From the Editor
Quartro and Tennis
Small Biz Bulletin Aura Espresso Bar & Cafe
Nat Allison on
Ten Tips to Eclectic Style
Biz Book in Brief Soul Trader
How to License Art for Business
22 27 21 28
Album Review London Calling
Denise on Fiction Piranesi
Letter to the Editor
ACKNOWLEDGMENTS I have a TEAM of wonderful people around me, and take this opportunity to thank the following:Magazine Chiara Stranges Graphic Design Denise Picton 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 Bums on Seats My notes in this section will mostly be a reflection of where I’m up to in the business, and what I’m spending the majority of my time on from month to month. Since releasing our first magazine issue, I’ve been focused on setting up events for the Richmond venue, and selling tickets to same. Whilst discovering and securing musical talent for the venue has long been a source of inspiration and enjoyment, the sales aspect of my role is not one I relish. Given the overheads at our Richmond 3121 venue, and the impact of the dreaded virus on our new business, the need to put bums on seats is of paramount importance.
Anthea Palmer email@example.com
. Rather than focusing on converting prospects to ticket buyers, I gravitate to the fun and creative process of brand marketing. I love working on the Jimmy Hornet look and feel, keeping our messaging aligned and easily recognisable. To track whether our marketing is effective, I keep an eye on our Cost of Acquisition, being the marketing spend versus the customers during the same period. My hope is that, in time, our brand will be established enough that the focus on conversion from lead to ticket sale will become less nerve wracking and time consuming. I make a note here to musicians reading this column. One of the problems we are experiencing is musicians booking gigs close together in date and location. Please think strategically about your shows, and don’t just grab at any performance offer that comes along. Dividing up your fan base across multiple gigs and spreading yourself too thin across venues in the same area is detrimental, so just don’t do it! Given my want to work on other aspects of the brand, in particular the Art and Design Shop, I’ve let go of some responsibility and delegated to my very capable team members. I now have a host for our weekly Open Mic, and I’ve assigned the role of purchasing officer to an existing employee. Giving myself a little pat on the back for divvying up my workload.
Powerhouse! Not only is Melbourne based Nat Allison smashing it as a singer-songwriter, but her guitar chops are sought after by a living legend. We caught up with the pitch-perfect screamer to gain some insight into her career. Describe your music in a sentence. Power ballads and fast-paced high energy catchy rock/pop songs that are meaningfully written and meticulously arranged.
What compelled you to become a musician? I LOVED music & song from a very early age and remember being mesmerised by people who played the electric guitar' (picture the 80's lead guitar player). I would pick up a tennis racket or anything that resembled a guitar and pretend to play it! I was around 8 years old when my Dad finally gave in and bought me an electric guitar, I had hassled him for years…and the rest is history!
What's the biggest audience you've ever played to, and where? 15,000 people in Germany, playing guitar for Suzi Quatro.
Who would you most like to collaborate with? Lenny Kravitz, Carol King (what a songwriting legend), Dave Grohl & Dolly.
What can people expect from a Nat Allison show?
Any tips for how you look after your health?
I like to take a lot of care in the way I sing, play, and deliver each individual song to the audience. You can expect Rock 'n' Roll music with lots of energy and oomph but also moments that will pull your heartstrings.
I run and go to the gym which is both energizing and great for my mind! Diet is also important to my health routine particularly because I'm a singer, if you're eating the wrong foods it can affect the voice greatly. I eat fresh vegetables, salads, and seafood and steer away mostly from products made from wheat and dairy. I also make sure to keep hydrated and try my best to get good sleep, which can be difficult in my line of work sometimes!
What do you struggle with most at the business end of your music career? Selling myself is something I've never been comfortable doing but when you're a self-managed artist, wearing all the hats, there are times you just have to do it.
Favourite binge-watch during lockdown? Lots of True Crime Story.
If there's one Nat Allison song people should hear, which is it? Anyone For Tennis? - It's a high-energy, fun, quirky, unusual song! *Fun fact: It was used for both the 2010 & 2012 Australian Open.
Ok .... I have to ask. What is Suzi Quatro really like? Suzi is very funny, she's always cracking jokes which makes spending time with her socially and when working a lot of fun. She knows what she wants when it comes to her career and music and is very good at directing people. She's a class act!
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SMALL BIZ BULLETIN Meet our community of entrepreneurs with side hustles, small businesses, or start-ups.
Xan Fraser - Auro espresso bar and cafe It was a perfectly sunny, Saturday afternoon, and we were sat in the pretty courtyard, listening to Joe McEvilly play some tunes on the piano. Partaking in the excellent coffee and brunch offering, we were further entertained by the odd guest vocalist (nee customer) joining in on the musical fun. Impressed and further intrigued by the friendly charm of the owners, we decided to delve in and feature this special small business.
Describe Aura espresso bar & cafe in a sentence. A very welcoming and relaxed vibe with an amazing playlist to get your toes tapping.
What compelled you to open a cafe? We always wanted to spend more time together and bring music, food, and coffee into our space. Glen has a background in hospitality and has been self-employed as a Personal Trainer for many years and I have owned and operated a couple of hair Salons before. So we put our knowledge, experience, and hard work ethic into doing this and then put in our own flavour to it with our love of music and creativity.
What do you see as your point of difference? My husband is a singing, pianoplaying barista, bringing live art and music into your dining experience.
Do you have any tips for husbands/wives who work together? Only do it if you get along well, side by side, and like seeing each other 7days a week. Decide on your roles in the business before you start.
What aspect of running the business do you find most challenging? Well, the lockdowns and changing our business model to "takeaway only" were challenging. Most challenging was not being able to keep our staff employed during those times.
What do you love most about what you do? Talking to families and patting lots of dogs. Watching people smile when you bring them an amazing breakfast and they say "oh wow". Hosting and catering for Bottomless Brunches, a huge hit for our business, with a 2-hour food & cocktail package.
If you could change anything about your current business,
what would it be?
We wouldn't change a thing, we love it!
What's your latest creative obsession? My obsession is the enjoyment of watching my husband (Glen) paint at the cafe. I can just sit and watch him, with a glass of red wine in hand. For Glen, it's the creative and expressive freedom he needs.
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Eclectic interior design embraces numerous styles, ideas and theories. It draws from different time periods and origins. Our favourite mix is one of urban, retro, mid-century, and art deco style. It may not seem coherent, but there are some simple tips to pulling together an eclectic scheme.
1. Variety of Materials A variety of materials and textures is recommended for achieving an eclectic look. The example below mixes wood, metal, leather and fabrics in one lounge scape. Incorporating both rough and smooth textures adds interest to an interior, especially if they are displayed within a simple colour palette.
2. Patterns and Textures Use patterned rugs and scatter cushions to subtly introduce different design eras into a room. Create a vibrant visual with opposing patterns by using geometric shapes, polka-dots, stripes, or whatever pattern speaks to you. Although combining textures is essential, a good tip is to use one texture at least three times, in different spots around your space. It will help you to achieve some cohesion.
3. Avoid the Chaos
4. Love over Trend
Don’t be fooled into thinking an eclectic style is chaotic and messy. Each piece and pattern is considered, and there are cohesive motifs that tie pieces together.
The great thing about eclectic is that you can fill your home with pieces that have meaning and story, rather than just style trends. Statement objects such as lamps, vases, sculptures, and wall art will add to your enjoyment of the space.
Less is more when it comes to eclecticism, so don’t jamb too much into the room, but rather choose fewer, really special pieces. A common theme such as a recurring colour or shape is used to subtly connect the varied pieces and create a wholistic design.
5. Ever Evolving An eclectic style allows for your space to be ever-changing. Add new pieces as you find them, and move things around frequently to add new life to your transient space.
6. Negative Space Keep in mind that when designing spaces, it’s important to allow somewhere for the eye to rest. Don’t fill shelves to the brim, leave some empty space. Tabletops can be left bare to create a clear space. Using a music analogy, it’s not about the notes you play, but space you leave between them.
7. Old with New
Interior Design by Jimmy Hornet
This is absolutely the best design style for mixing the old with the new. Each element you select should be interesting as a stand alone piece, regardless of whether it’s pre-loved or newly manufactured.
8. Layout Keep in mind that it’s the layout of furniture that makes a space comfortable and practical Before you go crazy selecting decor for your eclectic space, plan where each piece of furniture will go. You may find you don't have the floor space for that 1940s standard lamp or quirky tapestry ottoman.
9. Core Colour Don’t go wild on the colour front. Choose a neutral palette and an accent colour to get started. As you build your interior inventory, you can add to the core palette. Dark colours deepen interior intrigue and act as a backdrop for your fabulous eclectic pieces. Lighter tones will provide a calm canvas, and unpainted brick or plaster can add a natural and textural element without additional colour.
Interior Design by Jimmy Hornet
One colour should serve as a unifying factor throughout your design, pulling together a unified look.
10. Focal Point Although combining different styles and textures, consider having a focal point to your room design. Use a bold decorative item, bespoke furniture piece, or an architectural element like a fireplace, to be the star of your show.
What’s Your Eclectic Style Mix? There is no need to choose just one! We encourage you to let go of previous decorative style boundaries. Consider your favourite themes and periods, core colour, and start the joyous task of designing your space. So… what’s your eclectic style mix?
Interior Design by Jimmy Hornet
We’d love to hear from you! If you have questions about interior design. Please email us at firstname.lastname@example.org
Putting the heart back into your business I must admit it was the book’s striking cover and the title that caught my attention. Although I doubted it possible to increase the level of heart I apply to my business, I decided to read the book to test the theory. Words beginning with “C” are a theme for every Chapter Concept (see what I did there?) Let’s have a look at the fundamentals of this publication.
Clarity Not much new in the way of concept here. Vision and values, mission, and purpose. Even the old S.W.O.T. (strengths, weaknesses, opportunities, and strengths) analysis gets a look in. For someone starting, or wanting to turn their passion project into a business, this chapter will be useful. If you’re already in business, the “Taking stock: a three-minute business review” is a great little exercise, and a good one to run through every quarter.
Running your own business certainly does take courage. No argument here. This section encourages mentors and virtual mentors to guide you along the journey.
“Build a business they will love,” is how this chapter is headed. As expected, it covers customer profiling and mapping. I sweet adjunct to the subject is the “in sight, in mind, in heart” concept, being the three stages customers much reach to be entrenched in your business or brand.
The highlight of this section is “The attitude of an athlete” in comparison to running a business, outlining the importance of a great coach and team, focus, rest, and other requirements for success.
Rather than just covering the touchyfeely. the “know the numbers” section is useful. It encourages you to look at your bottom line, and how many customers you need each month to keep the doors open.
Cooperation The section illustrates how to boost your business through relationships. It provides practical advice on how to map the cooperation you need, including people, opportunities, and expertise. Also good advice on identifying and utilising your existing network to grow your business.
Conversations Right product + right time + right conversation = sale. This is my favourite chapter as it discusses the psychology involved in sales conversations and covers the topic from both the sales and the marketing viewpoint.
Creativity The magic mix of inspiration and action. This section is about creating your dream business and being clear on what it will look like. It then looks at how you can use your time and energy wisely, giving yourself the time and space you need to think creatively about your trade.
Compassion This is very touchy-feely and discusses the impact personal emotional growth has on your business and the importance of feeling the love for what you do.
Change How to face, shape, and embrace it. Given the year we’ve all lived through, the impact of the dreaded virus on all of us, this is a poignant chapter. It’s a short but sweet reminder that you need to be mindful of external impacts, and learn to grow with the flow!
In looking for new ways to partner with local Artists and Designers, it became necessary to investigate the idea of Licensing. Most of the readily available information is geared toward the Artist and not the Licensee. This article provides the low-down on how to find Art work to License, the process, and the payment requirements. What is Art Licensing? Visual Artists are often geared toward selling original work, and it may seem that reproduction does not fit their ethos, however many have an additional stream of income from licensing. This allows their images to be reproduced by other entities in exchange for royalty payments. Many organisations and agencies are assisting the licensing process for Artists. This is important as not all royalty contracts are created equal. Negotiating a good deal and then being able to monitor the ongoing process is key for the financial success of many creatively talented folk.
How to Purchase Art for Reproduction If your core business is the manufacturing of products requiring printed images i.e. posters, tote bags, t-shirts, you may consider hiring in-house designers who are paid a salary to design art specifically for your products. Alternatively, you can purchase the art by assignment, where the piece is sold upfront and the manufacturer can then do whatever they like with the image. More often than not the art is used under a Licensing Agreement.
The Advantages of Licensing Art • No salary, benefits, or annual leave to pay. • Royalties are paid according to sales, with payments based on the success of the product. • Allows the manufacturer to work with many different artists without having them on the payroll. • A cost-effective way of accessing a variety of styles and techniques. • Can piggyback on the artist's name and reputation if they are well known.
Royalty Estimates There is significant variation when it comes to royalty percentage and specific use. Below are some examples of percentages you’d expect for manufactured products: Greeting cards and gift wrap: 2% to 5% Household items such as cups, sheets, towels: 3% to 8% Fabrics, apparel (T-shirts, caps, decals): 2% to 10% Posters and prints: 10% or more
Exclusive License The artwork may only be used by you, (licensee/manufacturer), and the Artist may not reproduce, sell, or give the artwork away for free. An exclusive license can be time-bound, for example, three years duration.
Non-Exclusive License You receive the right to use this artwork, however, the artist can also license the artwork to other people, and can use it for their purposes.
Payment Once a licensing agreement has been signed, royalty payment is either in lumpsum or a continuing payment (monthly, quarterly), based upon the percentage of the income contract. An example might be 20% of gross revenue paid to the Artist. The manufacturer, which paid for production and sales, would retain 80%. It is also possible for the copyright to be “assigned.” In this instance, the Artist would sell their intellectual property in its entirety to the manufacturer, who could then do whatever they wanted with the image without further royalty payments being incurred.
Advance Against Royalties An “advance” may be paid at the time the license agreement is signed. It is almost always recouped against future royalties unless the agreement specifies otherwise. This option of payment in advance provides a good incentive to the Artist. Be aware that if you advance $1000, for instance, but your margin on sales does not achieve this amount, you (the licensee/manufacturer) bears the loss.
Demanding a Guaranteed Minimum Annual Royalty Payment If you want a long-term licensing agreement with an Artist, you may consider a “GMAR” (guaranteed minimum annual royalty payment. Here you pay a specified amount at the beginning of each year or period, regardless of merchandising or sales. At the end of the period, if royalties exceed the GMAR, you pay the artists the difference owing. You also bear any loss if the GMAR is not achieved.
Auditing Royalty Income Unless the relationship between Licensee and Artist is trusting, there may be a provision in the agreement for auditing to take place. This provision would:describe when the Artist or representative can access your records, and provide that if the audit uncovers an error of a certain magnitude—commonly a sum of $500 or over — you have to not only compensate the artist for the shortfall, but also for the cost of the audit.
Legal Costs The artist may request a provision for attorney fee payment or reimbursement to cover them in the event there is any legal dispute relating to the Licensing Agreement.
Arts Law When researching the legal ramifications of Licensing Art, the first organisation of significance I came across was Arts Law the “national community legal centre for the Arts.” This not-for-profit organisation is on a mission to empower artists and creative communities through legal guidance and support. With 84.6% of the copyright transactional licensing royalties being paid to the artists, this is a stand-up organisation doing good things for the Arts industry. An interesting resource available via their website is the Artwork Reproduction Licence - Merchandise, This is a sample to be used when a third party wishes to manufacture and sell merchandise printed with an Artist’s work. The cost is $500 for nonmembers.
Agencies My research led me to many agencies that represent a stable of Artists and works. They allow you to search images via Artist, subject matter, or usage. If you find an image you want to license for on-sell, you can submit your proposed usage and request a quotation. To follow are links to three agencies that allow you to search Art that is ready for Licensing.
The Bright Agency
Art Shine Licensing
What will Jimmy do? II don’t pay for one-on-one legal advice for my small business unless it is absolutely necessary (no offense intended if you’re a legal eagle). At this stage, my process will be:• Find an Artist(s) that resonates with our brand. • Commission a piece specifically to fit with our brand and/or product. • Negotiate the terms of a Licensing Agreement for continued use of the image. • Purchase an Artwork Reproduction License Template and adjust it according to the negotiated terms. • Ensure the Artist seeks their own legal advice before signing the agreement. • Seek legal advice if there is any negotiation point of concern. • Sign on the dotted line once both parties are happy to proceed.
Know Anything About Art Licensing? If you have any experience with Licensing, whether as an Artist or Licensee, I’d love to hear from you. Please email any feedback, questions, or links to your business. email@example.com
By Anthea Palmer
Released in December 1979 in the UK and January 1980 in the US, London Calling was voted Album Of The 1980s by Rolling Stone magazine. Containing a staggering 19 tracks, it documented the creative output of The Clash’s two chief songwriters and singers/guitarists, Mick Jones, and Joe Strummer. The opening song, ’London Calling’, was an obvious segue from their previous outing, ’Give ’Em Enough Rope’ (1978). Rhythmically upbeat, the song declared that “phony Beatlemania has bitten the dust...”. However, the songs to follow showcase one of the most artistically diverse departures in musical style ever to be heard on one album. British rockabilly’s own Vince Taylor’s ’Brand New Cadillac’ is given a dirty, right royal treatment, so much so that Clash drummer Topper Headon initially insisted they perform a second take because the song sped up towards the end. Thankfully, producer (the late) Guy Stevens kept it as it was. Not wanting to take away from the manic sessions at Essex Studios in London, he replied “all rock & roll speeds up.“ As legend has it, his other studio antics for those very sessions included throwing chairs around and pouring beer into the piano.
The album progresses through various musical outings from Euro disco (’Lost In The Supermarket’), R & B (’Train In Vain’), Ska (’Wrong ’Em Boyo’), Reggae (‘The Guns Of Brixton’), punk rock (’Clampdown’) to the Phil Spectorlike Wall Of Sound musings on ’The Card Cheat’. From the inspiring ’l’m Not Down’ to the affirming ’Revolution Rock’ (“everybody smash up your seats and rock to this brand new beat”), the album covered every mood. ‘The Right Profile’ gives the listener an account of Montgomery Clift’s famous 1956 car accident which left him seriously disfigured. Narrated by Strummer, the song has a quirky comical feel with brass supplied by the Irish Horns. The musical highlight is Headon’s drum roll fill which comes in at around 2:27, and demonstrates his flair for jazz and soul. He was in later years to be praised by Strummer as a large musical contributor to the band, having penned one of their largest hits, ‘Rock The Casbah’ (from Combat Rock, 1982).
An often ignored point in the band’s history is the writing partnership of Strummer/Jones. A typical method used was Jones would write the music and hand it to Strummer who would literally knock out the lyrics on a typewriter. In terms of the band’s early incarnation Mick Jones recalls: “I suppose my main influences are Mott The Hoople, The Kinks and The Stones, but l just stopped believing. Now what’s out there (pointing out the window to the freight yards)... that’s my influence”.
Prior to The Clash, Strummer was working with a relatively successful group called The 101’ers when one night his group was supported by The Sex Pistols. “Yesterday I thought I was crud, then I saw the Sex Pistols and I became a king and decided to move into the future. As soon as I saw them I knew that rhythm and blues was dead , that the future was here somehow. Every other group was riffing through The Black Sabbath catalogue. But hearing The Pistols I knew. I just knew!”
Punk was the foundation on which The Clash was formed and it can’t be heard more clearly than on their self-titled debut release in 1977. But punk soon began running out of ideas and The Clash was by then looking for new territory. Punk no longer represented who they were as writers and as a band. ”We don’t walk around with green hair and bondage trousers anymore. We just want to look, sort of, flash these days,” recalls Strummer. Jones had similar comments - “Punk’s now become ’Oh yeah, he’s got zips all over him sewed on by his mother and he’s shouting in Cockney, making no attempt to sing from the heart and the guitarist is deliberately playing monotonously, and they’re all playing as fast as possible, so this is punk, so yeah, I can dig this!’ There are some people who are becoming snobs.”
Their first US tour in 1979 saw them touring with the legendary Bo Diddley. One can’t help but feel that this tour was the turning point for the band. ”On the bus Bo sits up front slugging Rock’n’Rye and pouring out anecdotes from his 23 years on the road...Topper sits with his feet up showing off his new spurs...Mick and Paul (Simonon, the bass player) sit up the back plugged into some jumping rockabilly, watching the endless truck stops slide by...” writes Strummer. The album as the crossroads that would lay the groundwork for the upcoming triple album, Sandinista! (1980) and later, Combat Rock. The richness in the songs and the homage paid to another time and place in music was apparent. With it’s musical dexterity, social conscience and punk urgency, London Calling sold modestly at a time when the group was suffering internal problems and had management issues. Jones was sacked after 1982’s Combat Rock’ and subsequently the band had some major line up changes and finished up for 1985’s Cut The Crap. Strummer went on to play with and produce The Pogues, released one studio album with the Latino Rockabilly War and released three albums with The Mescaleros (one of them posthumously). Mick Jones was the founder of Big Audio Dynamite and along with Paul Simonon, helped compile the 1999 live Clash release, From Here To Eternity. Simonon went on to be involved in Havana 3am and more recently was in the supergroup The Good, The Bad & The Queen and he also played with Damon Albarn (Blur) in Gorillaz.
Stone Roses, The Manic Street preachers, Public Enemy, Billy Bragg, U2, Green Day - all have name checked The Clash as an influence at some point or another. For anyone that’s ever picked up a guitar and dreamed of starting a band, London Calling is the reference point. London Calling is a two LP record set and is available on one compact disc. Sony remastered and repackaged the album in recent years. Quotes were taken from The Clash - The New Visual Documentary by Omnibus Press. By Victor Stranges
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Piranesi by Susanna Clarke If you’re seeking a commercial novel that’s so light and entertaining that you can scan it while also gathering points in City Island 5 on your iPad, this book is not for you. But if you want to peer over Piranesi’s shoulder as he makes his careful daily record of the wonders of the labyrinth in which he lives alone with thousands of statues in hundreds of halls, tides that rise to cover floors and staircases, and clouds that move slowly across the upper levels, you must join him in the House. This book is a poem, a meditation and a page-turner. David Mitchell hails Piranesi on its beautiful black and copper cover as an exquisite puzzle-box. Only a writer who is weird and wondrously wonky could create this work; characteristics I have always admired in a person.
By Denise Picton
Piranesi’s splendid isolation is only punctuated by visits on Tuesdays and Thursdays from the Other, who brings him shoes and sometimes supplements his rags. He is Piranesi’s great mentor and friend until messages begin to appear in chalk on pavements that suggest there may be a third person in the miles and miles of empty rooms. The Other’s warnings about the mysterious person ‘16’ cause Piranesi to question the nature of his only relationship.
I knew writing an article on EVT, as a layperson would be controversial, and was delighted to receive two insightful letters from two very experienced singers and teachers Anthea Palmer Letter re Estill Voice Training Article - Issue 1 Hello Anthea, I loved your article about the Estill Voice Training Model. I have a Master’s in Vocal Pedagogy (from Northeastern Illinois University in Chicago) and I took my first Estill course approximately two years after graduating. It was the best thing I could have done as a singer and singing teacher. During two years of my Master’s degree program, we studied the anatomy of the singing voice but none of my singing teachers really applied that knowledge to their teaching. For example, yes, we might have learned in passing that the thyroid cartilage tilts in order to reach higher notes, but that was merely seen as a random piece of information for anatomy, and not required for actual singing. And yet, knowing that the thyroid cartilage tilts and that the vocal folds get thinner as well makes a world of a difference to reaching higher notes with ease, thereby getting rid of constriction and that horrible sensation of reaching for a note. It is an essential piece of information in the singing lesson.
About breathing, yes, the eternal “support” question. Many singers, when asked what “support” is, pat their abdomen and, when trying to singing with support, they engage their abdominal muscles. If you just try, as you are sitting there, reading my email, to engage your abdominal muscles (no singing), just notice what happens to the throat. You might have noticed that engaging the abs constricts the throat. So many people think they are doing the right thing but are making their singing life much more difficult by “supporting” the sound. That was my problem throughout my 10 years of vocal lessons prior to learning about the Estill Voice Training model and I know many people who experienced the same problem. Now I know that this “support” has more to do with closing the vocal folds and using them efficiently, and that the breath will take care of itself. I can try to support for a zillion years, but if I don’t know how to close my vocal folds, the sound will remain breathy. For me, I think Estill has the best training model hands down. Especially because it has no aesthetic bias. Each singer can choose what type of sound to make, what style to sing in, and the EVT model will give them the tools to create that sound. Compare it to architecture: as you have seen in your own experience, most teachers are like architects who build houses that all look alike. In EVT, each house is unique but well built on a very solid foundation. Anyway, just my two cents from an Estill student as I continue to hone my abilities in moving each part of my vocal instrument. Lorraine Manifold
M.A. Vocal Pedagogy, B.A. Honours Music, B.A. Communications
Note: for those interested in learning more about the Estill model, please contact www.thevoicegym.com.au for expert lessons by certified Estill Mentor Course Instructors with Testing Privileges.