Issue 1 February 2021

Page 1



From the Editor

05 09

to Nirvana

The Rap on Estill Voice Training

15 16

The Closest Thing

Angie on Fiction The Book of Longings

Business Book in Brief The Introvert's Edge


The Dirty Slide of Anna Scionti

21 23 21 26

Spotlight on Kahlia Davis

Album Review Ella & Luis

Small Biz Bulletin Mr Wombat Books

ACKNOWLEDGEMENTS Magazine Chiara Stranges Graphic Design Angela Revell Contributor Victor Stranges Contributor Venue Damian Love Chef Marc Scollo Sound Engineer Ray Tunks Bartender and Service Jack Lynch Host and Service

From the Editor The World According to Anthea Palmer Not only is my face on the front cover, but also a grandiose “The World According to Anthea Palmer” headline. Allow me to explain. Firstly, to my mug. For the last thirtyplus years, I've been busy! Mostly working within the music industry. My mailing list includes peeps I’ve collected along the way from various business projects; The Melbourne Rock School, The Chandelier Room, Sound Music Business, Jimmy Hornet China, and currently the Melbourne based venue. For many, It’s been a long time between drinks, and If you’re like me, you’re not good with names but reasonably adept at recalling a face.

The Headline comes from a realisation, that with the exclusion of my precious family and besties, this magazine is a big swirl of my boat floats. Music, Art, Design, and Business … pretty much sums up my world. To catch you up, I currently have a Live Music Lounge in Richmond, Australia called Jimmy Hornet. Swirling again, I not only curate the music, but also the art I sell from off the walls, and now via the online shop. I love to read about other entrepreneurs and business people, particularly within the creative sphere. Frustrated at the lack of meaningful publications in this space, I decided to start my own. Here we are! Anyhoo, this monthly publication is sure to evolve, and I’d love your feedback and what you like (less of the don’t like, please) or would like me to expand on. Contributor applications also welcome. Contact me via Onward and upward! Anthea Palmer

"Crimson Utopia" by Loui Jover


A glimpse into the world of Loui Jover Art, Cartoon, Thought.

A longtime fan of Jover’s art, and in particular his ink drawings on vintage book paper, our new magazine provided a great excuse to reach out to the Queensland based artist. We are delighted to reveal our favourite pieces and Jover’s answers to some pertinent questions.

How do you describe your style of Art? I see my 'style' of creative work to be best explained as mainly 'figurative' with elements of abstract expression. I find this suits my abilities best and I try not to force anything and prefer to let my drawing skills guide my artistic wanderings.

How did your formal study of art help you to develop your style? I studied the rudiments of drawing early on: 'light and shadow' basic composition and planning work by using roughs and sketches has always been a part of my practice. I feel the best parts of personal expression are learned on the journey, however, the foundations need to be set in a discipline of classical drawing or at least the formal study of sketching.

Which artist has been the biggest influence on you? This is such a hard question as i am easily influenced and inspired. Most artists need to filter such influence and try to distill their own voice from the miasma of artists who have given so much to the art world dialogue. I was very much inspired by the work of Picasso on one end because of his freedom, and then on the far opposite by the masters such as da Vinci and Rembrandt's drawings. I was always more fascinated by these master’s sketches and roughs which I feel breathe even more than their polished pieces.

You draw obsessively. Where do you find inspiration? When I draw I feel I am in the place I need to be, the rest of everything is a form of crisis control. I think this might be a bit of a pathetic cop-out but it is what it is. As a child I always drew and felt safest in this creative space so it's not a matter of why I draw - but why do I not? My inspiration is drawing itself. It's the closest thing to meditation and nirvana that I can access.

What is the biggest challenge in your business of selling art? Selling it...that's the only challenge. I represent myself and am always very thankful for every collector who reaches out and acquires a work. I am not sure what the secret is or if there is one at all. I guess people buy what they like and right now I am blessed that they like my work. I would create regardless, but the benefit of it selling is a wonderful addition that allows me to concentrate on making more work in relative peace. There are many ways to sell art, but if no one wants to buy, then one must adapt or dig in.

Do you have any other obsessions or hobbies? I'm very obsessive full stop. Unfortunately, none of my obsessions are interesting, they are silly things. I have become obsessed with Japanese comics or bad low-budget movies and so on. Other than that, I just draw. I have no hobby. I have no time for hobbies. I like drawing. If I had to name one thing I am enthusiastic about, it's riding on trains.

What is your favourite flavour of ice cream? Mmmm ice cream...well I am, as usual, b o r i n g .... I just really like good clean vanilla …sorry.

Visit Loui Jover

R e c e nt ly, on he a r ing a t r uly a m a z ing s inge r a t J im m y H or ne t , I wa s intr oduc e d t o E s t ill Voic e Tr a ining ( E VT) . B e ing s k e pt ic a l of “ s c hools ” of v oc a l t e c hnique , I de c ide d t o inv e s t iga t e . N B I a m wr it ing t his pie c e be f or e ha v ing a ny EV T e x pe r ie nc e . This is m y opinion ba s e d on m y ge ne r a l s inging e x pe r ie nc e a nd init ia l r e s e a r c h a nd f indings .

How is EVT Different? Why am I telling you all this? Well, you see EVT approaches singing from a physiological and scientific viewpoint. “Estill Voice Training (EVT) is a program for developing vocal skills based on analysing the process of vocal production into control of specific structures in the vocal mechanism. By acquiring the ability to consciously move each structure the potential for controlled change of voice quality is increased.” - Wikipedia. So essentially, it teaches you to isolate and control all the little mechanisms that impact voice production.

My Teaching Method Experience I tried at least four different singing teachers when I was in my late teens and early twenties. I wasn’t so interested in their teaching technique, but rather whether I could feel completely comfortable with them. To reach vocal heights given the exercises involved, you need to trust that you can make awful sounds and ugly faces without feeling self-conscious. I went to a very popular teacher named Malcolm Potter who trained many of Adelaide’s best rock and pop singers in the 90s. He came to teaching from a Musical Theatre background with a focus on breathing and projection. As a result of these lessons, I developed a big, strong, wide vibrato, which I’ve been trying to ditch ever since.

In Melbourne, I went to a very popular teacher (can you see a pattern forming?) named David Jaanz. He claimed (probably true) to have trained Tina Arena, and that's what lured me in. He came to singing with a pop/soul background and a focus on performance and the “emotion” technique. The first thing David coached me on was perfecting my “cry.” I did appreciate the technique and it expanded my vocal tone. I just didn’t “click” with Mr. Jaanz, so guttural whining and crying, with a distorted mug, was never going to be comfortable.

Another problem was, his students all started sounding the same. You could tell when out seeing a band in Adelaide if the singer was a Malcolm Potter graduate. Many went on to find their sound and expand their genres, but after a few months, I decided to put up with my weird habits to remain sounding … like me.

Jo Estill

The Woman Behind the Program Josephine Antionette Estill was born in 1921. Jo sang professionally on the radio between 1939 and 1947 and performed live well into the 1960s. She voraciously studied the qualities associated with different styles of singing and used techniques including electroglottography (monitors vocal chord vibration), voice signal analysis, X-rays of the phonating larynx, and various other tools of exploration. In 1991 with thirty years of vocal study under her belt, Jo founded the company 'Estill Voice Training Systems' to protect the work and begin uniform certification of instructors.

Benefits of the Craft My favourite singers display great vocal variety, and it is an element of performance that I strive for. I can see how learning how to isolate and use different physical aspects of the voice would assist in creating different sounds with accuracy and confidence, rather than guesswork. Within my tenure in the music industry, I have come across many singers who have experienced physical voice injury. In particular, a condition of vocal chord nodules which are cysts and polyps that form and prevent the voice from vibrating normally. The result is often a hoarse voice with range becoming limited. The nodules are the result of chronic abuse of the voice over time, such as straining and yell

The Three Disciplines of EVT According to the official EVT website, the program separates voice training into three disciplines; CRAFT encompasses everything the voice is capable of. This stage is all about learning the structures that contribute to sound and feeling and gaining conscious control of them.

PERFORMANCE MAGIC is the experience of becoming one with your audience; the rare, breathtaking moments when you feel truly connected and understood.

ARTISTRY deals with how you apply these elements to your communications, be it dramatic performance, musical endeavour, sales presentation, lecture, or customer service call,

Performance Magic? I'm sure “Artistry” and application of the technique to singing is also worthwhile learning, however, the “Performance Magic” component sends me over the edge of a skepticism cliff. Jo Estill died in 2010, and I cannot help but wonder whether the “Performance Magic” component was added to the program posthumously. Further research for another day. ,

Criticism I went off to find out how others felt about EVT, and there is very little negative feedback to be found online concerning the course, nor any critique of the “magic component.” One criticism is that the program does not include “breathing” and the related abdominal support within the system. Certainly all of the teachers I worked with focused on breath and support. In my view, it is fundamental to my singing, and I never leave home without it. Another criticism is about the course itself, that there is just too much information to grasp in the first section about the mechanics and physiology, and then not enough time to workshop the isolation of said mechanics in the practical excursive section. It was suggested the course be run over several weeks, instead of the five-day block it is usually taught in. Several singers suggested they would take the course multiple times … if only they could manage the associated cost.

The Best Singer In the opening paragraph, I mentioned hearing a truly fabulous and inspirational vocalist. Her name is Nina Ferro and she is an Aussie Jazz Singer and Singing Teacher. When I complimented Nina on her vocal performance, she said “all the hard work is done off the stage.” Although at the time of releasing this article, I cannot confirm that Nina was EVT trained (I’m going on here-say), however, her student testimonials refer to learning about the “mechanics of singing.”

Conclusion I would recommend anyone who wants a more conscious awareness of what they are doing with their voice, or anyone with injury or concern about same, to seriously consider taking the course. For me, the greatest value would be in keeping my voice safe from harm as I continue to sing through life. I liken it to a train driver who needs to understand the mechanics of his vehicle to control the speed and handling, to ultimately avoid collision and damage. On consideration of whether to take up singing lessons again and with whom, my sway is toward the teachings of Nina Ferro as someone who not only understands the mechanics but tailors teaching toward the individual, rather than strict adherence to a set program.

By Anthea Palmer Calling EVT Students Studied the EVT program? Please email your feedback to

Visit Estill Voice Visit Nina Ferro

Nina Ferro




Did Jesus have a wife? We’ve never heard of her before, but does that really mean she didn’t exist? “The Book of Longing” is a fictional account of Jesus’ wife, Ana, providing an innovative perspective to a story we all know so well. Before you balk at the potential blasphemy, see if you can suspend your faithful beliefs long enough to devour this story. Kidd is a masterful storyteller, weaving familiar names and stories from the Bible throughout Ana's tale, bringing Biblical times to life in a way that I've never experienced before. I could hear the bleating goats, smell the burning fires, see the magnificent script from reed pen on scrolls. As author Sue Monk Kidd acknowledges in her author‘s note, “Centuries of tradition insisted Jesus was unmarried, and that position had long been codified into Christian belief and embedded in the collective mind." And while it might be 21 hard for some toSeptember fathom the likelihood of Jesus having a wife, Kidd says she felt it 24 West Street, Chicago 202-555-0190 important to "imagine a married Jesus," and the effect a woman might have had. For those willing to enter Kidd's imagination, the reward is great. You will meet Ana, a strong and stubborn woman who dreams of the freedom to one day write and tell the stories of women. After barely escaping her pre-arranged marriage to a much older widow, you will see Ana conspire to cross paths with a handsome, prayerful worker she had chanced to encounter at the market. You will meet Jesus, then just a young man with a premonition that he might be called to something great. You will see them fall in love and experience the hardships of life. You will see Jesus' ultimate sacrifice through the eyes of the women who loved him, and you might never look at that great sacrifice quite the same again.

By Angela Revell

How can someone, who by personality type is principally concerned with their own affairs and always in-ward looking, push their wares to the undesirable outside world? 7 Steps to the Introvert’s Edge The crux of the book is a seven-step formula to selling for Introverts:-

Step 1: Trust and Agenda This step is based on connecting with the other person (potential buyer) on a personal level, and mapping out the conversation you will have with them. The book provides a list of ways to enter into a non-salesy conversation to build rapport and trust, without losing control of the conversation. There are tips on how to advance the chat but stay on track toward the goal of closing the sale.

Step 2: Ask Probing Questions Learn how to use questions that reveal the potential buyer’s pain point. Pollard recommends thinking like a doctor, who uses past experience with patients, and a pressing around the wound or injury, to identify a cause. The treatment required is then offered. This section is also about listening to understand your potential buyer.

Step 3: Qualification Don’t waste time on the gatekeeper, but speak with the decision-maker. You may wonder why this is step three when it would be useful to know if you’re dealing with the right person from the get-go. Pollard deems it important to build rapport and get to know the other person first, to avoid any offense or irritation when it comes time to as “are you the right person?”

Step 4: Story-Based Selling This step outlines the science of storytelling to support sales, using the paint points already exposed to tell a story of comparison. It demonstrates the stages to creating your story as (i) the problem (ii) analysis and implementation (iii) outcome (iv) moral of the story.

Step 5: Dealing with Objections Understand what the objections to purchasing might be, and have a story or stories ready to sidestep them. The beauty of storytelling in this step is to avoid a “right or wrong” scenario and provide a story that doesn’t require a yes or no answer.

Step 6: Trial Close There’s a great quote that comes at the beginning of this step. “Never test the depth of the river with both feet.” - Warren Buffett. If trying to close a sale feels aggressive or uncomfortable, use the trial close concept is an important section. So would package A or B work better for you?”

Step 7: Assume the Sale The advice here is to work on a script that doesn’t allow the other person to say no. Ask questions that must have a yes answer … all the way to receiving the payment. It also encourages you to keep to your own style or conversation at this point, with no need to push or increase in aggression.

Four words to sum up Anna Scionti’s music? We’d go with striking, powerful, uninhibited, and raw. The woman behind the music is as down to earth as they come, living a bigger than most life, and doing her damndest to stay focused.

How did you get on the path called music? I’m a country girl at heart. I grew up in East Gippsland and started playing the drums in the High School band. At the age of about 16, I then started playing guitar. I remember that my mother would take me to hear my grandfather sing at these community concerts. He had such a strong voice and was maybe why I sang…I mainly sang hymns at church in my youth. I have always sung since ... I’ve not had any formal training. About 6 years ago I decided to make playing, songwriting, and releasing some recordings my priority. Never too late to chase your dreams!

When was the first time you really found your sound? I can’t say I have found my sound exactly. I’ve played in bands with friends, including alternative folk-rock to county-blues. I guess I’m always working on my 'sound'. I’m influenced now by the old blues artists and slide guitar players. However, I grew up on alternative rock.

What is the biggest challenge regarding the business of your music? Keeping focused on the music & making time for songwriting. The business always gets in the way, however, it is a crucial part to ensure you continue to play and have an audience … chasing gigs, planning ahead, media, marketing. You have to keep creating though so you have something new to share.

What is your current artistic (or otherwise) obsession? I’m obsessed with Cigar Box Guitars and have been for a few years now. My first CBG festival I played at was in Yackandandah in 2017. I meet some amazing players and makers of Cigar Box Guitars and from there have made some fantastic friends who are also obsessed with CBG’s.

How do you spend your time beyond music? My partner and I have two adorable Boston Terriers dogs who keep us entertained. Especially while we were in lockdown in 2020! I’m also an Intensive Care Nurse and work part-time in between gigs (which was a lot in 2020). I also like video editing. As an independent artist my 'official videos' off my three albums I have created and put together. Excited to say my next video release is for 'Mississippi Saxophone’ - a song off my new album Junkbox Racket. It's an Animation created by Sydney Musician - Clayton Doley ... Out soon!

What can we expect from an Anna Scionti show? My current shows are all about my new album Junkbox Racket (released 4th December 2020). Swampy, dirty slide guitar - on a Cigar Box Guitar mostly! I normally have about 3-4 Cigar Box Guitars with me at a show. They are all different and come with a unique sound and story to tell.

When was the last time you learned something new? In lockdown, I purchased a recording interface and have started learning a bit of home recording.

Visit Anna Scionti

From New York to Jimmy Hornet There are few positives when it comes to COVID-19s impact on our little venue, but Kahlia Davis landing back in her hometown of Melbourne is certainly one of them. This accomplished New York-based singer, dancer, actor, and songwriter, having toured the USA, China, and Japan in musical theatre productions such as A Chorus Line, 42nd Street, and Westside Story, will be treading the boards at Jimmy Hornet Richmond.

What and where did you study in New York? I studied the Integrated (Musical Theatre) course at the American Music and Dramatic Academy (AMDA) in Manhattan New York. The diploma covers singing, dancing, and acting for stage, musical theatre history, and film technique.

How would you describe your original songs or work? A bit of a mixed bag. Some classic pop with a few jazzy/soul vibes. Sometimes some folk influences… but then I have people tell me they love the ‘musical theatre’ qualities in my songs. I wouldn’t say there’s any kind of specific stylistic consistency in my sound and what I write, but I think that keeps it interesting.

If you could play the lead in any musical, who would it be? Oooh, this is tricky. Probably Velma in Chicago. It’s a classic!

What were your biggest challenges in 2020? The complete shut-down of live entertainment. Theatre, gigs, everything! It’s hard to keep motivated and pushing yourself to work and improve when you’re not sure when you’ll be able to get back to work and do the thing you love. Also trying to teach and take dance classes via zoom. I’m over zoom.

How do you look after your voice?

What makes you feel powerful?

Vocal rest is super important to me knowing when you’ve warmed up enough, knowing when you need to take a break, really just listening to your body to avoid bad technical habits and vocal strain. Lots of water always, and if I’m in a show and singing every day, vocal mist steam can help to wake up the voice and clear the sinuses.

Successfully getting through an 8-show week!

Visit Kahlia Davis

What is your favourite Dad joke? ‘Do they allow laughter in Hawaii? Or just a low ha?’ – tragic! But so good

Curious Beginnings Ella Fitzgerald was born in 1917 in Virginia, orphaned at fifteen, and sent to a reformatory in New York until she escaped and began living on the streets. Celebrating New Year’s 1913, a twelve-year-old Louis Armstrong was arrested and sent to the New Orleans Colored Waifs’ Home School For Boys. The crime? Shooting a borrowed pistol into the air for the auspicious occasion. Curious beginnings indeed, for a couple of kids who were later to become two of the most influential jazz artists of the twentieth century.

The Trilogy In 1956, Fitzgerald teamed with guest artist Louis Armstrong, backed by Oscar Peterson (piano), Herb Ellis (guitar), Ray Brown (bass), and Buddy Rich (drums), for an album that was to be simply titled, Ella And Louis. Recorded at Capitol Studios in Los Angeles, it was the first installment in the trilogy of Verve releases of Ella And Louis Again and Porgy And Bess was to follow.

You can imagine the mutual respect between them, the looseness and freedom that producer Norman Granz so cleverly conceptualised. It sounds like they were discovering each other’s singing styles as new lovers would discover each other’s personalities, adding to the spontaneity.

"“When I recorded Ella,” Granz remembered, “I always put her out front, not a blend. The reason was that I frankly didn’t care about what happened to the music. It was there to support her. I’ve had conductors tell me that in bar 23 the trumpet player hit a wrong note. Well, I don’t care. I wasn’t making perfect records. If they came out perfectly, fine. But I wanted to make records in which Ella sounded best." Good jazz duet albums are hard to come by, but this one is definitely worth investigating, and if you get a chance check out Armstrong’s socks on the cover!

Ella Fitzgerald and Norman Granz

The album begins in earnest with ‘Can’t We Be Friends’ and it doesn’t pick up much speed from there. Not a bad thing. Irving Berlin’s classic, ‘Isn’t This A Lovely Day’, ponders on the bliss of romance and the album doesn’t sway from this theme. It’s a lovers’ album; positive and uplifting lyrically and melodically, yet the playing is varied in mood. The sublime brushstrokes of the rhythm section are superb and subscribe to the “less is more” approach of playing. Written by some of the greatest American songwriters, the album contains the classics ‘Moonlight In Vermont’, ‘They Can’t Take That Away From Me’, ‘Cheek To Cheek’ and ‘April In Paris’.

An unlikely pairing, Fitzgerald’s buttery vocals combined with Armstrong’s sandpaper gravel made a sweetsounding tapestry of what can best be described, as tenderness. It sounds like they had fun recording this. Armstrong’s vocals and trumpet add a relaxing charm, and along with the scatting, the feel is intimate and at times, comical. Satchmo’s supporting role as harmoniser does not go unnoticed, moaning and groaning in depths and extremes that many jazz singers would be too embarrassed to attempt, but he pulls it off with character and integrity.


Pop Preservation Society

Meet our community of entrepreneurs with side hustles, small businesses, or start-ups. Describe Mr Wombat Books in a sentence. We offer books in Spanish and English for children and young people, with unique stories and spectacular illustrations … and we love what we do!

What compelled you to start the business? The need to find books in Spanish to read to my little one, not easy to find in Australia, especially for children.

How long have you been operating? I started the business in October 2020.

How many hours per week do you currently apply to the business? Not as much as I would like. I have a full-time job but manage around 20 hours per week on the business.

Do you have any brands or mentors that you look up to? I wasn't sure how to start and spent much time considering the name, marketing concepts, the financial, business plan. I found a book “The Nudge” by Sonya Driver and it helped me to organise and plan my ideas in a way that enabled me to start. Also attending webinars from was really useful to start my business.

What plans do you have for the business in 2021? I would like more people to know about Mr. Wombat Books, and also gain recognition for our writers and illustrators. Also to connect and network with other business owners, to gain knowledge and business support from them.

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Carolina Garzon