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Publisher, Founder

STEVEN J. ZUCKERMAN Art Director

ANASTASIA SULTZER

Writers

HOWARD BLOOM, STEVEN J. ZUCKERMAN, KEN MICHAELS, MARK SKLEROS Contributing Artists

ANASTASIA SULTZER, CERISE CARSON

Volume 1, Issue 1 Copyright 2013 No part of Substance Magazine may be reproduced in any form without prior written consent from the publisher.

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T A B L E

O F

C O N T E N T S


We l c o m e t o S u b s t a n c e , A r t i s t s a re ve r y d i f f e re n t t h a n m o s t p e o p l e . T h ey a re m i s u n d e r s t o o d , t h ey s e e t h i n g s d i f f e re n t l y a n d h ave t h e c o u r a g e t o e x p re s s t h e m s e l ve s . W h e n t h ey a re c l e a r a n d f o c u s e d , a r t i s t s c a n t r a n s l a t e w h a t eve r e m o t i o n t h ey a re f e e l i n g t o w h a t eve r c o l o r a n d i m a g e r y t h a t re s o n a t e s w i t h h o w t h ey a re f e e l i n g .

We ' d l i ke t o e n a b l e a G l o b a l A r t s C o n n e c t , a c o l l e c t i ve o f i n d i v i d u a l t a l e n t e d p e o p l e t h a t c re a t e n ew p ro j e c t s , s o r t o f l i ke a c o - o p, w h e re t h e t e a m i nvo l ve d w i t h e a c h u n i q u e p ro j e c t o w n s t h e p ro j e c t w i t h a " F avo re d N a t i o n s A g re e m e n t " s h a r i n g e q u a l roy a l t i e s ;

M y f r i e n d D o u g wo r ke d w i t h S t a n l ey Ku b r i c k o n t h e s p e c i a l e f f e c t s f o r " 2 0 0 1 : A S p a c e O d y s s ey, " a n d w h e n a s k i n g D o u g w h a t i t w a s l i ke wo r k i n g w i t h Ku b r i c k , h e t o l d m e t h a t " h e k n ew w h a t h e w a n t e d a n d w a s ve r y c l e a r a n d ve r y f o c u s e d , a n d h e a l s o ke p t h i s c re a t i ve t e a m f a r aw ay f ro m t h e s t u d i o h e a d s - - - t h i s w ay, t h e c re a t i ve t e a m c o u l d f o c u s o n b e i n g c re a t i ve a n d n o t h ave t o d e a l w i t h t h e p e t t i n e s s o f t h e s t u d i o h e a d s n u d g i n g t h e m eve r y m o m e n t .

We ' d l i ke t o f i n d g re a t t a l e n t t h a t c a n b e f e a t u re d i n t h e p u b l i c a t i o n ;

S o m e o f t h e g re a t e s t c re a t i ve d i re c t o r s , s t u d i o h e a d s , i nve n t o r s a n d b u s i n e s s l e a d e r s a re k n o w n f o r p u t t i n g t h e b e s t p e o p l e i n t h e c h a i r s t h ey b e l o n g i n a n d l e t t i n g t h e m d o w h a t t h ey d o b e s t . I f e e l t h e s a m e w ay a b o u t a r t a n d b u s i n e s s . T h i s w ay t h e t e a m m a ke s s o m e t h i n g h a p p e n t h a t i s m e a n t t o h a p p e n w i t h o u t e g o.

We ' d l i ke t o e n a b l e g re a t a r t i s t r y t o re a c h f a r b eyo n d t h e i r l o c a l a u d i e n c e s a n d a t t a i n n ew c ro w d s ; We ' d l i ke t o l i s t e n t o yo u - - - t o h e a r yo u r i d e a s , t o b e c o m e p a r t o f t h e t e a m a t S u b s t a n c e . A s m e n t i o n e d e a r l i e r, t h a t i s u p t o yo u . B u t m o s t o f a l l , we ' d l i ke t o i n s p i re o t h e r s w i t h g re a t a r t i s t r y t h a t s o m e h o w t o u c h e s , m o ve s a n d i n s p i re s g re a t n e s s i n o t h e r s . We ' d l o ve t o s e e t h i s o c c u r- - - a n d we a re l e av i n g i t i n yo u r h a n d s t o l e t u s k n o w w h a t yo u w i s h t o s e e o c c u r.

I ' ve h a d a p re t t y i n t e re s t i n g c a re e r. W h i l e I ' ve wo n G r a m my ' s f o r my wo r k c re a t i n g L e s P a u l ' s t r i b u t e R e c o rd , p ro d u c e d a t M a d i s o n S q u a re G a rd e n a s a n d e n a b l e a f ew s o c i a l a n d a r t i s t i c revo l u t i o n s , I a m r a re l y u n d e r s t o o d b y p e o p l e a n d I l i ke t o c re a t e w h e n I h ave s o m e t h i n g t o s ay. I re c a l l B i l l b o a rd M a g a z i n e o n c e a s k i n g m e " H o w m a ny t i c ke t s d i d yo u s e l l ? " t o w h i c h I re p l i e d " W hy a re yo u a s k i n g m e t h e w ro n g q u e s t i o n ? L o o k a ro u n d a t t h e c ro w d ? A s k t h e m - - - a re yo u h a p py ? D i d yo u h ave a g o o d e x p e r i e n c e ? D o e s t h e s h o w h ave m e a n i n g a n d p u r p o s e t o yo u ? "

B u t we h ave o n e s i m p l e r u l e a t S u b s t a n c e . A n d i t g o e s l i ke t h i s :

I h ave a f ew b e l i e f s a b o u t a r t i n t h e b u s i n e s s wo r l d . M ay b e I ' m a p u r i s t , m ay b e a n e l i t e s t , w h o k n o w s , I m ay eve n b e c o n s i d e re d a s n o b b y o t h e r s . Yo u s e e , I d o n ' t c a re a b o u t w h a t p e o p l e t h i n k . I f e e l t h a t a s h u m a n b e i n g s t h e re i s n o t h i n g i n t h e wo r l d b e t t e r t h a n e x p re s s i n g t h e i r t r u t h w i t h o u t a t t a c h m e n t t o o u t c o m e . A n d i f t h a t i s w h a t an artist does---so be it.

T h e F u t u re i s i n yo u r h a n d s . . . N o w w h a t d o yo u w a n t i t t o l o o k l i ke ?

A s m a l l t e a m o f p e o p l e g o t t o g e t h e r t o c re a t e t h e p ro j e c t t h a t i s n o w i n yo u r h a n d - - - S u b s t a n c e . W h e re i t g o e s i s u p t o yo u - - - t h e a r t i s t , t h e a u d i e n c e . We h ave s o m e i d e a s o f w h a t we ' d l i ke t o d o w i t h i t . A n d w h a t f o l l o w s a re s o m e o f t h e m .

P u b l i s h e r / Fo u n d e r Substance Multimedia w w w. g i ve m e S U B S TA N C E . c o m w w w. a m o e b a n e t wo r k . c o m w w w. V i s i o n Q u e s t L i ve . c o m

We w a n t yo u r t r u t h a n d n o t h i n g b u t yo u r h o n e s t e m o t i o n s t h a t re s o n a t e i n yo u r wo r k , w h e t h e r i t ' s m u s i c , f i l m , v i d e o, p a i n t i n g , s c u l p t u re , e f f e c t s , c o m i c s - - - - w h a t eve r ! A n d we a re g o i n g t o ke e p o u r s t a n d a rd s h i g h .

S t ev e n J a y Z u c k e r m a n


Q u i c k , t h e re ' s n o t a l o t o f t i m e t o e x p l a i n - M a ke yo u r m o ve a n d h o p e t h a t yo u r c h o i c e s a re w i s e . T h e ro a d a h e a d i s f o g g y b u t t h e s u n i s a l w ay s s h i n i n g b e h i n d t h e s t o r m c l o u d s . N o w, yo u ' ve s t u m b l e d a c ro s s a f o r k i n t h e ro a d . F * # ! I t i s h a rd e n o u g h t o s e e w h e re yo u a re g o i n g i n t h e f i r s t p l a c e , a n d n o w t h i s ? E i t h e r ro a d c o u l d g o a ny w h e re . . . a n d t h a t ' s t h e m o s t exciting thing in life. I n o t h e r wo rd s , o p p o r t u n i t y l u r k s a ro u n d eve r y c o r n e r. I t s a t u r a t e s eve r y s i t u a t i o n yo u c o m e a c ro s s i n yo u r w a k i n g l i f e , b e i t a p o s i t i ve o r n e g a t i ve e x p e r i e n c e . O p p o r t u n i t y i s A LWAYS h e re . Yo u a re h e re , a re n ' t yo u ? I f yo u a re h e re , yo u h ave o p p o r t u n i t y ! I n f a c t , t h e re i s t h i s e n o r m o u s s i l ve r p l a t t e r f u l l o f g o l d e n o p p o r t u n i t i e s . . . a n d i t h a p p e n s t o b e re s t i n g f i r m l y a t t h e e d g e o f yo u r ve r y o w n fingertips. T h e s e o p p o r t u n i t i e s a re l i m i t l e s s i n p o t e n t i a l a n d a re t r u l y t re a s u re s o f t h e h u m a n e x p e r i e n c e . A d e l i g h t f u l d e l i c a c y o f w h a t t h e m a ny m ay c a l l d e l u s i o n s o f g r a n d e u r.

A s k yo u r s e l f , " W h a t i s my p u r p o s e ? W hy a m I h e re ? W h a t c a n I d o a s a h u m a n b e i n g , a p e r s o n i n t h e wo r l d , t o h e l p s o c i e t y m o ve f o r w a rd ? " I h ave s p e n t my w h o l e l i f e t r y i n g t o a n s we r t h i s q u e s t i o n . S e a rc h i n g , re s e a rc h i n g , re a c h i n g o u t , b r a i n s t o r m i n g , b o u n c i n g a ro u n d f ro m c a re e r t o c a re e r. All in a motivated and desperate attempt to come up with something. H o p e w a s l o o k i n g d i m , b u t my s i g h t w a s n o t c l o u d y. I k n ew t h e a n s we r w a s o u t t h e re s o m ew h e re . . . b u t w h e re ? We l l , I f o u n d i t . O n C r a i g s l i s t - - H A ! O r. . . m ay b e i t f o u n d m e . I ' m n o t s u re , b u t I h ave c o n n e c t e d w i t h i n s p i r i n g n ew f r i e n d s a n d we â&#x20AC;&#x2122;d l i ke t o s h a re t h e s e d e l i c a c i e s w i t h a r t i s t s a n d c o m m u n i t i e s a l l o ve r t h e wo r l d . Fo r f a r t o o l o n g we h ave b e e n t o l d w h a t t o d o, w h a t t o t h i n k , a n d w h a t t o f e e l . S u b s t a n c e a l l o w s yo t o c re a t e w h a t yo u l o ve , h o w yo u s e e i t , a n d i n s p i re o t h e r s t o s e e t h a t t h i s i s re a l . A l l t h e t o o l s a re r i g h t h e re i n f ro n t o f u s , w a i t i n g t o b e u s e d . . .

R e s t a s s u re d , t h i s s i l ve r p l a t t e r h o l d s n o d e l u s i o n , b u t s e r ve s t h e g r a n d u e r f o r s u re . A s m e n t i o n e d i n t h e P u b l i s h e r â&#x20AC;&#x2122;s n o t e , i t i s u p t o yo u d e c i d e w h a t yo u w a n t i t t o l o o k l i ke . YO U c re a t e yo u r wo n d e r. YO U c h o o s e yo u r d i re c t i o n a n d d e c i d e w h a t yo u a re i n s p i re d b y. We , h e re a t S u b s t a n c e , a re h e re t o h e l p s e r ve g l o b a l s h a r i n g a n d c o l l a b o r a t i o n t h ro u g h o u r m u l t i m e d i a p l a t f o r m a n d n e t wo r k .

A n a s t a s i a S u l t ze r A r t D i re c t o r ( . . . a n d t h e n s o m e ) Substance Multimedia


how are you?” It has a full ar senal of clichés with which to deal with most situations that involve what TS Eliot called prepar ing “a face to meet the faces that we meet.”

ROCK STAR

(Er ving Goffman. The Presentation of Self in Ever yday Life . New Yor k: Anchor Books, 1959, cover s this aspect of self pretty thoroughly.)

star t with the gods W I T H I N

But another self reveals its existence in lyr ics, music , and perfor mance . It is often a separ ate per sonality, an inter ior god of sor ts, a self that reveals its for m only in ecstatic moments–when a piece of music “wr ites itself ” or when in the throes of a stage perfor mance the singer “loses himself ” and is caught up in a tr anscendent exper ience .

2 1 ! 3 4 5 6 * 7 1 1 ' Give your audience just a glimpse of your emotional self, and you become a one hit wonder. Come to know that self and reveal it to your audience year after year-through its changes and its growth–and you become an icon, a figure who helps inter pret other s to themselves, who takes other s out of themselves, and who validates feelings that multitudes have had but have been afr aid are too insane to confess. So You Want to Be a Star? Star t with the Gods Inside You.

ter n. They put out a song that soar s on the char ts, release , perhaps, one more hit, then they disappear forever from the public eye , never to be seen–or heard–again.

Publicity star ts with the inner soul of an ar tist and wor ks its way from there . It involves schooling the ar tist in an ability to comprehend the emotional self that has spoken through his music , but often has never been expressed over tly in his daily thoughts. Music and celebr ity ar ise from revelation and from the validation of previously unspoken passions in an audience . By voicing his or her inner self, the ar tist gives voice to a multitude and for a minute sets them free , or offer s them something far more per manent–identity.

My goal as a career str ategist was to give rock and R&B ar tists an endur ing career. The fir st task was to do a four-hour session–or sever al–in which we went through the ar tist’s life stor y from the ver y beginning on up to the present, searching for what I thought of in those days as the ar tist’s soul–the source of per sonal passion, of the unseen self–that roared and danced in her music , her lyr ics, and her stage perfor mance .

My neuropsychological theor ies aboutpassion points–impr inting moments in childhood, adolescence , and in ear ly adulthoodcome from my wor k with rock star s. Musical ar tists easily fall into the one-hit wonder pat-

The perfor ming and creating per sonality is often one the self of daily life doesn’t know. The ever yday self is the one that goes through the automatic r ituals of, “Hello, how are you?” “Fine , thank you, and

I went through the stor y of an ar tist’s life with him hunting for the moments in childhood, adolescence , or ear ly adulthood that had sealed themselves into the web of emotion, the moments that had woven permanent knots of passion– the hidden gods of creativity and of ecstasy. If I could find these passion points, I could find the hidden selves, I then introduced those selves of ecstasy to the ever yday self, the self of hellos and how are yous. From the moment of discover y on, I did ever ything in my power to keep that ar tist in touch with these hidden selves. I also told him or her that he owed his audience not just his songs and his perfor mances, but his life . By revealing his life and by ar ticulating his passions, he could reveal other s to themselves, he couldvalidate them in their moments of madness or confusion, and he could br ing order out of the chaos of his listener s’ emotions. Give your audience just a glimpse of your emotional self, and you become a one hit wonder. Come to know that self and reveal it to your audience year after yearthrough its changes and its growth–and you become an icon, a figure who helps inter pret other s to themselves, who takes other s out of themselves, and who validates feelings that multitudes have had but have been afr aid are too insane to confess.

What is insane? Feelings that have no social acceptance , no words to descr ibe them, no validation from an other, no mir ror of recognition in other s’ eyes or words. If an ar tist gives this validation and tr anscendence to other s, he saves their souls. He makes what seemed lunatic sane . He yanks other s out of their moments of trouble and gives them instants of joy. Give a mere flick of your most passionate self to your audience and they will stop for a moment, look and listen, then will pass you by. Give the fullness of your passionate self to other s and they will hold you in their hear t for a lifetime .

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failed shar ing as well as saving the creativity from failed financing.”

While media liter acy is absolutely essential, the way we cur rently receive our news is no longer dictated by pr ior media companies business models. New models of deliver y has been implemented and will still be implemented. We need more liter acy and less gossip. We need more unity and less division. What we need is solidar ity in our media.

Broadcast Media—will dissapear. The notion of media consumption will be proven ir relevant and will be replaced by media liter acy guides that point people towards what their per sonal tastes are . And per sonal tastes cannot be guided by computer algor ithims.

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Global C h t i ata s w n ly o st i s i

Tower Records no longer oper ates retail stores. So why br ing back those jobs?

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In order to have this freedom we will need cour age to enable these per sonal freedoms. This type of cour age is not found at cor por ate level. It’s not found in a boardroom. It is found at the street level. We will need to under stand our humanity and our br ains vast warehouse of data and be more dependent on our own abilities and talents and less in the dependency on our machines.

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What we’re exper iencing is not “Chicken Little screaming that the sky is falling” but instead a change and tr ansfor mation from the once-successful but not evolved systems which no longer wor k for us—to systems that tr uly ser ve the needs of the people .

to Cr ystaliz e l e p

There are amazing oppor tunities for social entrepreneur ship.

We will have fewer manufacturing jobs, fewer factor ies, fewer retailer s at shopping malls.

While we’ve heard the phr ase that success can be defined as “The Progressive realization of a wor thy goal,” we can now take a good look at what some of the wor thy goals are .

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What we need is less talking about it and instead, more doing. This requires a new type of highly evolved social entrepreneur, inventor, innovator, cataylyst that under stands the root causes of todays problems with a dedication to the possibility of creating new systems which in tur n, replace the failed systems.

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Tr uly, the Future is in Your Hands

Many of our current systems have failed because they were created dur ing the industr ial revolution and have not evolved as society and cultures have evolved. Keeping this in mind, most of what we have once assumed as systems that once ser ved us no longer ser ve us anymore . The jobs that once existed are not coming back. Job growth is more of a myth than a reality. What we’re heading into is an evolution of what it means to be HUMAN.

Education systems, cur rently controlled by beaurocr acies, will evolve to more per sonalized systems. These systems will be based on exper ience mentor s who enable people to think, not just memor ize . A subscr iption ser vice to a highly evolved system of lear ning. Subscr iption to a mentor with showcased results. Financial Enter tainment Creation and Distr ibition: A highly evolved system of collabor ation for a wor thy goal and not cor por ate control of “one size fits all” but instead, “Collabor ation to save the wor ld from

Ener gy: Cur rently controlled by a few multinationals and the families that own and r un them, (as well as sit on the boards of all these cor por ations) will evolve into a more per sonal ener gy system. More on this later. Adver tising: Must evolve to per sonal adver tising, not social networ ks, but instead into per sonalized exper iences and put into motion. S t e v e n

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Z u c k e r m a n


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Pages turn as the wind blows within a booklet that lays stranded on the side of the road. A map of one's destination, which is now l o s t . Or...perhaps the map was not needed - for there is no true destination nor a particular road to get to such a p l a c e . The booklet was tossed out of a window, tipping at a speed of 85mph, agmongst this very r e a l i z a t i o n . All that is truly needed is an open mind, an open road, and a dash of the mouthwatering crave for adventure . Hi-ho

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S t eve Wo z n i a k : A p p l e ’s C o - Fo u n d e r o n t h e B r a i n , I nve n t i o n a n d H u m a n i t y

Imagine if you will: You’re a twenty-something year old computer super-genius and have recently cofounded a company called APPLE COMPUTER. You’ve decided you want more education, and you’ve gone back to school (using an assumed name , “Rocky Raccoon Clar k”) to hide that in the ‘real wor ld, you’re really you’re really Steve Wozniak. And now, you are standing on the stage of the huge concer t you created, US FESTIVAL, introducing a few of the bands as you’ve already realized you’ve about to lose four million dollar s on the gig. And despite all of the obstacles and outside negative influences and demons, you’ve decided to do another festival the following year, as you’ve lear ned from your mistakes—because deep down inside , you believe in the foundation of your core pr inciples. “It’s impor tant that one needs to push bar r ier s,” the man known as “Woz” said from his home in Nor ther n Califor nia. Cor por ations tr y to make a new product with safe moneyand you’re not pushing the bar r ier s then, it’s the r are engineer that leads you into a new ter r itor y that leads you into your future . Sometimes I’m not sure if it’s gonna wor k—but its taking the r isks that pays off in the end.” ”I find it impor tant is not following previous concepts and ideas, and to it’s impor tant to use your br ain to come to your ver y own logical conclusion. It’s not whether the answer is r ight or wrong. It’s about using your br ain that’s impor tant. When we star ted Apple , what we did came from not having money—it forced us

to think—to create—to use our br ains effectively. And I realized that ever y dollar I saved would then save money for the wor ld. I have to think about things that never existed before-and it forced me to think. A lot of that methodology is lost in existing lar ge cor por ations—-and from society in gener al.” ”And sometimes I’m not really sure where the idea really comes from…. But inspir ations push us. It is so r andom it is unpredictable . And I know it’s about once you got it, and ever ything has to be so perfect in your ar t. It star ts with motivation and then seeking excellence , usually an inter nal reason, competing with your self, and ever ytime you tr y to wr ite a little better than before . And if you have no one to share it with, you’re going to do it better.. Than any school could take you to. This applies to both ar t and tech.” “And to be a leader, you have to not lock your self into having stock answer s and justifying them. One needs to objective , if you find a better way of doing something—you’ll find a better way. I don’t want to be like a per son in a church who is just following a crowd, it’s better to believe in your self and your br ain instead of knowing it already.” As an entrepreneur and humanitar ian, I wondered if Woz ever second-guessed himself, or listened to the outside influences of other s as most people tend to do. ”To me demons are just things I don’t like

in the wor ld. .If you believe in your self you will find a way to make it happen. You get dr iven with a goal and nothing is going to take you elsewhere . I f you really believe in something, it’s best if you’re not getting paid to do it—no title , fancy title , a yacht. If you do it for free , and because you really ant to do it and you’re so immer sed in it for what I believe are the r ight reasons, your rewards are already in your head. Then you have the possibility to achievewhether or not it means anything to the wor ld, that’s not impor tant— because it means something to you. And when you are directed and focused you will make it happen. I find that as for myself, my thinking process evolves around looking for little signs and clues, somet imes when the ideas come , they’re coming from just waking up or going to sleep with these ideas–and I would get these ideas in my head and think out loud for months! “And I’d take the time to relax my mind and meditate: I will lie in bed and get into the most peaceful state I can when I wake up or go so sleep—- I lear ned the technique in high school and let my head star t floating around. It doesn’t go into technical things as much as I did. I would then think about a problem, a tech problem, code and follow the thinking about it and I would wake up in the middle of the night with a solution for it. So I had to wr ite it down. Sometimes the solutions came to me in a dream.” “As for the creative process, I would think ‘Is this possible?’ And the building of it would be the

final stage once it was in my head—I’m living with codes in my head—and taking shots, wonder ing what this would look like , what type of tr icks that one would need to do under standing that a microprocessor has all these instr uctions that wor k on, and if you have that in your thinking, you can realize other areas to utilize them—or in circuitr y, I would find another way of adding another chip or register to it—and I’d save par ts. But today, I’m not in the same mindset now as I was pr ior to star ting Apple because then I needed a lot of ener gy to make things happen and there were different feelings and tensions. And I don’t like tension. When I was a real designer of circuits and software I could concentr ate so intensely because I felt like an ar tist and as we creating things that were never done before , we had to wor k ver y hard—there was a stress on the br ain.because we were creating things that never existed before .” “When I was about 30 year s old I was designing a remote control project and I had to give it to someone else—and then there were times I put myself in total isolation so I wouldn’t be distr acted—and I would go to a place where I could just immer se myself in the project so isolated and, thr u this aloneness I would watch the whales in Hawaii and then—there was a changing point. I wanted to change from the hands on concept to dr afting to building ever y step.”


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Steven Zuckerman and Ken Michaels

has too much technology stifled creativity?

Geor ge Mar tin has produced the Beatles, Amer ica, Jeff Beck, The Mahavishnu Orchestr a and even Peter Seller s’ comedy records. He’s considered a “producer’s producer.” Not only does he get the best out of the ar tists he wor ks with, he’s humble too. Maybe it comes from confidence , having the knowledge of the instr uments of the orchestr a, how they wor k both individually as well as together. But with confidence comes conviction.

The sheer and utter faith in one’s ability to shape sound. In this br ief yet infor mative conver sation, we spoke with Geor ge from his home in England, where he assured us that a great recording should always star t with a great song, and that despite the unfor tunate situations of our creative industr ies being taken over by mar keting companies and non-creative cor por ate conglomer ates, a great song will last forever.


DO YOU THINK THAT IT IS ESSENTIAL TO HAVE A FULL MUSICAL BACKGROUND AS YOU DO IN ORDER TO BECOME AN EFFECTIVE RECORD PRODUCER OR IS THE TALENT OF PRODUCING GOOD RECORDS SOMETHING WHICH IS A LITTLE MORE INSTINCTIVE OR A C Q U I R E D ?

M ARTIN: Fir st of all, I’ve never really exper ienced dealing with people who don’t have a musical education. But having said that, there are some ver y successful record producer s who just are not great musicians. But I think that it is an enor mous help to be a musician and to know what the guys in the studio have to do, to have some exper ience in knowing what they go through. It is definitely an asset to know the ter ror s and the difficulties that a musician goes through so you can under stand how to handle them. I think there are so many facets to being a record producer that are impor tant. It is like teaching in a way. I star ted out as a musician and I got involved in the recording business by chance . I really wanted to wr ite music for films. Orchestr ating music was ver y impor tant to me . In regards to the studio business, I did realize that I had the ability to get the best out of people and making them better if I hadn’t known them. I think that a producer has to look inside the per son and say “what is there that I need to get out of them and how to get them to release it?” You got to get inside the per son. Each ar tist is ver y different. There is a lot of psychology in it. I lear ned that diplomacy and tact were impor tant when I really didn’t have those attr ibutes and made a few mistakes. Then the ability to shape music and know what will appeal so you can take a bit of r aw mater ial and shape it knowing that it is

good the way it already is, however it could be better if we did something with it. YOU USED THE WORDS ‘WHAT IF’ WHICH I FIND ARE VERY IMPORTANT TO THE CREATIVE PROCESS. THESE ARE WONDERFUL E XPERIMENTAL AND CREATIVE WORDS. M ARTIN: Yes. You see , that is one of the problems today. Technology has been getting more sophisticated and clever and more complicated with each day that goes by instead of year s, and it is quite mind-boggling what you can do with it.. It’s a far cr y from where I star ted when you had to do ever ything by the seat of your pants and some r ubber bands, mast tape and ceiling wax. Now ever ything is r ight in front of you and available for a pr ice and because of that, it is really easy, given the tools, to produce fir st class sounds, and you can create a song that doesn’t sound wonderful, in a back room. This stifles creativity because you don’t have to wor k for it, it’s already there! When you’re hungr y and you have to wor k hard for something, you can be more creative than when something is handed to you on a plate . Technology has helped music and creation, but we shouldn’t abuse technology. YOU HAVE ALWAYS HAD A KNACK OF DE VELOPING TALENT THAT WILL LAST FORE VER. M ARTIN: The record industr y is ver y different today. The people who actually r un the record companies today don’t make records. They are mar keter s. They take the product off the street while the producer s are finding the talent. It’s r ather like compar ing it to Hollywood when you had great studios and talent and now you have nothing more than finance

companies or ganizing and buying independent films and projects. I guess I was lucky in a way because timing is ever ything and I came into the business at a ver y impor tant time when the recording changes were coming out of mechanical into the electr ical into electronic and Stereo was coming in and people were getting sophisticated in their thinking, but it wasn’t too sophisticated. When people say to me “I can’t believe that you made that record on a four tr ack” I say that it was an advantage because having the constr aints that you had, you had to wor k through it, you had to wor k harder, you had to think more to get the effects you wanted. I feel that having the constr aints really helped me in many ways. SO GETTING TO THE BEATLES, LOOKING AT YOUR MUSICAL TRAINING, DO YOU THINK YOU WOULD NOT HAVE BEEN ABLE TO M AKE “ELEANOR RIGBY ” THE WAY YOU DID? M ARTIN: Well, two aspects of that. The production and the scor ing are two separ ate things. But my role model for that was Ber nard Her mann who did the scores for Alfred Hitchcock. He was a great film score . I got the idea for the jagged str ings from, I think, Fahrenheit 451. And it was ver y, ver y effective . Also the har monies that Paul gave me gave me a bit of Benjamin Br itten. WELL THE ARTISTS THAT YOU HAVE WORKED WITH SHARE A COMMON DENOMINATOR OF HAVING A GREAT PASSION FOR GREAT MELODY. A LOT OF THE MUSIC COMING OUT NOW DOESN’T SEEM TO HAVE THAT SA ME PASSION. IS THERE SOMETHING THAT YOU COULD SAY TO THE MUSIC INDUS-

TRY TODAY TO WAKE THEM UP? M ARTIN: I think that lear ning how to make change in anything is impor tant, whether you make car s or records. You will find that a per son will be doing a better job when they lear n their cr aft before they attempt to wor k at it, and don’t bullshit people . Don’t pretend you know something pr ior to doing it. Have confidence . You have to have confidence or people will walk all over you. I am delighted with the success of the Ger shwin records set. HERE IN A MERICA THERE ARE SO M ANY DIFFERENT FORM ATS OF RADIO AND OF MUSIC AND I FEEL THAT BY HAVING THESE PIDGEONHOLED FORM ATS, IT TAKES AWAY FROM THE CREATIVIT Y FROM THE A R T I S T . M ARTIN: It is pretty hor r ific that with the for mat of r adio today, that if you have a band with a cer tain style , it just doesn’t get played. If you don’t fit in, you don’t get played. For the creative point of view, it does get you to channel what you want to do. I’ve never done that. I’ve always made different records from rock to spoken word and it’s all music and it makes life interesting doing more than one thing. I would be bored stiff if I made records in only one for mat. The old mix and match is gone . You have to listen to a specific categor y. And that’s not ver y good. But you have to do what you do and maybe the people will like it. I think that the key things are the ar tist and the song. The producer is impor tant in getting it r ight when the r aw mater ial is r ight. The most impor tant per son is the songwr iter. And the second most impor tant per son is the ar tist who perfor ms it and way down the line is the producer.


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VIRTUAL CAMPUS

Our staff takes pride in everything we do, but our greatest pride is in the UVHâ&#x20AC;&#x2122;s Virtual Campus. Our egos here at UVH have grown in un-precedented amounts since its establishment in 2005. In 2007 UVH received an honorary BXBSEBUUIF(SBNNZTGPSCFTUQFSGPSNJOHCVMMTIJUJOBESBNB After receiving this prestigious award, UVH decided to create a virtual campus comprised of life-like mirrors for students and Alumni. Not only will you enjoy looking at yourself, but you can also look at others and compare yourself by looking in the mirror again.

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If you are a student in the Masters in Physical Beauty, you will enjoy our Critique Botique. This is a virtual shopping NBMMXIFSFZPVDBOCVZXPSUIMFTTGBTIJPOTBOEHPTTJQCFIJOEZPVSDMBTTNBUFTCBDLUISPVHIPVS+BWBQPXFSFE DIBUBQQMJDBUJPO%JSFDUMZMJOLFEUPZPVSNPCJMFQIPOF ZPVDBOCFBCJUDI TJNJMBSUP4,:1&XJUIPVUUIF audio)

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While visiting the student lounge, you will see a diverse group of students with a variety of personal issues. You can add friends to your â&#x20AC;&#x153;lounge tableâ&#x20AC;? and create meaningless discussions on topics like how long it has been since youâ&#x20AC;&#x2122;ve eaten. Our campus is easy to navigate and each virtual area is commonly linked with one another. 5IF4UVEFOU-PVOHF QPXFSFECZ5XJUUFS XJMMBMMPXZPVUPVQEBUFZPVSGSJFOETDPOTUBOUMZ HJWJOHUIFNQMFOUZPG back-stabbing comment ideas for the botique. 4UVEFOUTNBKPSJOHJO(PTTJQT4DJFODFTDBOBQQSFDJBUFUIFEZOBNJDøPXPGOBSDJTTJTNJOPVSDBNQVTMBZPVU0VS team of psychological wannabes found great ways to trick people into thinking they are actually accomplishing something--- even if they are just hanging out in the lounge waiting for their photo opp!

TRAMP STAMP HALL

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DONâ&#x20AC;&#x2122; T BRING A CAMEL TO THE M O V I E S

and other crazy laws...

In Ala ba ma you ca n ma rry your own f a mily member, South Bend Ala ba ma, you ca nnot force a monkey to smoke a cig a rette .

It is illeg al to frown in public in Ida ho.

In Alaska you ca nnot possess a slingshot unless you have a license .

In Illinois, it is illeg al to have sex with your dog .

In Tombstone , Arizona, it is illeg al to have a front tooth missing while smiling if you a re 18 a nd over.

In Florida is is perfectly leg al to drive your motorcycle on the highway without wea ring a helmet. It is also quite interesting that the ma n who lobbied for this to be passed was killed while driving his motorcycle in a n accident while he was not wea ring a helment.

In Arka nsas, it is illeg al to walk your cow down Ma in Street a fter 1 p.m. In California, there is a la w that prohibits having a f a ke org asm. In Colorado, it is a g a inst the la w for a ma n to kiss his da ughter while she is slee ping . In Connecticut, it is illeg al for a firetruck to go f aster tha n 25 miles a n hour including in the event of a n emergency. In Dela wa re , it is illeg al to pass out on the Boa rdwalk. In pa rts of Florida, it is illeg al to be within six feet of a customer while performing a la p da nce .

In Illinois it is a g a inst the la w to piss of f a dog .

You a re not allowed to throw your couch across the street in India na. In Ka nsas it is a g a inst the la w to kee p your ca r running while going into a f ast food ma rketplace . Kentucky La w decla res that in order for a woma n to buy a hat she must first ask permission from her husba nd to do so. In certa in cities in Ma ine , you a re prohibited from playing the violin while walking down the street.

In Georgia, it is a g a inst the la w to force your pet to ta ke drugs.

In pa rts of Ma ryla nd, you a re not allowed to ta ke a ca mel to the movies.

It is illeg al to place pennies in your ea rs in Ha wa ii.

In Micha g a n, you a re prohibited from selling ca rs on Sundays.

In Minnesota, in order to la nd a n a irpla ne on a city street you must first have a permit to do so. You a re also prohibited from wea ring a chicken on your head while entering Wisconsin from Minnesota. Missouri La w Prohibits people who getting a n ele pha nt drunk. In the big mounta in state of Monta na, it is a g a inst the la w to bring a rocket la uncher into city council meetings. In Ne braska, you ca nnot wed a nyone if you have herpes. In Ohio, you ca nnot throw a sna ke or liza rd at a nother person, so please don't do it! You a re no allowed to hunt whales or ele pha nts in the State of Okla homa. Oregon la w prohibits the wea ring of rollerscates while in the bathroom. You a re also not allowed to whistle underwater. In Pennsylva nia you ca nnot bring a Donkey onto a trolley ca r. In Rhode Isla nd, it is a g a inst the la w to sell a customer both a toothbrush a nd toothpaste at the sa me time . You also ca nnot wea r see-through clothing in certa in locations of Rhode Isla nd.

It is prohibited to urinate in certa in public pa rks in South Ca rolina. In Nashville , Tennessee , you ca n be a rrested for spitting on a public side walk! In Texas you ca n go to ja il if you a re ca ught dining on the g a rba ge of a nother person! In Uta h, it is illeg al to go fishing while riding a horse . In Vermont it is a g a inst the la w to have a gira f fe that is not tied to a pole . Also, women in Vermont must get permission from their husba nds before buying f alse teeth. In Virginia it is illeg al to pa rk your ca r on ra ilroad tracks! In Washington State you ca nnot sell a TV on Sundays! In West Virginia, you a re fined $1 each time you use prof a nity for each word used. In Wisconsin, it is a g a inst the la w if you ride a bicycle without your ha nds on the ha ndle ba rs. In Wyoming, it is illeg al to drink alcohol a nd then go skiing .


From The Book of Absurd Lists:

Ways To Get Out of A Really Bad Date That’s Just Not Working By Mark Skleros & Steven J Zuckerman

1. Ask your date if you can be excused to change your colostomy bag.

12. When the check arrives, make sure you let your date know you want to go dutch.

2. Sneeze loudly into your salad and continue to eat it.

13. Tell them cannibals have better table manners.

3. Allow your nose to run and don’t wipe it. When it’s about to run off of your face , aim it at your dinner plate as to give it a final resting place . Then shout out “two points” or Bullseye!”

14. Tell them you like their consignment shop outfit.

4. tell your date your not cer tain, but you think she reminds you of your last girlfriend.

16. Tell them this is the last time you tr y online dating, too many losers.

5. Carr y a change of clothes in your g ym bag, park the bag close to your chair and let your date know that you’re going to the g ym immediately after your date .

17. Tell them the way they slash and tear through their meat is reminiscent of a special you saw on hyenas.

6. Talk about your most recent surger y. 7. Order crabs over dinner. 8. If your date seems really interested in you, make sure to order a Shirley Temple or Arnold Palmer to drink. Then, when it arrives, ask your ser ver for a bowl of extra maraschino cherries.

15. Tell them to walk ahead so people won t know you’re together.

18. Tell them your first 5 wives had better personalities. 19. While waiting in line , tweezer your ear hair, pluck your eyebrows, and manually remove nose hair. 20. Tell then your favorite character from fiction is Hannibal Lechter.

9. Floss with the maraschino cherr y stems.

21. Tell them that you’re not cer tain but you think that salt might just help their yellowing teeth.

10. Make sure your date knows that your brother or sister is extremely over-protective and is about to get out of jail for seriously injuring your significant other five years ago.

22. Tell them their house has all the charm of Castle Dracula.

11. While your date is telling you what seems like an impor tant stor y, sing a nurser y rhyme , and when they ask why, tell them that you have a love for Mother Goose .

23. Tell them, the last time you saw an ass like theirs, it was using its tail to swish away flies at the watering hole .


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Each piece is made within a monthly theme and I obsess over maintaining a consistent size and gradual development of the works, whether it be by becoming more detailed, or adding materials as the days go by…it is something I try to plan as I work. But sometimes…tragedy strikes and all plans go away. for those impacted by the shootings in Wisconsin. And that…that is when I can really let my heart come out through my art. Which is really what I want to address in this article, the power of allowing yourself to react to tragedy through your art...and then ways to channel that to good. There is so much evil in the world, if we each as artists can put some good back in maybe our light will block out all of that darkness. At least, that is what I hope. In August of 2012 I was engulfed in a series of figurative watercolor images that included references to ‘winged things’ such as butterflies and dragonflies. I was having some commercial success with these pieces, some of them sold within minutes of posting. All was well and right with my art world. Then…I saw the news of the Sikh temple shooting in Oak Creek, Wisconsin...and everything stopped. I was at the gym, just...crying. It really touched me, seeing this story on the news. And I felt my hands tingle, like I had to do something. So I did. I made a piece of art. I didn’t worry about my size restrictions from my current body of work...I didn’t think about butterfly wings or anything that had been on my mind. I just responded to this event with a piece of art. My piece was a female figure, looking down, crying. A vision of sorrow. So then...I am sitting there, I finish the art and I just...look at it. Sometimes when I work I don’t really know what I am doing until it’s done. And it was done. This finished piece of art- what to do with it now? It had to do to Wisconsin, to seek out those that might need comfort, to be a visual representation of lives lost...they could sell it, display it. I didn’t care, the creation of the art was cathartic for me and I could only hope that sending this piece would be some minor step in the healing process

And then…I went back to making my art, everyday...a piece of art, sometimes five or ten, back to my self-imposed guidelines, in the comfortable place in which I create. Until December 14th...Newtown, Connecticut... a terrible school shooting. Evil, I hate you...I am going to fight you off with light and love, and the only way I know to do that is through my art. So my daily piece, on December 15, 2012 was dedicated to a moment of silence for the lives lost in Sandy Hook, symbolized by a candle and a figure with eyes closed. And then I made another piece, with butterflies to symbolize the children and adults that died that fateful day at Sandy Hook. Both pieces were mailed to Connecticut. I don’t know if they made them, I hope that they did...and I hope that they can serve some kind of purpose for that community. Then I went back to making art. Until- Boston. My immediate response was to turn to my art. I made an oil pastel in shades of blue, a weeping woman. I make these pieces, just like all my art, because I feel compelled to do so. Now, I don’t know that I can respond to ever tragedy, as we know- there are so many. But I have two hands, and I will make what I can and hopefully some of the work I make, specifically in the wake of such events, will find it to the right place and provide comfort to someone, somewhere. Make art, share your art…put something positive out there. The world needs us, the artists. -JLG


B O S T O N JENNIFER

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GIRONDA


SANDY HOOK JENNIFER

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SANDY HOOK JENNIFER

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