, you can get that luscious ribbon sound, only with the benefit of a hotter signal that gives you a lot more versatility — both in how you use it and what preamplifier you use it with. With an outstanding clear, natural sound, the A840 is going to become your first-call pick on a number of sources — from vocals to brass instruments to strings, piano, percussion, and beyond. When you’re wanting that “big ribbon sound,” you won’t believe your ears when you put up AEA’s A840!

David R modern But ye David d uum tu Los An studios many h who kn ly prize custom now M tube co

Sontronics Aria vocal mic British microphone brand Sontronics have launched a new microphone that has been 18 months in the making.

sE Electronics sE2200

Large-diaphragm Conden crophone with Cardioid, rectional, and Figure-8 Po terns, 10dB Pad, and H Filter

New for 2014 is our Sontronics ARIA valve/tube cardioid condenser microphone that has been developed and designed by Sontronics founder and designer Trevor Coley specifically for getting the best from your vocals.

The sE Electronics sE2200a pattern condenser microphon on the wide success of the sE2200a cardioid microphone bringing you the same award sound but with vastly increa ibility. This amazing workhors phone is ready to record ju anything you can throw at the subtle dynamics of a bow to the extreme high SPL of a tar tube amplifier stack, the sive sE2200a II will give you th quality and detail your music d Get your sE Electronics sE2 multi-pattern condenser m Sweetwater!

The Sontronics ARIA will give you stunning, beautiful results on every recording, thanks to its silky-smooth characteristics, its accurate response and our trademark Sontronics high-frequency roll-off.

Housed inside the chromed grille is a large, 1.07-inch, edge-terminated capsule that captures all the detail and subtleties of any male or female vocal (sung or spoken) while the hand-selected European 12AX7/ECC83 tube lends a character that you’d expect to find in a classic vintage valve mic.

The Vocalist 18

ve Audio MA-200

Audio-Technica AT2020

-diaphragm Tube Condenser or Vocals and Instruments

Medium-diaphragm Cardioid Condenser Microphone with Pivoting Stand Mount Stellar A-T performance, outstanding value! The AT2020 gives you classic Audio-Technica sound quality at an incredibly low price! Capture the subtleties and nuances of vocals and acoustic guitars, then take on screaming guitar amplifier cabinets — all with one mic. It’s the Swiss Army knife of affordable condensers! At this incredble price, you can put together your own stereo mic pair! Perfectly suited for today’s home and project studio, the AT2020 was designed to fit comfortably in your mix and your budget at the same time. The perfect “first microphone,” we’re sure the AT2020 will fit into your studio!

Royer is known worldwide for his n ribbon microphone designs. ears before Royer Labs opened, designed and built custom vacube condenser microphones for ngeles engineers and recording s. His early mics were used on hit recordings and, for engineers now about them, they are highed possessions. David started a m mic shop, Mojave Audio, and Mojave has released the MA-200 ondenser mic. And it’s a beauty!

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II multine builds e original e design, d-winning ased flexse microust about it. From wed viola a full guie impreshe sound demands.

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AKG C 414 B-XL II Large-diaphragm Vintage Transformerless Microphone with Five Switchable Polar Patterns C 414 B-XL II launches the next generation of AKG microphone quality. This update of a classic microphone maintains its distinctive timbre especially designed for recording or live reproduction of solo vocals and solo instruments.

Microphones 19

MICROPHONES Telefunken CU-29 Copperhead Large-diaphragm Tube Condenser Mic with Cardioid Polar Pattern, Power Supply, Shock Mount, Wooden Box, and 7-pin Microphone The Telefunken CU-29 Copperhead large-diaphragm tube condenser mic gives you warm, clear bass, detailed midrange, and the silky high-end airiness of mics costing many times more. To deliver such an outstanding price/performance ratio, Telefunken gave the CU-29 a fixed cardioid polar pattern, but this US-made gem doesn’t skimp on component quality. Its NOS Telefunken tube, Lundahl output transformer, and other top-drawer parts give this mic an open-sounding and sonically pleasing response. Want an affordable go-to mic for everything from vocals to drums? Sweetwater’s got it: Telefunken’s CU-29 Copperhead.

SENNHEISER MD 421-II DYNAMIC MICROPHONE Large-diaphragm Tube Condenser Mic with Cardioid Polar Pattern, Power The MD 421 is one of the most recognized microphones in the world. Its excellent sound qualities enable it to cope with the most diverse recording conditions and broadcasting applications. The 5-position bass control enhances its “all-round” qualities.

The Reference Cardioid Microphone shares the same electronic attributes as the Gold Reference Series, but has a center-fixed cardioid-only capsule with a thicker gauge (6 micron) gold sputtered diaphragm. With the similar film thickness and construction, similar high frequency resonance (a little edge), similar proximity effect and pretty good immunity from pops and sibilance problems, our Reference Cardioid more closely recalls how many of the vintage European tube mics such as the beloved U47 sounded like when they were new.

Its rich tonal balance and liquid character is consistently admired for instruments such as guitars, drum overheads, saxophone, and especially vocals.

With your present mic, if you find yourself leaning on your compressors and boosting 5 or 10K to score a bit more testosterone, then the Reference Cardioid just might be the mic you’re looking for to cure what ails ya. If you seem to be constantly boosting 12-18K and trying to get a clean, intimate sound, then probably the Reference Gold would be the safest bet.

Manley Reference Cardioid Microphone Rich tonal balance and liquid character - for instruments such as guitars, drum overheads, saxophone, and especially vocals

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20 Ways to Blow People Away With Your Voice + Music

By CARI COLE*

Make a plan. Follow these tips …

1 - Practice your ass off. Period. The only way you get great is with a boatload of practice hours (think 10,000 hours.)

2 - Perform – a lot. That’s how you get comfortable.

3 - Get voice lessons. Don’t work with the cheapest coach in town – work with the best. You’ll pay for it later if you don’t.

4 - Sing every day – your voice won’t lie. If you have vocal strain – then get lessons and learn how to sing without hurting your voice. It’s not rocket science.

5 - Fix weird pronunciation issues. This is tricky, because sometimes odd pronunciations rock – but not always. And, no one will tell you, they’ll just click away.

6 - Sing on pitch. Period. No matter what anyone says, don’t let notes on your record stay off pitch because of a great take. That’s what technology is for.

7 - Develop your phrasing so you sound “natural” and effortless. If you don’t have it – get a coach and learn how to sing some blues. All pop music comes from rhythm and blues.

8 - Develop your own style. Don’t try to sound like everyone else, study other singers to get good chops, but then follow where your voice wants to go.

9 - Be distinctive. Experiment. You gotta work for it. Everyone does.

10 - Record – a lot. Recording, listening back and tweaking makes you a better singer – if you know how to fix what doesn’t sound good. If you don’t – get help.

11 - Be authentic. Don’t hide yourself – show yourself and your emotions.

12 - Sing songs that matter to you. Don’t just sing any ol’ song. Lyrics are ultra important.

13 - Don’t try to please everyone – please yourself first. No one is interested in a voice that tries to please everyone.

14 - Don’t listen to everyone’s opinion. What do you think? You’re your own best critic. If you need help – get it. Don’t be stupid.

15 - Perform with confidence whether you are or not. Fake it ‘til you feel it.

16 - Develop stage banter - talk to your audience. Let them know you. Keep it short: one or two lines pre-song (don’t go on and on.)

17 - Stand up to the vocals on your record. Today it’s easier to make a singer sound good – but do you sound good live? Be a rehearsal-holic. Your audience knows the difference.

18 - Develop a signature. People want you to stand out, not fit in. That’s what massages our ears!

19 - Work with a vocal arranger. I will make you sound 1000% better than you could on your own or than what many producers will deliver. Spend the money – don’t skimp here. Fill out an App and set up a phone consult here.

20 - Don’t just be a singer, be an artist (musicians, I’m talking to you too.) Music is art – never forget that.

Hungry for more?

http://www.caricole.com/contact

Celebrity Vocal Coach, Artist Development Expert + New Music Biz Mentor: Helping Musicians + Creative Types find their voice, rock their brand+change the world!

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EMMA HEWITT

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VOCALIST RISING STAR

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INTERVIEW

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S

ince her first Electronic Dance Music (EDM) recording with Chris Lake in 2007, Emma Hewitt’s ethereal, unique voice has crooned on remixes and collaborations with the world’s hottest international DJs and producers including Armin Van Buuren, Cosmic Gate, and Tiësto. The soulful songstress’ name has seen the top of many nominations, charts and awards. Emma’s 2009 collaboration with Dash Berlin brought their track “Waiting” to number one on the Global Trance Charts, number two on the prestigious A State Of Trance Annual Countdown in 2009 and an award for Best Euro/HiNRG Track in 2010. Throughout 2010 and 2011, Emma graced the stage at international festivals around the world, notably the Global Dance Festival and Nocturnal Wonderland Festival, paving the way for her debut album “Burn the Sky Down”, released in 2012 through Armada Records. The original album saw a complementary LP released a few months later that featured the tracks of “Burn the Sky Down” remixed by Morgan Page, Shogun, TyDi and other big names in the EDM scene. Her hauntingly beautiful voice paired with yearning, genuine lyrics that come from the heart are what have cemented Emma’s name in the world of EDM. The Vocalist Magazine caught up with the Aussie after her performance at Montreal’s New City Gas in January 2014, right after she had the crowd jumping and singing along word for word to renowned anthems like “Waiting”, “Disarm Yourself” and “Be Your Sound.”

By Anna Kroupina Credit Photos: Emma Hewitt 29

TVM: When did you realize that music was something that you wanted to pursue a career in?

Emma Hewitt: I’ve always wanted to do music as a career. From a very young age, ever since I was five or six years old, I always said to my parents “I want to do music. I want to be a singer.” I learned classical piano and used to be a piano teacher before I went into singing. It was all I ever wanted to do, much to my parents’ dismay because for my brother and I, it was ten years of making demos and struggling in the rock industry in Australia. We spent a lot of time trying to get deals. We’d sell everything we own and move to London to try and make it there and then come back to Australia. It was a big struggle, but I just felt like something was driving me. I always wanted to do this and there were no other options.

TVM: Your voice is so suited for vocal trance music, but you actually started out in a rock band. Talk about your transition to EDM and how you realized that this is the music genre that you’d like to pursue.

EH: It wasn’t one of those immediate, conscious decisions. I was in a rock band for years. Growing up in Australia, it was a lot of rock music and live music. I didn’t really get exposed to EDM so much. As much as I love EDM now, it was very new to me when I first got into it, and it was actually an accident. I did a songwriting trip to London and I met a DJ named Chris Lake and we both worked on “Carry Me Away” together, a track that we released. To me, it was just going to be a demo and no one was ever going to hear it. Once it got released and people responded really well to it, I still thought that it was just a nice side thing to do as well as the rock music. Cosmic Gate then contacted me and asked if I’d write for them. We released a track called “Not Enough Time.” Then Dash Berlin got in contact and we did the song “Waiting.” I just felt like my voice suited this particular style of music, and people seemed to be responding to it. It felt like everything fit and I guess I was meant to be doing this style, I just never knew it before. It was one of those times when everything conspired to show me the direction because otherwise, I wouldn’t have found it on my own. Now, it’s home to me and I love it. I listen to EDM all the time.

TVM: Who’s on your iPod right now?

EH: I listen to Hardwell and I listen to Morgan Page, who’s playing tonight [at New City Gas]. I really love his music, I’m a huge fan. And some of the guys that I work with like Cosmic Gate and Dash Berlin, and Armin, of course - I love their music.

TVM: Tell us about your collaboration with Cosmic Gate for the track “Be Your Sound” and what it was like working with the guys.

EH: I really love the Cosmic Gate guys. They have such a good energy.

We worked together a number of times before we even met in person. I met them for the first time at Ministry of Sound in London doing a show together. We hit it off straight away, so we ended up touring quite a lot together because the guys are a lot of fun. I’m a huge fan of their productions; they’re great musicians. My brother and I, we write music a lot together. We wrote “Be Your Sound” on the acoustic guitar, recorded the vocals, and then sent it to the Cosmic Gate guys and just said “what do you think?” and they turned it into this amazing track which was better than we ever expected that it could turn out. We weren’t sure of it at the start and they turned it into something much better. It was a good surprise.

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“

Ever since I was five or six years old, I always said to my parents “I want to do music.

I want to be a singer.”...

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“

I didn’t realize back then that you just need to be exactly who you are. We were going, “Okay, we have to create a look and create an image. What are we going to be?”

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“

“

I was in a rock band for years. Growing up in Australia, it was a lot of rock music and live music. I didn’t really get exposed to EDM so much...

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TVM: You do a lot of acoustic performances. Are you in a different frame of mind when you perform something acoustically, versus the more upbeat EDM versions?

EH: Performing acoustically is nice because there’s nothing to hide behind, so the songs just get to be as they were written. I really like to be able to perform that side of them because most of the songs were born that way. Most of the songs, my brother and I just write with the guitar so in a way, they were meant to be heard that way and I really enjoy being able to perform that side of them. It’s also nice to sit down and do something that’s just the voice, and not running around and trying to get everyone to jump up and down. In saying that, I absolutely love being on stage with EDM and having the energy of the crowd and seeing people going up.

to focus on the actual performance side of things and focus on running around as much as I can.

TVM: You’re really interactive with the crowd. Is that something you try to do consciously?

EH: I feel like when you’re on stage, you should always give an energy to the crowd, and then they give their energy back and it’s an amazing energy exchange. To me, that makes me feel really hyperactive and really into it. It’s brilliant. I always try to give as much of myself as I possibly can to each performance because I feel like it’s a privilege that people want to come and actually hear your music, so I’m grateful for that and I want to give it as much back as I can.

TVM: Are there any producers that you’d really like to work with in your career?

EH: Yea, definitely. There are tons of new up and coming producers that are super talented, so the possibilities are endless, but I’m a big fan of Morgan, who is playing tonight. Hardwell, I’m a huge fan of. There are also new guys coming through who are very talented.

TVM: Do you work with a vocal coach and if not, what are some vocal practices or warmups that you do?

EH: No, I don’t [work with a vocal coach]. For me, because I came from a rock background, I do a few humming warmups to smooth out the vocal chords just a little bit. I do that for warming up and warming down.

I drink a little bit of whiskey before I go on stage because it warms your voice up. That’s what I learned in rock schooling and for me, it seems to work. I did go to a vocal coach once and before I signed up, I saw the concert that they put on with the students and I found that a lot of the people were coming out sounding like custom made molds from that vocal coach of singing Mariah Carey songs and whatever else, which is great but for me, I really wanted to keep the originality and tone and I feel like sometimes, teaching can sometimes beat that out of you. So I decided to stay natural.

TVM: You literally are jumping and running around on stage, and touring can be night after night of performing. How do you stay healthy and de-stress?

EH: I try to drink a lot of water. Meditation helps a little bit, but I have been very slack on that. I haven’t done that in quite a while. I think to be honest, I absolutely love what I do so even if I sleep one or two hours a night, it doesn’t really seem to affect me. I found that I used to get a lot more tired when I worked in an office job that I hated and I slept ten hours a night. I love it.

I run on adrenaline and I don’t feel like I really need to do that much to keep healthy. I think doing what you love and the energy of the crowd as soon as you get on stage just makes you feel picked up.

TVM: What do you look for in a producer that you want to collaborate with?

EH: Something original and to me, it’s more about the song. If somebody sends me a track, [I look for] something that’s inspiring about the track to back to.

If it’s somebody that I’m going to send the track to myself, I just look for somebody who has passion and is doing it for the right reasons - to create music and to affect people in some way.

TVM: Are there certain foods or liquids that you try to avoid?

EH: Usually, cheese is a really bad choice before singing. Dairy, milk and cheese are actually quite bad because they can close your throat. Other than that, I’m pretty chill with those kinds of things. For me, I prefer

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TVM: Over the years, what have you learned about the industry that you wish you had known when you were first starting out?

EH: We signed to Sony when we were a little younger and we were very much swayed by the record label’s perception of how you should market yourself.

I didn’t realize back then that you just need to be exactly who you are. We were going, “Okay, we have to create a look and create an image. What are we going to be?” Now, doing this with EDM, I feel like I’ve been able to strip all that away and just completely be myself, completely make the music that I love, dress as I would dress on the street. There’s no pretence. I think I like that realism about it. I think that when you try to be fake or try to be something that you’re not, people can sense it and pick up on it and it doesn’t feel right. So I wish I knew that back then – to just stick to your guns and do what you love yourself.

“

I can’t fake i about somet making up... usually some lived throug

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TVM: What advice can you give to someone who wants to start out on the EDM path?

EH: I would say firstly – hone your craft, as in sing as much as you can and write as much as you can before you start sending stuff out. And then I’d say target the people that are most in line with what you want to project, as well. If you want to do something really emotional, target the most emotional DJ that you can find, or whatever it is that’s in line with what you want to do. Also, I’d say only do what you love. Never pretend to do something or try to imitate somebody else. Just do something that makes you feel something.

it. I can’t write thing that I’m ..it’s always ething that I’ve gh.

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TVM: Where do you find lyrical inspiration?

EH: To be honest, most of them come from life, memories or from my friends’ experiences. I’m very nostalgic, so a lot of it comes from that. Again, going back to teenage years, growing up in a small town and having that feeling of wanting to get out and do more. So I kind of have that melancholy feel with the lyrics, but I always want there to be a sense of hope in them as well.

It’s always from life experiences. I can’t fake it. I can’t write about something that I’m making up. It never sounds right and it never works, so it’s always usually something that I’ve lived through.

TVM: Your brother [Anthony Hewitt] is your manager and you do the songwriting together. Do you ever bicker and how do you overcome that?

EH: Oh yeah! We’re brother and sister, so it’s one of those things that we fight like crazy. He’s amazing though. He’s super organized and he’s super switched on and he’s brilliant in everything that he does, but I can be a little disorganized so sometimes we fight over that. Brothers and sisters – you fight, you get over it and you move forward really quickly. I think that if he was an outside person that came in to manage me and we had those fights, you could do probably a bit more damage. I think that with a sibling relationship, you can say whatever. The fact that we actually write together as well is great because we cut through a lot of the dishonesty. If we’re writing a song and one of us thinks that something sucks, we can just say it right out and move on.

TVM: What do you want people to take away from your music?

EH: I’m not sure exactly what feeling, but I hope that everybody that listens to it can in some way connect and maybe it will be able to spur on some kind of emotion or feeling. Hopefully it can create some kind of memory for them. What I really want to do is when I was growing up, I remember being a teenager and listening to music like Pearl Jam and stuff that kind of formed my teenage years and every time I hear those songs, it takes me back to those days. I would love to create a song or a few songs that some people can listen to and it will trigger memories for them in their lives.

TVM: We just started 2014, so what can we expect from you in the coming year? I heard rumours of an album maybe coming out in May? EH: I was going to do a whole album, but at the moment, I think I’m going to focus on doing collaborations. So I’ll do three or four collaborations first, and then I’ll do an EP to start instead of an album. I think that people’s attention span is changing these days and it’s better to do singles. For me, it’s also exciting to work with a lot of different people as well, and not just do my own stuff and get bogged down in that, so I like to keep it fresh by working with a lot of different people. There are a few that I’m really excited about, but I’m not allowed to mention names. I think that if there’s other people’s energy involved, it can always reach a broader audience, which is fun.

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Until I realized that rock music was my connection to the rest of the human race, I felt like I was dying, for some reason, and I didn’t know why.

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“I want to

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o conquer the world” Your success story is a bigger story than whatever you’re trying to say on stage.

Success makes life easier. It doesn’t make living easier.

Credit Photo

Credit photo: Getty Images

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All I try to do is to write music that feels meaningful to me, that has commitment and passion behind it.

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I have to write and play. If I became an electrician tomorrow, I’d still come home at night and write songs.

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For me, I was s who was a sma who didn’t do v school. The bas education, I did intelligence wa

somebody art young guy very well in sic system of dn’t fit in; my as elsewhere.

ICON

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And whether you’re drawn to gospel music or church music or honky-tonk music, it forms your character and it forms your talent.

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The past is never the always present. And reckon with it in you your daily experienc get you. It will get yo

e past. It is d you better ur life and in ce, or it will ou really bad.

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VOCALIST SPOTLIGHT

YUNA Award-winning singer is a star in her native Malaysia. Yuna already has eight Music Industry Awards, including best pop song and song of the year for a record she wrote and performed called “Lelaki.’’

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You have to be confident in your craft.

If people are not keen on helping you to put your stuff out, you should definitely do it by yourself.

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TVM: Can you talk about your decision to pursue a law degree, and what role music had in your life at the time?

Yuna: In the beginning, I did not plan to do music at all. I was in law school when I started playing music. I made a lot of friends who were in the music industry back home in Malaysia, so that’s how I got into music.

I started writing music and after I graduated, everything was already there for me, so I continued what I was doing and it became a career choice for me.

worked with so many awesome people on that album, like Robin Hannibal, Chris Baide, Michael Einziger. Is there a producer you’d like to work with, or a musician you’d like to collaborate with?

Yuna: I’m a huge fan of Coldplay, so maybe one day…

I’m also a huge fan of Björk. It seems a little bit farfetched, but obviously, you want to work with your idols.

TVM: What track speaks to you the most off that album?

Yuna: I guess it would have to be Mountains. That’s my favourite track off the album. I feel like it’s a solid track. If someone wanted to know more about Yuna and asked what the first track they listen to should be, I’d say Mountains. That’s really what I am as an artist and what I really want to do musically.

TVM: Would you recommend for aspiring musicians to get something solid behind them before trying to pursue music?

Yuna: It’s up to the person, I think. I have a lot of friends who went to school for music and they ended up playing for bands. I think education is really important. It’s good to have something solid, like a degree in something that is special and is something that you would do. You can’t substitute education for anything else. Education comes first and after that, as a career, I think you can slowly get into music and get into writing. It all comes down to how hardworking and how willing you are to make sacrifices. It depends on the person. For me, it was important to complete my degree.

TVM: What’s so special to you about that song?

Yuna: I always wanted to do something with a lot of strings, live percussions and a lot of harmonies, but I also wanted it to be pop and melodic. My producer came into the studio with that song and it was very bare. It was just the piano, the guitar lines and that’s it. I fell in love with it, so we decided to build up that track and have these huge harmonies. I love it and I enjoyed recording it, as well.

TVM: Like so many musicians nowadays, you started out by posting your music on MySpace. How did technology and social media help you grow from just a local following to an international following?

Yuna: It helped me a lot because I was writing English music and coming from Malaysia, English music is not marketable at all. I have friends who couldn’t make a living out of it. That’s where technology comes in. The world’s become a smaller place and there are a lot of platforms on the internet, like YouTube, or back then it was MySpace. That’s how I got a lot of plays from overseas and that’s how I was discovered by music labels. Technology plays a huge part in my music career.

TVM: Your lyrics are very personal and genuine, with a lot of emotional depth. Where do you find inspiration for your songs?

Yuna: It depends. Sometimes, I write based on my personal experiences and sometimes, it’s not. Sometimes you may not be feeling that certain thing right now, but it’s inside of you. You know what it feels like and what it felt like, so it’s just a matter of pouring it all out and expressing it in a different way than how you had expressed it before. I think it’s important as an artist to dramatize. You just have to do it because you’re a storyteller and at the end of the day, it’s not all about you. It’s about people who can relate to your music, so sometimes I get inspiration from other people’s stories that are from movies, books that I read, or conversations that I had with other people.

TVM: What advice can you give to people aspiring to make a career out of music who are trying to break into the international scene, or the US market?

Yuna: You have to be confident in your craft. If people are not keen on helping you to put your stuff out, you should definitely do it by yourself. You can do covers or make music and post them online. You might get a lot of plays and be featured on blogs. There are a ton of music blogs out there that are into independent music and they’re constantly looking for something new and fresh, and that’s how you get your big break.

That’s how a lot of people are doing it right now. Regardless if you’re from America or Malaysia, if your music is good, it’s just good and deserves to be out there.

TVM: Do you find it easier to write lyrics to a melody, or compose a melody to lyrics?

Yuna: I think composing lyrics to a melody [is easier].

I have the music and the melody come first, and then the words come later.

TVM: How do you overcome song writer’s block?

Yuna: The last time this happened, I ran away to San Francisco. I was in Los Angeles and I had a recording schedule, but I just couldn’t do it. I don’t work within schedules very well and after a certain point, I’m just disenchanted with music, but then I think, “You’re a musician. You’re not supposed to be that way towards

TVM: Your second album, Nocturnal, was just released a few months ago in October 2013 and you

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TVM: You’ve admitted in other interviews that you’re actually shy, but you act so natural and at ease both on the stage and during interviews – how do you overcome your shyness?

Yuna: You just have to be yourself, I think. A lot of times, people don’t understand the concept of being comfortable. It’s ok to be shy, but you just have to be comfortable with who you are and that’s how you get confidence in expressing yourself without being incredibly shy in front of people. Even though I’m shy, I’m pretty comfortable being myself. For a very long time, I’ve been this way. I don’t try to be someone else and I think that’s important for people who are shy.

It’s ok to be shy, but just be comfortable with it and be confident with your shyness.

something that you love.” So I decided to take a break to travel and see things a little bit. After that, whenever I’m ready, I come back to the studio and write.

TVM: Signing to a record label has its pros and cons.

What was going through your mind when you were first approached by Indie-Pop, who were encouraging you to sign?

Yuna: It was a little bit scary at first, but at the same time, it was something that I was looking for for a very long time. I really wanted to sign and find a way to spread my music internationally. At the time, I was doing really well in Malaysia. I was comfortable and I was in between, “Ok Yuna - do you want to be comfortable here, or do you want to go out there and try something else?” I decided to do the latter and start all over again. It’s a lot of fun. It was scary, but I got over it and tried to have fun with music again.

TVM: How is the experience different when working on a track for an EP or an album, versus working for a track for a movie soundtrack?

Yuna: It’s two different things, and stuff like that can make you or break you. That was an awesome opportunity for me. I wanted to do it because I thought it would be something very cool that my nieces and nephews would watch and go crazy. To be honest, it’s just one of the things I wanted, that it would be really cool for the kids. I also got to work with Owl City, which was amazing. Adam [from Owl City] is so down to earth and he’s really sweet. I also got to work with DreamWorks and the whole team. It was an amazing experience. That was obviously not my project, but I’m proud of being able to contribute something to the project. Nocturnal is something completely different, it’s like my child. It’s two different things, but it goes back to your comfort level. If you’re comfortable working on something, then just go for it. There’s no harm in being creative with other people.

TVM: Right now, you’re on a worldwide tour promoting Noctural. That’s so exciting, but how do you stay healthy and have you had any moments when you were feeling really overwhelmed?

Yuna: Oh yeah, of course! Traveling can take a lot out of you. I try to get as much sleep as I can and as much rest. I drink a lot of water and try not to get sick on the road. I take vitamins and try to eat healthy. I also try to exercise, although that rarely happens, so I just try to eat healthy and stay away from fast food. When you’re on the road, you tend to stop and get a lot of junk food, so I try to stay away from all of that.

TVM: What do you eat and drink to keep your voice healthy?

Yuna: I try to stay away from dairy because it really messes up your vocals right before the show. I also don’t normally eat before a show. The latest I would eat is probably three or four hours before the show.

If it’s two hours before the show, I prefer to not have anything at all, I’d just rather eat after I perform. If I’m starving, I don’t really have a choice because I don’t eat before I perform.

TVM: Do you work with a vocal coach?

Yuna: I don’t, but I should. [laughs] TVM: Do you do any vocal warm-ups before a performance?

Yuna: I don’t have any vocal warm-ups that I do, but I drink a lot of water and try not to talk so much. I sing along to songs before the shows, but nothing crazy. I play something on my computer and sing along. I just try to relax.

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TVM: Moving on from music for a bit, you also have your own clothing store, November Culture. Can you describe your fashion style and what we can find at the store?

Yuna: I like simple, clean cuts and I like sheer stuff. I also like long skirts. I used to be super colourful, but now I like clean colours, like black, gold, white, maybe red. I think my style has changed a little bit. I think I’ve grown a little bit more mature. I still love colours, but I don’t go crazy with the palette like I used to 10 years ago. I try to keep it classy. I love Audrey Hepburn and I think she dressed really well. I see her as a fashion icon.

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I used to be super colourful, but now I like clean colours, like black, gold, white, maybe red.

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...I did not plan to do music at all. I was in law school when I started playing music...

After I graduated, everything was already there for me...

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TVM: What symbolism does wearing a scarf have for you?

Yuna: I was raised Malay Muslim. I never used to wear the scarf before, but when I was 19, I decided to put the scarf on and it became a part of me so now, I don’t reveal my hair. That has become a part of who I am. It’s a huge part of my life and being a musician doesn’t mean that I have to change who I am. The best way to do it is to just be comfortable with myself and just do it anyways and who cares what people are going to think.

TVM: Do you feel the same when you sing in English and in Malay?

Yuna: I guess so. It’s not like it’s two different things. I would be down to have an album and have a couple of Malay songs on it. I just want my music to reach every corner of the world, and English is a universal language, but I feel comfortable singing in both languages. It’s not really different. I’m really comfortable singing Malay songs as well. There’s no other way, you just sing the way you sing.

TVM: You get so much love back home, so representing Malaysia, tell our readers a bit about your country.

Yuna: Malaysia’s really warm and sunny. People are friendly and the food is amazing. You’d love the nature out there. The beaches and the islands are really pretty.

It’s a really tropical country. If you haven’t seen the world, I think Malaysia would be a really great first try. If you were to go to Southeast Asia, Malaysia should be your first destination. There’s no language barrier because everyone speaks English, so you’re going to a different country, but you can still communicate with people.

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TVM: Did you always want to be a musician?

VP: I’ve know that I always wanted to sing, but I wouldn’t say [I’d always wanted to be] a musician. It was when I got to college that I honed in on that skill. I remember singing other people’s music and loving lyricism, but I never thought that I would become a songwriter. I just ended up writing out how I felt one day and it turned into my first single “Find My Way”. Ever since then, my aspiration to become a musician has been a priority, for sure.

TVM: Who are your musical inspirations?

VP: I have a lot, really a lot! [laughs] And they’re from different genres. Vocally, you have Luther [Vandross] and Whitney [Houston]. They’re the greats. I love Ed Sheeran, Mikky Echo, Rihanna, Angus and Julia [Stone], Lorde. Also, Lana Del Rey. I guess I like very indie and very alternative artists. That’s my favourite sound right now.

TVM: That’s such a wide array of genres. Where do you see yourself going with your personal sound?

VP: Probably indie alternative. I really want to inspire people with music. I’m a fan of all sounds of music, but I think that the main niche of my music would probably be indie. My sound is soul a mainstream vibe, but I also want to keep it very simplistic. I love minimal music and I want to be very minimal with my sound. I really want my vocals and my lyrics to come across to people the most.

I don’t want it to be just production. For example, I love what Adele has done with her music and her sound.

TVM: You were involved in VH1’s “We Save the Music” Benefit Program. Tell our readers what this is, and what it meant for you to be involved.

VP: It was hosted at our school and one of the fraternities signed me up. Every year, it’s a way to recognize how talented individuals are, and how important music is since it plays a wider role in every child’s life. You can’t escape music. It’s one of those things where if you go into a shopping mall - you hear music. If you go into a store - you hear music. If you go to a restaurant - you hear music. If you’re just walking down the street - you have a car pass by and you hear music.

So music is important in every child’s life and it’s an avenue where you can express yourself and you can find inspiration. It meant a lot to me when I was given the opportunity to perform. I was given the chance to perform Bruno Mars’ “Treasure” and my own song, “Find My Way”, which was met with a great response from the crowd. I haven’t been the same since. People actually know me now on campus, so it’s a really good feeling.

TVM: You wrote the lyrics to “Find My Way”, your first single. Where did you find the inspiration for the song?

VP: I had a big transition coming from a small town to a big city, so I kind of didn’t know who I was or where I was going and you know, you meet people, you fall in love… I kind of made it universal. I made it from a relationship aspect, like you can find your way through heartbreak, you can find your way through all kinds of death, you can find your way through anything. I also made it for people like me who are

VICTOR PERRY

A VOICE WITH CHARACTER MUSIC XRAY

IN SPOTLIGHT

By Anna Kroupina Photos By: Perry Victor

venturing out on their own, trying to accomplish their dreams, getting out of their comfort zone and trying to become something better. It can be a strenuous road and you can find yourself wanting to quit. You can find yourself, sometimes, not believing in yourself, but you’re set to find your way again.

TVM: If you could collaborate with another artist, who would it be?

VP: Rihanna, of course! I love her. I would do “Stay 2.0” in a heartbeat. I also really want to collaborate with Lorde. Her album is amazing, from start to finish. Also, Adele maybe, but I don’t know if I could handle her power. Ed Sheeran, too. But if I had to choose one [artist] right now, it would probably be Lorde. She has inspired me a lot. She’s a songwriter as well, and she does everything on her own and that’s inspiration to me. That gives me hope that maybe one day, I could be in her shoes.

TVM: Now that you’ve dropped your first original song, what’s next?

VP: College is first, but I already have stuff written. I love playing with melodies. Right now, it’s about getting into the studio, finding that sound, and having it organic and raw. I want to pave the road to an EP. I have songs ready, so now it’s about getting into the studio, and also expanding my presence on social media. So basically, writing music and getting into the studio - that’s the plan.

How to Make Your Voice Last a Lifetime SPECIAL TIPS FOR PERFORMERS: Singers, music teachers, choir directors, and more For all performers, it is very important to remember that you are your instrument. Other instruments can be replaced, but you only get one set of vocal cords! You are a vocal athlete, and that means you need to be extra careful in how you use and take care of your voice. 􀂃 Follow recommendations for hydration, managing allergies and reflux, and avoiding vocal misuse or overuse. 􀂃 Take care of your body by getting plenty of rest, exercising, and eating well. 􀂃 Avoid getting sick by washing your hands before eating and before touching your face, mouth, nose, or eyes. 􀂃 Don’t smoke! Tobacco smoke is very irritating to the vocal cords, can cause changes in the tissue of the vocal cords, and causes cancer. 􀂃 Women should be especially careful to limit vocal demands just prior to and during menstrual cycles. The lowering of estrogen levels can result in vocal-fold swelling for some women. 􀂃 If you think you have a voice problem, get help quickly from health care professionals with specialized expertise in caring for voices. 􀂃 Consider getting a baseline evaluation of your voice when you are healthy. This will be helpful for comparison if you ever have a voice injury.

SPECIAL TIPS FOR SINGERS

􀂃 Warm up your voice before singing; cool down your voice after singing. 􀂃 Consider taking voice lessons to learn how to sing without hurting your voice. 􀂃 Learn to use your speaking voice in a healthy

way by consulting a voice trainer or speech pathologist. 􀂃 Know your vocal limits and stay within them (pitch, loudness, and endurance). 􀂃 Rest your voice before and after a big singing day. 􀂃 Plan your voice use and pace your voice, especially during times of increased vocal demands. 􀂃 Stop singing before you get tired. If you feel tired, you may have already done too much. 􀂃 Try not to “spend” your voice on learning the music. Learn the music by listening rather than by singing. 􀂃 If you sing with a band, use monitors. Have small speakers facing you on stage so that you can hear yourself adequately and modify your volume accordingly. 􀂃 Plan your singing schedule carefully and avoid overbooking. 􀂃 Avoid ice-cold drinks while singing. Room temperature is better. 􀂃 Consider getting a baseline evaluation of your voice when you are healthy. This will be helpful for comparison if you ever have a voice injury.

For More on Duke Voice Care Center // dukevoicecare.org

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Taking Care of Your Voice Vocal Health for Performers: Your guide to a strong, clear, easy voice (Part I) Keep the larynx hydrated

•Use a hot water vaporizer (not cold mister) •Buy your own personal steamer (around $50– great for traveling to dry places).

Keep the larynx healthy Anything other than clean, moist air can irritate the vocal folds. While the vocal tract has a housecleaning system that cleanses the mild, common pollutants from the vocal folds, it cannot cope with the two main sources of laryngeal irritation – smoking and reflux.

SmokingNever, never, never smoke. Anything.

Not smoking is the single best thing you can do for your voice. Avoid second-hand smoke as much as you can.

•Smoking dries the larynx and prevents it from becoming rehydrated. Cigarette/marijuana/cigar smoke is hot, polluted air that is drawn directly over the surface of the vocal folds. It dries and and irritates. One puff shuts down the larynx’s ability to rehydrate itself for about 3 hours.

•Smoking causes the delicate cover of the vocal folds to become swollen and reddened. If the smoking persists these changes become permanent.

•Some of the voice changes that smoking causes include: hoarseness, reduced pitch range, breathiness, vocal fatigue, lack of vocal control.

•Secondhand smoke contains 4000 harmful chemicals •Smoking kills 1 in 10 adults worldwide. Most throat and mouth cancers are caused by smoking or chewing tobacco.

To vibrate easily and resist injury, the vocal folds need to be kept moist, both internally and externally. Dry air, mouth breathing and smoking all dry the vocal folds externally, while certain drying medications, drinking too much caffeine or alcohol and not drinking enough water dries them internally.

To make sure your vocal folds are well hydrated: Drink8 to 10 glasses/day of non-caffeinated, non-alcoholic liquids. Drink more in hot weather and if you are exercising or using your voice a lot. Drink water: it’s the easiest and it’s what your system needs.

How can you tell if you are drinking enough water?

Follow the dieticians’ advice to “pee pale”.

Check your urine – if it is pale yellow, you are well hydrated; if it is dark yellow and concentrated, reach for the water bottle.

SteamBreathing humidified air rehydrates the vocal folds from the outside. It can be useful if: •You have an upper respiratory infection •Your throat feels tired or sore •You have been doing a lot of talking or singing.

(We automatically breathe through the mouth and that dries out the vocal folds.)

•You are in a dry environment, like an airplane or Saskatchewan.

Steam for 5 to 10 minutes, twice a day.

•Take a hot shower or bath •Put your face over a bowl of hot water and drape a towel over your head. Be sure it’s a comfortable temperature.

* Dr. Katherine Verdolini is associate professor of communication science and disorders in the School of Health and Rehabilitation Science at the University of Pittsburgh. * Shelagh Davies is a Registered Speech-Language Pathologist with 20 years experience in working with the voice and its disorders. She is in private practice in Vancouver, BC. Visit her online at www. shelaghdavies.com

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Vocal Hygiene Tips 74

“Vocal hygiene” can be thought of as the care and feeding of the voice. It refers to the things we do to keep the voice healthy. We work on improving how the larynx (voice box) works through voice therapy, but it is also important to take care of the voice by taking care of the body and using the voice well.

Keeping the vocal folds moist through good hydration is very important for good vocal health.

We can provide moisture to the vocal folds both from the inside (internally) and from the outside (externally).

help with hydration. Examples include cucumbers, melon, grapes, and gelatin.

EXTERNAL HYDRATION External hydration is getting moisture to the vocal folds from the outside.

HYDRATION: KEEPING THE VOCAL FOLDS MOIST Steam inhalation: Inhaling or breathing steam helps the voice box stay moist and can be very soothing to irritated vocal folds.

Breathe the steam through your nose for three to five minutes, two or three times per day.

You can try any of these methods: 􀂃 Breathe shower steam. 􀂃 Breathe steam from a personal steamer. You can buy these at many drugstores. 􀂃 Run hot water into a sink or basin and inhale the steam.

You can also boil water, pour it into a sink, and breathe the steam. Never breathe steam standing over a hot stove or boiling water. 􀂃 Run a washcloth under hot water, wring it out, and hold it over your mouth and nose and breathe in.

Room humidification: You can increase the moisture in your home or office by using a room humidifier or hot-water vaporizer. Be sure to use a hot-water vaporizer. Cool-mist vaporizers can cause chemicals and germs to get into the air. With hot-water vaporizers, only water gets into the air you breathe. 􀂃 Room humidity should be between 30-50 percent. You can check the moisture in the air in your home by using a hygrometer, which can be purchased at many electronics or hardware stores. 􀂃 When using room humidifiers or vaporizers, it is very important to carefully follow the cleaning instructions. If you don’t keep the humidifier or vaporizer clean, germs can get into the air that you breathe. 􀂃 If you have mold or mildew allergies, you should not use humidifiers or vaporizers. They increase the moisture in the environment and can cause mold and mildew to grow.

INTERNAL HYDRATION To keep the vocal folds moist from the inside, make sure that you drink plenty of water. The vocal folds move best when the body is wellhydrated, and well-hydrated vocal folds may be less likely to get hurt from voice use. Good hydration also makes the mucus that covers the vocal folds thin and slippery, so that they move against each other easily and vibrate smoothly.

Think of the mucus coating as being like motor oil in the engine of your car: if it is thin and slippery, the engine runs smoothly; if it is thick and sticky, the engine doesn’t run well and can be damaged. 􀂃 If you are under a doctor’s care for any medical conditions, be sure to check with your doctor before changing the amount of water you drink. 􀂃 We recommend drinking at least eight eightounce servings of water per day (total of 64 ounces). That’s a little less than two liters per day. 􀂃 If you are drinking a lot less than that now, add a few ounces more each day until you get to 64 ounces. 􀂃 Alcohol and caffeine are drying to the entire body. Drinking them makes the vocal folds drier.

Cutting back on caffeine and alcohol can help your body stay hydrated. 􀂃 Dry environments are also drying to the entire body. If you know that you are going to be in a dry place (like a dry building or an airplane), drink lots of water to keep your body hydrated.

If you don’t like drinking water: 􀂃 Try flavoring the water with fruit or with sugar-free powdered drink mixes. 􀂃 Drink caffeine-free tea. 􀂃 Sometimes changing the temperature of the water makes it more enjoyable to drink. 􀂃 Foods that have a lot of water in them can

For More on Duke Voice Care Center // dukevoicecare.org

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How The Voice Works:

Lisa Popeil Style From a very young age, Lisa Popeil has been cultivating her musical skills in order to share it with the world. Admittedly not the greatest talent, Popeil possessed something more, persistence. She had the basics of music but she pushed further with her perseverance and it paid off. Today, Lisa is an accomplished American singer, pianist, vocal coach, and vocal producer. She’s performed with the likes of Frank Zappa, Weird Al Yankovic and recorded on most of his albums for the past 30 years. A session singer who has sang for movies and commercials and armed with an album which was a top album pick in 1984, Lisa is still very active in her research about the voice and how better to perfect the craft of singing even with such an extensive resume, she does not just rest on her credentials. Popeil is extremely knowledgeable on the voice and its various functions, misconceptions, how to use it properly and she shares that knowledge with TVM.

By Nana O. Yeboah - Credit Photos: Lisa Popeil 77

TVM: I am speaking with accomplished vocal expert, Lisa Popeil. Thanks so much Lisa, for speaking with The Vocalist Magazine Lisa Popeil: Thank you for having me.

TVM: Our pleasure. Could you please tell our readers a little bit about yourself and your background?

Lisa Popeil: Sure, well I started piano lessons when I was 4 voice when I was 6. I didn’t have a lot of talent but I was persistent and I didn’t quit. I started classical work when I was 7 and I began writing my own songs when I was 11. I ended up going to California Institute of the Arts obtaining a Masters degree in voice whilst continuing to play the piano and write songs. I began teaching after school and lucked into an audition with Frank Zappa where I got to perform and record with him. I continue to do session work, write songs, and produce vocals.

TVM: What are some key tips you could give regarding vocal health and stamina?

Lisa Popeil: Singers need to know how to speak properly; they need to speak at the correct pitch, particularly not too low and not too loudly. When touring they have to monitor their voice use; you don’t want to waste your voice when it’s not important. Also, a big proponent of precise abdominal support is posture; this allows the vocal cords to work efficiently and for longer periods of time. Another important tip is to never squeeze the vocal cords, there is a natural tendency to squeeze the cords when singing loud and that’s bad for them because it causes them to swell which creates hoarseness. When I teach my students what squeezing feels like and sounds like so that they don’t do it, they are able to create a very

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similar sound (loud and intense) using other methods like support and resonance to avoid squeezing the cords.

TVM: Other than hoarseness, are there any other warning signs for vocal damage?

Lisa Popeil: That’s an excellent question. Besides hoarseness, if the high notes are not coming out, that’s a sign of hoarseness, or if there is any pain or discomfort in the neck area; that’s not good. A lot of singers have heard about nodules or nodes, which are small calluses on the vocal folds and often worry too much that they have nodules when they don’t. I spend a lot of my time reassuring professional singers that their cords are healthy. Nodules are actually not that easy to get but they are easy to cure; it won’t require surgery if caught soon enough. So look out for the sound of hoarseness, pain/discomfort in the neck, vocal fatigue, or loss of high notes. Vocal rest is an integral part of the strategy for vocal maintenance.

TVM: I’ve had the opportunity to speak with a few artists and there seems to be controversy with the subject of regular vocal warm ups; some artists do and others don’t. Where do you stand on this issue?

Lisa Popeil: I’m more on the side of less warming up than more warming up. I feel that if you’re singing correctly and you have knowledge of what you’re doing you don’t require as much warming up time as someone who doesn’t know how to support, or control their resonance or vocal tract. I like stretching as a warm up, I like lip trills or tongue trills, and I have little exercises that I do to see where my voice is at but I don’t go through whole series of warm ups.

I know a number of professional singers who do very little warm up and they sound great. I also know singers who are quite vocally tired because they’ve warmed up for so long, wasting their voice and then they go on stage and they are already heading towards vocal fatigue when they hit the stage. I would rather save my voice for the audience then waste it getting ready.

Sometimes you need more (warm up) or sometimes you need less. I’m in the 5 to 10 minute range max, not the 30-45 minute range like some people I know. Often they don’t know how to sing, they only know how to do the vocal exercises which causes vocal fatigue and they go on stage and sing a completely different way. There is some thought, in the vocal science world, that cool downs are important, cool downs can simply be humming or you can use a nebulizer (a mini humidifier). Nebulizers are imperative when singing in dryer climates and it helps the cords heal and gives you more voice, so I would recommend that professional singers get a small nebulizer with saline and

singing, unfortunately, actually increases the risk or chance of having reflux; the action of the diaphragm pushing down on the stomach so it’s something that singers have to be cognisant of. There are different symptoms one might have and they can be very minor at the beginning; like, you’re still vocally tired even though you’re resting your voice, which is how I knew I had it. So I’ve spent years learning how to manage and control my reflux. Some more tips on how to manage it for touring singers, are not to drink wine or consume any alcohol at all because they dry out the vocal folds. Also not fatty foods..like fried chicken, no tomatoes or spicy food at night.

use it before their shows, at breaks, and after their shows to moisturize the vocal folds.

like yoga or Pilates; anything that stretches the body really so that the rib cage is wide...treat your body as though you are an athlete so I would say that those kinds of exercises are also useful for professional singers.

TVM: Are there any other routines that you can recommend for artists when they’re on tour?

Lisa Popeil: A lot of people have reflux which is stomach acid that comes up from the stomach and burns the vocal folds. If you are a touring singer, it’s recommended that you don’t eat late/ after a show and then go to bed; you’re more likely to have reflux. Reflux is dangerous for the vocal folds, similarly, if you were to put battery acid in your eye...that’s how intense this is on the tissue. You can be in perfect shape, at a nice weight, and you can still have reflux. The act of

TVM: They say cardio exercise is great for breath control, are there any other activities that you can suggest to help build vocal skills?

Lisa Popeil: Well swimming enhances your breath capacity, not necessarily your breath control but it gives you better lung capacity which can be very useful. I

TVM: Swimming, that’s interesting...I haven’t heard that yet.

Lisa Popeil: Well there’s a slight risk of ear problems/ water in the ear; that’s what I’ve read but I’ve never actually seen it with my clients.

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TVM: Swimming, that’s interesting...I haven’t heard that yet.

Lisa Popeil: Well there’s a slight risk of ear problems/water in the ear; that’s what I’ve read but I’ve never actually seen it with my clients.

TVM: Well it seems that there is always a good and a bad with everything you do.

Lisa Popeil: Oh isn’t that true? I know. I think there’s so much more good than bad with swimming.

TVM: Are there any common misconceptions about the voice that you’ve heard throughout your great career?

Lisa Popeil: There’s a lot of misconceptions about vocal registers for example, that there is a middle register. I do research with high speed photography, cat scans, MRI’s, any kind of strange expensive equipment that I can get my hands on and what we found is that, so far, you’re either in a chest or head register. There are ways to give the illusion that you’re in a third or middle register and I make sure that my clients know which one they’re in and then the goal is to try to hide it so that there is evenness. There is also lots of confusion about what causes musality, the main control of it is the soft pallet and the position of the soft pallet in the back of the throat. So when the soft pallet is hangs more, musality is increased and when it is lifted as though at the beginning of a yawn, musality is reduced. Musality is not a vocal cord or neck function; it is a part of the resonance function which is in your mouth. One of the biggest misconceptions is that on low notes you’re in chest voice and on high notes you’re in head voice. I can sing any note of my range in chest and in head. People don’t realize how much more they can do with registers; I’m actually doing research on this because I find that females can be more flexible in the registers and with men it’s rarer. Also, singers underestimate their vocal range; few singers and teachers actually know which notes their vocal cords can make, they never check. At the very beginning of training with me, I check and it’s always bigger than what people think. People also think that range relates to talent; and it doesn’t. I’ve had singers at the highest degree of talent and they had a smaller range.

Likewise, I’ve had students with a wider range and they were of middle talent. There are two things that give you your unique voice, the size of your vocal folds which determines your range; if they are larger the lower your voice and the smaller the higher your voice. The other thing that gives you your unique sound is the size of the vocal tract or your head...the throat, the mouth, the nose, the size of the head determines what you sound like. Some people are hybrids; you could have soprano vocal cords and an alto head...it’s not likely, but it happens and that actually gives you a more unique voice.

TVM: Wow, I was not aware of those things, fascinating. Thanks so much Lisa for taking time out of your busy schedule to share some information with our readers.

Lisa Popeil: My pleasure.

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MARTA WOODHULL HOLLYWOOD

VOCAL COACH

By Anna Kroupina Credit Photos: Katherine Kirkpatrick 82

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TVM: I read on your website that you coach and sing in seven languages, wow! What are they, and how did you learn seven languages?

Marta Woodhull: I studied in a couple of different conservatories and I was trained in classical voice as an opera singer but also, prior to really learning a repertoire of opera, you are put through a lot of paces in different languages. I studied at a school called the Aspen Music Festival, which is a summer conservatory that is attached to the Julliard School of Music.

In that choir, we sang in Hebrew, Polish and Latin. Basically, when you’re trained in classical music, you’re also often in choral repertoire, so you may encounter a lot of different languages. In the context of learning repertoire, you have to learn perfect diction in those languages and you have to understand what you’re doing, or there’s no emotional connection. For example in opera, you learn Italian, German, French, and in the contemporary arts song world, you also learn those languages. In contemporary choral music, I worked with Krzysztof Penderecki, who is a Polish composer and he was the president at the Aspen Music Festival. We sang a world premiere of one of his classical pieces Utrenja, so we learned to sing in Polish. Then I sang in a choir in New York City when I was in high school and it was a very advanced choir that performed at Carnegie Hall and we sang Leonard Bernstein’s Chichester Psalms, which is in Hebrew. Then from there, working in the popular genre, I worked with a number of singers who are from Latin America.

I trained in Spanish in high school, and I could speak in French because I studied that in college. And then I was hired to work for a Vietnamese record company; I don’t sing in Vietnamese, but I can coach in Vietnamese. The same with my clients from Japan. I don’t sing in Japanese, but I understand how to coach in the language because I can hear what it’s doing. And Russian. I can’t remember where I learned to sing in Russian.

TVM: Do you have a favourite language to sing or coach in?

Marta Woodhull: I don’t have a favourite [language to sing in], because it’s all fascinating to me and I’m a bit of a scientific geek. I love, though, the sound of singing in French. It’s unbelievably beautiful, and it’s so difficult. I think it’s pretty much the most fascinating language to sing in, and the French composers are just tremendous.

TVM: Did you always know that you wanted to be a vocal coach, or a vocalist?

Marta Woodhull: In high school, I was intending to be a scientist. I wanted to be an oceanographer, so I went to the University of Washington. I didn’t discover until I got there that the oceanography department was only accessible to grad students and I was to have four years of dreadful laboratory work and I really hated chemistry and math and calculus, so I switched to a small school called Evergreen State College, where

I decided to also study science and within the first year I decided I didn’t want to do that. So I majored in music there, but it was more music and history combined. I was a bit of a free spirit; we’re talking the late ‘70s here. I really didn’t have a plan. So I went to Hawaii and I realized that this is really not happening as easy as I thought it would be. I just thought that life would come my way. So I said to myself, “Okay what do I love more than anything? Music.” I went back to Seattle and I enrolled in a music conservatory called Cornish Institute of Allied Arts at the time; it’s now called the Cornish College. I had the opportunity to train with some of the most amazing contemporary classical singers. Working with these people, I discovered that I really had the vocal chops to be a classical opera singer, but I was actually a little bit behind in my languages. I decided then that, partly based on their response to my abilities and also just the pure love of it, I got the outside validation that I had what it took and I had the inside passions. So it was when I graduated from conservatory when I really decided I was going to be a vocalist - that’s what we call them now, but at that time, I was going to be a classical opera singer, and I wanted to do contemporary classical opera.

TVM: How did you get into the business?

Marta Woodhull: I got into the business completely backwards. I had asthma when I was in New York auditioning for opera. It was heartbreaking for me because I couldn’t keep my vocal health up. I wanted to be closer to the contemporary composers so I took a teaching job in Southern California at a private high school to just get landed here and the first year that I was there, I heard on the radio an announcement for a charity project, which is a children’s recording of “We Are the World”. I volunteered to work in that, but I was the only one in town who had that kind of vocal skill, so I went immediately from being the judge casting the kids to writing the vocal arrangements. From there, it just took off. I got involved in the recording industry literally because I was the go-to person in town at that point. And then that led to authoring a book called “Signing for a Living”, which then lead to more exposure and that lead to starting to get asked to be a studio vocal coach for high-end singers. By then, we’re in the early ‘90s and that’s when I started working with and coaching and going into the studio with a lot of the superstars. A general theme that I use with all of my clients and all of my friends and that I’ve used with myself is something I call “follow the ‘yeses’”. When we have a skill, we don’t always know where to go with it and where it can work. So in my case, I was a highly skilled child musician – piano and singing. I didn’t perceive of it as a profession until I was at home away from college where other people did, and that’s where I discovered that my talent was at a level that could be professional. So that was where I got my yeses and I started to follow those yeses.

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TVM: In your opinion, what makes a good voice?

Marta Woodhull: It’s really quite a subjective question based on the style that we’re talking about. I’m going to go ahead and cover it kind of broadly. I believe that a good voice is the voice that really creates absolute electronic magic in space, in the airwaves. It creates goosebumps in a listener and creates a transcendental experience to the listener via matching that sound with the right story. There’s a match between what I call a tone singer and the style. Pavarotti, The Antique Christ, Celine Dion, Patti LaBelle, Whitney Houston these are all tone singers. You don’t even care what language they’re signing, and you almost don’t even care what the story is; it’s the sound of it. Then you have storyteller singers and sometimes, obviously all of these things crisscross. There’s a thrill factor that the human voice has to make. When you’re dealing with the recording arts, you start getting into other layers of possibilities because when you’re recording a voice, you can use much more subtle aspects of a singer’s instrument. Look at Nora Jones. The voice is just etheric, breath. The story, the freedom, the release, the nonchalance of her voice is just like hot milk with honey by the fire. So when you’re dealing with the recording arts, the voice has to work against a track; the instrumentation has to work with the sound of the voice and at the end of the day, it still has to create some sort of experience in the listener. If it’s about tone, it has to be a unique and identifiable tone when it’s not confused with any other singer; very one of a kind. If it’s Broadway, there has to be great goosebump factor. It has to match the music and it has to fit right to the character. Opera’s the same. But at the end of the day, the voice still has to be embedded in the body, it has to capture the emotions of the singer, it has to transfer all the emotions of the story in a very subtle way, or very dramatic way, and just have to make you stop – and listen. That’s what a great voice is.

TVM: How important are voice lessons for a singer?

Marta Woodhull: I believe that you need to be a singer before you start taking lessons. If you don’t know that you have the passion to sing, if you don’t know that you’ve already moved people with you singing, if you don’t know that there’s a fit between what you love and what people want to experience from you, then taking lessons is only mechanical and there’s really nothing to work with with a singer. So I do feel that the people who benefit the best from lessons are people who already are singers. I’ve noticed that people who have either great storytelling skills like they’re actors, great rhythmic skills like they’re dancers, great sense of harmony like they’ve been in choirs, or a great sense of song structure because they played the piano or guitar, these people tend to be really good candidates for voice lessons if they’re not sure yet if they’re really a wonderful singer because we as a vocal coach can build on one of those three skill sets because singing is rhythm, tone and story. And then

the mechanics of it are range, dynamic, tone, pitch.

But most people, when they come to me for lessons, is when they actually have a project in front of them and it’s not going very well. Even my really big artists have come to me in the middle of a project. So it depends on whether they feel they need to improve and develop a basic skill set for the style they’re in, or improve their recording or something’s not working on the stage, but usually, vocal coaches are there to solve a problem. And they can do a lot better for you if you come in with a goal and an awareness of what you’re not achieving. That way, you can also get really specific, targeted information from your coach.

TVM: Which artists and personalities have you worked with?

Marta Woodhull: I vocal coached Paula Abdul, Brian McKnight, Lea Salonga, who is a star all over the world in Broadway and records. I coached Anthony Kiedis, [from] Red Hot Chilli Peppers, Anna Nalick. I’ve worked with one of my favourite singers of all time is named Geri Soriano, and the group is called Supreme Beings of Leisure. I have Joelle James coming out with Chris Brown and Interscope Records. I have a couple of kids on TV right now. Katharine McPhee was my student when she was 14. I have a Canadian artist named ZWERG and I worked with a great artist in France called Michel Jonasz. He’s like one of the best jazz French singers in the history of French music.

TVM: Can you tell us about a great experience you had with an artist? Did you ever have a ‘eureka’ or ‘aha!’ moment when coaching?

Marta Woodhull: Brian McKnight’s record label came to me after he finished recording an album, but they literally didn’t think it was going to work on the stage.

As an accomplished performer, he was resistant to the experience of lessons, so I needed to evaluate incredibly quickly, which is what I do in all my studio sessions, what is the problem, and what will be a solution to make [the performance five days from then] happen. And I decided that the basic problem he had was that he was not able to differentiate between the physical phrasing required to play the piano and the physical phrasing required to deliver a good vocal line. So he had a complete disconnect in how to control his breath and how to split the mind off to be able to carry the vocal line while his body and harmonic knowledge was splitting off and playing the instrument. I had already created a workout that I had used for many singers before which was theoretically based to create breath control, but what it really was for was based on how to get the body to break phrasing down. I do this with guitar players, I do this with pianists, and I do this with dancers so that they can feel the physical requirement to deliver the vocal line while their body is doing something entirely differently. It changes people immediately.

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TVM: On your website, it mentions that you coach artists as far away as in the U.K, Latin America, Asia but you’re based in LA. How do you facilitate these sessions?

Marta Woodhull: Now with the beauty of Skype, I get to work with people from afar. I’ve had clients brought here from Puerto Rico or Bermuda because the L.A. producer here needs them here in their studio, so they’re brought in for another purpose and therefore I work with them here. Most of them fly to me. They’re accomplishing many things when they send their clients to America: press, working in a specific studio here, working with a certain mixing engineer, working with a specific producer.

TVM: When an artist is touring, with all the shows and concerts they perform, it can be really straining on the voice. What daily routines do you recommend for their vocal health?

Marta Woodhull: The voice can tolerate intense singing for maybe up to three hours. Those three hours of intense singing may be spread across a five-hour recording session because you’re starting and stopping.

If you’re in a musical and you have two shows that day, your day is going to be much more demanding.

I find that rehearsing can cause more damage even than performing. You should always get as much sleep as possible. When you’re performing a lot, you really need to limit alcohol because alcohol dries up voice. Smoking is obviously a really bad deal, unless you have a tone that doesn’t get altered radically by the cigarette. Not talking more than you need to when you’re performing because talking is really tiring on the voice. [Another tip is] really healthy eating and a lot of vegetables and fruit. Very low starches except when eating it for carb energy. Bread and white flour is really mucousy. Cardio exercise every day is vital because it creates certain kinds of core strength that you can’t get any other way. Sit-ups are really important. Exercising the voice [is important] - what people call warmups, but I think warmups should be much more complex than just a few scales. They should hit your full range, your full dynamics, and arpeggios and jumps and sustains and all kinds of things that basically get the muscles ready for the mechanics of what a song requires. And rehearsing smart. When you rehearse, if you’re working with the band in a rehearsal studio, you have to really monitor the levels. If the band is too loud, let them work out their problems, let them play the song two times until their timing is right, then you come in and sing. There’s a lot of ways of memorizing and working on a song that don’t include going over and over and over the song. One of the things that a singer should do every day is warm down after singing. They should wear scarves to keep the blood flow and keep the neck and all these muscles warm and the chest warm. They should not go to loud bars, ever, after singing because talking after singing is really fatiguing.

TVM: How does an artist know they are damaging their voice? What are the warning signs?

Marta Woodhull: Hoarseness can show you that there’s a problem. However, it may not be damaged.

You can sing hard or have difficult rehearsals and be a little tired in the voice. The vocal chords fill with blood, they get swollen and they’re vibrating sound.

You can be using improper diction that causes tension in your throat and your tongue and your voice might get a little bit tired, but it doesn’t necessarily mean it’s damaged. If the vocal chords feel a little hoarse or scratchy, and it’s only, say, within an hour or so of the performance, that’s very possibly just the fatigue from the performance and the chords just need to calm down and relax. If you hear hoarseness and if the next time you sing, it’s more of a struggle to reach certain notes - and you did all your warming up, you did everything correctly - then you may have inflamed the chords and they won’t stretch to those notes. If the next time you sing, you can’t sing for very long, same indication. If that goes on for very long, that’s when you can cumulatively start to create damage. You can create nodules or polyps because the vocal chords are banging into each other, and they’re creating calluses. You can actually cause your vocal chords to bleed if you sing too hard. You can rupture them. All of those things end up requiring surgery, so that’s pretty severe. What I would advise everyone to do is to recognize that there’s nothing wonderful about having sung so much you got hoarse; it’s not a good thing. Plot out what happened to get to that point and sing less than that. Just back it up a notch and you’re going to have much more longevity in your voice.

TVM: Does an artist ever reach a point where they can break away from their vocal coach?

Marta Woodhull: Yes, if they have a very logical coach. There are two kinds of coaches – there are people who are all about technique, which is how you produce sound, and there are coaches who are song coaches, which is how you interpret the song. So in terms of technique, if you need technique to expand your range, improve your pitch, all of the physical things of producing sound, it would be really good to find a coach who not only improves those things for you, but gives you a routine that helps you stay there.

I believe that singers should know what they’re doing when they’re doing it; it’s not that complicated. If a vocal coach treats you like it’s totally mysterious and you’re completely dependent on them, they just want your money. Most of the time, most people who are professionals are done with their technique coaches, except for periodic tuneups. And they may spend more time with performance coaches, which may be the musical director of the show. They’re working on the execution of the song and they may go to coaches for that. That’s very common and very advised.

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I think when it comes to the performance of the song, it’s great to have access to coaches. That’s very common and very advised.

TVM: Some artist believe that they don’t need vocal training, but even for superstars, is it beneficial for them to see a vocal coach?

Marta Woodhull: First off, if you’re doing remedial or injury healing, you’re going to need a coach for about three to six months. If you haven’t performed in a couple of years and you’re going on the road, you may need someone for about three months to build you up. If you’re someone who has been signing a lot in their life but has no style, you need some feedback because there’s a mechanical reason. Your ears are inside your skull; your mouth is over here. What you hear in your head is not what we hear coming out of your mouth because your ear bones are inside your skull capturing the sound of you inside your head and you know that just by speaking in a microphone. So imagine that you’re trying to monitor and edit and create a voice based on something inside your head, which is not at all what’s coming out of your mouth.

So these are some of the reasons why you need an external source to hear what you’re doing. So everyone at some point is probably going to need a coach.

TVM: How does a vocal coach help establish a vocalist’s identity?

Marta Woodhull: A technique and performance coach, what they should do is they should identify the magic in your voice and the magic in your tone, and not impose upon you a style that they love, but recognize what your instrument is capable of doing. Your instrument may be capable of doing more styles than you realize. So perhaps a coach might show you other things, or lead you to other sounds that you can make, which open up whole new opportunists for you. And then in terms of style, that tone quality, the magic of your voice, may fit in certain genres better than others. The sound of the voice, the story that the singer is singing and the meaning with which you perform that are really a triangle that have to come together. So basically, that’s what a coach should do in terms of a vocalist’s identity: identify the most beautiful and interesting parts of their voice. They try to find the best tone for them, they find the songs and the lyric styles that suit that tone and the genre that suits their personality. And in our industry, it also has to work a little bit with what we expect when we see them. I hate to say that stereotypically, but there is an aspect to it.

TVM: On your website, you mention that you work with any type of artist, from superstars to indie artists – do you change your approach of working with a) artists from different genres of music, and b) different levels of experience?

Marta Woodhull: I work on a project basis; it’s very rare that I work with anyone just generically. So the first thing I do is I have to know what the project is.

I work with a lot of actors. So when I work with an actor, I’m very much looking at how are we creating a sound that works for you as a singer, but also makes sense with you as a brand. So I have to look at the project and the artist together. When I work with superstars who are recording artists, it’s usually very specific as well. It’s about an album, it’s about a concert, it’s about “I wrote some music but I can’t perform as well as I thought”. With every single person that I’ve worked with however, there’s one thing that I always do the same. They have to understand my vocabulary of vocal production. They have to understand how I talk to them about how they’re making sounds. So they all train with me the same exact way, from the same beginning exercises, but they don’t maybe do the most advanced exercise. Every single [artist], male or female, every voice type, I train in my system which liberates the entire vocal range in a very very free voice, which can be applied in every single genre. The gift of the instrument that they were born with, the concept of the music that they want to do and the image of the brand of the artist need to work together, but those things form the ultimate sound. I form the way the sound is produced. So no, I don’t do anything differently with anyone.

TVM: Is there a difference in how you coach for studio performance versus stage performance?

Marta Woodhull: Huge, yes. Only when you’re recording a cast album for opera or musical theatre, and I’ve recorded both, do you sing almost exactly how you did in the production because those are voice types that have to be sung and represent the material that way. When it comes to studio recording, you’re dealing with an entirely different set of acoustic properties. When you sing in the studio, you’re singing on a microphone that’s four to six inches away from your mouth. The signal that comes out of your mouth, it has not responded to the acoustic space; it is a direct signal. That signal is then altered by a compressor and a preamp and various things that allow the singer to sing freely and allow the singer to sing from soft to loud and have the print all read consistent. Dynamics are presented through contrasting tone colours.

When you’re singing live in a room, you’re always singing with a certain kind of tone colour that cuts through space and echoes correctly. When you’re singing at a microphone, when you use that same colour, you get an uninteresting performance. Unless it’s theatre or opera, everything has the same focus and intensity and it becomes monotonous as well as too loud. So what you do for studio recording is you use tone colour for contrast and what you end up with is this intensity and tone colour change. That’s why recording a voice is quite different than singing live on the stage. All great singers have really complex vocal chains when they sing live to balance soft and loud and to balance textures. So to train a singer for the studio, I do something very special. I record them before they go in the studio.

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studio, I do something very special. I record them before they go in the studio. I play it back for them and that’s what they can then bring back to the studio and they’re not distorting it by the fact that they hear themselves and they don’t recognize anything that they’re hearing. I record them before they go in the studio. I play it back for them and that’s what they can then bring back to the studio and they’re not distorting it by the fact that they hear themselves and they don’t recognize anything that they’re hearing.

TVM: I read on your web page about VOCAL GENIUS being released – can you please talk about that and explain what this initiative is?

Marta Woodhull: This initiative is a project that is so massive, it’s taking more time to get to the public than I thought it would be. I created a system of vocal coaching that is identical to what I give beginners, intermediate and advanced in all the styles of people that I work with, but I created it into a system that I hope will be fail-safe, that I could not be in the room with someone and if they do the exercises in the order that I give them, that they will create the change that that individual needs in their voice. [It’s] a systematized approach to building your voice on your own without a vocal coach in the room, but using all the extremely finely tuned details that I have used with great success for 20 years in vocal coaching artists who I have either rescued careers or have gone on to create really great careers.

TVM: Is there a projected date of release for VOCAL GENIUS? Marta Woodhull: I projected it three times. The first projection was six months before Napster got invented, and then it got stopped. And then I projected it again before the CD became obsolete. So let’s say summer 2014.

TVM: What is the most challenging part of your career, and how do you deal with it?

Marta Woodhull: The most challenging part of my career, as an artist, is self criticism. When you’re immersed in the industry like I am, where I have best friends who win Oscars and Tonys and Grammys, my own self criticism could be “where’s mine?” or “why didn’t this happen?” or “how come I’m not doing that?” I believe that the criticism comes from the fact that I have forgotten that my audience is not the industry. The industry is a series of business mechanisms by which things get to the audience. We’ll start to think that the people that are around us are our audience and we get into that thing where we compare what we have or haven’t accomplished and we get jealous about what we did or didn’t have come our way and allow other people to become gatekeepers for ourselves. Another thing that could get in my way is having a lot of ideas and not knowing what to launch first, or not having the help that is right for me to have. So what I’ve done instead is I’ve realized

that the only thing that gets between me and getting things done is the kinds of helpers that I need. That’s been a thing that got in my way - having a lot of interests and getting a little stuck on which one to follow and how to make them build together as a collective body of work. As a vocal coach, the most challenging part of my career has been that the record industry died. You all may think there’s one out there, but the way we know it to be doesn’t exist. We don’t get used in the studio like we used to. Artists don’t have the budget to have people like me to help them before they record a record. A lot of the work that’s done in the studio is done by machines and so the workload for people like me went away. So it has been a challenge to keep, or re-establish, my value with a different client base. So I work with actors a lot because actors are now looked upon to be singers, and when I started in the industry in the ‘80s, people were expected to never be both. [Now], not only are there people who are singers who are acting on movies and on TV, [but also] their companies cross-market and they want you to be able to be great at other things.

Another piece of advice - get in the unions. I’m a SAGAFTRA singer. I came into the unions as a singer in the ‘80s. As an opera singer, I was trained as an actor, so all I needed to do in Los Angeles is learn how to act on camera and figure out my type. It enabled me to stay busy, to learn a whole art form [of] what happens on the set of a TV show, [and] to learn a different way of acting. It’s going to enable my music videos to be much more authentic and it’s given me all kinds of career opportunities that I didn’t know were there. It’s enabled me to teach my actors from a very informed point of view.

TVM: From your experience in the music industry, what advice could you offer people looking to get where you are today?

Marta Woodhull: It’s an enormous question. The industry doesn’t look like anything like it did when I started. The business models are completely different. CD sales aren’t that that big. Touring is big again.

To create a place for themselves in an industry is to be incredibly clear with yourself about what you’re really magical at, and being incredibly consistent with following what you know to be good at and what you’re also getting good positive feedback about. It’s vital to work with really great people; perhaps they’re your peers, perhaps they don’t have big credits yet, but you know that they’re extremely good at what they do. It’s vital to not compare yourself to others, although know that there is a spectrum of where you may fall as a singer or as a writer. Know the lineage of the kind of music you like signing and discover ways that you can add to that.

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Vocal

Kylie Minogue Vocal Type: Soprano Vocal Range: 3 Octaves 2 notes and a semitone (D3- F#6) Whistle Register: No Vocal Pluses: An overall nasal quality is prevalent throughout much of Kylie Minogue’s catalogue and as such, most see it to be a trade-

The nasal twang, as mentioned above, is what most have come to associate with the singer [Can’t Get You Out Of My Head , Fever].

However, she can mitigate, or choose to forgo it entirely in her midrange; demonstrating its use being a stylistic choice rather than due to any limitations of the voice. To eliminate it, Kylie often lightens the voice, giving it a breathier and sweeter timbre [as heard in the verses of Come Into My World and All The Lovers]. As well being able to remove it, Kylie can include it to varying degrees: modifying it to being faintly present [Aphrodite], or making it so strong that the voice gains a metallic, almost computerised effect to it[Speakerphone]. This versatility and control allows for Kylie to create interesting and compelling harmonies, with the contrasting textures layering well upon one another.

Kylie’s technique means she can belt into the fifth octave without any issue, all whilst retaining the character of her voice. She has produced some surprisingly resonant notes in this part of the range [Here] that show that the voice has a power that isn’t often (if ever) illustrated by her choice of singles. Kylie can also vary the quality of the notes here depending on how she mixes her chest and head-voice [Here], which once again illustrates just how technically capable a singer she is.

The head-voice is strong and robust and can be operatic and dramatic [Sound Of Music Intro, Your Disco Needs You ] or soft and breezy [Confide In Me]. Her voice seems to have no problem switching to this register, or singing notes here, which further points to her placing in the soprano fach.

Vocal Negatives: The nasal tone is where most find fault in Kylie’s voice and though it is clear from a wider listen to her catalouge that this is more an artistic choice than anything else, it still remains that most of her biggest hits are recorded using this tone.

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Thanks for permission to reprint from

mark of the Australian Diva’s voice. It’s not present in her lower notes, due to her placement, and here the voice is rounded with a warm sound and a seductive ease [All The Lovers]. But this changes quickly as Kylie climbs the octaves.

DIVA DEVOTEE - www.divadevotee.com

Range

Ellie Goulding Vocal Type: Light Lyric Soprano Vocal Range: 3 Octaves 4 Notes and a semi-tone (A2-F#6) Whistle Register: No Vocal Pluses:Ellie Goulding owns an extremely distinctive and unique voice. She possesses a wide range of colours and tones within the

entirety of said range and quality of the voice has been described as wispy, airy and light in tone and timbre. Her ability to infuse notes with a trademark piercing vibrato, particularly in the upper registers, has also been commented upon, along with her vocal dexterity.

The lower extremities of the range (From A2 - C4) possess a worn, scratchy and almost tired feeling; however this area is used with an adept technique making the notes themselves sound healthy- if somewhat more dulled than the rest of the range. Her enunciation and general tone here displays a genuine, expressive and earthy feel. This area of the range sounds slightly disconnected and differing from the sound of the voice overall. Goulding’s mid-range retains some of the qualities of the lower range but sounds far more audible and cleaner in tone due to the low mid-range retaining a raspy quality. The lower and mid sound well connected despite the differing sounds of the lower and upper ranges. This area is easily accessible for Goulding who manages to traverse through the registers, right up to the top, ornamenting notes and using swift melisma in the process. The head voice is where Goulding comes into her own. In this area, she displays a more fulsome, piercing, and agile tone. The upper head voice belts sound well supported and incisive in nature yet retain a sweet and warm colouring without ever becoming overbearing or strained (See Dead in the Water). Goulding is also extremely adept at using her trademark coloratura within the upper soprano range, displaying a great sense of physical ability as well as musicality, managing to use ornamentation without gratuitous over singing. Overall, despite Goulding having only ever obtained lessons in breath control before becoming a professional singer she displays a strong sense of artistry with not only her vocal abilities but with the material for which she writes to fit her voice. This is all whilst seemingly sitting within a healthy technique for the majority of the time. Her voice is very light yet full and clean in tone placing her as a light lyric type due to her extensive versatility and flexibility.

Vocal Negatives: The nature of Goulding’s voice can be off-putting to some, as the timbre and colouring of her voice can be somewhat childlike and thus somewhat of an acquired taste. Also the voice can display a strong nasal quality which can permeate the entirety of the range at times. Criticism has also been noted for her live performances, which can be of an erratic and inconsistent quality compared to her studio work, resulting in Goulding being labelled a ‘studio’ artist. Vocal stamina has also been an issue during the live shows as she often runs out of breath and pushes notes out to create sound by means of incorrect technique.

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Vocal Ra

Lana Del Rey Vocal Type: Mezzo-Soprano Vocal Range: 3 Octaves and one note (B2-C6) Whistle Register: No Vocal Pluses: An emotive and expressive voice that uses Lana Del Rey’s ability to act more so than her ability to hit notes to convey

emotion. This is helped by her phrasing and brilliant intonation that maintains that the lyrics are always clear, audible and understandable.

Lana Del Rey’s lower range is dark and full with a slight smokiness and is often utilised with a languorous tone and a quiver to the voice.

The mid-range- hear Dark Paradise- is of medium weight, and has a sweetness and youthfulness that is not present in the lower extremes of the range. Her upper register is easily accessed and is mostly used in its warm and breathy timbre, contrasting with the lower end of her range. However, Lana Del Rey has demonstrated an ability to solidify the notes in her head voice, to create a more resonant toneBorn to Die. The voice has a clear and pure tone and an overarching character that makes the voice easily identifiable no mater what part of the range Lana Del Rey is singing in.

Vocal Negatives: Some have called Lana Del Rey’s lazy drawl “soulless” and “hollow”. Also, her live performances have been criticised for being pitchy and unpolished, resulting in accusations that she is unable to actually sing.

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ange

Patti LaBelle Vocal Type: Dramatic Soprano Vocal Range: 3 Octaves 3 notes and a semitone (Bb2-E6) Whistle Register: No Vocal Pluses: LaBelle is distinctly known for her explosive, powerful and incredibly emotive voice. Having started her long-standing career in vocal groups such as ‘Patti LaBelle and the Bluebells’ and ‘LaBelle’, this singer has built an excellent level of

musicality in regards to harmonizing. A skill which has served her well, even once a solo star, thanks to her fondness for duetting and collaborating with others. A notable pairings was that which occurred with Cyndi Lauper when they sang Time after Time. Here, LaBelle showcased her skill to fuse her own vocals with another’s in a way that was both complimentary and sympathetic to her duetting partner’s own voice. Considering the natural power that lies behind LaBelle’s instrument it shows the great skill, control and restraint she has as a singer. The lower extremities (Bb2 – E3) can sound somewhat less projected in comparison to the upper range, with this area tending to sound dry and distended. However due to her impeccable technique the notes sound healthy and well placed, if not entirely full. As the voice ascends towards the mid-range it quickly thickens connecting the voice to the mid-range. In the mid-range LaBelle’s voice becomes somewhat fuller, more dynamic and takes on a notable and distinctive sound. This part of the voice is entirely unique to LaBelle in that not only is the voice full and powerful enough to cut through an orchestra, but it is typically deeper and more fulsome when compared to other sopranos. However due to LaBelle’s excellent artistry she can alter the sound to best fit the material she is singing, for example on Oh People LaBelle displays a softer more nuanced edge to her voice in comparison to her Two Steps Away tribute where this section is more full, pronounced and direct. The head voice and upper range is where LaBelle displays her skills as

a vocal behemoth. This area, including the belting range, is incredibly powerful , full and elastic. Again displayed in her ‘Two Steps Away’ tribute, LaBelle shows an uncanny ability to flip straight up into high octave belts, all the whilst adopting an impressive technique that allows her to hold high notes with great ease. The rare ability to project a full-sounding belt, right up to the soprano C6 is an incredibly impressive feat, and LaBelle has consistently shown able to do so with apparent ease. This upper-register extends right up to E6, which is marked with a dramatic, rounded and potent sound.

Vocal Negatives: The nature of LaBelle’s powerful upper octave belts can be somewhat off putting to some, for example her performance of the Star-Spangled Banner displays her attacking style that can be a tad overbearing. Also the characteristics of the voice as a whole can be an acquired taste, particularly in the mid-range.

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VOCAL HEALTH

Suggestions For The Professional Vocalist How To Save Your Voice

By Jamie Koufman, M.D*

Avoid abusing your voice.

You should do nothing to your voice that results in hoarseness and/or throat pain.

Avoid yelling or screaming to the point of causing hoarseness.

Avoid singing so loudly that you develop hoarseness, and avoid singing in situations that are so noisy that you cannot hear yourself singing.

When you have a cold or laryngitis, do not try to talk or sing “over” the problem, since this can lead to vocal-fold damage. See your doctor.

Avoid misusing your voice.

Be careful when using “character voices” not to strain, and use especially good breath support.

Do not attempt to alter your “normal” speaking voice to create an effect; particularly avoid pitching your voice too low. (If you are using the lowest note of your pitch range for everyday conversation, this is too low).

Avoid taking on roles that you cannot do, that is, don’t attempt roles that are out of your range.

Avoid using long run-on sentences and a rapid speaking rate that stresses the vocal apparatus; good breath support for conversational speech is every bit as important as good breath support for singing. (If you don’t know what this means, you should consider taking voice lessons, and/or seeing a voice therapist).

Avoid overusing your voice.

In very noisy environments such as airplanes, keep conversation to a minimum.

Examine your “vocal schedule” carefully. Remember that all your vocal demands are not of equal importance. Avoid making a schedule that leaves no room for rest and recovery.

Use amplification when available and appropriate, especially for rehearsals.

Use “marking” techniques when appropriate, especially for rehearsals.

Monitor your work and home environments for possible problems.

Avoid, if possible, performing in smoky, dusty, and noisy environments.

Use humidification in your bedroom, especially during the winter.

Monitor your diet and life style.

Eat regularly, and eat a healthy diet.

Avoid fried and other fatty foods.

Avoid dehydration, since this adversely affects the vocal folds; drink plenty of water.

Avoid eating or drinking, particularly alcoholic beverages, within three hours of bedtime.

Minimize consumption of caffeine-containing foods and beverages.

Strictly avoid smoking or other tobacco consumption; if you already smoke, quit.

Exercise regularly; aerobic exercise is best.

Avoid unnecessary medications.

Don’t treat yourself.

Avoid drying medications such as antihistamines.

Avoid anesthetic throat sprays.

Consider taking voice lessons, even if you have never had a voice problem; voice lessons have been shown to increase vocal efficiency, and decrease the likelihood of developing voice problems.

If you need a physician, consult with other singers to find an otolaryngologist who has experience in treating vocalists.

The Vocalist Magazine 101

VOCAL HEALTH

Energy Foods for Performance: Nutritionist Sharon Zarabi Gives her Top 5 Diet Tips for Singers

There’s nothing worse than waking up on a beautiful sunny day, only to feel drained, fatigued, lethargic, and “hung over” from the night before – with show time only six hours away. Did you know that there are foods that can help boost your energy levels? Remember that food is fuel – so whatever you ingest will have a crucial role in your voice quality and moreover your emotions. There is so much misinformation out there that we often become victims of fad diets, fast weight loss and improper nutrition.

Here are my Top Tips: 1) Avoid long hours without eating.

Performing on an empty stomach will only leave you feeling dizzy, and light headed.

2) Check your iron levels.

Without iron, your body cannot make red blood cells which are essential for energy. Remember high school biology? The hemoglobin which makes up the iron in our blood helps carry oxygen through other cells in the body. Deprived of this oxygen, your need for energy will wilt. You feel sluggish and your brain gets fuzzy. Some people react with symptoms of cold hands. You can find iron in mostly meat products. But vegetarians don’t feel neglected you too can find iron in various sources such as spinach and beans. Taking vitamin c can also enhance the absorption of iron so be sure to eat your citrus fruits such as grapefruits, oranges, cantaloupe, broccoli, peppers and strawberries.

3) Hydration, hydration, hydration.

Although we all know we need to drink water we may not be drinking enough. So as just mentioned iron lev-

els need to be high in our bloodstream, In order for blood to flow properly it needs to float around with… ding ding..ding…water!! Without adequate amounts of water, blood will not reach the brain barrier and you will feel dizzy and lightheaded.

4) Increase your intake of B12.

B12 is a water soluble vitamin that helps metabolize energy in our system. You can take a supplement, but you can naturally find this vitamin in shellfish such as oysters, mussels, liver, caviar, and octopus. Not a fan of ocean dwellers? try incorporating eggs, dairy and nowadays many cereals have been fortified with b vitamins.

5) Get those complex carbs for more energy.

Avoid high sugar foods that will cause you to crash, but complex carbohydrates that are more filling and are loaded with vitamins. Think whole grains, oats, beans, sweet potatoes, colorful fruits and cruciferous veggies. Remember, if you want to feel like a million bucks, you have to avoid ordering from the 99 cent value menu.

Sharon Zarabi is a Registered Dietitian, Certified Dietitian Nutritionist (RD, CDN) and Certified Personal Fitness Trainer with the International Fitness Professional’s Association (IFPA) and Aerobics and Fitness Association of America (AFAA.) She is a contributor to The Singer’s Guide to Complete Health (Oxford University Press) and her work can be viewed at www.sharonzarabi.com Thanks for permission to reprint from VoiceCouncil Magazine - www.voicecouncil.com

103

Achieve Optimum Vocal Control

byJudy Rodman*

The secret to a full and powerful singing sound may be as close as your breath –says Judy Rodman I was recently called to go on the road with an artist who was having some serious career-threatening vocal problems.

He had trouble hitting his high note, had pitch issues and chronic vocal strain, his dynamic expression included wild volume swings, his vocal licks were forced.

His vocal sound was thin and strained, and listening to him felt like being yelled at.

After three days of tweaking his vocal technique for each of his acoustic and full band performances, all of his vocal problems disappeared and he told me – and his label president – that I had changed his life!

What changed? He gained vocal control.

So how do you get it?

Breath for the voice is not the same as breath for lifeThe most important factor for creating vocal control is the way you apply breath!

Breath for the voice is not the same as breath for life, which is just inhaling and exhaling.

For the voice, breath consists of three areas… “inhalation” and a balance of two opposing forces of exhalation which I will call “breath support” and “breath control”.

Inhalation:

Your posture matters here – try inhaling as you stand or sit flexibly tall, chin level, head balanced over your tailbone instead of forward.

This should cause the upper curve of your spine to be straighter, which will open the ribcage wide.

Your low abdominal wall should easily expand as you breathe in, allowing the diaphragm to flatten out and drop the floor on the lungs.

The inhale feels like breath falling into the pelvic

floor… (which is really into lower lungs) no gasping sensation needed!

You don’t need a huge inhale… just breath enough to accomplish the phrase you intend to sing.

Breath Support (that which moves air up and out): For this, contract those low stomach muscles (internal and external obliques, transverse abdominis,) muscles you just relaxed for the inhale.

This will support the dome of the diaphragm moving up and pressing air from the floor of the lungs – but keep the squeeze below the navel.

A good way to sense this is to squeeze your bottom (gluts) as you get tall.

You’ll notice your low belly muscles coming inwards, too, but your ribcage stays open. We’ll talk about why next:

Breath Control (that which holds air back):

To control your exhale, keep the bottom of your ribcage wide!

This keeps the diaphragm, which is connected at its edges to the bottom of the ribcage, stretched taut like a trampoline or drumhead.

You don’t need a huge inhale, just breath enough to accomplish the phrase you intend to singThe stretched diaphragm can then control itself and the air it allows upwards. In fact, the biggest saboteur of breath control is a dropped or tight ribcage!

I call the delicate and vital balance of breath support and control ‘pulling’ instead of ‘pushing’ air.

It is a compression source of air power, centered in the pelvic floor or saddle area – NOT in the lower rib area that comes from a wrong understanding of breathing from the diaphragm.

You back off the air pressure to the minimum needed to make the sound you want.

The sensation of pulling instead of pushing breath is, in my experience, the best way possible to have optimum vocal control.”

Judy Rodman is an award-winning vocal coach, session singer, recording artist, songwriter, producer. Creator of “Power, Path and Performance” vocal training, named “Best Vocal Coach” by NashvilleMusicPros.com, she trains singers and speakers nationally and internationally. Judy authored PPP vocal training courses, “Singing In The Studio”, “Vocal Production Workshop” Thanks for permission to reprint from VoiceCouncil Magazine - www.voicecouncil.com

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VOCAL HEALTH

Thanks for permission to reprint from VoiceCouncil Magazine - www.voicecouncil.com he ocalist agazine

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VOCAL HEALTH

Is Ginger Root Good for the Voice?

Tara Carson

The vocal cords in the larynx occasionally require treatment because irritation from viruses, bacteria and strain cause discomfort and vocal limitations. Resulting laryngitis or hoarseness interferes with verbal communication, which is important for the 25 to 35 percent of the American workforce whose profession requires them to speak frequently or sing. Ginger is a traditional remedy important for soothing disorders of the throat and supporting a speedy recovery.

Ginger

Ginger is a spice that has been significant as a healing agent for thousands of years in Asia. An important remedy in the modern alternative medicine movement, fresh ginger is often a physician’s recommendation; however, the active constituents, gingerols and zingerone, in dried ginger are also effective.

Fresh ginger generally has a more palatable application for tea- or food-based remedies.

Healing

Ginger traditionally reduces inflammation and destroys bacteria, two relevant healing actions for vocal cord irritation. It soothes the throat and may prevent irritation if a professional-voice-user drinks ginger tea regularly to maintain healthy tissue in the vocal cords. The University of Maryland Medical Center recommends steeping minced ginger in hot water for 10 minutes and consuming no more than 4 grams a day.

Vocal Cords

Because the vocal cords are folds of mucuslined skin, they require frequent hydration.

Drinking water throughout the day is necessary, and other beverages, such as natural ginger brew and iced and hot ginger tea, may heal and refresh. Add honey for an antimicrobial sweetener that also protects cells with antioxidants.

Symptoms

A serious health condition may cause persistent throat irritation, swelling, hoarseness and laryngitis. Post-nasal drip related to food allergies, a throat polyp or a cancerous tumor, particularly for frequent alcohol and tobacco users, may cause throat and voice disorders. Discuss diagnosis and treatments with a physician.

Based in Richmond, Va., Tara Carson has written articles for editorial and corporate online and print publications for more than 10 years. She has experience as an adjunct professor of nutrition at Northwest Christian University and holds a Bachelor of Science in journalism and nutrition from Virginia Commonwealth University.

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110

THE BIZ

CHARLES LAFORTUNE La Voix: The Voice of Quebec

La Voix is the French Canadian version of the worldwide TV phenomenon The Voice. The voice is the only criteria that the coaches and the public consider to choose Quebec’s biggest talent. Hosted by Charles Lafortune, with, among others, Eric Lapointe, Isabel Boulet, Dan Bigras and Marc Dupré as coaches, The Voice is divided in 4 distinct stages: The Blind Auditions, The Battles, The Live Performance and The Final.

By Andy Fidel Credit Photos: Charles Lafortune 111

TVM: You’re hosting The Voice in Quebec. Can you tell me a little bit about the show?

Charles LaFortune: The Voice in Quebec was a tsunami. It was really, really crazy. We did 60 per cent market shares and we did an average of 2.6 million every Sunday night in a population of 8 million people. It was a real success. People asked me: How did it feel? It felt like I was back on T.V. People started to recognize me. The compliment I got the most was people coming up to me and say: Usually I don’t watch those talent shows, but that one was really good! I would talk to them, and they knew everything about the show and all the contestants’ name.

They were really into it. When we were doing the pre-audition for the show, we were a little bit scared when we started: Are we at the end? Will we still have singers? This year is crazier! Because there are a lot of professional singers, like backup singers that don’t have an album contract so they are eligible to come.

TVM: So The Voice is open to anyone as long as they don’t have an album contract?

CL: The only rule at The Voice is that: You can come and play if you don’t have an album contract. It’s the only rule. No age— this year we’re doing it where you have to be fifteen to enter the competition.

TVM: Must be intimidating to compete against professionals.

CL: Yeah, but the thing is you’re doing a blind audition. It sort of evens everything up. It’s funny because, you have some kids that come and if you close your eyes— they have an old voice. That’s what is crazy about The Voice. It’s like the Tom Hanks movie: “Life was like a box of chocolates. “ The Voice is like a box of chocolates (laughs). You never know what you’re going to get.

TVM: What happens backstage? How do you prepare for a show?

CL: I like to be really, really close to the contestants because I’m the only one in the show that actually doesn’t have their lives and careers in my hands. I’m just there for them. One of the coaches said, I’m like the fifth coach. I’m the one who is on the show, but who also has a certain distance. I talk to the singers all the time. I’m not a singer myself, but I’m an actor.

We usually just go back to the basics: What are you singing about? Don’t forget we’re this on television.

We have 12 cameras here, so you don’t have to be over the top. Let the public come to you. Don’t be in their face that much… or sometimes they will ask me: Do you think I should go with something softer?

Maybe. You showed them that you have a big voice.

Maybe you should so something more intimate. Or, on the contrary, you’ve done a lot of intimate stuff and you also have a big voice inside of you. You should put it out there for the public to see. We’re always telling them to just enjoy the moment. Now we

have three new coaches this year. It’s a lot about telling them: You always have to be honest. You have to coach them. And make it about them and not about you. You have to really be into the singers. You have to have chills when you pick them. You have to have goose bumps. And be honest. When it’s not good, tell them. And when it is, tell them. Don’t try to be nice because it shows. Try to be honest and people will like that.

TVM: How would you describe the working relationship between you and the coaches?

CL: It’s like four shows are being done in parallel. Each coach is really different. Maybe someone will be a little bit more indie. Someone a little more country, a little bit more adult pop contemporary.

Maybe a rocker. For the show to work, they have to respect each other. You have to feel as if they are all singers and they know what they’re talking about.

And respect each other. They have to be competitive friends.

TVM: In your opinion, what differentiates The Voice with other singing competitions?

CL: First of all, we never put on the air someone that is not good. We never do. France calls it a ‘Diner de Cons’ where we just put someone bad, and we just laugh at them. That’s old T.V. We’re past that. Every contestant you pick, you have to think— that person could win. It’s about the singing. The judges push the buttons, but you at home and the people in the audience know who is singing. You know about their life. What their aspirations are. What their dreams are. But the only ones who are actually going to decide are the four coaches. That’s why you’re sitting in your living room and you’re yelling at your T.V.: Just push on the button! Push on the button! Push on the button! If we make the viewer feel for the contestant, than we did our job really well. You feel as though you know them. And then when the coaches argue to have them, that’s a cool part. That’s the reason why they are not called judges. They are called coaches because then more than one turns around, the singer has all the power in the world in his hands.

They have the power to pick. It not about: I know and you don’t. It’s about: I think you’re good and I would love to work with you. So that’s different. It’s also about being the best coach.

TVM: What will be new this year?

CL: The stealing part. Each coach will have two steals, a “duel” in French. When they sing against each other at the battles, the one that wasn’t picked will be eligible to be stolen by the other coaches. The coaches can only steal twice in all the game. You will have eight people that will come back in the game.

But it’s their choice. They don’t have to steal if they don’t want to. And if more than one coach pushes on the button, they still have to argue. It’s cool because if you have a coach that’s really convincing and he

“The only rule at The Voice is that: You can come and play if you don’t have an album contract. It’s the only rule. You have to be fifteen to enter the competition”. builds up a really strong team, eventually, he will have to eliminate people that are good. It keeps them in the game and it’s get emotional: Oh I’m alive. Boom, I’m dead! Oh I’m alive again. It’s really good for the show. pushes on the button, they still have to argue.

It’s cool because if you have a coach that’s really convincing and he builds up a really strong team, eventually, he will have to eliminate people that are good.

It keeps them in the game and it’s get emotional: Oh I’m alive. Boom, I’m dead! Oh I’m alive again. It’s really good for the show.

TVM: What advice would you give to an up-andcoming vocalist?

CL: The key advice, I would say, is to rehearse your song the most you can. When you get there, it’s like saying a prayer. You’re not thinking, you’re just singing. That’s really important. Not to put too much pressure on yourself. Help yourself— play a good track. When you’re nervous and you have nothing to hold on to, it’s pretty tough. Find something that’s more personal than the last single from Adele. Find something that’s different and that resembles you.

Don’t be afraid to think out of the box. If you can rap and sing— rap and sing! And there’s a different between singing loud and shouting. If you can sing loud, sing loud. But don’t shout.

TVM: What is the end prize this year?

CL: The end prize is a contract. They will have an album and they will do a tour. They will have a following and someone to really work with them. The production takes them and they will make it happen.

When they win, it’s a big ticket.

TVM: Who is your favourite TV personality? And Why? CL: Jimmy Fallon. I think he can do it all. He’s funny.

He can sing. He does impersonations. He can also be kind of serious. He’s young He think a little bit out of the box. He’s the next one, for sure.

TVM: When you’re not hosting, how do you spend

your free time?

CL: I have a production company, so that takes up a lot of my free time. I have an eleven-year-old that autistic, so we do a lot of therapy. I do a lot of charity work also. I’m really interested in how T.V. is going to go with the second screen. For a couple of years, we thought people were watching T.V. when they want.

But, we’re really seeing now that a lot of people like to watch it in real time so they can tweet and Facebook about it at the same time. You have the feeling of community. You’re along at home, but you’re actually watching it and saying your opinion about stuff in real time with real people. They want to be saying: I didn’t like this person! Are you crazy? This person is really good! I think T.V. is going to be more engaging. It’s not true that people are just going to be alone, watching T.V. by themselves.

TVM: What can we expect from you this season?

CL: I’ll change clothes (laughs). I’m picky about how I do things, so I watched all the season last year. There are a couple of things I know I’ll do differently. For example, when we do the battles. The contestants will be really, really nervous. Me, in the middle of them, I felt their nervousness (laughs). And if you cut up to me, I was not smiling at all. I was as nervous as the contestants themselves (laughs). So this year, I’ll be more “hosty”. Because of “Le Cercle”, I was always on T.V. for seven years. It’s funny, because it’s as if they know me. As if I’m part of their family. So when they come in, they act like a buddy. Grandmothers really like me (laughs). So I get the closeness really easily. I have to be close to them and make them feel like I’m with them. And I really am because I love the show. I’m their number one fan.

TVM: Thank you so much Charles! We’ll see you soon on T.V. CL: Thank you!

Q&A CYNTHIA BALLES Executive Director - CANADA

RAW: natural born artists is an independent arts organization, for artists, by artists. A community of creative individuals across the nation. RAW mission is to provide independent artists with the tools, resources and exposure to inspire and cultivate creativity. RAW welcome all genres of art including independent film, fashion, music, visual art, performing art, hairstylists, makeup artists and more, and encourage the creative success of the many visionaries and storytellers.

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By Anna Kroupina - Photos By Cynthia Ballesteros

TVM: Can you tell me a little bit about yourself?

Cynthia Ballesteros: I’m a musician myself, a vocalist. I performed for many, many years around Montreal. The jazz clubs and stuff like that for about ten years. Since then, it’s been about five years that I sing with the Montreal Jubilation Gospel Choir.

We’ve performed for Nelson Mandela, and for the Queen last year. We’ve performed with Oscar Peterson, and a lot of big names in Jazz. It’s kind of fun because I get to do big shows. I don’t need to market myself as a solo artist anymore, which was difficult and challenging in itself. That’s what lured me toward RAW. I’m not necessarily pursuing the big musical career anymore, but it’s fulfilling to work with artists. I still sing on the side with the choir.

What I liked about RAW was the fact that they do help struggling artists, and I myself have been, to give them the tools they need to grow in their industry. If RAW had been around when I was really going after my career, I would have jumped all over that opportunity. It really saves you a lot of money when you’re just starting out or you’re really pursuing it full-time.

TVM: What does your job typically consist of at RAW? CB: RAW is so new and it’s just launching in Canada.

There are not enough Canadians that know about it, so I have been soliciting a lot of artists. Generally the submissions just come in and I select which artists I’d like to see at the next showcase. So now I’m doing a lot of promotions, meeting with people, trying to get the word out there so that artists know that RAW is there for them, and helping them. I’ve been pretty much running around the city (laughs).

[I’ve been] leaving business cards everywhere, meeting with people, meeting with artists and going to see them perform. Once they’re booked for a showcase, I like to support them and bring people out to their shows. If they’re showing their artwork in coffee shops, I encourage people to go. I realized that I kind of became a link: a go-to person. Like, somebody contacted me recently and he’s putting together a book. He was looking for artists to submit some work he can use in his book. A few cases like that where people have come to me knowing that I have access to all these artists, and that I can link them. It’s a great network for artists in that way.

TVM: What does RAW do?

CB: We try to feature the underground, independent artists and give them that exposure that under

normal circumstances, they wouldn’t necessarily have. How many tattoo exhibitions have you been to, other than actually going to that tattoo parlour with the intentions of getting a tattoo?

TVM: You mentioned that you select artists. How does that process work?

CB: I solicit artists right now because I’m not getting the submissions that I need on-line. That’s how we usually select the artists. I receive a submission and I speak with them. Right now, I’m just going to a lot of shows and I’m Googling a lot. There’s been a lot of referrals and word-of-mouth. Generally if you go to a site, let’s say of a burlesque dancer, a lot of her friends will also be burlesque dancers (laughs).

There’s a lot of websites and just pools and pools of artists who are trying to showcase their work.

They’re really excited about having a live showcase for them to participate in.

TVM: In what way does RAW help artists?

CB: Once an artist signs on, let’s say to be showcased, for their first ten years with RAW we help them as much as we can through media, press releases, magazines, interviews, radio, and air-time, as well as the showcase. At the showcase, there are typically about a thousand people there, people in the industry. It’s a great place for agents to come and to seek artists for whatever projects they already have upcoming. At the showcase we interview [the artists], we film them, we take professional photos and we provide them with a promotional package they can use to promote themselves afterwards. Within the first year of being showcased, they get another complimentary showcase where they can choose to showcase in any city where RAW is. So a musician in Montreal can showcase themselves in, let’s say, New York or Washington. That artist just basically has to make their way out there. We don’t charge enough— (laughs) to be flying them around. We have about 50 thousand artists around the world.

For them it’s valuable. A fashion designer being able to showcase their designs in New York is huge. It’s a good network. Get outside of your own city and promote yourself and gain a lot of exposure. There are a lot of artists (laughs). It’s crazy. Unless you’re signed on with a big fashion house, or your art is being featured in a famous art gallery— it’s hard to get any recognition or exposure. That’s what these showcases do.

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CANDACE COREY Makeup Artist 127

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eauty expert Candace Corey has seen the world of makeup from both sides of the spectrum, as an artist as well as a promotional model, so she has a keen sense of not only how to apply makeup, but also what it’s like getting your makeup done.

It’s now been over 20 years that Candace has been working as a makeup artist, and her work has graced the pages of Rolling Stone, PEOPLE Magazine, The Oprah Magazine, and she has appeared as a makeup artist on the sets of E!, Access Hollywood, The Ellen Degeneres Show and countless others. Her hot roster of vocalists includes Carly Rae Jepsen, Jason Aldean and Lady Antebellum.

In addition to working as a makeup artist, Candace continues expanding her horizons with ambitions of writing a makeup how-to book.

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TVM: You’ve been in the makeup industry for over 20 years now. How did it all begin?

Candace Corey: I got started by accident.

I wanted to be in front of the camera. My aunt modeled and she did film. When my dad was in college, he costarred with William Shatner before he became famous.

So hearing stories from people who were in front of the camera and loving fashion, that’s what I wanted to do. Or, I wanted to be a fashion designer. I never really thought to be a makeup artist at all; it didn’t cross my mind. I did major in art in school and wanted to be around colour and do stuff with fashion and be a model, so it started there. It kind of happened by accident.

I was doing promotional modeling for a cosmetic company and they asked me to basically stop modeling and help people pick colors because people were kind of anxious about getting what they needed because it was a gift. From there, I really liked how people were excited about how they looked. They were like, “I didn’t know I could look this good”, “I didn’t know I could wear that color”, and “I feel so much better about myself.” That’s what made me want to be a makeup artist.

TVM: Who are some of the recording artists you’ve worked with?

C C: Carly Rae Jepsen, Jason Aldean, Lady Antebellum, Joey McIntyre from New Kids On The Block, Aaron Carter, Gene Simmons of KISS, Kirk Hammett [who is] the lead guitarist for Metallica, and Cherish. [Others are] Joan Osborne, Parmalee and LoCash Cowboys.

TVM: How is the look for a vocalist decided?

C C: Everything depends on what we’re doing. If it’s for TV, you have to make them look their best and complement their skin and make them look as fresh and vibrant as possible on camera. If it’s for an event, like if they’re performing, it depends on what outfit they’re doing. I sometimes have to adjust it. When I was on tour with Carly Rae, she would have one look at the beginning of the show and then she’d come off stage, change into something else and then perform with Justin Bieber and I had to change that look up. So it depended on what she was doing at the time. It depends on the media. On stage, it’s stronger. If it’s for TV, it’s softer. If it’s for signing autographs, the makeup should hold up and look great, but not too strong. It’s different, so it varies.

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TVM: You worked with Canada’s favorite Carly Rae Jepsen. How did that opportunity come about?

C C: My agent contacted me and asked if I knew a girl who sang “Call Me Maybe” and I was like, « Who doesn’t know the song “Call Me Maybe”?» It was when she first started touring [smaller venues] that I started working with her. She was just awesome and her band was so fantastic. I immediately felt like I was part of the family.

It just grew into other shows and then when she toured with Justin Bieber, I did some of the shows for that, and then another makeup artist took over after that.

TVM: Do you follow the trends when styling your clients?

C C: No. You have to follow what the client wants because a trend just depends on what’s hot and doesn’t necessarily work well with that client. If you know that the style on runway is a really heavy smokey eye, but an artist like Carly likes a really strong lip and cleaner eyes, then you can’t do the smokey eye on her [just because it’s trendy] and change who she is because how she looks is part of her signature.

TVM: Prior to meeting a client, what kind of preparation is involved? For example, you mentioned that Carly likes the stronger lip – is that something you discovered through research, or is that something you discuss with her?

C C: No, I don’t really discuss it. My job as a makeup artist is to be an expert going in; they don’t have time to give me a one-on-one. I have to do my homework and then see where they want to go. Everything else is skill. You have to make them look their best. The first time I worked with Carly, I expected it to be a certain way and she wanted something totally different. I expected her to have really clean eyes and really strong lip, but she was like, « Let’s do a smokier eye. » She always had a brighter lip, but

expected everything to be a certain way. You have to be prepared for anything to change and know what’s going to be best for them, so even if a client is like, “Oh, let’s do that”, if it’s something that’s not going to make them look their best, Your job is to be able to be all things to whoever is sitting in front of your chair and make them be their best. That’s one of the biggest things, no matter who it is, whether it’s a recording artist, actress, or model, anyone. Your job is to be all things to everyone and unfortunately, sometimes people don’t get that.

a bigger client, you might just have to stop what you’re doing and have a little bit of time and make a point to add something to your book. If you’re on a TV show, it’s a little harder, too. If you’re doing a series, you’re locked in for a period of time and you’re grabbing clips from the things that you shot. So it just depends on what type of media makeup artist you are, because each one does different things. It just depends.

TVM: You are a self-taught makeup artist. What resources did you use to use to learn about makeup?

C C: When I started, there wasn’t stuff on the internet and YouTube and all that. What you had to do was assist other [professionals]. I started the hard way. From knowing how to do makeup for modeling, I knew what makeup was supposed to be like for print and things like that [because] I grew up learning from my aunt, who did a lot of things for TV and print. Everything else was paying attention to everybody around you; you can learn from everyone, whether it’s an art director or a model who has been in the industry for years.

You pay attention to what you’re shooting and you study what paint you’re going to do. You have to see past the obvious, and that’s how you learn. You basically keep your eyes and ears open, and your mouth shut [laughs].

TVM: You’ve also done the makeup for some guys, like Jason Aldean, and Charles Kelley from Lady Antebellum. How much work is involved in doing the makeup for a guy?

C C: It depends on the person.

When I worked with Aaron Carter, he grew up with his brother being on stage when he was little, so he’s like, « I like makeup because I know that it polishes you. » Making sure that [guys] look their best varies on what’s going on with their skin.

If [an artist is] touring, sometimes they don’t get enough sleep, so you have to make him look like he’s awake. Also while traveling, you can get a breakout because you’re going from place to place. So it just depends on what’s going on with the person. If somebody has dry skin, they might have redness on their skin due to the dryness, and things like that. Each person is different; it just depends on the circumstance of what they’re going through at the time and what their skin is like. That will determine what you will do to their face.

TVM: In your opinion, how often should a makeup artist update their portfolio?

C C: It depends on the makeup artist. If they do a lot of film then of course, it’s not going to be updated every year because in film, you can be on set for months and months at a time, depending on what your contract is. You can adjust it maybe once every year and a half or something like that, depending on what it is. If you want

TVM: You also worked as a creative director. What does it mean to work as a creative director, and how is it different than working as a makeup artist?

C C: I’ve worked as a creative director and beauty director. Being a creative director, your job is to make sure that the creativity stays consistent through the publication.

A beauty director makes sure that the beauty looks are correct, you write stories, you discuss layout.

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TVM: Is it necessary for a makeup artist to be able to work on hair as well?

C C: It depends on [where you live]. If you’re in New York or L.A, where they only want a makeup artist for something, then you have that ability. If you’re in the Midwest, where they want both, then you have to do that. You have to adjust to your environment. It depends on who your clients are.

TVM: Is it absolutely necessary or advantageous for a makeup artist to be living out of NY or LA? C C: It can be advantageous, but not required to be successful. I literally travel everywhere. In a threeweek period, I can be in three different States, and sometimes out of the country. And actually, it’s happened. This past month, I was in Turks and Caicos, then from there I went to Vegas and from Vegas, I was in Chicago for one day and then, I had to do something for the Olympics in Detroit. I’m not in one area; I’m where the client needs me.

TVM: I was just about to ask how

much travel is involved in working as a makeup artist. From what you said, it seems like you choose where you want to go and there can be a lot of travel, or a little.

C C: It depends on how the artist travels, truthfully. Some people want to stay in their area and they travel accordingly to that. Other people, they want to be in different areas. Some people might do New York and L.A. only. Somebody else might want to do something different. I’m not that type of person; I like to do everything all the time.

TVM: What’s something that you wish you knew back when you were just starting out?

C C: To not be afraid to do what I want to do; that’s the only thing I would say. This is a very difficult business. I think that sometimes, our fears can hold us down from our abilities and you make it harder on yourself. I think that if I were to do anything [differently], I wish I would have started doing what I’m doing even earlier. Then, I would probably be doing even more things [today].

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TVM: You also give workshops – for a makeup artist aspiring to work with vocalists specifically, what kinds of things would they learn from your workshop?

C C: Understanding the artist, that’s the biggest thing. We’re creatures of habit. If you’ve ever been in a store and you asked somebody for a red dress, and then they bring you all these black dresses because that’s what they like, or it’s their favourite outfit, or they sold it a lot and they think they can sell it to you - it’s very frustrating. As a makeup artist, we’re in a service position. Your job is to be able to be all things to whoever is sitting in front of your chair and make them be their best. That’s one of the biggest things, no matter who it is, whether it’s a recording artist, actress, or model, anyone. Your job is to be all things to everyone and unfortunately, sometimes people don’t get that. recording artist, actress, or model, anyone. Your job is to be all things to everyone and unfortunately, sometimes people don’t get that.

TVM: What’s a ‘must-have’ or an ‘it look’ that you would recommend to our readers for this season?

C C: One of the things that’s trendy is a really bright red lip, or a strong lip. A lot of times, people are afraid of red, but there’s always some sort of red you can wear. If you’re afraid of a really strong lip color, then do a tinted balm, and you can still look up to date. Any age can do it, too. Whether you’re 20 or 50, you can do a strong red lip and look very classic and beautiful.

So that’s one of the trends that’s on the runway and everybody can wear.

TVM: Is there anything else you would like to accomplish in your career?

C C: Probably doing it for another 20 years [laughs].

I would like to be surprised to do more things, like maybe be a creative director for a brand, like how Pat McGrath is a creative director and does a lot of the looks for Cover Girl and all of the brands for P&G, and is the head makeup artist for fashion shows all over the world. There are a lot of things that I’d like to do.

I’d love to have my work on the cover of Vogue Magazine. I would like to do any of that. I never thought I would accomplish all the things that I have, but a lot of the things that I’ve accomplished was because I never thought about what I couldn’t do, I just stayed open to whatever was possible to do. It would be great if

Beyoncé said, « Hey, do my makeup for the Emmys », and stuff like that. I would like to work with all different types of artists. I have learned a lot and have come to appreciate the industry from all the different types of people that I’ve worked with, whether it’s someone like Aaron, who grew up in diapers on stage and who is really down to earth, or if it’s Carly, where everybody thinks that she’s a teenybopper and the girl-next-door who blows up to this huge thing, and I’m sitting there joking around with Justin Bieber [because they toured together] and I’m thinking, « Wow, I can’t believe I’m here ». No matter how long I’ve been in the industry, I’m amazed at opportunities and how cool the industry is, but at the same time I respect how hard the industry is because I see how difficult it is on their end, so it makes me want to make them look their best even more so that they don’t have to worry about that. So I’m really blessed and I really appreciate that aspect. At the same time, it really makes me want to say to people to stop looking for shortcuts; there are no shortcuts. You have to put in the footwork. With any business that’s worth success, it takes hard work. I have a family, so being able to do this and still enjoy my family life is the most important.

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THE LOOK BOOK Style File: The Sachika Twins

Firm believers that whatever the mind can conceive, it can achieve, the Sachika twins are the paradigm to never give up on your dreams because with hard work, determination, and perseverance, they can come true. Throughout their humble beginnings in Montreal they strived to own their own fashion company but they did not rely solely on their undeniable talent, they went to school, they interned at various places and they gained the experience required to achieve success through any medium. Identical twins, To-Tam and To-Nya design for some of the biggest names ranging from Nikki Minaj, Lil Kim to Detroit Lions wide receiver Devin Thomas. The dynamic duo have been staples of showcasing their designs at Fashion Weeks in LA and New York, they have been featured on E! Channel as well as covering Fashion Weekend 2013 in LA. To-Tam and To-Nya, took some time away from their buddying fashion empire to speak with The Vocalist.

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TVM: I have the pleasure of speaking with the dynamic duo, the Sachika twins. How are you ladies doing today?

To-Tam: We’re doing fantastic, thank-you. How are you doing?

TVM: I’m great. Thank-you so much for taking time out of your busy schedule to speak with The Vocalist.

To-Tam: Of course, absolutely, it’s our pleasure.

TVM: So, I’m just wondering how exactly you guys started out in fashion? What was the catalyst that sent you in that direction?

To-Nya: This is To-Nya speaking.

So when I was young, I always had this passion for fashion design. I remember I was 9 years old the first time I realized I wanted to be a world renowned fashion designer, travel the world and it was always very clear and apparent to me that it was the only thing that I was ever going to be and wanted to do in life. And so, as soon as I finished college I just took fashion design at International Academy of Design and as soon as I graduated I did an internship and right away I got a job. It was just something that was always very natural and in the end I knew that I would want to have my own company and later on my sister (To-Tam) was studying communications, she was doing journalism at University of Montreal and she needed to have a better sense of the business and so it was only natural for us to eventually just team up and be the team and she was ‘I’m gonna take care of the business and you continue, you can design and we’ll work together as a team.’

TVM: Wow, that’s amazing. Could you tell us a little about your internship experience?

To-Nya: Well interning gave me a leg up on the competition because any job I applied for after graduation, I already had experience. I already knew that once you graduate it’s not like you’re gonna get a job right away you know, you need experience. Now looking back, I

would suggest that to anyone, if you really love what you do and it (interning) was a great way for me to know if I really like it because you know, you’re looking at fashion and you’re like, you know what, I wanna be a designer you’re thinking about the glamorous side but it’s not glamorous at all when you think about it that’s only a small fraction of it.

TVM: Right.

To-Nya: It’s a lot of hard work, a lot of dedication, a lot of details and you have to be hands on. There’s a technical side of it that’s not so fun but while I was working at my internship I learned all of it. A lot of it just made me believe that this is really important because I love everything about it.

TVM: So, from what you’re saying, you would say that it is really important to learn every aspect of your dream, whatever it may be?

To-Nya: Yeah and mainly, I would say, you have to really walk the talk. A lot of people say I have dreams but dreams are not there to be explained; it’s to be lived, it’s to be experienced, it’s to be learned, you know. Through those experiences that’s when you grow and your really grow into your passion you gain confidence, you gain knowledge, you gain things that make you not just a dreamer but an achiever.

TVM: That’s awesome, well said.

Can you tell our audience a little bit about your fashion company?

To-Nya: Sachika is actually a Japanese name, it’s a company that my sister and I founded in 2009. This company is our baby, it’s like our child you know? The Sachika woman is a modern woman, strong, independent, she knows what she wants, and so we design for her.

It’s a ready to wear contemporary line which is a designer line that is more affordable than your typical designer but does not cut corners on quality.

TVM: It seems that you manage to design clothing for all shapes and

sizes, where does your inspiration come from?

To-Nya: I always think if you have the gift of designing and a vision, you want it to be beneficial for the world and not just for one portion of the population. When I design, I always think about how I can make my vision beneficial to everyone and make the greatest amount of people feel good about themselves.

TVM: Other than making clothes that are available to the masses, are there any artists or personalities that you’ve worked with?

To-Nya: Well, just to name a few, we’ve worked with Kat Deluna, CoCo, Toccara Jones, Omarion, and the Simmons sisters.

TVM: Are there any specific trends you follow when designing for an artist?

To-Nya: As a designer it is my job to come up with trends that will pop for everyone and a big thing for me is colour. Lines that make you feel tall and slender, I like making things that are complementary to every woman’s body.

To-Tam: I think we’ve been really blessed so far to be able to have worked with many people, but one of our biggest aspirations is to be able to dress as many people as possible. It is not just the affluent and the celebrities, I think that every woman deserves to be beautiful, to feel good and to look good, so we’d love Sachika to be available everywhere.

TVM: What would be a typical day as a fashion designer?

To-Nya: The typical day in our life is actually non-typical! (laughs).

Every day is different and since both of us wear a lot of sleeves, my sister does marketing, business, and she does pr (public relations) so she deals with numerous things at different levels. I’m creating, coordinating, the manufacturing, the production, um..the sourcing, and so we have so many tasks and we

make a lot of the decisions ourselves. That’s part of the beauty of what we do because we hate routine (laughs) and we get bored very easily with our personalities, so I believe that this company is always keeping us on our toes, it’s always very challenging, there’s always obstacles, but it keeps our attention focused.

TVM: That sounds crazy, in a good way! How would you describe your personal style?

To-Nya: Well for me, I would say my personal style is, um, hmm... well I like sophisticated, so I believe my style is sophisticated and simple. I like it when you look at a design your eyes know where to go, you know? Very often I see a lot of designers are very lavish and distracting because you don’t know where to look. My design aesthetic is very streamlined, it’s very simple, where the eyes are exactly where the focus is, sexy, and feminine.

TVM: What about To-Tam? To-Nya: Um, for To-Tam, her style is a little bit more contemporary, ahh and a little bit more conservative.

To-Tam: I wouldn’t say I’m conservative (laughs) I would say more simple, not conservative. But I would say my favourite fashion is sophisticated but also simple because I believe that beauty is simplicity.

TVM: Oh, okay.

To-Tam: And then, very feminine. I think a woman should be feminine and as women we have different bodies we have the opportunity to wear various options. Skirts and dresses, you know, those key items that make us feel more like women, I embrace those and I love to feel more feminine.

TVM: What are 5 tips that you could give any budding fashion designers or aspiring artists?

To-Tam: The first thing is to, it actually can apply to anything that you do in life, you have to have confidence in yourself. Art is something that is very personal and you should never compare yourself to others you should believe in yourself. You should have a strong vision that speaks to who you really are because your art is self expressive. Number one is to have confidence, number two is to have a plan because in life, if you don’t have a plan, you plan to fail.

The first thing towards execution, I would say, is to write your goals down, write a business plan, see where you wanna be short term, long term, three years, five years.

It’s important to work hard, I mean people have misconceptions about what fashion is really like, there’s a lot of work on a daily basis. It is glamorous and fun at times but it’s also hard work, late nights, and sometimes no sleep whatsoever. It is a very competitive business to make money but those who really believe in themselves, have a plan, and work hard are usually the ones who succeed. It is also important to consider how you are going to be different? A lot of people want to do fashion, how are you going to set yourself apart? It’s about being unique. And keep your head up, there may be a lot of no’s. You have to keep pushing forward and you have to be positive.

TVM: What about talent? Isn’t it enough to succeed?

To-Tam: Talent is something that God gives you, now, what you do with it, that’s a different story. A lot of people may not have as much talent but they are very determined and if they work very hard and persevere, they usually succeed. And on the other hand if you are very talented but you don’t do much about it, you usually don’t succeed. If you do have that gift and that talent, you do have to put in effort and look into it to make it

work.

TVM: Do you feel that style really matters for an artist? And is there any advice you can offer for up and coming artists?

To-Tam: Absolutely! I mean Lady GaGa for instance she’s iconic. I mean when you do your research, she’s actually a talented vocalist but how she marketed herself so well to be a well rounded artist because it’s not just her voice, it’s really a whole machine around her the style, the fashion, the hair, the makeup, the whole persona that she’s put on you know, somewhat acting, you know? She became Lady GaGa, so I think that the way you dress is really a representation usually, should be a representation of who you are inside and that’s a great way to express yourself. It’s worked remarkably for her because her music is very contemporary, very pop, but at the same time it is very edgy, and her style represents that, it’s something visual to go along with the music and I think that is great advice for any up and coming artists. I think it works really well for Lady Gaga because it sets her apart as a very complete artist that has her own style. So she stands as an example to aspiring artists.

TVM: Great advice. With your company, I noticed you just began a men’s fashion line, what other things can we expect from Sachika in the future?

To-Tam: You know, when it comes to Sachika, I mean, the sky is the limit. For us, we really envision to really do everything and when we say everything, we really mean everything. We started with the Sachika woman basically and it’s kind of like you now have a Barbie doll you.

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Pulling into Th

By Nana Credit Photo

J U L BLACK L he SoulY Station

a O. Yeboah os: Jarvis Church

CHURCH JARVIS

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n addition to being the frontman for the Juno Award winning group The Philosopher Kings, who have toured with the likes of The Fugees and Maxwell, Jarvis Church is a multitalented solo artist who is responsible for production for Nelly Furtado, Estero, K’naan, Stacie Orico, and the list goes on. His current album, The Soul Station Vol. 1: The Songs of Sam Cooke- A Tribute, includes the 10 piece band the Soul Station and pays tribute to the genius of Sam Cooke whilst introducing Jarvis’ own take on that era with two original songs. Church took some time out from preparing for a Toronto show to speak with The Vocalist.

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I would say is that mak a song somebody wan that you’re doing it in

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ke sure you sing nts to hear and... a sincere way.

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TVM: We have the pleasure of speaking with producer, singersongwriter, and can I say actor? I do recall seeing you on the TV show Da Kink in My Hair.

Jarvis: (laughs) Well yeah...I guess so.

TVM: Thanks for taking the time out of your busy schedule to speak with us.

Jarvis: You’re welcome, thanks for having me.

TVM: So Jarvis, at what age did you discover your passion for music?

Jarvis: Probably at 13. At 17 I was actually in a band.

TVM: The Philosopher Kings?

Jarvis: No, it was before that. We were called Sweatfish and the Architects of Rhythm...

TVM: Wow! (laughs) That’s a mouthful.

Jarvis: Ah, yeah. Actually Jay and Jon, the brothers from The Philosopher Kings, were in Sweatfish. We did covers.

TVM: What did you do covers of?

Jarvis: We covered a lot of Motown, She Drives Me Crazy by Fine Young Cannibals, Purple Rain by Prince, and Shout by The Isley Brothers.

TVM: Speaking of The Philosopher Kings, can we expect a new album anytime soon?

Jarvis: I actually recently met up with a member of the band in L.A and we were talking about getting the group together and working on new material.

TVM: is there anything specific that you do in terms of vocal health?

Are there certain types of food that you eat or stay away from?

Jarvis: Not really. I mean I pretty much eat what I want. Well, I don’t eat a big meal before a show but that’s about it. I also need a quiet place to get myself together.

TVM: So you just need to take a beat?

Jarvis: Yeah. I just need a place to collect my thoughts.

TVM: What would you say that you like about your voice?

Jarvis: Well my voice is really heavy. It has a deep rich tone to it that takes a lot of effort to move around, you know? To produce that sound the audience hears doesn’t come easy, it’s hard work and I think they appreciate the fact that it isn’t quite so effortless.

TVM: What advice would you give to any up and coming vocalists?

Jarvis: It’s not singing it’s the song. I would say that, you know, find a great song and make sure that what you’re doing is sincere because when it comes to singing it’s not just about people being impressed by how well you sing, it’s really more about them being touched by what you’re singing and sort of affected by what you’re saying. You want them to believe that you believe what you’re saying. So the first thing I would say is that make sure you sing a song somebody wants to hear and the second thing I would say is that you’re doing it in a sincere way.

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My voice is really heavy. It has a deep rich tone to it that takes a lot of effort to move around...

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TVM: Right, that’s very important. For a lot of singers nowadays, it seems that they don’t have enough heart.

Jarvis: Exactly. I think there is so much emphasis put on singing and singing competitions, TV shows about singing and everyone is all like singing, singing, singing. It’s not about singing, I mean the aspect of singing is not the impressive part; it’s the emotional part of the singing that is so necessary. If you can sing to a point that you’re not thinking about the singing anymore and you’re just thinking about the words that you’re singing, you’ll go a lot further than if you’re thinking about the notes or the runs and stuff like that.

TVM: I totally agree. Well do you think that there is any merit to these singing competitions/television shows?

Jarvis: Yeah there is, I mean if you get on a national show and everyone in the country sees you that’s a great thing. No doubt about that, I think, that it has merit, it just doesn’t have as much merit as people think. When that show’s over you’re still going to have to come up with a song that people want to hear and that’s the challenging part, not the singing part. The thing about those shows that people forget is that they are shows, they’re not really about music and artists and stuff they’re just TV shows. When the show’s done, the show’s done; nobody cares how good you were on the show after it’s over. Your family may but the audience doesn’t care about you as a singer, they care about how much they love the song that you were singing.

TVM: I guess that’s true, I never really thought of it that way. When I do watch those shows I am watching to hear songs I love and the contestant’s interpretation of that song.

Jarvis: Right.

TVM: For our readers who want to become professional artists, do you find those TV shows are like they’re ‘selling out’?

Jarvis: No, I don’t believe in that. Selling out is a very ridiculous term because, we’re all trying to sell out. If the definition of selling out is trying to get everyone to like you, well then that’s what everybody’s doing. I don’t care what you say everybody wants to be liked and I don’t believe for a second that people create music and they don’t care either way if people like it. I just find the whole concept of selling out to be a little bit misleading. I always try to remind young people that everyone likes to use the word artist and the truth is, yeah, you might be an artist but what we’re really trying to do is be entertainers. I mean how can an entertainer ‘sell out’ by entertaining their audience? That’s what your job is, that’s what everyone is trying to do. I mean if you call someone a sell out because you don’t like the new direction they are taking their music, well they’re just chang-

ing up what they’re doing maybe because they want to reach more people and that’s what you’re supposed to do as an entertainer.

TVM: Right, that’s very true. In terms of your own musical style, do you find that you have stayed, relatively, in the same pocket or have there been changes?

Jarvis: I always change throughout and even in The Philosopher Kings we always changed it up. Every album I’ve ever made has been very very different. I sound the same because I learned how to sing so the singing part of what I do doesn’t change just how I do it, so there’s a common thread through it all. My last album was a reggae/pop album and this album is a soul tribute album and my next one might be electronic, you know, Swedish House Mafia sent me a track and they want me to write on it, I’d love to do that. You know what I mean? It’s completely different styles of genres but the emotions that I’m conveying on different songs, that remains constant. I’m always trying to sell a song by making you believe that what I’m saying is true. That’s what my objective is when I approach a song, I convey these emotions and want to make you feel them the way that I feel them.

TVM: So are you gonna keep on rockin’ with the Soul Station?

Jarvis: Yeah, I mean, I’m not quite sure what I’m going to be doing next. It might be another soul station album or it could be like a Jarvis Church solo album with all original material. So I’m not sure exactly but I’m gonna keep the Soul Station thing going on. I just love performing soul music live and I love having a big band performing songs that everybody knows and loves. I also like writing songs that are in a genre like that. On this new album I wrote She Keeps Me Up All Night and Do It Better and they are sort of in the vein of the Sam Cooke songs. It’s like imagining what I would do if I were in that time.

TVM: That’s amazing. Might I make a suggestion?

Some Curtis Mayfield perhaps.

Jarvis: Yes, believe me, I’ve thought about that. He’s on the shortlist for sure. I’m a huge Curtis Mayfield fan.

TVM: Same here. I’m actually a big fan of a lot of that music because my dad used to listen to it. Or maybe you could do a Sammy Davis Jr. tribute, that would be really cool with an even bigger band.

Jarvis: Ohh, right. I never even thought of that, that one wasn’t on my radar.

TVM: You could totally do it justice.

Jarvis: Yeah, I’d need to do that justice.

TVM: Well thank-you so much for speaking with The Vocalist today, it was a pleasure.

Jarvis: Sure.

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I mean how can an entertainer ‘sell out’ by entertaining their audience? That’s what your job is, that’s what everyone is trying to do.

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DIANE

BIRCH

By Andy Fidel - Photos By Diane Birch

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DIANE BIRCH WANTS HER MUSIC TO RULE THE WORLD 170

TVM: Do you remember your first performance?

Diane Birch: I don’t remember my first performance (laughs). I think I blocked it out because I was so traumatized (laughs). It was probably when I was in the fifth grade and I sang the lead in my choir. It was the first time that I really realized I could sing. But then, I also rebelled against that voice. So many people were like: “Oh you’re a singer!” And I really wanted to be taken seriously as a piano player. I thought that if I were a singer, it would dilute the papacy of my piano abilities (laughs). I remember that being my first time on stage. It was kind of exciting.

TVM: When did you start playing the piano?

DB: I was living in Australia at the time. I just remember being in the car one day and asked my mom where we were going. She said: “You’re going to a piano lesson.” I really didn’t think much about it. So I started taking piano lessons. It was a method called Suzuki: an ear training method. It strongly developed your ear. Focused on listening to the music, and then playing it from memory as opposed to depending solely on reading the music. That’s how I started. I kept studying that way until I was about sixteen or seventeen. Then I stopped. I started doing my own thing. Improvising and composing. I decided that the classical structure was not for me.

TVM: When you first played by ear, was it natural or a lot of hard work?

DB: It wasn’t hard work at all. It was really, really natural. In fact, I was bad at practicing. I never practiced.

It took me a long time to actually realize that just because something comes easy, doesn’t mean you don’t have to work. It means that you have more potential.

You have to work a bit harder.

TVM: Do you consider yourself a planner or a spontaneous writer?

DB: I’ve always considered myself a spontaneous writer. It almost feels like anxiety or a kind of excitement.

Then I know that I have to sit down beside an instrument or I have to be in a room, and start composing.

The idea is right there and it’s just waiting for me to take it. That’s one way. Another way is I go into a room with somebody and I set out to write a song. It may or may not go. That’s something I was experimenting with on the last record. Collaborating with people and finding different ways of writing songs. But there’s always a certain level of spontaneity.

TVM: Which comes first, the melody or the lyrics?

DB: Usually the melody. The melody essentially dictates the sound that I want to hear. Those sounds bring words and those words become lines. Then I realize the meaning. It’s really interesting for me to be in

the zone because as I write— words just fall out. I don’t always know what I’m saying half of the time. Then I’ll go back and if I’m really in tune, it makes sense.

TVM: What inspired you to write?

DB: Wanting to entertain myself, mostly (laughs).

Wanting to hear something that hasn’t happened before. I can’t really write if I’m not inspired by the sound of my voice of the way I sing or the way I make music.

Even on the piano, I’m inspired to make something I haven’t heard before. As much as I love music, I end up not listening to that much music. It overwhelms me. When I want to hear something, I want to create it myself. One of the reasons I am inspired to write is that I want to listen to something. I want to hear a melody, then I sing it. A lot of music I make, nobody knows about it because it’s way more experimental and kind of different. I write pop songs because I want to channel my emotions into a song and I really want to touch people in a way they can also relate to it. That’s the joy of making music— it can actually affect somebody.

TVM: You grew up all over the world: Michigan, Zimbabwe, Australia etc. How do you think all these cultures have influenced your music?

DB: It’s not so much the cultures, but it’s more the travelling itself. I would make a lot of friends in different places, and then I would have to say goodbye to them at a certain time. This is before Facebook and Twitter. Essentially, I didn’t really stay in touch with people. I just said goodbye and moved on. I always felt like an outsider everywhere I went. I just wasn’t from there, I wasn’t rooted in that place. And because of that, I spent a lot of time on my own. I spent a lot of time developing ideas and thoughts. My imagination became pretty vivid when I was young (laughs). All of that helped me create a world I wanted to live in. Then the music only naturally started to form.

TVM: What is your fondest memory from Africa?

DB: I think my fondest memory was probably just growing up in so much nature. Being exposed to the earth and the elements. I didn’t watch T.V. really, I didn’t go to balls. I just played with my turtle. I’m a bookworm. I just spent a lot of time outside. Those are probably my fondest memories: growing up with animals and the earth.

TVM: In your own words, how would you describe your voice?

DB: My voice? I have no perspective of what I actually sound like (laughs). I guess my voice in imperfect. Let me think… my voice is emotional? Hopefully different.

Honest, personal. It has everything in it. It’s multi-dimensional.

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TVM: How would you describe your music?

DB: I think my music is the same. It’s always hard for me to put it into a word or definition because I think of myself knowing what I do musically. And the time I spend with music.

Even though this record says so many things about myself that I didn’t get to say on the first album, Bible Belt, I still feel like it’s only showing people another fraction of what I’m actually about. My music is multi-dimensional. There’s a lot of layers. Made of many, many ingredients. I think it’s flavourful (laughs).

And colourful. I’d say the same thing about my voice.

TVM: You took piano lessons. Did you also take vocal lessons?

DB: I haven’t spent a lot of time with vocals.

I’ve done some work with a singer and he gave me some really basic pointers. It has been really helpful. For the most part, I never took vocal training as a kid. Sometimes I find that the more training I have, the more I think about things. One thing I really value in my singing is the fact that I just do whatever comes into my mind. I don’t like to analyze it.

The second I start thinking about where I’m singing from, the tone or whatever— it starts to sound overly thought about. It’s not real.

TVM: What type of foods do you stay away from before a performance?

DB: I don’t eat a lot of spicy food or dairy.

TVM: What about drinks?

DB: I like to have a little bit of wine before a performance. But for the most part I drink tea with honey and lemon. That always helps my vocals. I drink a lot of water. I always need to have water on the stage.

TVM: Are you a white, rosé or red kind of person?

DB: (Laughs) Before performing I would say white wine or rosé. I like rosé a lot. I don’t really drink red wine on stage. I don’t like getting the red wine mouth before singing (laughs).

TVM: Do you do any vocal or breathing exercises before or after a performance?

DB: I try to do a little bit of meditating before I go on stage which involves breathing and I do vocal warm ups that I’ve been given. I usually just sing a lot in the back room. That’s what warms my voice up.

TVM: How would you say your album, Speak a Little Louder is different from Bible Belt?

DB: It’s very different in a lot of ways. There’s a lot more things happening stylistically that weren’t happening in the first album. All the song that I wrote for the first album were curated in a certain way. The ones that were picked all had a certain vibe and consistency that made it a genre-specific album. But I’m just not a genre-specific artist. I’m influenced by so many different things, so many different styles and so many different artists. This album really gives more tribute to the diversity of my influences which I didn’t get to do back in the first album. It has more information: creatively, stylistically and vocally. It shows a lot more about myself. It really feels like a loud statement.

TVM: Definitely agree. I even got a little bit of a disco feeling in this album.

DB: Disco? Yeah! Just a “dancier” element. I had to make some kind of transition. I When I started out making the record, I was really influenced by disco and just dance music in general where songwriting is still at the forefront of everything, but I love songs that you can dance to. It’s a great song if you can put it on the piano, on a guitar, and also put a beat under it. There’s definitely a disco influence (laughs).

TVM: There seems to be a lot of references to light and darkness. Can you tell us more about it?

DB: I was really pulling a lot from dualities and opposites. I always felt very conflicted, in a way, because I identify with things that are very dark, but I also have another side which is really powered by light. I have a fascination for both. I think it’s pretty classic to human nature to find yourself in between. Should I do this? Is it good or bad? There are always dualities. I always thought I had to pick one or the other. What am I going to be? One thing or the other? Part of this record is really to bring the fact that you can be all of that. You can be dark, you can be light. It doesn’t mean that you’re one more than the other. I have to embrace the pain and darkness and suffering and realize that it’s part of beauty. The ugliness is really necessary for the beauty.

The pain is really necessary for the joy. Yeah, you’re right (laughs). There’s a lot of those references in the songs. And there’s a lot of references to the in between which is essentially where I found myself a lot. You can be a lighthouse, but you can still be darkness. It’s really about embracing all of it.

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INTERVIEW INTERVIEW

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A lot of these songs are about parts of myself that are super vulnerable.

Sensitive and fragile. Parts that are very raw.

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TVM: Went through a few YouTube videos. You look so calm and confident during your performances.

DB: (Laughs) I definitely get pretty anxious before I perform. I get nervous. I used to suffer from terrible stage fright before I really started performing more. Just because I’m a perfectionist. I want everything to sound amazing. At the end of the day, making music is what I do.

It comes so naturally. I go blind— my mind goes blank and I do on autopilot. Thankfully, because music comes so naturally for me it’s always a comfort zone.

TVM: Do you have any tips on stage fright for up and coming vocalists?

DB: Just keep doing it. It was very helpful to realize that so many people that you think are calm and confident are actually freaking out.

There are so many incredible performers that have really bad stage fright. The key is to just keep doing it. Don’t let it stop you from doing what you want to because you can overcome it.

The more time you perform, the more you realize that you need a little bit of anxiety. You want that stage fright. It gives you energy.

TVM: Do you have any particular messages that you want your audience to take away from your performances?

DB: I really never want people to feel alone. A lot of these sing are about parts of myself that are super vulnerable. Sensitive and fragile. Parts that are very raw. If people can derive some kind of connection from it and identity their own troubles in my music, then that is for me really amazing.

TVM: What can we expect from you in the next five years?

DB: I really have no idea. At this point of my life, I don’t have a plan. I go with what feels right in the moment. If I keep doing what feels right in the present, then that will lead me wherever I have to go. Wherever the wind will take me, that’s where I will go (laughs).

TVM: Thank you Diane! Thanks for taking time off to speak with us.

DB: Thank you, my pleasure.

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The key is to just keep doing it...

The more time you perform, the more you realize that you need a little bit of anxiety. You want that stage fright. It gives you energy.

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LINDI

ORTEGA

By Anna Kroupina - Photos By Julie Moe 178

By LUISA DE ARMAS Credit Pictures: Nuela Charles

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INTERVIEW

er boots weren’t made for walking. No, Canadian country singer-songwriter Lindi Ortega’s signature red boots were made for prancing and performing on stage, just like Lindi herself. Her cowboy boots often match her cherry-red lipstick and are a bold pop of colour among the black veils of pillbox hats and black outfits. Tinges of Emmylou Harris, hints of Loretta Lynn and hues of her idol, Johnny Cash, make up the bouquet of Lindi’s classic country voice, morphing into a refreshing sound of old Nashville alight with heartbreaking belts and soft yodels that is uniquely hers. Throughout the course of her five albums, Lindi has opened for such outstanding acts like k.d. lang, Kevin Costner & Modern West, and UK band Keane. The Toronto native independently released two albums and two EPs before coming out with her first LP under Last Gang Records, Little Red Boots, in 2011. Her latest album “Tin Star” was nominated for a 2014 Juno Award in the category of Roots & Traditional Album of the Year, making this her third Juno nomination. Tin Star also placed #2 in Entertainment Weekly’s Top 10 Best Country Albums of 2013.

Apart from boasting tracks about love and heartbreak, like “Something for You”, a recurring theme of the album orbits around the struggles faced by artists and persevering through them, like the title track “Tin Star”. After almost a decade of elbow grease and a bit of superpowers, Lindi’s presence in Nashville is undeniable, adding a refreshing, sassy name to outlaw country.

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When I was younger, I could get away with partying after shows and doing those bad things like drinking and smoking, but with the schedule I have now, it’s impossible.

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TVM: How did you begin dustry?

Lindi Ortega: I just made was about 18 [years old] bunch of shows in Toront ing coffee houses, open s and stuff like that. That’s k ed, and then I built it slo a couple of independen Nothing was really happe some songs on MySpace er named Ron Lopata he contacted me and asked together with him to wo together. Basically, he wa changed my life as far as is concerned. He helped manager, my label and m whole team started buildi ing with him and working

TVM: Your mother is of your father is of Mexican your Irish or Mexican he your music and you as a L.O: It’s more me as a pe enced] than it is me m with the Mexican side of a lot of that imagery play part of my music and ma mically in some sense as esthetically. I’ve written s Kahlo and I’m really inter Muertos, Day of the Dead

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n in the music in-

e a decision when I ] to start playing a to. I started off dostages, songwriting kind of how I startowly and released nt records myself. ening until I put out e and this produceard my songs. He d if I wanted to get ork on some music as the person who the music industry connect me to my my agent, and the ing from my meetg with him.

f Irish decent and n decent. How have eritages influenced person? erson [that is influmusically, especially f things. I find that ys into the esthetic aybe a little rhythwell, but it’s more songs about Frida rested in Dia de los d [in English], which

is a festival in Mexico that celebrates the dead where people go to the graves of their loved ones and they have a big celebration.

I think that has brought me into curiosity with the dead and skeletons and stuff. I kind of incorporate death and dying into some of my songs in a bit of a lighthearted way, and that speaks to the Dia de los Muertos way of celebrating.

TVM: Johnny Cash is a huge inspiration and influence for you – who else influences your music?

L.O: Oh gosh, it comes from everywhere.

Johnny Cash is the main one, but I love Hank Williams, Leonard Cohen, Neil Young, Tom Petty. I love all the old blues guys, Robert Johnson, Lightnin Hopkins. I also love soul.

I’m into Solomon Burke and Sam Cooke, Aretha Franklin, Janis Joplin. It’s kind of run of the gamut, but I guess the common thread is that it’s all classic music. It’s all stuff that comes before or during the 70s, and not really anything that precedes that.

TVM: Do you work with a vocal coach?

L.O: No, I haven’t really, but I’m definitely considering it. My schedule is just so crazy. I belt and I noticed that it’s hard on the voice to sing as strongly as I do every night. I’m not against it and it’s definitely something I want to start doing.

TVM: You’re touring right now, so that’s

literally, almost every night, performance after performance after performance, and travel in between. How do you stay healthy?

L.O: It’s very difficult. It involves a lot of discipline. When I was younger, I could get away with partying after shows and doing those bad things like drinking and smoking, but with the schedule I have now, it’s impossible. I guess some people are able to do it, but I’m not one of those people. I have to be extremely disciplined. I have to drink a lot of water and I have to make sure I get enough rest in. Those are, I guess, the two most important things.

TVM: How do you keep your voice healthy?

L.O: I do warmups that others singers I’ve met along the way have told me. They gave me some tips and things like that, so I do a bit of those tips to help before and after shows.

I bought a steamer because hydration of the vocal chords is really important, and I drink pineapple juice. I read that in the days of tuberculosis, people drank pineapple juice to help quell the symptoms. Phlegm is something that comes up that can perturb the voice and make it difficult to sing, so pineapple juice breaks through it. I make sure to take lots of vitamins. I take anti-inflammatory vitamins like turmeric and omega-3s as much as I can. I take honey-loquat, which is this Chinese medicinal [throat soother] and all the different vocal sprays.

Sean: You know, what’s interesting about my voice, is that I was told many times that I couldn’t sing, or people said I had a weird voice and tone, your voice doesn’t match your body, etc. It encouraged me to become very focused at coming up with a unique style.

I kind of taught myself how to sing with the influence of my mother, who was a very religious woman who grew up in the church; I grew up overseas but I was just a great fan of music, practically from birth. Being from Atlanta and growing up abroad diversified my vocal influences. I listened to everything from The Beatles, Gloria Estefan, New Edition, George Michael, etc who were apart of learning how to truly appreciate music from different facets of life. It gave me the opportunity to study different genres, mix different styles, and be creative. Now, I’m able to use my voice in a variety of ways. I can hold my own on a stage, in the video, in the studio, in the pop and urban world; you know what I’m sayin’? I’m very appreciative of having these experiences that I have had, which have made me a lot stronger and a triple threat.

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My whole career was filled with struggles. It took me a really long time to meet Ron Lopata...

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TVM: You have such an original and recognizable appearance. Tell me about you fashion sense and your look.

L.O: It’s inspired by Johnny Cash and Wonder Woman. That’s kind of two weird things put together. I love Johnny Cash and he was The Man in Black, so that’s inspired me to wear black and that famous quote from the movie [Walk the Line] when he’s all dressed in black and he’s told that he looks like he’s going to a funeral and he says, “Well, maybe I am.” I guess that stuck with me, so I wanted to pay tribute to him, kind of like I was going to the same funeral, and then there’s my fascination with Dia de los Muertos, and Wonder Woman. All those female superheros, growing up, they had this thing for red boots and I kind of adopted that because I felt it would help to have a little bit of superpowers when on stage.

TVM: What are some of the major struggles you’ve faced as an artist?

L.O: My whole career was filled with struggles. It took me a really long time to meet Ron Lopata, so before then, I was really low key in Toronto. I had a few different managers and people that tried to take advantage of me and people that tried to take money from me. I had a bad experience with a manager who made me feel so bad about being a singer-songwriter that I decided to do something completely opposite of that and I joined a ska punk band for a year. I kind of really felt like I had to get away from it for a while. Of course, I eventually ended up going back to being a singer-songwriter, but there were challenges in that, as well. The sheer fact is that it’s taken such a long, long time, so to see any sort of payoff has been many, many years in the making.

TVM: While you stay true to country’s roots of singing about love and heartbreak, you also have other songs that have a political or controversial message.

The one that really strikes me is Heaven Has No Vacancy from the Cigarettes and Truckstops album about the animosity with which the Catholic Church treats suicide. What fuelled the message behind that song?

L.O: That song is a statement on my feeling that that was sort of a ridiculous concept with regards to suicide. I was very moved by the film “The Bridge” and I got insight from that documentary into people that suffer from these afflictions. They’re kind of trapped within their own lives and their only release is to commit suicide and it’s very, very sad. The idea that if there was a god and he would turn people away... I was raised catholic. I’m not catholic anymore, but I thought about those things and they resonated in my mind. I guess I just wanted to talk about me being at odds with things like that. There’s so many things in religion that I’m at odds with, and that’s one of them.

I feel the same way about the nonacceptance of homosexuals in certain religions, I just haven’t written a song about it, but [“Heaven Has No Vacancy”] was

one of my first forays into speaking of those things.

TVM: You’re an amazing storyteller and each of your songs has a character and a storyline. Where do you find inspiration for your music?

L.O: My life is mostly my inspiration. Every once in a while, I’ll take the liberty to do a work of fiction and explore. That’s fun, too. I’d like to do more of that, actually, so I might write more fictional songs in the future. Sometimes, when I co-write with people, I draw from their experiences, but the only way I could do that is if I had a similar experience so I could inject a part of myself into that song as well. That’s happened a few times, too. A big part of what I write comes from what I experience.

TVM: How did you develop confidence and did you always have it?

L.O: One of my earliest memories of me of being drawn to the stage was that the very first time I performed on stage, I had this strange thing happen to me. I was a very shy girl at school. I was kind of introverted, didn’t have a lot of friends, was sort of antisocial and had a lot of complexes and lack of confidence.

When I got on stage, I had this feeling of freedom and not letting my lack of confidence get to me. There was something about that that drew me back to the stage. I still feel like I’m more of a stronger person on stage sometimes than in real life, for some reason. I can’t really explain it or articulate why, it’s just something about being there. Maybe it’s because it’s the first time I realized that it’s something I could do. I didn’t really think I was good at anything for a long time, so I realized that there was something I could do and I felt really good about that and all the inhibitions kind of fell to the wayside, so I kind of relish being on stage in a way, for that reason.

TVM: Is there a song off Tin Star that really speaks to you?

L.O: I think they all do. They’re about my life, so they all speak to me.

TVM: What’s something you know now that you wish you knew 10 years ago when you were first starting out?

L.O: I wish – I don’t know. I wanted to say that I wish I knew how much work it was, but that might have deterred me from continuing on in my path. I think I just had to learn everything I learned in the time that I learned it. You can’t have any regrets about that stuff.

I think it all just had to unfold and I just had to learn it.

TVM: What do you hope to accomplish in the next 5, 10 years?

L.O: I just want to be better. I want to be a better musician, a better performer. I want to learn everything I can. I hope in 10 years, I’m much better than I am now.

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VITA CHAMBER

RS

By Nana O. Yeboah Credit Photos: Vita Chambers 189

V

ita Chambers is a Canadian born Bajan female vocalist who is taking the p o p /e l e c t r o p o p world by storm. A talented singer/ songwriter who just so happens to be a Juno nominee for her infectious hit Fix You as Best Dance Record.

I had the pleasure of speaking with Miss Chambers and was left with the impression that this lady is going the distance. She possesses eloquence far beyond her years and it became apparent that she takes her craft seriously. Far too often the music industry is riddled with artists without heart or passion and Vita has both.

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I write all of my music and I’m very involved like, when it comes to my videos I direct them now...

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INTERVIEW

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On my 16th birthday I got a phone call saying that Universal Motown wanted to sign me.

“

TVM: Today I’m speaking with Juno nominated recording artist Vita Chambers. How are you today Vita?

Vita Chambers: I’m great, how are you?

TVM: I’m fine, thanks for asking. In preparing for this interview, I read that it all kind of kicked off with Evan Rogers signing you...for those who don’t know, he discovered some girl named, Rihanna, for any of our readers who aren’t familiar with you can you please introduce yourself and really how it all began for you at such a young age?

Vita Chambers: Yeah, well I was born in Vancouver but I grew up in Barbados and when I was 15 I wrote 4 songs with a friend of mine, put them up on MySpace and weeks later I got a message from my production company and they flew down to Barbados and signed me. I was flown to New York and recorded every weekend I had off or vacation times from school.

Then on my 16th birthday I got a phone call saying that Universal Motown wanted to sign me.

TVM: Wow that sounds like an overnight Cinderellatype story...would you agree with that? Was your success overnight or was it more of a lengthy process?

Vita Chambers: Well I didn’t really consider myself a success back then; I mean it was more the start of who I am becoming now. It’s definitely been a growth...like a 4 year overnight (laughs) success maybe but I think an overnight success, never really takes overnight.

TVM: Who were some of your vocal influences growing up?

Vita Chambers: Oh my God....lemme think....Freddie Mercury was a big one, Celine Dion was huge; in my living room at 8 yrs old trying to compete with her (laughs), um also Whitney Houston, Tina Turner, Luther Vandross...basically a lot of 80s powerhouse vocalists.

TVM: Awesome...you have great taste in music by the way...

Vita Chambers: (Laughs), thank you!

TVM: (Laughs) you’re welcome! How would you describe your voice?

Vita Chambers: Umm, my voice is unpredictable. I think just growing up, learning my voice and what I have been blessed with has been my biggest challenge; I never really knew what was going to come out of my mouth and I was just petrified. The first time I went and performed in front of people, I think

I sang O Holy Night at my school, I was scared that I was even singing in front of people and there was a high note and I just kind of went for it and it was so loud in comparison to how I was singing the rest of the song. I wasn’t even sure that I could hit it but I did it.

TVM: What quality in your voice do you find distinguishes you from your fellow artists?

Vita Chambers: Ahh...perhaps my tone, I’ve heard that from people.

TVM: Do you have a regular vocal routine? Do you go through vocal exercises daily? Why or why not?

Vita Chambers: Before I go out and sing, I have a vocal routine that I like to switch up, just to keep myself interested because I get bored easily. I’m very open to learning new things about the voice, I find there are so many different ways you can approach singing. I’ve had a variety of vocal training; I started off with Opera and then I went into Jazz and then theatre training. There’s so many techniques and I’ve just discovered some of these different pockets of my voice that I never even thought existed, so I think knowledge is power when it comes to vocal training; just go and explore.

TVM: It’s interesting that you have such a wide range of vocal training.

Vita Chambers: Yeah, everything kind of helped each other; I grew from each one and I think the biggest thing I can say about vocal training is that it’s all about you and what works for you. Just because I do it one way doesn’t mean you have to. You take from everyone what works for you and if it makes singing easier for you that’s how you should do it.

TVM: You were saying that you do your vocal exercises before you perform, do you do them any other time? Why or why not in terms of a daily regiment?

Vita Chambers: I don’t do it every day, although, I probably should. I sing a lot in the car, I’m always in the car but not sure if you’re supposed to do that...this is where moulding your own vocal technique comes to you and I practice my placement and my approaches to doing songs in the car. I find that it really helps me to try and figure out lots of different things despite being without my vocal coach. For some reason I feel inspired to do my vocal training at early hours of the morning...like at 3 in the morning! My neighbours hate it and my parents don’t like it very much because it’s incredibly obnoxious. listening to you.

“

My voice is unpredictable. I think just growing up, learning my voice... has been my biggest challenge...

“

TVM: Do you believe that there is a connection between an active and lifestyle and singing great?

Vita Chambers: Actually, I think that singing should be part of the Olympics because as much as it is something you do standing in one spot, it’s so physically and mentally demanding; it’s hard to explain to people who haven’t gone through it. With singing you have to learn breathing techniques and you build up so many abdominal muscles, increase your lung capacity and, I think, one of the biggest things about vocals is mental. You have to come up with so many visuals in order to get a concept; my vocal coach is always coming up with all these different visuals in order to help me to sing. If you’re not in the mood to sing, your body reacts to how you feel, you have to put your mind into a space where you’re able to sing... it’s important to listen to your body.

TVM: You talk a lot about training and muscles, how do you do to stay in such great physical condition?

Vita Chambers: Well I’m not always in such good shape but I think drinking a lot of water is so important; you need to keep hydrated. It’s one of the easiest things you can control and yet one of the most forgetful things you can do. Eating well is also big; dairy is definitely something to avoid right before you sing as well as sugar because it also creates a lot of mucus, exercise is really good because, like I said, your body can affect your singing. Just keep a good mind frame/find your Zen; meditating is so good because mentality also affects you singing.

TVM: Okay... which do you love more, performing live or recording in the studio?

Vita Chambers: Both are so different because, for me, I find recording is my time with the song so I’m able to really feel it, understand it, play with it, and feel it out.

When it comes to performing it I already know what my sound looks like and now I’m seeing and hearing other people’s perspective on my song and seeing how they react to it. You also get to share it which is an amazing experience, I can’t choose because they are two different experiences.

TVM: That’s a very political answer...

Vita Chambers: (laughs) TVM: (laughs) What is your ultimate goal when you perform?

Vita Chambers: To be able to reach people...I want to make others feel what I feel when I hear a song that I

love. I want to be able to convince people...it’s a scary time, I just released my new single, What If and Fix You (last single) did so well and now it’s like I’m going back into a time, performing, that people don’t know this song and it’s like you’re in the in between phase.

Some people love it and others are on the fence and you’re like, I’m gonna get you, I see you in the back... you wanna grab everyone. My main goal is to make people feel something.

TVM: In today’s competitive industry, what are three tips or advice you would offer any aspiring artists to “make it”?

Vita Chambers: Don’t do it. No, I’m kidding. This industry and this world is so testing and I think you have to be true to yourself. People want honesty and things they can believe and if you can’t convince yourself, you can’t expect to convince others. Another tip is to be the best you can be and if you think that music is what you’re supposed to do in your gut, then don’t take no for an answer. Trust your instincts and don’t let anyone else tell you what you should do.

TVM: Where does Ms Chambers expect to be in the future?

Vita Chambers: Hopefully headlining my own huge tour. Amazing singles doing well...we’ll see what happens. I hope to be incredibly successful in what I do but all we can do is hope and work hard. Right now in my life, I think I’m in the best place I’ve ever been.

I’m in control of what I’m doing; I write all of my own music and I’m very involved like, when it comes to my videos I direct them now. Whatever you see and hear, you’re actually getting a piece of me and a little bit of who I am; whenever I sing it’s about an experience that I’ve gone through.

TVM: That’s great... what are some projects do you have coming up? What should we look out for?

Vita Chambers: Oh my gosh, well my new single, (What If ) it’s very different from my last single and its video, which will be out shortly, I actually co-directed.

We’re going to be going on tour in 2014, we’re planning that now.

TVM: Thank you so much for your time Vita. listening to you.

Aww good, it was a nice interview. Thank you and have a good night!

Le Cagibi

A premiere, intimate venue for music and art, this licensed Plateau district establishment also serves as a cozy bistro and cafe, serving coffee, sweet treats, breakfast, light lunch and late-night snacks.

Local, regional and national music acts are showcased.

Address: 5490 St. Laurent.

Telephone: 1 514 509-1199

Pub Saint-Ciboire

Located on rue Saint-Denis in an area full of popular French bars and clubs, Pub Saint-Ciboire is popular among fans of Quebecbrewed beers as it offers 12 local lagers and ales on tap including Blanche de Chambly, Belle Gueule and Boreale. For a very Quebec experience, visitors can try out a tasty Quebec brews while watching one of the local bands that play at the pub on a regular basis.

Address: 1693, rue Saint-Denis Telephone: 1 514 843-6360

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House of Jazz

A landmark since 1968, this live music club brings the best of emerging regional artists and well-known international jazz performers to downtown Montreal.

Louisiana-style culinary offerings are featured, in addition to extensive cocktail selections and terrace dining.

Address: 2060 Aylmer St. Telephone: 1 514 842-8656

Metropolis

This concert venue in downtown Montreal has a capacity of 2300 people and often gets packed to the rafters during performances by artists such as Beck, David Bowie, Ben Harper and Jean Leloup. When not being used for a show, the venue transforms into a nightclub.

Address: 59, rue Sainte-Catherine Est Telephone: 1 514 844-3500

Club Soda

Open in the early 80s, Club Soda has since become one of Montreal’s busiest and most popular venues.

Aiming to give new artists and producers of all performance genres an audience, the club’s stage has been graced by many now-famous performers such as the Tragically Hip, Jann Arden, Soundgarden, Chris Isaak, Oasis and Canadian comedy troupe Kids in the Hall.

Address: 1225, boulevard Saint-Laurent Telephone: 1 514 286-1010

Club Lambi

Filled with local in-the-know music fans, Club Lambi is one of the venues for the Pop Montreal indie music festival. The club boasts a friendly atmosphere and hosts up-and-coming and on-the-verge bands and artists.

Address: 4465, boulevard Saint-Laurent Telephone: 1 514 583-5098

Cafe thEATre

Live music, art exhibitions, weekend brunches and comprehensive cafe and bar services are hallmarks of this downtown bistro, which features menus of comfort foods for breakfast, lunch and dinner.

Address: 1832 Ste-Catherine E. Telephone: 1 514 564-4440

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LIVE VENUE

La Casa del Popolo

La Casa del Popolo is not only a fair trade cafe offering light snacks. It is also a bar, a live music venue and a gallery.

Address: 4848, boulevard Saint-Laurent Telephone: 1 514 284-3804

Modavie

Nestled in the historic quarter and offering live jazz performances seven-nights-a-week, this bar and restaurant features a menu of Mediterranean-inspired selections, extensive cocktail offerings and large-group menu options.

Address: 1 St. Paul St. West.

Telephone: 1 514 287-9582

Theatre Plaza

local rock acts as well as bands from across Canada and the US. The club also hosts DJ nights when the music played includes hardcore, punk, rock, alternative and old school depending on the night.

Address: 2031, rue Saint-Denis Telephone: 1 514 844-1301

La Tulipe

Since the 1920s Theatre Plaza has worn many hats. From a bowling alley to an illegal Asian karaoke bar. Today it boasts a newly refurbished look and hosts and hosts some of the hottest bands around.

Address: 6505 rue. St-Hubert Telephone: 1 514 278-6419

Located in the Dominion Theatre, a heritage building constructed in 1913, La Tulipe is a former movie theatre that is now used as a concert venue. Visitors can expect to see rock shows, French-speaking singers, jazz concerts and musical reviews.

Address: 4530 avenue Papineau Telephone: 1 514 529-5000

La Sala Rossa

Upstairs Jazz Bar & Grill

Run by the same people as Casa del Popolo (and located right across the street), La Sala Rossa is a restaurant serving Spanish tapas and paella as well as a weekend brunch. The club portion puts on a range of entertainment including cabarets, breakdance competitions, live bands and more. The venue often hosts some of the world’s most popular indie rock bands.

Address: 4848 boulevard SaintLaurent Telephone: 1 514 284-0122

Cafe Campus

Having moved to rue Prince-Arthur after receiving noise complaints from the neighbours at the previous location, Cafe Campus is better than ever with three floors and live shows that see the club packed to the rafters. The venue also puts on theme nights such as retro Tuesdays, Blues Wednesdays and Francophone Sundays.

Address: 57, rue Prince-Arthur Est Telephone: 1 514 844-1010

Cafe Chaos

One of Montreal’s many live music venues, Cafe Chaos presents

Located downtown and a vibrant venue on Montreal’s jazz scene, this bar and grill features nightly live music and a menu of North American classics.

Extensive cocktail offerings and late-night dining services are available.

Address: 1254 Mackay St. Telephone: 1 514 931-6808

Bell Centre

Home of the Montreal Canadiens hockey team, the Bell Centre also hosts a number of big-name music artists making stops in Montreal during world tours. Past and futures bands and performers at the Bell Centre include The Cult, Red Hot Chili Peppers, Coldplay, Madonna and U2.

Address: 1260, rue De la Gauchetiere Telephone: 1 514 790-1245

Bar Chez CloClo

Located in the Plaza St-Hubert district, this casual bar and lounge features live music acts, karaoke nights, social dancing and DJ dance parties.

Address: 6944, rue St-Hubert.

Telephone: 1 514 727-0308

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Foufounes Electriques

An alternative club with style, Les Foufounes Electriques features two beer gardens, three dance floors and a daily happy hour that lasts from 4 pm to 6 pm. The club hosts live rock, hardcore and industrial bands and also puts on club nights such as GoGo Tuesdays, Under Attack Wednesdays, Sweet n Sour Thursdays and Electrik Saturdays. Music includes alternative, old school punk, rock n roll, hardcore, hip hop, 80s rock, pop and ska depending on the night Address: 87, rue Sainte-Catherine Est Telephone: 1 514 844-5539

Le Divan Orange

Le Divan Orange is a newcomer on Montreal’s live music scene but has nonetheless become a favourite among those looking to discover some cool new talent. The club hosts both English- and French-speaking bands that represent a range of music genres.

Address: 4234, boulevard SaintLaurent Telephone: 1 514 840-9190

Grumpy’s Bar

Grumpy’s is a live music bar that offers different themes each night of the week. Various nights include 80’s Goodness Sundays, Grumpy’s Happy Mondays, Jazz Night open jams on Wednesdays, Moonshine on Thursday bluegrass and old-time jams, live bands on Saturdays and more.

Address: 1242, rue Bishop Telephone: 1 514 866-9010

Le Theatre Corona

Le Theatre Corona is mainly used for theatre performances and musicals but also occasionally hosts popular bands Arcade Fire.

Address: 2490, rue Notre-Dame Ouest Telephone: 1 514 931-2088

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Les Bobards

Live music is the hallmark of this club, which showcases an eclectic mix of performances, including reggae, hip-hop and world music. Daily happy hour and nightly DJ dances are also hosted.

Address: 4328 Boul St-Laurent.

Telephone: 1 514 987-1174

Le Petit Medley

Live, local talent hits the stage weekly at this casual pub and lounge, which features complete bar services and a menu of pubstyle favorites. Complimentary wireless Internet is also available to patrons.

Address: 6206 rue St-Hubert.

Telephone: 1 514 271-7887

Le National

Le National concert hall presents a range of local and international music artists and bands.

The popular C’est Extra and Pop 80 nights are held, here and the space can be rented for special events such as concerts, product launches and corporate parties.

Address: 1220, rue Sainte-Catherine Est Telephone: 1 514 845-2014

Le Gainzbar

Located in the heart of Plaza StHurbert, this casual lounge features a weekly line-up of live jazz performances, an ambient social atmosphere and extensive bar services.

Address: 6289 St-Hubert.

Telephone: 1 514 272-3753

Le Rendez-Vous

In addition to operating as a tea house, this casual bistro also features dining for lunch and dinner and hosts weekly live dinnermusic events. The on-site boutique also carries an extensive selection of tea sets, tea pots and other brewing essentials.

Address: 1348, rue Fleury Est. Telephone: 1 514 384-5695

Montreal

MUSIC EDUCATION McGill University - Schulich School of Music Description : Intensive and complete jazz program, including theory and practical instructions.

Wide variety of venues to perform, including McGill University and various restaurants & jazz clubs.

Université de Montréal

Description : Our jazz program distinguishes itself in that it not only takes into consideration jazz music from the 1940s to the 1970s but also, fusion and contemporary jazz music from the 1970s to today. A number of styles are thus covered, such as ragtime, swing, be-bop, hard-bop, free-jazz, acid-jazz, funk, fusion, latin, etc. The program follows the evolution of jazz all the while adapting to the new styles that can attach themselves to these. Of course, the blues and the jazz standards remain the classic repertoire and the basis of teaching.

Université du Québec à Montréal - UQAM

Description : We have a jazz guitar & jazz vocal ensemble, a latin combo, and a jazz history course.

UQAM offers a popular music program allowing a vast array of musical styles (popular song, jazz, world music, rock, folk, country, etc.)

University Laval - Faculty of Music (Québec)

Description : We offer popular and jazz programs including piano, bass, guitar, drums, trumpet, trombone, saxophone & voice.

University of Sherbrooke - Faculty of Music

Description : Our jazz program allows students to perform standards, to improvise, arrange, compose, teach and use the technology.

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University Bishop (Lennoxville)

Description : Jazz & blues guitar...standards & jazz repertoire 1930-2000, improvisation & combo coaching + jazz history in a small, friendly & relaxed atmosphere, jazz concert(s) & masterslass(s) with invited artists every year.

Cégep Saint-Laurent (Montréal)

Description : It’s tradition, the diversity of it’s ensembles, the recording studios & the music department of the Cégep de Saint-Laurent all join together to allow the student to develop many aspects such as interpretation, composing and arranging in a unique environnement. Québec’s largest music department, the first to teach jazz, the first music department to give a technical music program, the first Cégep to offer double DEC.

Cégep Marie-Victorin (Montréal)

Description : Concerts given by students in training - in and outside of the cégep. Stage Band and many ensemble possibilities and quality auditive training. A new music pavillion equipped with the latest technology. A team of teachers specialized in their field and recognised in the jazz world.

Vast choice of large ensembles.

Cégep Drummondville (Drummondville)

Description : The Cégep de Drummondville is the only college institution to offer these four programs : Pre-university Music DEC, DEC - Professional Technique Music & Song, AEC in Creation & Sound Mixing as well as Mixing and Recording.

Segal Centre for Performing Arts

Description : Group music courses for teenagers.

Different genres: jazz, rock, blues, pop. Guitar, bass guitar, saxophone and drum courses. Students are eventually matched with students from other groups in order to introduce students to playing in a group. Beginner and intermediate levels. We also offer coaching to either existing or newly created Rock bands or Jazz combos (all ages). Courses in music history (including the All American Song Book history class) as well as a guitar class are available for adults.

Cégep Alma (Alma)

Description : Arranging & writing, drums & percussions, saxophone, keyboards & piano, voice , doublebass, electric guitar & horns. Improvisation et instrumental comprehension, musical groups productions, specialized music pavillion, professional recording studio, 2 concert halls.

JAM VOCAL Online Singing Lessons via Skype All Vocal Styles from Amateur to Professional For Information:

jamvocal@hotmail.com

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The Best Music Festivals

of 2014

South By Southwest

When: March 7-16 Where: Austin, TX 2013 Lineup Highlights: HAIM, Tegan & Sara, Macklemore & Ryan Lewis, 21 Pilots, CHVRCHES, Charli XCX, ZZ Ward, Kendrick Lamar, Chuck Ragan 2014 Lineup Highlights: Big Freedia, Action Bronson, Charli XCX,Ryan Hemsworth, Perfect Pussy, Echosmith.

Ultra Music Festival

When: March 28-30 Where: Miami, FL 2013 Lineup Highlights: Swedish House Mafia, Afrojack, Fatboy Slim, Carl Cox, Crystal Castles, Boys Noize, Deadmau5, Kaskade, Pretty Lights, Disclosure, Armin Van Buuren, Bassnectar, Zedd, Steve Aoki, David Guetta, Tiesto, 208

Coachella

When: April 11-13 Where: Indio, CA 2013 Lineup Highlights: Red Hot Chili Peppers, Blur, Stone Roses, Phoenix, Lou Reed, Postal Service, the Yeah Yeah Yeahs, New Order, Wu-Tang Clan.

2014 Lineup Highlights: OutKast, Muse, Arcade Fire, Queens of the Stone Age, The Replacements, Skrillex, Beck.

Counterpoint

When: April 25-27 Where: Kingston Downs, GA 2013 Lineup Highlights: There was no 2013 festival, but 2012 was pretty great.

2014 Lineup Highlights: OutKast, Pretty Lights, Foster the People, J. Cole, Major Lazer, Krewella, Janelle Monae,and more!

Beale Street Music Festival

When: May 2-4 Where: Memphis, TN 2013 Lineup Highlights: The Black Keys, Alice In Chains, Bassnectar, Daryl Hall & John Oates, The Flaming Lips, Phoenix, The Smashing Pumpkins, ZZ Top, The Black Crowes

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Sasquatch! Festival When: May 23-25 and July 4-6 Where: Gorge, WA 2013 Lineup Highlights: Mumford and Sons, The Postal Service, Vampire Weekend, Sigur Rós, The xx, Arctic Monkeys, Grimes, Macklemore & Ryan Lewis, The Lumineers, The Tallest Man on Earth, Tame Impala, Danny Brown

Electric Daisy Carnival When: May 24-25 (NYC), June 2022 (Las Vegas) Where: New York City and the big party in Las Vegas 2013 Lineup Highlights: Tiesto, Avicii, Calvin Harris, Armin Van Buuren, Major Lazer, Afrojack

Governors Ball When: June 6-8 Where: New York, NY 2013 Lineup Highlights: Kanye West, Nas, Guns’N’Roses, Japandroids, Kendrick Lamar, Icona Pop, HAIM, the xx 2014 Lineup Highlights: OutKast, Jack White, The Strokes, Skrillex, Vampire Weekend, J. Cole, Phoeniz and more!

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Bonnaroo When: June 12-15 Where: Manchester, TN 2013 Lineup Highlights: Paul McCartney, Jack Johnson, Tom Petty & The Heartbreakers, Bjork, Wilco, Pretty Lights, R. Kelly, Wu-Tang Clan, Daniel Tosh, The National, The Lumineers, David Byrne & St. Vincent

Firefly Music Festival When: June 19-22 Where: Dover, DE 2013 Lineup Highlights: Red Hot Chili Peppers, Tom Petty & The Heartbreakers, Vampire Weekend, Foster The People, Yeah Yeah Yeah, The Avett Brothers, Calvin Harris, Passion Pit, Kendrick Lamar

Lollapalooza When: August 1-3 Where: Chicago, IL 2013 Lineup Highlights: The Cure, Nine Inch Nails, the Killers, the Postal Service, New Order, Queens of the Stone Age, Vampire Weekend, the Killers

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Riot Fest When: September 12-14 Where: Chicago, IL 2013 Lineup Highlights: The Replacements, Blink-182, Fall Out Boy, Brand New, Pixies, Violent Femmes, Rancid, Blondie, Danzig

TomorrowWorld When: September 26-28 Where: Chattahoochee Hills, GA 2013 Lineup Highlights: Armin van Buuren, TiĂŤsto, Swedish House Mafia members Sebastian Ingrosso and Axwell, Afroki

Austin City Limits When: October 3-5 and 10-12 Where: Austin, TX 2013 Lineup Highlights: Depeche Mode, The Cure, Muse, Kings of Leon, Atoms For Peace, Lionel Richie, Phoenix, Wilco, Vampire Weekend, The National, Kings of the Stone Age

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CMJ Music Marathon When: October 21-25 Where: New York, NY 2013 Lineup Highlights: This festival isn’t a headliner-heavy one – you can check out who played on their website.

The Fest When: TBA, but probably October 30 - November 2 Where: Gainesville, FL 2013 Lineup Highlights: Bouncing Souls, The Draft, Braid, BoySetsFire, The Lawrence Arms, Dillinger Four, Knapsack and like 400 more.

Voodoo Music Experience When: November TBA Where: New Orleans 2013 Lineup Highlights: Pearl Jam, Nine Inch Nails, the Cure, Paramore, Boys Noize, Kid Rock, ZZ Ward, Macklemore & Ryan Lewis, Calvin Harris

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Fun Fun Fun Fest When: November TBA Where: Austin, TX 2013 Lineup Highlights: M.I.A., Slayer, MGMT, Jurassic 5, Snoop Dogg, Descendents, Ice-T, Television, FLAG, The Dismemberment Plan, Death Grips

Rock The Bells When: TBA Where: TBA 2013 Lineup Highlights: A$AP Mob, Action Bronson, Wu-Tang Clan, Ol’ Dirty Bastard and Eazy E holograms, Danny Brown, J. Cole, Riff Raff, Pretty Lights

Montreal Jazz Fest When: June 26 - July 6, 2014 Where: Montreal -QC (Canada) 2014 Lineup Highlights: Ben Harper & Charlie Musselwhite, Rufus Wainwright, Michael Bublé, Diana Ross, Bobby McFerrin, Kenny Garrett Quintet, Dianne Reeves, Cécile McLorin Salvan 214

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