California Institute of the Arts

Located in Valencia, California, CalArts (as it is commonly known) is less than an hour away from the movie capital of the world. The school was founded in the 1960s by film great Walt Disney as the first degree-granting institution created specifically for students of the arts and offers BFAs in a variety of film disciplines, as well as an MFA in Film Directing. The school counts Tim Burton and Pixar’s John Lasseter among its alumni.

Applicants to the School of Film/Video are required to submit their best video work, preferably less than 10 minutes, along with other creative work that helps the school understand their filmmaking process. They are also required to submit an artist’s statement describing their reasons for applying, their artistic goals and concerns about their film-making practice, along with two letters of recommendation. For more information on admissions requirements visit the school’s website “Apply to CalArts” page.

University of North California School of the Arts

UNCSA, located in Winston-Salem, North Carolina, is unique in that it offers courses for high school, undergrad and graduate students. The school offers BFAs in several film-related disciplines as well as an MFA in film music composition. Notable alumni include actor and director Danny McBride and Observe and Report director Jody Hill.

All applicants to the School of Filmmaking must have a minimum high school GPA of 3.0 or an equivalent GED test score. Applicants must submit a two-page artistic statement and a resume detailing their professional experience and education objectives. All applicants are also required to have an on-campus interview to which they must bring a portfolio. Requirements for the portfolio vary by specialty and can be found at the school’s website admissions page.

Loyola Marymount University

Loyola Marymount University’s location in Los Angeles provides a great setting for film students.  The university’s School of Film and Television offers BFAs and MFAs in production and screenwriting and provides students use of a wide range advanced equipment, such as a sound stage and a screenwriting lab. Sandlot director David M. Evans and X-Files director and producer James Wong are among the university’s alumni.

Applicants apply to the university in general, rather than directly to the School of Film and Television. Applicants must submit official transcripts and ACT or SAT scores as well as one letter of recommendation from an official at the last school they attended. More information on admissions can be found on the school’s website admissions page.

University of Southern California

Just like Loyola Marymount, USC’s Los Angeles location can not be beat for those studying film. Founded in 1929 with the Academy of Motion Picture Arts and Sciences, USC’s School of Cinematic Arts is the oldest film school in the country and considered one of the best in the world. The school offers several undergraduate and graduate programs in varying disciplines. Among the school’s many notable alumni are Judd Apatow and Mad Men creator Matthew Weiner.

Applicants must submit a personal statement of no more than 1,000 words and short statement of what discipline interests them and why. They must also submit a writing sample and either a five-minute video sample or six-photo series narrating a character, along with three letters of recommendation. More information on admission requirements can be found at the School of Cinematic Arts’ webpage.

Columbia University School of the Arts

This New York-based arts school offers MFAs in screenwriting/directing and producing, as well as an MA in film studies. The film program is considered one of the best in the world, but only accepts about 6 percent of its applicants.  Kathryn Bigelow and Walk the Line director James Mangold are among the school’s alumni.

Applicants must submit three letters of recommendation and a 2-3 page film scenario based on prompts from the school’s website. Applicants must also submit writing samples and film treatments, depending on their desired major. More information about admissions and writing samples can be found on Columbia’s website.

Peck grew up in Coshocton, OH surrounded by music. She always knew she wanted to write music, entertain, and perform. In 2001, she decided to take her dream to the next level by moving to Nashville.

“I just came to a point where it was time to do it for real, and the only way I could do it for real was to make the move to Nashville,” Peck said. “You have to go for it, or you can dream about it for the rest of your life and if you don’t do it you’re going to regret it later because you’re always going to wonder what if…”

Once Peck was settled in Nashville, the next step was networking, which is one of the most important tools for artists trying to get their foot in the door. Peck was chasing her dream at full force by balancing a waitressing job, writing songs, and networking. Although she didn’t know anyone when she moved to Nashville, she quickly began to write songs with other artists and attend industry events to meet more people.

Two years after the move to Nashville, Scott Borchetta signed Peck to DreamWorks Records. Due to changes in the music industry, DreamWorks merged with Universal before her debut album was released. However, Borchetta wasn’t about to give up on Peck. He began his own venture, the independent label Big Machine Records, and signed Peck as one of the original three artists.

“Once you’re networking and doing your music and recording, a label plays a big part in helping you get out to the masses and to radio,” Peck said. “It takes a team, it takes so many people to get things out there. What you can do yourself is the social media sites.”

Although Peck is thoroughly engaged with her fans through social media sites such as Facebook and Twitter, she says it’s important for artists to meet the fans at shows, stay connected, and even become friends because if they like your music, they’re going to tell someone about it. This ignites the traditional word of mouth and is still important no matter how many social media sites there are.

“When you build it (your fan base), you don’t just want to meet someone, shake their hand, sign an autograph and let it go, you want to continue to build a fan base to where they become friends,” Peck said. “That’s a big thing sometimes artists don’t do, is get to know their audience in a personal way. Reach out, be connected, and stay connected.”

Once you’ve networked, become engaged with fans, and are growing your brand, it’s important to be comfortable with the image you’re portraying. In other words, it’s important to be you. “Stick to something you like and grow to that,” Peck said. “If you like ripped jeans and ball caps, like Rodney Atkins, on stage he has this image and anywhere you go, you’re going to see him this way… People are going to see you’re the same person off stage as you are on, and that’s important in branding and marketing too.”

No matter what life throws at you or how many times you hear no, don’t give up, Peck commented. It takes many artists years for their big break. Little Big Town, Keith Urban, Kenny Chesney, and many other artists, faced challenges before they became the stars we know and love. “They (those artists) had put hard work into it, their passion, their heart, their soul into it, they surrounded themselves with good people and they just didn’t give up,” Peck said. “Don’t let yourself get down and give up because I always say the one’s that give up are the one’s that don’t make it.”

Peck released two albums through Big Machine Records, and later left Big Machine. Since then, she’s been writing and recording for her third album. The album, which is being produced by Lari White, will be released this summer in 2012.

Whether you’ve learned more about networking, the importance of fan engagement, or branding yourself through Peck’s story, remember timing is everything and what’s meant to be, will happen.

“Eventually, when it’s the right timing, when it’s the right song, the right all-around situation, it will happen,” Peck said.

Visit Danielle’s website here: www.daniellepeck.com

Follow her on Twitter: twitter.com/#!/daniellepeck

• What is a License – Covered in this article. 
• 3 Things Photographers need to learn
• Categories of Use – coming soon
• Copyright, Property and model releases - coming soon
• Ways to Obtain a License to Use Photographs - coming soon
• Terms You Need To Know - coming soon

Introduction to Licensing

provided by LIMA.

Basics & Background

The basic definition of trademark licensing is rather straightforward, if somewhat legalistic. A license is an agreement through which a licensee leases the rights to a legally protected piece of intellectual property from a licensor – the entity which owns or represents the property — for use in conjunction with a product or service.

But the relative simplicity of that definition is a mere gateway to a way of doing business in an ever-widening range of product categories and types of properties.

Licensing is a marketing and brand extension tool that is widely used by everyone from major corporations to the smallest of small business. Entertainment, sports and fashion are the areas of licensing that are most readily apparent to consumers, but the business reaches into the worlds of corporate brands, art, publishing, colleges and universities and non-profit groups, to name a few.

Terms and Definitions
Licensing is defined as the process of leasing a trademarked or copyrighted entity (known as a “property”) for use in conjunction with a product, service or promotion. The property could be a name, likeness, logo, graphic, saying, signature, character or a combination of several of these elements.

Licensing is usually based on a contractual agreement between two business entities: the owner or agent of the property, also known as the licensor and the renter of the rights, and the prospective licensee – generally a manufacturer or service provider who believes that by using the property as a marketing tool, it can sell more of the product or otherwise attach itself to the emotion generated by the property. For example, the emotion might be:

• pride in a sports team as represented by its logo;
• trust engendered by a well-known brand;
• humor and laughter generated by a funny character;
• self-image projected by wearing apparel or accessorizing with a well-known brand;
• appreciation of a beautiful piece of art or design; or
• many, many others.

The formal permission to use the owner’s property is subject to certain terms and conditions, such as a specific purpose, a defined geographic area, and a finite time period. In exchange for granting the rights, the licensor obtains a financial remuneration. The basic component of this payment is the royalty — in most cases a percentage of the licensee’s sales of products covered by the license. Most deals also include a “guarantee” or “minimum” – a sum that the licensee is required to pay to the licensor even if little or no product is sold. A percentage of this guarantee is often paid as an advance at the time the deal is signed.

Creative Commons licensing.   Read more about the types of licenses under this. 

The Creative Commons copyright licenses and tools forge a balance inside the traditional “all rights reserved” setting that copyright law creates. Our tools give everyone from individual creators to large companies and institutions a simple, standardized way to grant copyright permissions to their creative work. The combination of our tools and our users is a vast and growing digital commons, a pool of content that can be copied, distributed, edited, remixed, and built upon, all within the boundaries of copyright law.

LinkedIN is great for building a network of people that are in the same profession and sharing professional experience in great detail. But the rules of a proper resume haven’t changed, no one enjoys looking through hundreds of resumes, and employers definitely aren’t interested in your life story.

So what do they want?

Gerrit Hall is the CEO and co-founder of RezScore, a free web application that reads, analyzes and grades resumes instantly, “LinkedIn and your resume have a lot in common. They both include your professional summary, experience, skills, contact information, education and important links. But beyond that, there are plenty of things your LinkedIn profile has that need to stay clear of your resume.”

See the full article at http://mashable.com/2012/05/12/linkedin-profile-resume/

Go ahead and “toot your horn” on LinkedIN because if people want extensive knowledge of your professional background they will seek out you profile. Provide the URL to your LinkedIN profile in your cover letter so potential employers can learn about your experience.

Many in the entertainment industry are utilizing LinkedIN to promote to potential clients and/or employers and corporate event

planners are using LinkedIN to find musicians for parties. This is an opportunity to be professional and show the depth of knowledge in the industry.

Recommendations
LinkedIn enables users to publicly recommend others for positive business or professional experiences. Be generous with giving recommendations to people you’ve worked with in the past, from entertainment colleagues to members of the community like your entertainment attorney, veterinarian. Also recommend entertainment pros, like sound engineers, managers, talent agencies, attorneys or bankers.

Don’t be shy when it comes to requesting recommendations from those you have worked for or with, in the past—but be sure to personalize them. Recommendations appear on your profile and it’s a small world, who knows how a potential client or employer will be connected to someone who writes positively about you on LinkedIn?

Post Relevant Content and Calls to Action
Once you’re connected, develop a steady schedule of content on LinkedIn. Posting shows, photo shoots or any other relevant professional information is a great way to generate interest and leads. But don’t just post content – be sure to include a call to action.  Ask people to comment or contribute to the conversation on your blog posts, tell them where they can get more information about you and your information – generate those leads and build closer bonds with your network.

Finally, use LinkedIN for what it is there for. LinkedIN is a professional network and you should to treat it as such. If you link your Facebook profile and you send your status updates to it then remember that potential employer is going to read all that as well.

Now go stand out from the rest on this service and with your resume.

Golden Rules of Mobile Barcode Usage:

Serve a business objective. Generate leads, retain customers, drive traffic, etc.

Add value for the user. Save time, reduce cost, enhance experience, mobile-friendly content, etc.

Provide contextual assistance. How-to steps, link to get a reader app, call-to-action, barcode link or SMS alternative, etc.

Test to ensure codes are scannable. Code size, lighting, Wi-Fi, etc. across different readers and handsets. Nothing more aggravating to an end user then scanning a code that doesn’t do anything.

I have heard of many creative ways to use QR codes for artists and to promote photography businesses. I’d love to hear your creative ways. Leave a comment on the best way you have used a QR code or have seen one used.

Tip – Feature a QR code near product price lists at shows that encourage users to scan and view additional info, reviews or combo buy specials. (Leverage the opportunity to back-up customer satisfaction claims and best price on package deals.) another tip: Consider promoting a “Buy Now” mobile option (similar to self-checkout), so customers don’t have to wait in line at your merchandise booth. Merchandise is shipped to their address then. Never lose a sale!

Question: What was the most successful use of a QR code to date?

Great resources:

http://www.socialmediaexaminer.com/5-steps-to-a-successful-qr-code-marketing-campaign/

http://mashable.com/2012/01/14/qr-code-marketing/

The Official Google Blog stated that “By the end of 2011, an estimated one billion people around the world will be connected to the mobile web and 50% of all Americans will own a smartphone.”

The demand for smart phones is ever increasing. In took only 17 hours for Verizon iPhone pre-orders to sell out. Analysts estimate that Apple will sell 9 to 12 million iPhones on Verizon’s network alone this year. Add to that, Nielson’s estimate was that by the end of 2011, 1 in 2 Americans will have a smart phone. So is there even a question on that you need a mobile version of your website?

Dream Row’s mobile site is done through dudamobile and so far we have enjoyed this service. The mobile site automatically syncs with your regular website. These automatic updates in your mobile site are free with this service.

Now does this give you a competitive edge over others? I found this great article that focuses just on that. Give it a read and then you decide if this is something that can wait or how soon you need it.

It all began in the spring of 2009. The ever-hilarious Tim Todd received a call from Melanie Roady, with whom he had done several community theater productions. Mel was looking for some people to do a dinner-comedy show at the senior center up in Springfield, TN. She wondered if Todd would be interested in getting some people together to do a sketch comedy routine.

Tim, realizing his own humor would not be enough for such a task, called upon myself and Ender Bowen  to help him put together a show. Craving the spotlight as we do, both Ender and I eagerly agreed and we set to work finding skits that we could perform for the show.

Unfortunately, there are rules when it comes to performing plays and skits. Not just courtesy rules, like “don’t step on someone else’s line”; “don’t block other actors on stage”; and “always clap loudest for yourself”. I mean rules that could land you in major trouble with the authorities if someone is paying attention. I am referring, of course, to copyright and royalty laws. Essentially, you have to pay a fee (called a royalty) to perform someone else’s work unless they have published it as royalty-free. We were rich on talent but poor on money so we were forced to find royalty-free skits that we could perform.

The old adage is true. You get what you pay for. And our payment of nothing produced us with exactly that… nothing. Sure, we were finding royalty-free skits but they weren’t funny. After several hours of searching, I threw my hands up in dramatic frustration and huffed, “I could write better skits than these!”

And just like that, my destiny was clear. I wrote 3 skits for the upcoming show, incorporating the three of us and two additional actors we brought on to help. And they were quite funny, if I do say so myself.

But as typically happens with glory, others wanted to share in it. Ender decided he wanted to take a crack at some writing. And then, naturally, Tim wanted to start wearing dresses. Oh…and writing. With only 2 weeks until the show, we soon had an hour-long program featuring our own material.

The show was a hit! Yes, we were number 1 with the over 65 demographic in Springfield! The three of us looked at each other after curtain and said “Hey, we’re freakin’ funny! We should do something with this.” And it was then that Common Sense for Dummys was born.

The next step was figuring out what direction we wanted to take our troupe in. Did we want to do live shows? Did we want to film our sketches? The answer was obvious… both! Humor shouldn’t be pigeon-holed into one type of venue (especially not humor as good as mine). So we opted to try to conquer both the live stage and the small screen.

First we set to work on writing a plethora of sketches we could perform. Some were great. Some stunk. And some would probably be good with a little bit of work. We found that our greatest asset was the combination of three extremely disparate senses of humor. Ender is a genius at word play. I’m brilliant when it comes to bait and switch comedy. And Tim looks pretty good in a skirt. Just kidding. Well, actually I’m not kidding. He does look pretty darn fine in women’s clothing, but he also has an unbridled passion for physical comedy.

We wound up with a decent library of skits that we could film, skits we could perform live, and skits that could be used for both venues. Inevitably, we agreed that attempting to stadium tour the country was not going to be our best bet. None of us should be that close to places where people play sports. We considered scheduling some small shows in local venues, but quickly realized that it was hard to get a booking without a sample of our work to show. So we opted to film some sketches for online streaming.

Again, budgetary restraints put us at a disadvantage.  We couldn’t afford to pay a camera crew to film us. And even if we could, we couldn’t afford to pay anyone to edit the footage once it was shot. All seemed dismal. And just like a fly ball deep into right field, it hit us. “Why don’t we do it ourselves?” OK, now that’s a little easier said than done. Clearly, we are intellectual giants, but you can’t just pick up a camera and know how to find the right shot. You can’t just open up Final Cut and know how to edit. So we called upon our good friends, Kenny Garner and Richard Call to help us out. Kenny had a fairly extensive independent film background and Richard was an accomplished photographer. The five of us became known as the Dream Team… in my mind.

While it does go without saying that you can’t just pick up a camera or sit down at a computer and suddenly be an expert in filming and editing, you can teach yourself a lot. Whenever possible, Ender, Tim, and I were watching online tutorials, reading articles, scanning “how-to” books, catching reruns of Studio 60 on the Sunset Strip.  Anything we could find to advance our skills in camerawork, lighting, sound, post-production editing, pizza consumption, color correction… you name it, we were learning it.

In May of 2011, we had finally filmed enough sketches to compile a full 30-minute pilot. We premiered it at a big party with food and beer. We invited friends, family, and anyone we could think of who was involved in the local comedy and independent film community. We got an overwhelming response. People loved it! But we were careful not to take only positive feedback. We wanted to hear people’s negative reactions too. Because as hard as it is for us to believe sometimes, we are not perfect. Close to it, mind you, but not quite there. That same night, we sat down and discussed what got the best responses, what didn’t get any responses, what people loved, where we should go for a late-night bite, and what people thought could have been better. We made notes on our discussion so we could refer back to them when producing our next show.

We then uploaded our episode in 2 segments on YouTube  and our own website. We also had DVDs of the show manufactured through Amazon’s CreateSpace and made those available for purchase via Amazon and our website.

Which brings us now to 2012. Common Sense for Dummys is rapidly finishing up another batch of sketches to fill up two 15-minute online episodes. However, we are considering releasing each sketch as its own episode, since that seems to be more typical a format for online viewing. We are also exploring comedy showcases where we can perform some live sketches.

While you may not be as comedically gifted as Tim, Ender, or myself, you can get yourself started. You have many more resources than you even realize. That’s the beautiful part about the current entertainment industry… the possibilities are endless.

Follow Emily Steele on Twitter @theemilysteele

Follow Common Sense for Dummys on Twitter @cs4dummys

Do you like being the creative force on the final outcome of it all? Then keep going with this. If not, maybe being a screenwriter or actor is more up your alley. Directors turn a script into a movie; they are responsible for the quality of the final product and its success. In most cases, directors work on films far longer than any actor, technician, or editor, from the first day of brainstorming to the final release; it is no wonder that directing is physically, mentally, and emotionally draining. Directors work with actors, makeup artists, cinematographers, writers, as well as film, sound, and lighting technicians.

Here is a good start; try directing plays or films in high school or the local community center. You can even start with home movie direction. This will be a start to your portfolio that can possibly get you into the top film schools. Study other people’s styles but don’t copy them. You have to make your own name.

Read more: How to Become a Movie Director | eHow.com

Now with all that said about your personality maybe some good schooling is what you need next.

Education Requirements for being a director. Formal education and training as a director is not required for a career in the field. Many movie directors begin making movies, such as short films or home movies, before going to film school. Others learn basic skills creatively without ever earning a film degree. For example, some professionals develop an interest in directing by working in film development or production, such as screenwriting, producing or acting. Although there are no specific education requirements to become a movie director, there are several options for prospective film directors hoping to launch a career. Some film and cinema bachelor’s degree programs also include a portfolio review as part of their admission process so keep working on this before applying.

According to the Princeton Review - Nearly all film directors are film school graduates. Film school students must complete their own short films by graduation; you should be prepared to work under difficult conditions, share space, and convince actors to work for little or no money. Aspiring film directors prove themselves by directing stage productions, doing film lighting design, or establishing a history of assistant or associate directorships. This last route is the most common, as professional experience and networking contacts can be combined in a brief but intense period of time. There is no specific ladder to climb. Many aspiring directors develop clips of their work as a display of their talent when applying for industrial, television, or commercial directing jobs, which pay well and serve as working credentials. Individuals entering this career should be warned that 20-hour days are not unusual.

I can’t state this enough “Get your foot in the door as an intern or assistant producer on a movie set. You may not get paid, but you’ll gain valuable skills, experience and contacts.” These contacts and experience are part of your resume in this career choice of yours. Plus being an intern might show you if you love it or hate it. Don’t expect to get much directing time if any but keep your eyes and ears open to absorb everything.

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To make money, you just have to get paid for what you do. This can be in a job as a paid photographer or other areas of this field. You can also look at the freelance photography business. My suggestion is to get a good idea what works and what does not work first. Some do this by getting entry level jobs in their field and get paid to learn. Not a bad way to do this, but at the same time the clock is ticking. That clock being how long you stay in this JOB before you make your cut to freelance photography and having your own business. Even though your paid to learn in a job, you also take the risk of getting stuck there. You might start getting use to the steady income and depending on it instead of taking the risk to move over to freelance. You also might be in a non-compete agreement that bans you from freelancing in a certain area or field. There is no law against you going outside of that NDA and doing something that is not part of it. You just take the risk of over extending yourself. So you have to determine the pros and cons and decide what is best for your situation.

It seems many never feel they are good enough. This I think is very prominent in the art related fields. Ask yourself this, do you want this to be your career or hobby? If you can not answer that question, then you are not ready. If it is just a hobby, then stop reading this and go have fun with it. Having a hobby is not bad at all but you will have to support yourself doing something you might not enjoy as much. Can you separate yourself from the art and the business? Many artists, and yes a photographer is an artist, have a hard time doing this. Their art speaks for them but it does not run their business. You have to know how to separate this part or find someone that can. I know a few great photographers that get to caught up in the art and not minding their own business. This can be a disaster so think about how you can be an artist and a business owner before you start. Going to work for someone can have the same affect on your artistic side. They will be looking out for the bottom line and not always your art.

We have some great photography articles. One I liked is by Jay Farrell about not going cheap on some things as a freelance photographer.

Here are some great articles that help you make a good decision about a photography business.

What are some things that will make you stand out?

1. Know what you or your product stands for. This will define your target audience.

2. Get the right tone. Do not talk old when your market is young, do not talk like your do not know your industry. Talk the talk and walk the walk.

3. Do not waste time, be effective. Engage your audience the right way.

4. Grow that relationship. Just because they used you once does not mean they will again. Keep the relationship cultivated.

5. Keep it real bro. That is right, we need to keep our information real, relaxed and relevant for our audience to engage with you. If vinyl is hot then go with vinyl, if not, go pure digital, what is relevant does matter. Listen to your audience.

6. Keep things on schedule. Do not do this once and forget it, you have to keep up with it. Do you see Coke or Pepsi branding the same way they did a year ago? No they do #5 and do it again and again on scheduled times.

7. Measure your branding and retool where needed. Do not just expect everything to work but spend the time in your schedule to rinse and repeat.

That is the idea behind branding: consistency. Strive to put forward a consistent public brand, so people can easily associate and remember you over time.

This needs some clarifying:

You do not actually need to have a internship on your résumé. You need something that gets a hiring person’s attention. That is what internships do—they open doors and allow you to put great corporate or creative names on your résumé—and they ultimately get you attention.

Other things that can also get you this kind of attention:

1. Going to graduate school. Sure, it is something you have to pay for, but it is another way to get a recognizable name on your résumé.

2. Taking a job that does not require an internship and working your way into a role with a good title.

3. Taking a job that allows you to build a body of work that will demand attention.

4. Doing community service that brings you additional responsibility in that role. Then using those you worked with to put on your résumé.

You may be thinking to yourself, “Why do I need to give up my summer and be an intern?” Whether required by your university or not, an internship provides you with the real life experience needed to succeed in today’s tough job market.

Remember in today’s economic downturn and high unemployment, you need an edge. We are all in competition with others looking for that job or career advancement. Most employers are looking for “real-world” qualities and skills that can help them in their business. If you were hiring someone for your business, would you choose the applicant with the degree, or the applicant with the degree and an internship?

Being an intern for the entertainment industry is a cool thing but at the same time do not think it will be a walk in the park either. Entertainment is such a broad field and consists of so many different parts and departments. Accept internships/jobs in different areas and try them out – you never know what you might enjoy for a career that you have not even considered. Interning in multiple different areas help many figure out what they want to do and what they did not want to do.

Interns at Dream Row get to work one on one with the management team at Dream Row and get real hands-on experience in many areas. They research articles, do interviews, journalism, broadcasts and even assist in marketing and promotions. They are the backbone of Dream Row and really do make this company great. Having a group of interns helps us grow stronger because they all bring something to the table. It also allows us to listen to them on what students going into these industries still need for additional education.

More and more young people every day are becoming fans of vinyl.  It is something that this generation was not able to experience growing up.  All they had were CDs and mp3 files, iPods and earbuds, and any other compressed sound decaying listening device.  They have never had the chance to hear music like this before, clear, articulate, and lucid.  It is this group of kids along with the die-hard vinyl fans that are keeping record stores alive and flourishing.

Anna Lundy, Indipop princess and store manager at Grimey’s New & Preloved Music in Nashville, Tennessee, has a lot to say about the upward trend in vinyl, “It is more fun to sit around with my friends and we all pick out 45s to play then staring at a computer and making a play list together.  It is just a different full experience.”  A full experience indeed, records not only allow the listener to physically touch and view the music but also listen in much greater depth, not to mention you can still take it everywhere you go because most vinyl today comes with free digital downloads.

The demand for vinyl is here and rising, but how do independent record stores stay afloat in today’s economy as well as in what most call the downfall of the music industry?  If listing to vinyl is an all senses complete experience, why not bring the same idea to the stores where you shop for it?   Nashville’s very own Grimey’s has the right idea.

They have been around since late 1999, founded by Mike Grimes and co-owned with Doyle Davis.  Lundy said that Grimes wanted to “Open a record store where the people who worked there knew about music, were friendly, and cared about helping you.  They are not the kind of music fans that are elite, and not congenial.”  In summary he wanted to have a store with employees who would feel comfortable engaging with customers, knowledgeable of their craft, but also knew how to have fun.  “We do things differently,” said Lundy, “We don’t work at a store where there is a little notebook manual that somebody sat and wrote down in an office years ago at the corporate headquarters, this is literally a make it up as you go kind of job.”

Independent record stores around the country, take note, Grimey’s excels in the different techniques they use to engage fans and keep them coming back for more.  With new album releases they play it in the store on the street release date, they have free in store performances featuring bands that are playing shows the same night in Nashville, but their parties are the cherry on top of the Sunday.  “Bands playing in our parking lot, you cook out, now we have food trucks so we don’t have to cook!”  Lundy explained, “We also have a side walk sale with dollar records and dollar CDs.” Grimey’s has been throwing their parties twice a year ever since they opened and in 2007 their spring party turned into Record Store Day.

Record Store Day (RSD) was created to celebrate the art of music, a day where all 700 plus independently owned record stores in the United States could come together with artists and share sounds, advice, and drinks.  This year at Grimey’s, a signed poster from The Black Keys as well as a pair of tickets to the sold out Jack White show at the Ryman Auditorium were given away to two lucky winners.  But, it’s not the free swag that interests the fans of RSD it’s the limited edition vinyl released only for this day of the year.  When asked about the infamous line that forms for these special records Lundy said people started gathering at “5pm on Friday afternoon.”  Grimey’s was not to open for RSD until Saturday at 10am.

Unfortunately RSD is not as successful for some independent record stores in the US.  Lundy remembered the year before, her friends at Harvest Records in Asheville, North Carolina, were not able to receive the special RSD Phish seven inch, “You know what Asheville is like, that is a big deal!”  Lucky enough, the group of participants in RSD became close enough to create a sense of community and Lundy was able to send out a few of Grimey’s extra Phish seven inches to Harvest Records.  When asked about these smaller stores, Lundy urged, “Keep trying, don’t give up, and don’t get discouraged.”  She believes in this community no one should be timid about asking for help, and people will surprisingly jump to the chance, “Everybody is going to play together, nobody is a hater, and nobody is weird.”

It seems the one thing missing in the equation that will save the music industry is the importance of the full, detailed, bursting at the seams, experience.  Once we are able to harness this idea and put it to use like Grimey’s understands, things might actually start to look up.

“I think it’s high time the mentors, big brothers, big sisters, parents, guardians, and neighborhood ne’er do wells, start taking younger people that look up to them to a real record store and show them what an important part of life music really is. I trust no one who hasn’t time for music. What a shame to leave a child, or worse, a generation orphaned from one of life’s great beauties. And to the record stores, artists, labels, dj’s, and journalists; we’re all in this together. Show respect for the tangible music that you’ve dedicated your careers and lives to, and help it from becoming nothing more than disposable digital data.”

-       Jack White

Not only will the twenty selected bands be opening for one of the worlds greatest guitarists, but they will also be receiving a tour support prize pack that includes gear from Ernie Ball, Zoom, Dunlop, Monster Cable, Pro-Mark, and Converse. The top performing band on the tour, as selected by Slash, will be named the grand prize winner and take home $10,000 in guitars from Gibson and Epiphone, a $5,000 shopping spree at Guitar Center and much more.

How to Enter: Starting today through June 30, 2012, unsigned bands across the United States are invited to submit their unique music track at www.GCOnstage.com. The twenty bands handpicked by Slash will be announced in August.

Guitar Center On-Stage: Slash Grand Prize Winner to Receive:

$10k in guitars from Gibson and Epiphone
A $5k shopping spree at Guitar Center
New gear and products from Ernie Ball, Zoom, Dunlop, Monster Cable, Pro-Mark, Orange County Drums and Percussion, and Converse.
“I’m a strong believer that the best way to get your music heard is to get out there and play shows,” said Slash. “There are tons of talented bands that simply don’t have the resources to go on tour, so I’m stoked to be able to host them on my tour and at the same time introduce my fans to great, undiscovered artists.”

The twenty chosen opening acts will each perform in one of the following markets:

Atlanta, GA
Los Angeles, CA
Austin, TX
Chicago, IL
Cleveland, OH
Dallas, TX
Denver, CO
Detroit, MI
Houston, TX
Indianapolis, IN
Kansas City, MO
Nashville, TN
New York, NY
Norfolk, VA
Oklahoma City, OK
Philadelphia, PA
Phoenix, AZ
San Francisco, CA
Sayreville, NJ
Washington, DC

Not quite sure which job in the music industry is the right one for you? These career profiles will help you narrow down the choices and find your music business calling.

Personal Manager (or Artist Manager, Agent)
Personal managers represent one or more musical groups or artists and oversee all aspects of an act’s career. They deal with and advise the act(s) on all business decisions, as well as many of the creative decisions an artist must make, and attempt to guide the artist’s rise to the top.

Booking Agent (or Talent Agent)
Booking agents work to secure performance engagements for musical artists and groups. They work to find talent to book and may be involved with developing the talent toward a goal. They must possess good communication skills to sell talent and develop contacts in the music industry. They often work closely with an act’s manager and may be involved in setting the fee and negotiating with promoters or clubs. A booking agent is paid a percentage of the negotiated fee for an act’s performance.

Concert Promoter
The concert promoter presents, organizes, advertises, and in many cases, finances concerts at performance venues such as arenas, festivals, clubs, church buildings, auditoriums, etc. The promoter often secures money for the concert by finding others to share in the profits/expenses. However, it is often times the concert promoter who absorbs all the financial risk.Find your music business career

Independent Radio Promoter
The independent radio promoter (IRP) has a similar role as that of a promotional staffer at a record label, except the IRP is usually employed by an independent radio promotions company or works freelance. Often, a record label, artist/band, or manager will hire the services of an independent radio promotions company to generate airplay of a particular song or record.

The IRP contacts radio station program directors, music directors, and disc jockeys in a local, regional, national, or even an international market. They set up appointments with these station people and bring a number of new album releases as well as a supply of promotional or press material relating to the artist or band. An IRP may socialize frequently with program directors and music directors to help improve the chances that a radio station will add a song to its playlist. An IRP often will often take key radio station personnel out to lunch, dinner, or for drinks. They may also bring a program director to a club in order to listen to a group play songs live and gauge audience response.

Entrepreneur (Music Business)
A person who organizes, operates, and assumes the risk for a music business venture. Some common businesses started by music entrepreneurs are: recording studio facility, private teaching practice, performing band, booking agency, artist management, music retail, music publishing company, record label, etc.

Entertainment Attorney
An entertainment attorney handles any contractual matters conceivable within the entertainment industry. Entertainment attorneys can be freelance, hired on retainer, or an employee of a company or business within the entertainment industry. Entertainment attorneys generally specialize in one of three separate fields within the entertainment industry: sports, film and television, and music. An attorney that specializes in the music industry usually has a solid depth of understanding with regard to copyright laws and artist/band agreements with managers, publishers, record labels, booking agents, etc. Successful completion of law school and a state bar exam are requisites for being an entertainment attorney, as well.

Business Manager
The business manager handles the financial affairs of musicians and entertainers. Most have degrees in business administration with concentrations in accounting or management. The business manager should have knowledge of negotiating, accounting skills, investments, and tax laws.

Music Supervisor (Music Licensing/Clearance)
A music supervisor may act as an A&R scout to find and license popular songs (as source music) for a film, TV soundtrack or other media format.

Music Business Consultant
The music business consultant advises his/her clients, who are generally artists, music industry professionals, or entrepreneurs, on music business strategy for their career or business.

Contractor (or Leader)
A contractor is responsible for hiring musicians or road crew staff and tending to all the necessary contract obligations through the appropriate union organizations. It is in the contractor’s best interest to procure the best talent possible while working within given budget guidelines.

Record Label Business Careers

Record Company Executive
This person would usually be employed at a record label and be a director, vice president, or president of any of the various departments or areas therein.

A&R Coordinator
The main duty of the artist & repertoire coordinator is to find talent for the company to sign. A&R coordinators search for new talent by visiting clubs, going to showcases, listening to tapes and demo recordings, and watching recordings of acts performing. He or she is often responsible for helping find songs for the artists signed to the record label.

A&R Administrator
The artist & repertoire administrator works in the Artist & Repertoire Department along with the A&R coordinator. In large companies, the A&R administrators are responsible for clerical functions within the department, planning budgets for artists signed to the label, and working on the annual or semiannual budget for all artists’ expenditures. They must analyze previous budgets and prepare a budget proposal with projected cost estimates for recording current acts. They also monitor the budget in relation to the expenses throughout the year. Staying within a budget means that the A&R administrator is doing his or her job. The individual might work exclusively with one or two studios in order to build up a great volume of studio time. With this volume, the A&R administrator can often receive discounts on time. They also keep track of all money spent for recording studio time, session musicians, talent, and miscellaneous expenses.

Director of Publicity (or Public Relations Director)
The director of publicity supervises the record label publicity department and develops and oversees publicity campaigns. As director, this person oversees all the work that is performed by the staff of the department.

Publicist (or Staff Publicist, Press Agent)
A publicist handles the publicity and press needs of acts signed to a label. Publicity helps the label sell records and produce income. A publicist must be able to get an artist’s name in the news (magazines, music trades, TV, radio, etc.) as often as possible. This is accomplished by writing press releases, sending them to the correct media, talking to media about acts, and arranging interviews. The publicist often arranges a series of print interviews, radio interviews, and TV appearances in conjunction with the release of a new record. Staff publicists spend a lot of time on the telephone and are usually the first to send out promotional copies of new records and other important materials to the media. After a new record is released, a publicist may work with the A&R or promotional departments on a showcase booking of the group, and make arrangements for a press party.

Assistant Publicist
Assists the publicist, compiling press kits, writing press releases, and double-checking information for accuracy.

Artist Relations Representative (Artist Development Representative)
The artist relations representative’s responsibility is to represent the label’s interest to the artist/band and the artist/band’s interest to the label, and maintain proper communication, cooperation, and mutual understanding between the two entities. This person’s job is to make the artist feel appreciated by the label by thoughtful gestures such as buying flowers; writing letters; and arranging promotional appointments that coincide with a new tour, album release, or career milestone such as having a certified gold or platinum album. If there is a problem or concern that the label or artist have with the each other, the artist relations representative will seek to mediate the situation. The artist relations representative may also advise the artist on creative/performance-related issues, as well.

Promotional Staffer
The prime function of the promotional staffer is contacting radio station program directors to generate airplay for the label’s records. Promotional staffers will work closely with program directors, music directors, and disc jockeys in these markets. They set up appointments with these station people and bring a number of the label’s new album releases, as well as a supply of promotional or press material relating to the artist or band. A promotional staffer may socialize frequently with program directors and music directors to help improve the chances that a radio station will add a song to its playlist. Promotional staffers often take key radio station personnel out to lunch, dinner, or for drinks. They may also bring a program director to a club in order to listen to a group play songs live and gauge audience response.

Advertising Account Executive
An advertising account executive develops advertising campaigns for a record label’s products. This person must be creative and aggressive, have good sales skills, and have a strong knowledge of music. They may also have advertising experience in another area.

Salesperson (Record Label)
A record label salesperson establishes a relationship with various accounts to sell the company’s products and provide continuing service to the accounts. Accounts may include retail stores, rack jobbers, and one-stops.

Regional Sales Manager
The regional sales manager is responsible for supervising the sale of the label’s records to wholesalers and/or retail outlets in a specific region, creating sales campaigns and policies, and overseeing sales staff.

Marketing Representative
The marketing representative is responsible for overseeing specific markets and reporting sales of records to radio stations and trade publications.

Field Merchandiser (or Merchandiser)
The field merchandiser is in charge of distributing and explaining merchandising promotions to record stores/departments in specific markets.

Consumer Researcher
A consumer researcher researches and analyzes consumer-buying practices for the record company. This person should have knowledge of research and analytical methods, the ability to write reports, and knowledge of the music business and record industry.

College Representative (or Campus Representative)
College representatives are responsible for promoting a record label’s products to students on campus or perhaps to music retailers. They are students working toward a degree who have an interest and/or skill in the music industry, and often are a music business major in college.

Music Publishing Business Careers

Music Publisher
Music publishers are responsible for acquiring the copyrights to songs and publishing them. They may work for a very large music publishing company and perform one or two specific duties as a music publisher. They may work for a relatively small firm and fulfill a variety of functions. Many individuals in music publishing or songwriting become independent music publishers, running their own music publishing firm. The goal of the music publisher is to find and acquire potential hit songs (copyrights) and songwriters, promote them for financial gain, and serve as copyright administrator whereby tracking, licensing, and payment collection can be done efficiently. A good music publisher has knowledge of all facets of the music business, an understanding of music industry dynamics, an ability to hear hit tunes, knowledge of copyrights laws, and contacts in the music business.

Song Plugger (Professional Manager)
Song pluggers or professional managers work for a music publisher and perform the administrative functions of music publishers. They also work to add new possible hits to the publisher’s catalog and to find acts to record these songs, generating income for the publisher. Professional managers seek to have a song covered and recorded by as many artists as possible and attempt to make the tune a “standard.” Song pluggers rely heavily on their contacts in the music business to accomplish their job and must have great communication skills. The song plugger may provide creative input into a band or artist’s demo since they have a good understanding of what the industry is looking for.

Tour/Road Work Business Careers

Tour Coordinator
The tour coordinator is responsible for coordinating the many facets of an act’s tour, including travel, lodging, arranging for services, and budgeting for expenses.

Road Manager
Road managers handle the problems that occur while an act is traveling. They supervise equipment, sound, and lighting personnel.

Tour Publicist
The tour publicist is responsible for publicizing an act’s tour to both fans and the media through press releases, press conferences, and special promotions.

Advance Person
The advance person is responsible for arriving ahead of the act to prepare for a concert and assisting the tour coordinator or road manager with details prior to the show.

Sound Technician
Sound technicians are responsible for high-quality sound during the live performance. They usually arrive at the concert site before the performers and are involved in unloading and setting up the equipment and instruments along with the road crew. The sound technician supervises the placement of equipment and works with the talent during the sound check to achieve the best sound. They may even work a soundboard during the actual performance.

Sign Up for TuneCore Account and Get Your Music on iTunes Keep 100% of the Royalties

1. Publicity photos/corporate or model headshots, etc. Photography in general. I have quoted pricing for several people for sessions and headshots, and I know I lost them to someone cheaper. I have never heard anyone say after getting an inferior product, “But I did get a great deal.” And in this case, we are talking about paying $150.00 for a headshot, as opposed to hitting up the many 50 dollar people with their first camera they got for Christmas, lol. This is your image, and your business/company image, it is worth investing in. This does not mean that spending more guarantees better results, and I am not advising to pay for more than you need…but paying a difference between a professional who can deliver what you need, as opposed to trying to cut corners with saving a few bucks and hiring a student or newbie, is only logical.

2. Business cards and logo. It is worth paying for someone who knows what they are doing to design them. Someone who knows you and your company and brand. It is usually painfully obvious when someone does a self-made design to save a few bucks…and in turn, they do no command the attention of the viewer, or make the viewer want to research you and your work more. Do you want more of your cards to end up in the trash, or to be an effective sales tool, as they are designed to be?

3. Website. It takes money to make money…seeing a free site with ads and crappy photos tells me this person just does not care enough to do something right. A site that is not maintained and updated is more trouble than it is worth…in which case, a well done Facebook business page is better than a substandard website. This list of criteria is not only what I find to be true, but what my own clients have told me and how they retained me, sure it is a lot of effort. But it is worth it, and being short sighted never pays off because there are millions of others out there.

“When he was up there (the burn unit), he expressed his desire to me for the dream to still happen, so here we are today,” his son Michael Arp said.

Michael Arp met with city leaders and chose Centennial Park in Davenport, IA as the location of the first Heartland Jam. The festival, will take place this July 20^th and 21^st and includes acts such as Iowa native Danika Holmes, Danielle Peck, Justin Moore, Sunny Sweeney, Gretchen Wilson, Big and Rich, and Dierks Bentley.

It is important to the Heartland Jam team to incorporate different creative elements in order to make their event something to remember.  One way that they accomplish this is by having an artist host the festival.  “It’s kind of unique to have an artist host an entire event for two days, as well as perform. We were all talking and thought it would be cool for Danielle (Peck) to host,” Arp said. “She’ll be doing interviews with the artists, interviews with the fans, and a couple other surprises as well.”

Although the event has come together rather smoothly, there have been a few challenges along the way. One of the most difficult aspects of planning the event has been booking artists. “You can’t just think Midwest here, you’ve got to think all around the country and the world,” Arp said. “There’s only so many artists… so routing artists, and getting the artists here, for it to fit their schedule has been by far the hardest.”

Beyond the challenge of booking, Heartland Jam is in a great place. Arp has 25 years of a strong business background, while his consultant and talent buyer has over 25 years in the festival industry.

In addition to traditional marketing efforts, radio, TV, and distributing posters, Heartland Jam is publicizing the event in an unconventional way. They have teamed up with Lujack’s Auto Plaza to give away a Toyota pick-up that’s wrapped with the artists’ pictures. This is expected to bring fans in and of itself.

Heartland Jam’s line-up and marketing campaign are strong for a first time festival. Arp shared a few tips with us for others who may be trying to plan a festival for the first year:

1. “You have to come up with a good, strong budget you can work with,” Arp said. “Sticking with the budget is very important and can be easily overlooked.” This is really important for a first-year festival because once you’ve created a strong budget you can use it as a model for following years.

2. “You can’t saturate your market. We have two large venues, The i wireless Center and the Mississippi Valley Fair Grounds, in our immediate area,” Arp said. “You must know your area and continue to push marketing. I think that’s extremely important.”  By knowing their location and the love for country music within it, they were able to determine that there were no similar events in the Quad Cities, in turn creating more of a demand for Heartland Jam’s genre.

3. Find something that makes your festival unique. For Heartland Jam, having an artist host the two-day event is unique. Fans will feel more engaged by having an artist serve as the “face” or host of the entire event.

Through all the booking, planning, and marketing of this event, Arp’s father’s dream isn’t lost. The most gratifying aspect of organizing Heartland Jam is carrying out the dream that means so much to the Arp family.

In remembrance of his father, a portion of the proceeds from the event will go to The Loren Arp Memorial Foundation, whose mission is to aid the families of children who suffer from severe burns.

“Living out my dad’s dream (is very satisfying),” Arp said. “I sit in his office, in his old beat up chair. Every morning when I come in is by far the most rewarding.”

 To learn more about Heartland Jam visit: heartlandjam.com

Therefore this year Nashville Metal Bands will be partnering with Dream Row to refocus the impact that rock music has on Nashville’s vibrant music scene.

“Dream Row and Nashville Metal Bands have worked together in the past on live shows, the unity between us has always been great. Ray & Patti LeGrand are great supporters for both Dream Row and the Nashville Rock & Metal scene. Many of us in the industry tend to cross paths often out at live shows and online, therefore adding the NMB video spotlight series to Dream Row’s online magazine and our Youtube channel as a featured channel seems like a great fit. The content in the videos include information that is educational for those interested in all genres of music. NMB has become a recognizable name out on the local Nashville scene and we are proud to have them become a part of the Dream Row family,” said Dan Shaw of Dream Row.

Dream Row is the media agency that sponsors and produces the “Rock Over Broadway” showcases at the Hard Rock Nashville. Each showcase allows local rock bands to perform their music and reach out to the local fan base. Dream Row has moved much of its focus to an online magazine that educates those in the music industry by providing content from those in the business. For more information about Dream Row visit http://dreamrow.com

“Nashville Metal Bands is excited to partner with Dream Row. We have worked with Dan Shaw, and others from Dream Row a number of times on many different projects and it has always been a good experience,” says Ray LeGrand of Nashville Metal Bands.

Nashville Metal Bands has a slogan of “We Are Metal, We are Family” that has held true from the first meeting between Dan Shaw of Dream Row and the founders of Nashville Metal Bands, Ray & Patti LeGrand. “That first hand shake was outside The Limit in the world famous Printers Alley, in downtown Nashville, TN. I could see the passion these two people had for the local rock and metal scene because they wanted to personally congratulate Dream Row for hosting the first show at the new venue. That meant more to me than I think they knew at the time. It formed a friendship and a business relationship ongoing. “ says Dan Shaw.

Nashville Metal Bands is a community of music lovers and artists who share the same love of music that are working together to resurrect the music scene in Nashville. “We are metal, we are family” is the mantra that drives Nashville Metal Band creators, the husband and wife combination, Patti and Ray LeGrand. LeGrand, is also the front man for local band Oblivion Myth. The theory behind the company is to give music lovers a way to connect with each other to find shows and new music in the area. For more information on Nashville Metal Bands head over to the Fan page. Also visit the new section for Nashville Metal Bands on Dream Row’s online magazine at http://dreamrow.com/nmb.

In this video you can see how hard I work, and I think most photographers do work hard. You can see my intensity. I have a game face, and I make sure that game face is on from the moment I step on set to the wrap of the shoot. Photographers must have mental, emotional and physical stamina to execute a successful shoot. We are the leader. Everyone on that set looks up to us. If we show any sign of weakness or uncertainty, then we have just lost our shoot. The good news is we can get it back. Grab the bull and come out like a lion in the second half and I guarantee that you will get your set back.

For this shoot I walked on the set and the first thing I saw was racks and racks of gowns. Instead of letting that intimidate me, I remembered why I am in this business, and that is because I love women’s clothing and I love to capture the beauty and style of fashion. So I greeted everyone with a big smile and looked over the gowns and got to work on lighting the set. This was an easy set up. One 6 foot silver lined umbrella to create a soft shadow on the BG and two strobes to light my white BG. Some of the gowns were very light and were made to flow with the wind of a dancer. It is a model’s job to put on a dress or outfit and know what to do with it. It is the photographer’s job to know what the fabric is capable of and make sure the model is “working” the gown or outfit. In the video you will see examples of this.

So sit back and enjoy the video. I hope you have many questions that I will be happy to answer.

https://vimeo.com/album/1910865/video/40769196

Schiff’s career in music began with booking local bands. “Things were going well, but it wasn’t very personal,” said Schiff. “It was more like, ‘Hey, here’s your upcoming gig, here are the details, cool.’”

Schiff said he was looking to get more involved in the process, “I’m too passionate about music to be that hands-off, so I started getting into management to be closer with the artists I worked with and the music itself.”

He immediately felt that music management was the perfect career. “I think it’s really rare to work with, and always be surrounded by, people who are extremely passionate about what they do. I’m really lucky because of that,” said Schiff.

But the passion is a double-edged sword. Schiff said that because his clients are trying to turn their dreams into careers, the simplest decisions become amplified. “It’s not always easy to keep things running smoothly when things get intense,” said Schiff, “But that’s all just part of the job.”

What else is part of the job? Well…a lot. There is no average day for a music manager, said Schiff, who usually works 12-16 hour days. Typical tasks include pitching a track to be placed in a commercial, updating an artist’s Facebook page, attending concerts, and meeting with clients. Schiff also said he spends a lot of time checking in with promoters, designers, photographers and agents, to make sure that everything is going “according to plan.”

“I think it’s absolutely critical as a manager to keep things smooth and efficient internally with the artist, while also executing a long-term strategy for the future,” said Schiff. “It’s important to be able to plan for something happening in a given week, but to also know how that one week will affect you six months down the road.” It is clear that in Schiff’s mind, being a manager is all about doing your best for the client—even if it means cutting down the artists you manage.

One of Schiff’s novice mistakes was trying to work with as many as ten bands at one time. “It got crazy,” said Schiff. “I cut it down to just a few artists and started managing them so I could devote more time to each and it worked, that focus made all the difference.”

Schiff is currently managing two artists, pop artist—Melanie Lynx, and the vocal and looping-genius—Julia Easterlin. The styles of the two acts are unique from one another, but also distinctive on a larger scale, according to Schiff. “I don’t have a specific genre I focus on,” said Schiff. Instead he looks for distinct musicians that are friendly on the ear.

Schiff’s advice to aspiring music managers is to be knowledgeable about the music industry. Knowing the role, lingo, and interdependence of the music business is crucial to success. “You can’t have long-term vision for an artist without knowing the industry the artist works in,” said Schiff.

He also says to recognize, seize and create opportunity. “Don’t wait for anything. Ever,” urges Schiff. “Don’t be afraid to start doing the work you’re capable of, don’t feel like you need to read more or be in school longer; you have to just jump in and learn as you go.”

The music business is not for the lazy, dispassionate or indifferent—and music management is no exception.

“I don’t think I truly understood the level of commitment, long hours, and plain discipline being a manager took until I really started doing it,” said Schiff. “It’s definitely work—but I love it.”

You may have noticed, unless you live under a social media rock, that on Friday March 30th 2012, all Facebook fan/brand/business pages were forced into the new page layout along with new features. The infographic is a good overview of what the changes mean (see bottom of this post). Your Facebook Page is not your personal profile as that is a different topic.

Here are some tips to make it less scary and more fun. Ok, I’ll admit these might not be fun for many of you. They are more guidance then fun.

Have fun with your cover photo

One of the most significant differences between the old page and Timeline is the emphasis Facebook puts on visuals: Timeline’s photos are much larger, and the cover photo is no exception.

Your cover photo is the long photo that spans the width of your profile. Inset is a smaller photo that shows up in searches for you and in your friends’ News Feeds.

Facebook says that you should “fill this wide, open space with a unique image that represents you best. It’s the first thing people see when they visit your timeline.”

If you’re unsure about what to put there, take a look at the profiles of your friends who have already switched over to timeline. Bands, film makers, and photographers use this image space wisely. Brand yourself correctly.

Pinning; No I don’t mean via Pinterest

You can also pin a posts to the top of your page, giving you more control over what’s displayed above the fold. Now, I can see this being useful, as we know not many people like to scroll down because they are lazy.

Have something you really want your fans to notice? All you have to do is hover over an update and click on the pencil icon, you can pin it to the top of your page. You can also hide or delete it the update entirely.

Page Messages – Now your fans can annoy you all the time!

Pages will also include a messaging feature, which gives visitors the ability to send you private messages (Thank God this is optional and can be turned off). I’ve just noticed bands sending me messages via our Dream Row page. Not that I don’t think this is a good feature for some, but I really don’t want to have to monitor that for messages. Maybe I’m old school, but Email works just great for contacting Dream Row. So if you want this feature then great have it. If you don’t want it then turn it off.

New access to the Admin Area – BAM It is here!

The backend of your Facebook page has the same administration area. The only thing that will change is how you access the admin panel. This is very easy to notice when you go to your page now. I have a love hate with this. I want it to HIDE all the time but seems to keep opening up so still have that to figure out.

Now, I don’t know if this made it less scary for you but hey, it is here, and it is still free. I get a little sick of people complaining about the changes to a FREE service. Just like a TV show you don’t like you can TURN IT OFF and go watch Myspace instead. Yeah that is what I thought….

Once you are done looking over this graphic go look at our Facebook Page and tell us what you think after you LIKE our page.

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What do photographers expect from a model and what do models expect from a photographer during a shoot ?   I hear many arguments on this subject and after finally getting tired of hearing many photographers and  models give their opinion that THEY think is correct I decided to tell you all how it really is in hopes that I can provide a little less friction in this lovely world of the model and fashion photography industry.

Ok so this is how this discussion is broken down.

We have photographers and models who shoot test shoots, paid and non paid but aren’t at the level yet to shoot commercial paid assignments, editorials or advertising.

Then we have photographers who shoot commercial assignments like catalogs, advertising, editorials and look books.  These photographers also shoot test shoots and model portfolios.   I fall into this category.   I have had many girls come to me from all over the country who want to get into modeling and some girls that are already modeling and they just need to update their books. Like I said,  I also shoot advertisements, editorials and look books.

Now when I shoot an ad gig or a catalog I am expecting the model to already know what he or she is doing.   This is NOT  the time for modeling 101. I am not going to tell you how to pose, where to look, what angles you look better shooting.  That is the job and responsibility of the model.  She is being paid because she knows how to “model” and I am being paid to photograph her.  My job as the photographer, is to direct her on what kind of looks I need her to emote.  I will help her “give good face.”  I will also talk to the model and give encouragement and keep the set “alive.”  The model is expecting me to direct her like a director would direct an actress and I am expecting that the  model knows how to take direction and turn my direction into the emotion I am asking for.   But you know as sure as the sun is gonna rise that the director on a film is not going to start giving acting lessons just as I am not going to give modeling lessons.  We are both professionals and expected to give our client what they are asking us to give them.  Let me remind you that there is a make up artist for the shoot, a hair stylist and a wardrobe stylist.  So all I am expecting from the model is to show up on time and ready to pose and take direction.

The other kind of shoot I do is model portfolio shoots.  This is where a girl will pay me good money to start her portfolio for her.  I shoot five different looks, in studio and on location.  I have a make up artist there the whole time.  I tell the model what kinds of outfits to bring and I ask her to practice posing in the mirror so she has some kind of a head start.  I DO NOT expect her to know what she is doing at all.  She has never modeled before and she is coming to me because I am a professional and I know what modeling agencies are looking for.  So I WILL tell her how to pose.  I WILL tell her where to look.   I WILL help her know what her best angles are and of course I WILL direct her to emote and “give good face.”  I also give the model encouragement and constantly talk to her and give her accolades throughout the whole shoot.  I will also point out what she is doing wrong and show her how to do it the right way.   So in this case one could call this modeling 101.  That is fine with me.  I get paid good money for this and I like to help and educate.

There is another kind of shoot that happens where we have “wanna be” models and “wanna be” photographers who are building their books and they both think they know what their role is in this kind of shoot when in fact BOTH of them are wrong, at least from the stories that I hear.   PLEASE DO NOT TAKE OFFENSE TO ME USING THE TERM WANNA BE.  I am not discounting these models and photographers in any way.  They have not reached the professional status yet and earned the right to be paid for their services because they have not perfected their craft up to a level where a client can depend on them to deliver.  They “wanna be” professional.  I was there at one point as everyone is.   Someone going to medical school wants to be a doctor, however  they have not had enough experience and perfected their skills enough to be trusted with a real human life. Can you get the analogy ?  I hope so.

Ok so now that we got the politically correct bullshit out of the way let me go on.  So as an example we have a girl who has created a profile on one of these amateur  model sites.  We have a boy who has created a profile on this site as well.  Boy “photographer” meets girl “model” and they schedule a test / creative shoot that will hopefully benefit both their portfolios as well as the make up artists portfolio.   Now because these three creative souls  haven’t been exposed to the professional world of fashion photography and modeling maybe  because they live in a city somewhere in the middle of the Bible belt, the only expectations they have come from their own little world of these online amateur modeling / photographer sites.  They look in on the chat rooms, the forums and read what everyone else is quoting as the Gospel of the modeling industry in this little bubble world community  and bingo, instantly our “photographer” and “model” think they both know what is expected of them and what is not.  The problem we have here is that our “photographer” is reading what the other “photographers” are  griping about and our “model” is reading what the other “models” are griping about and both sides are not working as one.

So on the test shoot our photographer is expecting our model to know how to pose, give good face and know all her good angles and our model is expecting our photographer to tell her how to pose, give good face and help her know all her good angles.  Well, well, well.  Can you see the train wreck about to happen ?  Not a pretty scene.  They start to argue, it gets uncomfortable and the shots end up looking like crap because NO ONE worked as a TEAM and COLLABORATED !    So listen up !  On shoots like these neither the photographer nor the model has enough experience to handle the shoot all on their own.  Therefore the solution is to help each other and if the model is not posing the way you want her to pose, Mr. Photographer,  then simply tell her and show her what you want.  I’ve actually struck a pose to show the “model” what I want.  Talk to her through the whole shoot.  Don’t just sit there like a dummy waiting for someone to pull the string on your back for your mouth to move.  And ….MOVE AROUND.  Look for good angles.  Don’t site in one place capturing one point of view.

Miss Model ?  If the photographer is not directing you and you need help, then tell him.  Your job as a model is to come to the shoot as prepared as you can be.  Don’t expect the photographer to give you every single pose.  If you want to become a professional model then do your homework and study !   Study magazines, fashion books, watch Americas Next Top Model. Some of that show is totally ridiculous  I know , but much of it is actually insightful.  Bring nice clothes for shooting.   You AND the photographer and the make up artist should all be involved with selecting the outfits for the shoot.  Have a theme and shoot at least four images with a different outfit and tell a story.

So in conclusion, professional models and photographers both know their roles and what is expected of them.  Amateur models and photographers don’t have enough experience and knowledge to know what to expect from each other.  So help each other out and do your homework so that each of you can bring some level of professionalism to the shoot  and everyone wins and leaves the shoot with a smile on their face rather than a frown.

Ok now it’s time to beat me up, praise me or both !  LOL   I would like to hear your sides and happenings.  And as always if you think this is an interesting article, retweet and Share and Enjoy down below.

So, a photographer’s rate is based on several things. Cost of equipment, assistants, travel expense, insurance and taxes, education and time invested in the craft, marketing and other overhead, image usage, how often we work vs. offsetting cost of doing business, etc. This is why you pay a pro, who knows how to shoot what you need, educate you on printing and cropping, etc. I have to laugh when I get offers to shoot something for “exposure”. Um, who the hell are you? lol. Google me, and Google yourself, let me loosen my belt and show you some exposure. You get the idea. When images are delivered, I like for their expectations to be exceeded. Because these days especially, people have a choice.

How Dropbox works, is I can start a folder and title it, then invite anyone I like, even multiple people but entering their email address in the share folder option box. Only those people have access to the folder, and everyone invited can download the files they want, and they are not compressed or downsized in this process of uploading them to Dropbox. Plus it’s instant. The people who have used it love it, I honestly don’t understand the problem, why some haven’t tried it when invited to a folder through Dropbox. Anyone who can do apps on a phone or use a computer somewhat competently can accomplish this. It’s a very easy, and time efficient way of sharing files, I encourage you to give it a try.

The reasons besides making my logo and branding stand out better, that I got away from images on my business cards are really quite simple. I have had commercial clients tell me that they find images on a card to be borderline tacky and amateurish. Of course not everyone is out to get commercial clients, but even if not, it’s a very valid assessment. As they are very discerning clients, with generally a larger budget. Like the commercial says, what’s in your wallet? LOL. Also, the design has to be changed more frequently, as the same images can quickly become old news as a featured marketing material is concerned. Another thing to consider, if the prospective client doesn’t like one or all of the images, they may not bother looking further on your website or print portfolio. Which brings us to this. My website is a larger scale than a small square on a tiny business card….my work looks best in large format and in print. I’d rather have my prospective clients view my work in it’s correct context. Whether you are a commercial photographer, wedding photographer, portrait photographer etc. you have to make a statement with your business card. This is why self made designs seldom compete as far as attention commanded from the viewer….and is one thing that shouldn’t be skimped on. Many other photographers in Nashville alone, so I want mine to stand out. So far the feedback on these is better than ever….from the logo, the feel of the stock, and overall appealing design makes people want to see more.

One of Neely’s greatest strengths is the management of their band. They’re truly an independent band that writes their own music and promotes themselves. Internet promotion is one of their keys to reaching their audience.

“The challenging part is getting people to see [your message],” Jeremy Neely said. “You have this balance of trying to float it out there so everybody sees a post without doing it so much where you lose followers.”

The skills they’ve developed through managing themselves have been a great asset to the tour planning process as well. Jeremy and Kaci tour all over the United States, however, it’s taken careful planning and dedication to reach this point.

“We do tour coast to coast, but that’s because over time we’ve built it up,” Neely said. “We’ve gained regions a little at a time as we’ve grown and as we’ve routed the tours. So now we can span all the way out to the California coastline and have shows.”

Because booking a tour is such a tiresome effort, Neely says it’s important to think realistically when planning a tour.

“The biggest advice I would have for a band starting out is start close to home. Build a solid following. A lot of bands want to jump from nobody to somebody over night,” Neely said. “Because it is the music business play anything and everything you can when you first start out.”

Once Neely is booked for a show and there’s buzz about their band in a certain city, they send blank fliers for promotion to the venue and try to find more opportunities to saturate the surrounding area with shows.

“This is a business, you have to think with a business mindset,” Neely said. “Google Maps is my friend when I’m booking. You want to look at the perimeter of the city you just booked in.”

Neely finds more opportunities because they have two different types of shows as well. The full band show is when they hire musicians to play out, while the acoustic show is just Jeremy and Kaci. The two different shows save travel expenses and provide to a variety of different venues, including house shows.

One of the most important parts of planning is to work in advance, Neely said. Most venues book their dates four to six months out, sometimes even more.

“Make sure you plan with enough time in advance. We’re working in December for March, which is really pretty late because people are tied up with Thanksgiving and Christmas,” Neely said. “Give yourself plenty of lead time and start working ahead of time to where you can fill in as much of those little hops as much as you can.”

Neely is currently preparing for tour dates this summer as well as editing an upcoming music video. Their single “You and Me” is doing very well at radio and they plan to release two to three more songs from their albums “Everything I Am” and “Colorblind.” They’re also hoping to record another five-song demo or full album.

For upcoming tour dates and to learn more about Neely visit:

www.neelymusic.com

twitter.com/NEELYmusic

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The plane ride back was a sad one, reminding me the fun was over and that I was about to get sucker punched with an enormous amount of school work.  I flipped through my note book filled with quick memos and records of this past week’s happenings and couldn’t help the smile from spreading across my face.  I had one of the most amazing experiences at SXSW 2012.  It was eye opening for what I am getting my self into with my career, as well as reaffirming that I chose the best option possible.

There was more to take away than I can say from this festival.  I collected quite a few business cards and meet some amazing people in the industry that I hope to stay in contact with in the future.  I learned numerous methods and styles of the music industry from sitting in on the panels listening to the professionals talk.  I heard some of my idols speak and reaffirm the choices I have made in my livelihood of business.  But one of the best features of this entire trip was all of the new up and coming music that I was graced with hearing.

I flew into Austin, Texas completely unprepared for what I was getting my self into, hesitant even, for all of the experiences that I was about to have.  I conquered my schedule of jam-packed events and absorbed all of the knowledge I could from panel discussions.  Finally, I arrived back in Nashville, exhausted but thrilled with my trip.  I feel that the next time I go back to SXSW I will be more prepared for what is in store and less overwhelmed at the surplus of choices in events.

I remain fascinated at the effort that goes into the production of this festival and the professionalism that goes into it.  My only advice to those who choose to brace the insanity next year would be to don’t hesitate, jump right on in.  Do not become obsessed with sticking to your planned schedule, travel by word of mouth as well; you will discover things you never knew you would love.  Listen to the music surrounding you, find the good musicians and support them, whether it is as a fan or professionally.  Open your ears up to new sounds and then share them with the world.  With our help these talented hard working musicians will make it and succeed, all it takes is a little nudge and a bit of luck.

Read all my SXSW 2012 articles.

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Spurlock and his team followed five storylines through the weekend of the world’s largest convention- Comic Con.  Each story showed the audience that Comic Con isn’t just a weekend for nerds to geek out—dreams are squashed and realized at the convention.

Comic Con, Episode IV showcases a bartender from Columbia, Missouri whose biggest dream is finding a vendor at Comic Con to publish his artwork.

But what good comic doesn’t feature a rival?

The Missouri bartender is pitted against an Air Force artist who is also attending the convention in hopes of becoming the ‘next big thing’ in comic art.

Next, we meet a small-town girl who designs costumes based on video games in her garage. Her goal at Comic Con is to obtain exposure for her craft. Her dreams are bigger than the town that she comes from.

Comic Con, Episode IV also introduces us to a comic book collector, who calls himself a survivor. He is still thriving in the comic book business, despite the fact that many collectors can no longer afford their hobby-turned-occupation. He plans on selling one of the rarest comics ever printed- Red Raven.

The final story line is the funniest of the film.

Two star-crossed lovers who met at the convention last year, but is their mutual love of all things nerdy enough to keep them together? Will they get the chance to live happily ever after when ‘popping the question’ turns out to be harder than it looks?

Comic Con, Episode IV can make you laugh, cry, and even cringe at the awkwardness of Comic Con attendees. Spurlock and his crew manage to interpret the film as the greatest comic book movie you can imagine.

Yes, you’re watching a documentary— but the intensity, romance, and hope that each character possesses makes you feel as if you’re watching real-life super heroes achieve their dreams.

It’s like our favorite comic books have come to life—love, loss, bad guys and good guys can all be found in Comic Con, Episode IV: A Fan’s Hope. Seeing the real-life version of the comic book clichés we’ve come to cherish is as thrilling as watching Superman fly through the sky on the pages of a comic book.

The final day is finally here, save for a few straggling bands tomorrow night. The city is winding down but I suspect this may be a result of the lucky individuals that were able to sleep in. It is St. Paddy’s day after all! I predict that the streets will be alive again in no time for many green themed activities.

I have been able to take a lot away from the panels during the day at The Austin Convention Center. I was privileged enough to have various options every day with what I wanted to learn.

Obviously the most entertaining so far has been the keynote speech with The Boss. The panel I was able to soak up the most knowledge from so far has been 2012: The Year Dance Music Killed Rock And Roll. The panel speakers consisted of, artist manager Simon White, Pasqyale Rotella the creator of Electric Daisy Carnival and founder of Insomniac inc., the manager of Skrillex Lee Anderson, and founding manager of Complete Control Management Michael Cohen.

The discussion was centered around “Electronic artists becoming the modern day icons of rock’s past,” and why it is happening right now in the US. Questions were raised such as “Is Skrillex the Nirvana of this generation?” and “How are electronic artists connecting with their fans?”

All panelists agreed that rock is not dead, that in fact, dance music is rock and roll. White said, “Whatever young people view as rebel music becomes big.” Electronic shows are made to be an escape for young people. The art, lights, sights, sounds, clothes, all creates a content buzz that young people are constantly searching out. “It’s a communal feeling of togetherness,” said Cohen.

The only downside to the growing popularity of the newly made dance music is the difference in fans that are showing up and their attitudes toward the show. People who are either confused, uptight, or just there to observe throw off the vibe, especially if there are too many gathered at one show. An electronic show fails if the crowd is standing still, facing front, looking at the DJ. The fear of this happening has driven artists and their managers to up the ante and bring in more and more content: lights, projectors, Skrillex’s cell, and Deadmau5′s original mouse head and light stage.

Let go, jump around, enjoy the people around you doing the same thing, and don’t forget to dance!

The end is coming…so sad.

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During our wait, a Woody Guthrie tribute became emotional with the performance of “This land is your land.” People continued to trickle into the ballroom and by the time that the last verse was sung, every seat in the house was full.

Springsteen appeared on stage and received an immediate standing ovation with a low roar of “Bruuuuucccceeeeee.” He patiently but humbly waited for the crowd to settle down and he took to the mic.

The speech began with Springsteen confessing his embarrassment for being chosen as one of the main people to represent the festival this year. According to him, there was no unified idea or genre of music bringing us to Austin. He quoted music journalist from the seventies, Lester Bangs, and said that Bangs declared a prophecy after Elvis died. It stated, no one would ever be able to communally agree one thing musically ever again.

Springsteen believed that bangs’ idea came true and proceeded to list off every single genre, subgenre, pre and post modern genre of rock and how a few made him who he was today. Elvis made him pick up a guitar for the first time at six years old, do-wop music had a chord progression that helped him write his songs, and the British invasion with The Animals gave him something to base all of his music on. He closed his speech with leading the entire crowd in singing another round of “This Land Is Your Land.”

I unfortunately did not win the raffle to attend Springsteen’s showcase later that night but it was heard that his seventeen piece E Steeet Band brought a few guests on stage, making their show legendary. Guest appearances included, reggae artist Jimmy Cliff, Eric Burdon of the Animals, Joe Ely, Tom Morello of Rage Against The Machine, indie rock band Arcade Fire, and finally band Low Anthem. Without doubt, Springsteen still holds the title of The Boss.

And the adventure continues…

I personally decided to head out to Stubb’s BBQ right away to find a spot to post up and see the Alabama Shakes. A stellar band from, big surprise, Alabama! They are definitely a group to watch in 2012. They have a soulful sound with an Americana rock vibe. When they performed their single, “Hold On” chills went down my spine and I couldn’t help but sway to the haunting but beautiful howl of Brittnay Howard’s voice.

Before they went on I was able to catch the last half of Baltimore, Maryland, avant guard, experimental electronic musician and composer, Dan Deacon. It was interesting to say the least, something to respect in the process he goes through with composing but not needed on my playlist. After The Alabama Shakes, we were privileged enough to witness the lovely music of Andrew Bird. His violin was hypnotizing, Bird never disappoints.

Unfortunately my emotional attachment to seeing bands got the best of me with missing Fiona Apple due to our plane’s late arrival, as well as not being able to catch Kanye’s surprise appearance and performance. But the take away from this was to not get stuck on missing shows, keep on truckin’ and look to the shows in the future on your schedule. Always discover what is coming up next, fit in what you can, but don’t wear yourself out, there is still a whole weekend left!

In reflection of my first taste of SXSW, I can say that I over planned and overestimated the amount of shows that I wanted to attend. I had it in my schedule to see Tennis, Fun., the Neon Indian DJ set, Mimosa, Cults, Thee Oh Sees, among many others. I had a goal to at least make it to one of these other amazing acts but upon my arrival at the Stubbs venue I was so relieved to have stopped speed walking, navigating my way through the drunk crowded streets, with my nose in a map, that I forgot all about my jam packed schedule and let the music seep into my ears, relaxing every muscle, and feasted my eyes on the magical night in store. The beer probably helped too.

You know there is always more to this trip.

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Excited, for the obvious reasons of attending the festival for the first time, meeting boat loads of new people in the music industry, seeing great new bands that no one has heard of, and others that have ruled my playlists in past years like The Shins and M. Ward. Fearful, because I am going to spread my self so thin I hope there is enough left of me to fly back home to Nashville when the plane departs; going to as many conferences pertaining to my studies as possible, seeing shows, more shows, then a few more shows, attending parties, after parties, and not to mention networking, networking, networking!

I have longed to experience the lunacy of Austin during SXSW for some time now.  Midterms and schoolwork have always held me back, but now I have a school-sanctioned excuse!  This is the first year that Belmont University has created a course involving SXSW, and to blow our expectations away even more, they made Austin the classroom.  So, a big thanks so my beloved university, my Entertainment Industry Studies major, and my Music Business minor, I feel that I have hit the jackpot in college student curriculum.

For those that have continued reading this love letter of an article but are still in the dark as to what SXSW actually is, no worries, you will discover the logistics and significance of it all in the article series I will be writing for Dream Row.  Over the course of the next week I will be documenting my thoughts and experiences through this wonderful online magazine.  So read on and wish me luck!

Visit the SXSW website here to see schedules, news, and updates for the festival that is going on right now: http://sxsw.com/

Follow my journey at SXSW

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You always want to consider your desired result, and compare it to that photographer’s work, and make your selection that way. What you see in a photographer’s body of work is a representation of what your finished product will be. Contacting mass quantities of photographers and getting prices is only a waste of everyone’s time. It’s better to take more time to look, contact those whose work you feel a connection to, and then do your matching as far as style compatibility and pricing. There are always bottom feeders on Craigslist etc. who will do photography for free, or a very low cost….or the friend with more camera than they know how to use, all for the sake of saving a buck. Very annoying trend, but I believe cream rises to the top. Sure, I could get some crappy business cards for $29.00 for a thousand…..but that’s representing me, my company, and my work. I think not. If you are trying to do business, your image matters, and good doesn’t always come cheap. There is more to knowing how to operate a camera than being a professional photographer. It’s about the technical skill, understanding light and subject interaction, angles, composition, and most of all…….delivering what the client needs.

If “awesomeness” was tangible, then Tennessee rockers Blackwater James would have more than enough to aid the CASA (Court Appointed Special Advocates for Children) Association.

Bassist Josh Burns conjured up the title “Aiding with Awesomeness!”, but according to guitarist Deanna Passarella, the entire band helped organize the benefit show, which they will be headlining March 23 at The Rutledge in Nashville.

“It was a group effort really. [Chris Foust] booked the gig and then I came across CASA and wanted to make it an event supporting their cause,” said Passarella.

CASA ‘s mission is to “support and promote court-appointed volunteer advocacy so that every abused or neglected child can be safe, establish permanence and have the opportunity to thrive.”

Simply put, a CASA volunteer is assigned, by a judge, to a case in which a child was removed from his or her home because of abuse or neglect. This volunteer acts as a representative for the child until the case is resolved.

So why this specific charity?

“I just did it,” Passarella declared. “I came across their site through Yazoo Brewery and loved what they were about. I hadn’t heard of CASA before this event but really wanted to support in any way I could. Really, I wanted to pull together local talent and local industries to support CASA.”

With the assistance of Blacklist Agency Group’s Head of Promotion, Chris Foust, and her bandmates, Passarella brought her vision to life.

Blackwater James gathered four other Nashville locals to join them on the bill: The Gills, Black Market Research, Doc HoneyPunch, and Mockingbyrd.

Passarella and Foust also enlisted the help of Dream Row, Fuchs Audio Technology, Kramer, Nashville Metal Bands, and RS Custom Guitars.

“Each sponsor is contributing in their own way,” Passarella stated. “Kramer, RS Guitars, and Fuchs will be providing gear for us to use as back line. All sponsors are also using their promotional outlets to help us make this a party.”

Ray LeGrand, the founder of Nashville Metal Bands, will be hosting the event.

His organization began as a Facebook community page in August 2010, which he created in his attempt to connect with the hard rock and metal scene in Nashville.

Since its origin, Nashville Metal Bands has expanded via Twitter, YouTube, and a “grass roots/self service forum that bands can use to get their message in front of a desirable audience.” Despite how young it is, LeGrand’s group has already made an impact.

“Ray is a good friend of the band and has emceed events with us before. He is a great guy with a charismatic personality,” Passarella said. “When we mentioned having a host for the show he was the first name that came up.”

All of the proceeds towards the CASA Association will be derived from door sales. However, according to LeGrand, it is the exposure that is important.

“Knowledge and information is critical to the survival of organizations like this. Yes, you can always donate funds, and this benefit has been arranged to help with that,” said LeGrand. “But once someone takes the time to read through CASA-Nashville.org website, they might realize that they could volunteer their time to help out… There is a real need and these are real lives we’re talking about here.”

“Aiding with Awesomeness!” will be held at The Rutledge in Nashville, Tennessee on Friday, March 23, 2012. The cost is $10.00 and the show starts at 7:00PM.

Although Gillies grew up playing instruments and surrounded by music, he was unsure what he wanted his career focus to be when he graduated from high school. Therefore, Gillies spent the next five years finding his passion through traveling, volunteering, and dancing in different groups throughout Canada.

“I figured out what I wanted my focus to be no matter what career I ended up having… Those five years out defined everything I am as an artist in terms of here’s my message, this is what I love doing. Those were a very formative five years,” Gillies said.

He soon learned that people were captured by the message he shared: there’s more to life than what meets the eye. Anything is possible if you not only believe but move firmly towards your dreams and goals, he says. This realization lead him to Berklee College of Music, where he completed a songwriting degree. During Gillies’ time at Berklee he was also exposed to a great network that introduced him to many aspects of the industry.

“I graduated in songwriting, but there were business courses too. I did a little bit of production and engineering. I did writing, so I got a varied approach to it and some opportunities to visit places like Nashville and experience aspects of the industry in person,” Gillies said.

He released the album, Astronaut, which was funded through KickStart, in December of 2011. Tracks, “One of Those Days,” “City Man,” and “Here With Me,” were nominated for the 2011 SongDoor Songwriting Competition.  His song “Here With Me” won in the soft rock category.

Songwriting competitions, such as SongDoor, have offered many opportunities to Gillies. He’s been nominated and won numerous awards and also recently won the chance to open for Andy Grammer in Nashville through TopBlip, a tournament that compiles votes from fans, TopBlip judges, and Grammer himself.

“Opening for Andy Grammer was a game-changer in terms of what it showed me my potential is… I’ve played lots of shows before, mainly small shows, and this was the first time I’d played in front of a substantial audience. We actually got swamped after the show, which I’m not used to. That was one of the biggest highlights of my career so far,” Gillies said.

Although songwriting competitions have offered great opportunities to Gillies, he uses them more as a bar to measure his improvement as a songwriter. He’s learned that networking is essential in order to find opportunities to co-write with musicians or pitch songs to publishers.

“Songwriting competitions can be the way to go, but not for more permanent deals. That just takes time, a little bit of networking,” Gillies said.

One person in Gillies’ Berklee network is Charlie Puth, who is part of a musical duo with Emily Luther. Puth and Luther were recently signed to eleveneleven, Ellen DeGeneres’ record label. In January, Gillies had the opportunity to join the duo on Ellen for a performance of their single “Break Again,” a song he co-wrote with Puth.

Beyond Gillies’ immense network at Berklee, he’s grown to seek advice through other facets. When he was trying to improve his guitar skills, Gillies wrote many of his favorite guitarists. Much to his surprise, all but one of his favorite musicians replied.  They shared advice on how to improve and how they got their foot in the door.

“I’ve learned people are more open to helping than you think. Especially if you show them you have a great vision for yourself. I’ve noticed what really distinguishes people who make it from the people who stay where they are, the people who keep going are those who keep setting a bigger vision for themselves and aren’t afraid to dream big,” Gillies said.

Gillies has found ASCAP to be beneficial for getting his music to publishers. He discovered if you continuously submit songs, ASCAP will gain an understanding of who you are as a songwriter. Then they’ll connect you with a mini-mentor who can eventually lead you to publishing opportunities.

After Gillies’ success opening for Grammer, he’s looking forward to planning a tour and searching for artists to open for. That experience also taught him more about his target audience, which is  primarily young people between 14 and 25. He’s also targeting beyond the number to people who see the world positively and have a desire to make a change, he says.

“I know that in my heart I want to reach everyone, but I need to start somewhere,” Gillies said.

For more information about Robert Gillies visit: www.robertgillies.com

It could have been 10 years that passed. Digital technology took over. I became fascinated, and picked up a point and shoot…..started doing street photography again. It’s amazing how much 9-11 increased public paranoia, and how the perception of street photography changed, but I enjoyed it so I eventually bought my first digital SLR in 2003….it wasn’t exactly paradise at first. The mechanics of shutter speed and aperture, etc. are universal…..but settings like white balance, different focusing system, and digital post production took a lot of getting used to. I did some traveling to New York (home state) and New Orleans, Cancun, etc, and enjoyed capturing the festivities and different walks of life. Later I was contacted by a friend who wanted me to shoot some models for him, since he knew I had some photography knowledge…..but I had to learn how to do lighting, besides natural. Most of it was for nude models for private art and content buyers. I enjoyed it, and my challenge was to capture intimacy and that person’s story….as well as use lighting, curves, shapes and mood to make the photo. With time came knowledge of composition and lighting, etc. During those years, I also attended several workshops from well known photographers across the country.

Later expanded my business into portrait / headshot, and wedding photography, as well as music recording artists / commercial photography. I continue to do fine art photography as well, but keep that separate from my main site. As I worked more and more, I developed a style that went back to my original roots of street photography, trying to capture a real mood and soul of my subjects…..I use that approach to this day when shooting weddings especially. I am always happy to see people wanting to get into photography, and will do what I can to help them. On two conditions. That they really want to learn and have thick enough skin to take criticism…..and that they are willing to put the time into it that it takes, and not try to use photography as a make money quick avenue. It doesn’t happen that way. No one asked anyone to make the investment of equipment. The investment of time is far greater than even the financial outlay. For those who hope to make a sole or partial income from photography to take their time, and not to be impatient or go into it ill prepared. It’s a business like anything else. Learning the technical aspects of photography, how the business and pricing / usage works, and developing a recognizable style that comes with time are the most logical steps to take before trying to make it a business.

I find it’s rewarding to help others….others have helped me, it’s called networking and paying it forward, and being a human being. I don’t waste my efforts on those who don’t listen or already know it all, but anyone who wants to learn, sure. Also, that person could assist me when I need it. Like karma points of sorts. Here is the thing….none of us ever know everything, none of us are ever done learning…..if we are, our work quickly becomes boring and stagnant. Helping others also makes a difference in the business I am working in. I can also encourage others to adapt with technology but never forget what brought us here. There will be future articles a bit shorter, but I just wanted to make an introduction. My blog has regular postings about photography, wedding / bride resources, recent shoots, and some for models and music clients as well. http://blog.jayfarrellphotography.com Some geared towards the consumer and some towards the photographer. Here is a fine art headshot using natural light through a window, and a reflector, of an aspiring art model. Many have enjoyed the composition and mood, hope you do as well. My websites are here

www.jayfarrellphotography.com

Fine art (some content not safe for work) www.farrellgallery.com Ages 18 and up only can view.

Writer, director, producer and leading role of the film, Lee Vervoort, has been involved in the film industry for seven years. In explaining his past he said, “After acting for a while, I started working behind the camera some and decided to make my own films.” And that is exactly what he did.

The story of Gun Town was inspired by 1970’s films Westworld and Tourist Trap, two of Vervoort’s favorite films. “The actual idea came from the fact that Tim and Carole (owners of Copper Canyon Ranch) were among those who suffered from the massive ice storm during the winter of 2008,” Vervoort explains.  “It destroyed a lot of trees and blew everything around. It was a mess out there at the western town. They were frantic and wanted to clean everything up. I said ‘No, I’ll turn this into an abandoned tourist trap.’ It was perfect, a ready made set.”

Vervoort’s decision to use Copper Canyon Ranch stemmed from the personal relationship he has held with the owners over the past decade. “They always had the dream of shooting a film there, so I made it come true.” Vervoort loved the location so much, he tailored a script around it.

A fan of the genre since childhood, Vervoort chose to make a horror film “because they are forgiving and easy to make!” And with a production budget of $8,000 and seven days to shoot, he made a “killer” horror flick.

To achieve the professional-looking, high quality visual production value, cameraman, James Houk shot the film using a Sony EX-1 Cine Alta, a Letus lens adapter package, and a Shure sound recorder. “That’s the only equipment we had besides one reflector. The entire film was shot using ambient light except for a few shots using the reflector. We were very lucky.”

During production, Vervoort acted as both the director and leading man, portraying a dual acting role in the film. “It wasn’t that bad,” he reflects on being able to balance such demanding production roles. “Once the script is written, that part of it is done. Producing is the next step for me by arranging logistics, contracts, locations, etc. Then that’s all done. Directing is a bit hard, you have to watch playback on the scenes you’re in to make sure you have what you want out of it.”

In addition to acting in and directing Gun Town, Vervoort also coordinated and performed his own stunts. One scene in particular involved Vervoort’s character, Jake, falling off a water tower. “I had to be very careful with that one,” he admits. But fortunately, Vervoort is a veteran stunt man. “I always do my own stunts, it’s my favorite thing in movies. I haven’t had any training for anything I have done in the film biz; stunts, acting or otherwise. I have learned from watching others. As far as being a stunt man, I’m just crazy as hell and love doing it.”

“[For this particular stunt], I built a landing pad out of cardboard boxes. It wasn’t very big, so I had to be very careful. I wanted to sling myself off of there from getting ‘shot’ but I had to aim right on so I wouldn’t miss the boxes.”

So with the success of Gun Town, is there a Gun Town 2 in the works? Yes! The sequel is currently in pre-production stages. According to Vervoort, “the script is done. Now it’s time for me to create a shooting schedule, contracts for actors/crew, etc.”

Vervoort plans to make Gun Town 2 a prequel to Gun Town. “We will explain a few things from the first film and the story takes a bit of a new direction.”  In this second film, Vervoort plans to delve deeper into Frank Bailey Sr. “He has a shot at redemption and takes it while the past confronts him in the form of another character,” he explains.  “I have also created an entire back story of Gun Town – the attraction – from the 1800′s and how it became what it is today.”

Some of the casting for Gun Town 2 has already been set. “Andy Grace will return as Frank Bailey Jr., Morgan Graham will return as Victoria Bailey, Tim Emery returns as Dr. Sawbones, and I return as the killer, Francis (Frank) Bailey Sr.”

As every filmmaker knows, there is a lot to be learned from every shoot. The key is, determining what worked, what didn’t, and how to recreate the former without repeating the latter. Vervoort confesses that he had many learning experiences from filming Gun Town. “[I learned to] be more patient with people. I am hard to work for.”

Vervoort plans to do some things similarly to his first run this time around. He plans to keep his filming days from running too long. “I don’t want to burn everyone out with extremely long hours.” However, he does plan to use his shooting time wisely. “[I want to] take more time with the shots. They were kind of rushed last time.”

So what advice does Lee Vervoort have for other aspiring filmmakers? “Save yourself! It’s HELL,” he jokes, “Seriously though, if you’re going to be a filmmaker, be a filmmaker. Don’t just go buy a handycam and round your buddies up with a case of beer. That’s not film making. Get serious, put effort into it. Then you can call yourself a filmmaker.”

And will there be any parts in Gun Town 2 for a part time journalist/part-time comedian?

”I can always use townspeople for this one!”

Sweet!

For more on Lee Vervoort, check out http://www.leevervoort.com. For more information on Gun Town, visit the official website at www.guntownthemovie.com.

Follow Emily Steele on Twitter @theemilysteele.

In our mobile society, an application that allows fans to follow their favorite artists on their devices is ideal. FilteredSpace is an application for Android and Apple devicesthat merges every aspect of promotion together. The app software was created by Greg Stricklin, a musician who has spent 30 years touring.

“Everything I’ve ever needed or wanted as a musician, for promotion, is in this app,” Stricklin said.

For artists who manage their promotion efforts through the internet, there are multiple websites involved. This application brings everything artists need to one place. Artists control their settings, upload music, add videos, and receive reports about their fans through their login page on FilteredSpace’s website.

 
With this completely mobile application, fans are no longer tethered to their laptops or desktop computers. Everything they need to know about their favorite artist is now in the palm of their hand.

Once fans download the free application, they enter basic information about themselves, choose their favorite genre of music, and which artists to follow. Then they can listen to a band’s music, watch videos, and find local shows all through their mobile devices. Fans can also use Twitter, Tumblr, and Facebook to share music and check in at shows without ever leaving the application.

 Uploading music and adding videos is easy for artists to do on FilteredSpace via the web browser. Once fully tagged MP3 files between 128 kbps and 320 kbps are uploaded, fans can listen to music at any time and even legally download songs. When a fan download’s a song, they receive an e-mail with a link to the song so they can stream it at any time or download it on their computer. In addition to adding music, sharing videos has never been easier. Artists simply add their videos’ YouTube links to their profile.

Another convenient feature of FilteredSpace is the locality when sharing tour dates. When an artist adds tour dates, their shows are promoted to fans in the area who like their genre of music. Because fans enter their zip code upon downloading the application, they are only notified of shows in their area with-in 100 miles for the fans mobile device. This means fans who live in Los Angeles are no longer bothered about shows in Columbus, Ohio. However, fans are still able to search shows in other cities.  When you travel to another city by using the location bases services on your mobile device, FilteredSpace will pull up the bands / shows only in the area you are currently in based on your genera selections.  This is great when in a new area to discover new bands.  This also acts as a great tool for those in the music industry to discover new talent.

In addition to artists and fans, venues can also benefit from the use of FilteredSpace. Fans can find venues close to their location and even receive GPS directions to the site. The venue feature is also ideal for people who are looking for live shows in unfamiliar cities. FilteredSpace allows people to listen to the lineup playing at a venue before spending money for the show.

 The report FilteredSpace provides for artists includes details about the gender, age, and location of their fans. This statistical report is a great aspect of FilteredSpace because artists can track where their music is most popular and plan their tours based on the information the report provides.

Once the application becomes populated with artists and venues, fans can follow artists, find venues, and share information all through FilteredSpace.

Free artist registration for a limited time only!

Artists can set up their profile here: www.filteredspace.com

Fans can download the free application here:

Apple - http://itunes.apple.com/us/app/filteredspace/id462211090?mt=8

Android - https://market.android.com/details?id=com.zer0day.FilteredSpace&feature=search_result#?t=W251bGwsMSwyLDEsImNvbS56ZXIwZGF5LkZpbHRlcmVkU3BhY2UiXQ..

FilteredSpace is owned by FilteredSpace Inc.

Get Your Music on iTunes and Google Music for as Low as $9.99 at TuneCore

“I stumbled in, and the radio bug bit me!” said Rumbley. She originally intended to be a teacher, however, she has had more jobs in radio than you can count on both hands.

Beginning as an intern, she worked her way up from the bottom. Rumbley’s experience ranges from AM and FM radio, to local television stations. Her first opportunity to be on air came from Towson University’s radio station WTMD. Since, she has worked for various other radio stations around the DC metro area and beyond including, KTK, WLPL, WHFS, among many others.

Currently, Rumbley is the radio promotions director at CBS radio in the Baltimore area. She loves her job, and it is apparent; her office is covered wall-to-wall in pictures of her with famous musicians.

As a radio promotions manager she is responsible for coming up with new ways to increase the ratings revenue to the station. She does this by getting the station’s name out to the public using advertising, contests, social media, and other avenues.

Rumbley said that social media has influenced promotions because it allows for the radio station to interact with their listeners in a new format. “A big priority is the digital end, in all that we do,” said Rumbley, “It’s everyone’s responsibility to get excitement going on that end.” With the increase of technology, sweeping changes have been made to the radio industry. Rumbley explained that she has worked at several radio stations that have undergone reorganizations or been bought by larger companies in an effort to cut costs.

Because of Rumbley’s extensive experience in various radio formats and stations, she has been able to find new jobs time-and-time again in the face of an unstable and unpredictable environment. She emphasized the importance of getting experience in your field so that you become a well-rounded candidate for employers.

Rumbley said internships are an opportunity to gain knowledge of the field you want to pursue. Time spent in this starting position can lead to compelling letters of recommendation, new contacts, or even a job offer.

When interviewing interns she looks for someone who has focus, an area where she believes some interns are lacking. In addition, Rumbley pointed out that knowledge of the station makes them a stronger candidate for the position.

Her advice to interns— “It’s who you know, but also what you know.” As a professional in the radio-world for the past 18 years she has gained success by practicing what she preaches.

Bad Horse is made up of a group of talented, well-seasoned musicians. Singer, Adam Grant, and guitarist, Robert E, make up the cofounders of the band. The pair come from a mismatched background with their previous careers, Adam as the ex-cop and Robert as the ex-football player, but they were united through their love of music. They were later joined by lead guitarist, Chris Iorio, Sam Fisher on drums, Marcus Dennard with the bass, and Jessie Dickenson on keys.

As a band, Bad Horse has developed a strong foundation, signing with Global Maximus Records, releasing a self-titled debut CD, making music videos, and even putting their music into a film, entitled Brother’s Keeper. However, it is the music video for their song “It’s All Good” that is moving them to the breaking point of stardom.

The song “It’s All Good” describes two types of memorable parties for guitarist Robert E. The first, being more personal for him, “There is the ramification of a big farm party like we used to have here in Georgia on the weekends and everybody came out to the farm or barns. There was a big bonfire and we all ended up skinny dipping.” The second meaning being more obvious with the lyrics and their connection to a football tailgate, “Drop the tailgates down, people gather round, let’s party.” The song can be recognized as an upbeat, tailgating party anthem, with cues of both country and rock.

When the music video was being made, it was old family football relationships that brought Terry Bradshaw on the set. “I have known him for quite some time,” noted Robert. “He and my father played together with the Steelers during the 70’s, and they roomed together when they were on the road.” Robert even remembered growing up living next door to Bradshaw. The video was shot in Nashville’s very own LP Field, and it is clear in the video as Robert said, “He (Bradshaw) brought an enormous amount of enthusiasm to the video, and we couldn’t have been more pleased to have him out there.”

By connecting their song with the NFL, they have opened up a new market of fans. Not only has this allowed Bad Horse to connect with the lovers of country music, but it also gives football fanatics a tune to sing. It is a different promotional tactic, but it proves to be working. “It’s All Good” has become an NFL anthem of sorts. Bad Horse even gained to opportunity to perform live on the NFL network February 6th, the day after the Super Bowl XLVI, for The NFL Alumni and Player of the Year Awards, which will be hosted this year by Alec Baldwin.

Robert is no stranger to the football scene and is excited to be around it again. He played for Auburn University Tigers in the 80’s, “It was a kid’s dream of following in their dad’s footsteps,” Robert remembered. Unfortunately, he was plagued with various knee injuries that took him off the field. This pushed Robert to pursue his other talents, “One gift that God had given me all along was music, it was something that I had never thought in a million years that in this day and time I would be doing, and it’s nice to be following your dream,” he affirmed.

The band will be releasing another new track the day after their NFL Awards performance. The song, “Then Again,” should draw the newly gained football fans further into getting to know the band and their musical depth. “It’s a song where you are in your mind going through the process of leaving somebody and I can get along without you but then again I can hold you and I can love you,” Robert explained.

After their journey through the Super Bowl, Bad Horse has big plans involving their upcoming tour. They have opened and played for a different range of bands, including, Zac Brown Band, Sara Evans, Shenandoah, Kenny Rogers and Randy Travis, but now it is their turn to organize and headline their own tour. Bad Horse hopes to be on the road and having fun by March.

Until then, the band has it easy this Super Bowl with a no stress game, seeing as how they can’t root for their Pittsburg Steelers. With a little extra time to reflect on his career, Robert said that his aim with their music is, “To make the fans happy, to be able to go out and draw a good crowd, and to make enough money to do what we love to do and be successful at it.” To him and the rest of the band, it is all about being able to do what they love.

Be sure to watch The NFL Network’s Alumni and Player of the Year Awards, February 6th at 10pm. Look out for Bad Horse’s music in the movie Brother’s Keeper coming to theaters this fall.

http://brotherskeeperfilm.com/
http://badhorsemusic.com/
http://www.nfl.com/superbowl/46

Lee Vervoort’s Gun Town is the epitome of independent horror cinema. The high-tech camera work and creative visual techniques put this movie on par with the vast majority of professional films currently showing at your local Cineplex.

The story is simple. Five teens get stranded while on a road trip to nowhere. There’s no gas station for miles and even worse, no cell phone reception! With no “Angry Birds” to help kill time, the group decides to try their luck on foot. While in search for the nearest signs of life, they stumble upon an old western gun town, owned and operated by the Bailey family.

In the late 70’s, Gun Town was a thriving business. But like many icons of the 70’s, its popularity was cut short. As the story is told through surprisingly well-executed exposition (a trait not generally associated with this genre!), we find that Frank Bailey Sr. went on a killing spree in 1979 and began massacring paying customers. Not an overly effective strategy for repeat business. His poor business ethics and homicidal ways landed him in intense psychiatric care for the next 30 years. This unfortunately caused him to miss out on Duran Duran, but on the plus side he has no recollection of Hanson.

Now, in 2009, Frank has been released and has returned home to his dominating wife and crippled son. Whether it’s due to old habits dying hard or his wife’s incessant nagging, Frank finds himself on the war path, setting out to eliminate the snotty teens one by one. Armed with a revolver and a hefty supply of cellophane, Frank, Mrs. Victoria Bailey, Frank Jr. and adopted son Bobo show these kids just why it’s never a good idea to run out of gas in Kentucky!

While the acting leaves a bit to be desired, (I have to admit, by the film’s end I was openly cheering for Frank Bailey, Sr. to please suffocate our heroine with Saran Wrap and put those of us in the audience out of our misery!) the story is well-written. The dialogue between the teens is real and despite the sub-par delivery in many areas, the conversation is believable. Andrew Thornhill’s portrayal of dud-wishing-to-be-stud Jerry is quite amusing. And Morgan Graham’s performance as Mrs. Bailey is one of the highlights on the film!

However, the most notable performance in Gun Town was that of Mr. Vervoort himself, portraying both man-in-the-mask Frank Bailey, Sr. and here-he-comes-to-almost-save-the-day Jake. Coordinating and maneuvering all his own stunts, Vervoort delivers an impressively suspenseful performance while still maintaining uniqueness to both characters.
Nashville’s own, Lee Vervoort wrote, produced, directed, and starred in this small-budget action/horror flick. Shot on site at Copper Canyon Ranch (http://www.coppercanyonkentucky.com) in Hopkinsville, KY, Gun Town radiates authenticity. The attraction’s damage suffered during a 2009 ice storm adds to the run-down and daunting atmosphere. The visually pleasing aesthetics of the film, combined with its quirky characters and well-executed storyline make this movie a pretty good way to spend an hour. Add a rockin’ soundtrack by Tim Emery and it’s obvious…Gun Town is a sure-fire hit!

For more information on Gun Town, visit the official website at www.guntownthemovie.com.

To purchase your own copy of Gun Town, visit http://www.amazon.com/Gun-Town-Lee-Vervoort/dp/B00379LIGG. Cost is $6.99 +S&H. $0.25 of every DVD sold is donated to United Cerebral Palsy.
Follow Emily Steele on Twitter @theemilysteele

In an age where technology reins king, it is essential that musicians take full advantage of the opportunity that the Internet has provided. An aspiring artist who is getting social media right, Malik Ferraud, the Baltimore rapper, has utilized online networking to bring awareness to his rhythmic words.

Malik Ferraud has gained the attention of many for his memorable and inspiring lyrics, and much of that attention was derived from social networking sites. He has accounts with Facebook, Twitter, Tumblr, YouTube, UStream, among other sites. “Any artist in today’s generation needs to be on social networking and needs to be taking that seriously,” said Ferraud. “Everything on the internet is how I manage to network.”

He pointed out the importance of networking with other artists, and said that social media has been a great tool for making connections with those in the music industry. Because he has built his brand from scratch as an artist with no budget, sites like Facebook and Twitter have become essential to Ferraud’s success, “If you’re promoting without a budget it is really difficult, building from the ground up, and having a good amount of fans.” Social media sites like these prove to help artists greatly in starting their career because they are free to join.

Ferraud was able to find another perk in social networking sites. They have allowed those who can’t hear his music locally to reach him with the click of a mouse. He hopes that this will help him build a larger following, “The hardest thing is getting people to accept you as an artist, everyone considers themselves a rapper or an artist or something artistic,” said Ferraud. “It’s so much competition out there that it’s really hard to get someone to take you serious to the point where they’re looking up your music, searching for your shows, and contacting you just because they love your music.”

Ferraud sets himself apart from other rappers by the shear amount of music he releases. If you look at Ferraud’s Facebook he releases new songs every week. The quantity does not tarnish the quality; each track has its own voice and a strong voice at that. He said that he wants to keep listeners engaged, and has found that continually introducing music to his online audience holds their attention.

As we all know, the music industry is not easy to break into, and the talented, passionate, and driven Ferraud doesn’t hesitate to tell you, enthusiasm for the craft isn’t enough. He emphasizes the importance of making networking, “I’ve made so many connections that I’m able to record in better studios.” Better relationships mean better studios, better studios mean better tracks, better tracks mean more attention, and so on.

But connections don’t just happen overnight. Ferraud explained, as a young artist you must put yourself around others that consider music an industry, not a hobby. This strategy has led him to situations where he is able to network with those who can help him in achieving his goal of making music a career.
Ferraud’s local success has given him the opportunity to work with rapper Los, who recently signed with Diddy’s record label, Bad Boy Records. He has also been able to get together with Rex Arrow Films, a company that has collaborated with Mac Miller on his highly successful music videos.

“If you work at something long enough it will become a career…slowly but surely,” said Ferraud. “I want to not only be business smart and have a great business mind, but longevity is key. I want to be in this game and this music industry for years. I don’t want to be a one-hit-wonder or someone who does it for a little bit of money and then vanishes.”

To listen to Malik Ferraud’s music visit: http://www.malikferraud.com/index.html

“Although comedy isn’t related to the music industry, at Dream Row we feel that we it’s important from time to time to take a break from everyday life and just laugh.  This comedy troupe has really developed something. I feel in time their popularity will really take off.” says Dan Shaw of Dream Row. This group of comedians work well together providing entertainment to others. I think those of us at Dream Row could really learn something from them. With that being said, Dream Row is proud to host content from Common Sense For Dummys,”

Common Sense For Dummys consists of comedic trio Tim Todd, Emily Steele and Ender Bowen . Each one has their own distinct sense of humor that contrasts and compliments the others’.  Together with producer, Kenneth Garner , they write, act, and produce countless sketches that take a humorous look at anything from popular culture to every day life. Episodes, blogs, and photos can all be access through their website, www.cs4d.com, where the troupe showcases their dynamic range and overall humor.

“We are so excited to be working with Dream Row again. They are a great publication and we are honored that they have chosen us to be a part of their site,” says Bowen.

“Everyone knows Dream Row is the best place to go for music updates. Now it’s the best place for comedy too,” adds Steele.

Dream Row plans to feature videos and other special content by Common Sense For Dummys on DR.tv as well as in our AMP section. The collaboration will join together comedy and music, bringing some much spice and variety to the constantly changing entertainment scene in the Nashville area. So whether you’re in the mood to check out the latest local bands or have a good, hardy laugh, Dream Row has you covered.

“Dream Row is the best site for what’s hip in Nashville. We’re thrilled they want to feature us,” says Todd.

Common Sense For Dummys is a product of Joint Custody Productions  and Red Parasol Entertainment Content will be made available via Dream Row starting in February.

Find Common Sense for Dummys on Facebook (http://facebook.com/dummys) and Twitter (http://twitter.com/cs4dummys).

One of the key elements of success in any aspect of life is the ability to focus: to concentrate your energies into a single area. Focus allows us to shut out distractions and really delve deeply into whatever it is we’re trying to accomplish. This applies to both specific tasks and goals (I’m going to finish this song today) and larger aspects of life and work (I want to learn the skills I need to become a recording engineer). Focus allows us to start with the big picture and methodically work out the finer details, making sure everything is as strong as it needs to be.

But life is complicated, and pursuing a career in the music industry doesn’t make things any simpler. If you become a successful artist or writer, you’re likely to have teams of people working on your behalf to take care of all the little details, freeing you up to concentrate on your creative work. But for most of us, assembling a team takes time and momentum, and to build that momentum we often need to do most of the work ourselves. So how do you maintain focus AND wear multiple hats at the same time? It’s not easy, but it can be done.

First of all, being organized and aware is key. You need to know what needs to be done and when. An artist that wants to tour needs to assemble the band, polish the act, assemble the press kit, find the venues, book the shows, handle promotions, make sure the touring vehicle and all other equipment is in good working order, and manage a hundred other little details. If you make good choices in who you choose to work with, you’re likely to have help, but ultimately the final responsibility is yours. As your career progresses, the energy you generate will attract more team members, who will still need to be evaluated before you agree to bring them on board. Only the most successful artists have the luxury of being insulated from the day-to-day details of moving the machine forward, allowing them to concentrate only on writing or performing. And even then, some very successful artists like to stay involved in the details (a good idea, really….you need to know that people are doing their jobs, right?)

And never forget that it does take work, no matter how much fun you’re having! Some people fail to recognize just how strong your commitment to your career needs to be to achieve success. Real commitment means never settling for just good enough. Real commitment is a never-ending process of self-examination, personal growth and true dedication on every level. It’s not so much a goal as a series of life choices. To paraphrase the late motivational speaker Jim Rohn, success comes from making one good decision at a time, every day. When things become overwhelming (and they do!) remember that one decision at a time is all you need to make.

Another way of maintaining focus is to acknowledge that it’s impossible to do everything at once. We’ve all gotten so good at multitasking in today’s fast-paced world that we may have forgotten how to concentrate…and it’s hard to imagine that something doesn’t suffer when you’re trying to manage three things at the same time. Sometimes it’s unavoidable, but it probably shouldn’t be your normal way of getting things done. Instead of multitasking, compartmentalize. In other words, concentrate on one thing at a time, shutting out distractions until the job is done. Then move on to the next task. Once you develop this method as a habit, you’ll probably find that you get more accomplished. You are also likely to do better work, because your focused mind can pay much better attention to detail.

Remember this: as an artist or a songwriter you are still ultimately an entrepreneur. You are starting a business and you or your work is the product. Entrepreneurs need to be self-motivated, driven, and focused: focused on the big goals (eyes on the prize!) AND on the day-to-day details. Recognize this, and organize your work accordingly. As you look at each day’s tasks, ask yourself which are (a) most pressing and (b) most relevant towards your long-term career progress. Prioritize accordingly: this should be your first task of the day. You can then move ahead knowing that your short and long-term game plans are receiving the attention they require, with clear intent and, of course, focus.

All three organizations have various differences, none of which are better than the other. Rather, it is the author’s personal opinion that matters in choosing which to join and who they want to work with. Songwriters are forced with the tough decision of only choosing one organization to affiliate themselves with but publishers have the privilege of being affiliated with all three. Here, we will discuss the ins and outs of SESAC, what distinguishes it and sets it apart from the rest.

Founded in 1930, The Society of European Stage Authors & Composers began by helping European composers in the United States that were having problems finding adequate representation for collecting their performance royalties. In 1985 SESAC moved their company headquarters from New York to Nashville and they have continued to expand and develop ever since.

Today, SESAC’s headquarters remains in Nashville and they have also expanded out to having offices in New York, Los Angeles, Atlanta, Miami, and London. They represent musicians and authors alike, most famously known for Bob Dylan, Neil Diamond, Robert Johnson, RUSH, Cassandra Wilson, Bryan-Michael Cox, Nate “Danja” Hills, Jack Knight, Jason Perry, and Swizz Beatz.

SESAC has since dropped the meaning of their acronym and continued on representing songwriters and publishers from all backgrounds whether European or not. Their main purpose is to represent the right for an author’s music to be played in public places and to receive adequate royalty payment from it. According to their website, SESAC keeps track of songwriters and publishers royalties through various systems including, “state-of-the-art monitoring, computer database information, and broadcast logs.” Once they have brought all of the money in, it is then distributed out to the clients based on how much their songs are played.

All music-licensing needs can be met at SESAC. From general needs like amusement/water parks, bowling centers, college and university’s, concert promoters, convention centers, etc.; all the way to internet licensing, broadcast, television, mechanical, and synchronization licensing.
One of the main differences that sets SESAC aside from the rest is their selective organization process. There are no fees or payments involved if a songwriter or publisher wishes to join the organization, however, SESAC chooses who they want to be affiliated with. The company prides itself on having a catalog based on quality, not quantity. They are only interested in making personal relationships with those who are serious about their craft. Because of this point, SESAC is the smallest performance rights organization in the business, but that never slows them down.

Ballestrini began singing and songwriting when she was eight years old. Surrounded by supportive and encouraging people, her dream of becoming a recording artist was formed. As a teenager, she began to use websites such as MySpace and YouTube to share her music.

Over the past few years, as the popularity of social networks has grown and more have popped up, Ballestrini has continued to stay in touch with her fans. “You have to go where the crowd is. Now it’s Facebook and Twitter. I’ve noticed that fans love communication with the artist, they love to feel in the loop. That’s why I always post pictures of what I’m doing in the recording studio or at music video shoots. It’s all about communicating with the fans and giving them something they want to see,” Ballestrini explained.

Ballestrini’s music and huge online following has attracted the attention of major record labels. However, since she enjoys her freedom as an artist she decided to sign with an independent label. In 2009, Ballestrini, Glenn Sweitzer, and teams in Connecticut and Rhode Island created the independent label, Timbob Records.

Ballestrini’s album “What I’m All About” was released in August of 2009, with the release of “Amazing,” “Out There Somewhere,” and “Don’t Say” as singles. She’s currently working on her second album and recently shot two music videos for “Guys Like You” and “Don’t Give Up On Me” in Los Angeles, one of which will be released through Country Music Television (CMT) within the next couple of months.

As someone who first debuted on social media websites such as Myspace and YouTube, an independent label is ideal for Ballestrini. “When you’re independent you can really choose what you want and there’s not a huge corporation behind it. When you have an idea you just talk to a couple people and they’re always supportive about it. Being able to post YouTube videos whenever I want and do what I want is really cool. When I write a song some I post it online and with a major label they won’t always let you do that… It’s cool to be able to do what I want to and to get music out there” she said.

Although Ballestrini spends a lot of time in Nashville, she also travels home to Connecticut, which is a great benefit of being an independent artist who is prevalent online. “It’s been great because back in the day you had to go to where the fans were to play a show and get your music heard. I’ve never been to England or the Philippines and people can hear my music and it’s getting out there because of being online… It’s awesome to be able to connect with people all over the world through Facebook, YouTube, and Twitter” she said.

In fact, in Ballestrini’s recent “Temporary Fix” cover contest on YouTube, Ballestrini received entries from not only the United Sates but the Philippines, England, and Singapore. “I was expecting entries from just the United States, but it was all over and it was awesome” she said.

Ballestrini’s strong online fan base has had a major hand in many of the opportunities she’s been presented with. She thankfully said, “There was a MEAD Five Star Music Insider contest… and fans would vote for their favorite artists and the winner won $25,000 toward their career and because of my amazing fans, I won first place and they actually found me through MySpace. It was cool to be a part of that.” In addition to the MEAD Five Star Music Insider contest, she also was a member of the If I Can Dream reality web series, and is currently in a contest on TopBlip.com to win a spot as the opening act for Andy Grammer.

Social media has had a huge impact on Ballestrini’s career, however; when asked which social networking website was her favorite, she couldn’t choose between Facebook, Twitter, and YouTube. She credited them all for their specific attributes, but then chose YouTube as being the best for sharing her music. “People love going to YouTube to look up videos and it’s more of a visual thing,” she described, “They’re not just hearing my music, but they’re also seeing who I am.”

Just as fans put a face to her music through YouTube, Ballestrini’s favorite event to attend is CMA Fest so she can meet the fans she communicates with online. “A lot of the people that come up to the booths (at CMA Fest) are like ‘I know you on MySpace and Twitter,’ which is cool because you can put a face to a name.” CMA Fest is one of the many events Ballestrini attends outside of promoting her music online. She also attends Country Radio Seminar (CRS) and country music festivals such as Country Thunder.

The opportunities Ballestrini has earned demonstrate that she recognizes the importance of communication with fans and has mastered the appropriate usage of social media to maintain and continue advancing her career.

Visit Veronica Ballestrini’s website and social media sites for more information:
http://www.veronicaballestrini.net
http://www.facebook.com/veronicaballestrinimusic
http://www.twitter.com/veronicabal
http://www.youtube.com/user/veronicaballestrini

Rae has experienced an extensive journey in music. At the age of four she began playing classical violin and by age 11 Rae was part of a group of thirty violinists that toured the world and even played for President Clinton. When Rae reached college she studied Violin Performance at Michigan State University on a music scholarship. “Violin was my passion in those years, and I continued to focus all my energy on it throughout my college years,” said Rae.

Rae recalls performing Avè Marie at her grandmother’s memorial service as a defining moment in her musical career. “Alone in the choir loft, I realized that I felt more comfortable singing than I had ever felt with eighteen years of performance violin. My life changed dramatically,” said Rae.

She began working as a session singer, musician and performer, while simultaneously working on regional and national commercials. Rae said that ad executives and friends consistently encouraged her to pursue a singing career.

After playing gigs in Chicago she made the move to Nashville where she truly began her career in country music.

The author, musician, and singer of three albums is now moving into the realm of music videos, and doing so successfully. Her first video featured the sweet, soulful and vocally-driven song, I Could Get Used to This, off of her self-titled album.

“I feel like a conduit for another purpose outside of myself, speaking of the nuances of why people fall in love.” said Rae on singing I Could Get Used to This. “I wanted to use visual interpretations, thus the video, to make the compelling point of the parallel universes between sharing a life and love and the loneliness of being alone.”

The video shows the thrill of getting to know someone new, from fun and romantic, to sad and lonely. “This video successfully shows the complexity of two people sorting themselves out. Love and loss is something we’ve all experienced, and the song poeticizes it,” said Rae.

The storyline of the video was created with help from Liquid 9, a production company based in Missouri who has worked with many notable artists from Tech N9ne to Blitzen Trapper. Liquid 9 created and submitted their concept for the story behind the song, and Rae was pleased with how they were able to capture the message of her lyrics.

But the journey to filming the video for I Could Get Used to This didn’t come without struggles. Rae recognized the importance of having a music video to gain the attention of those in the music industry as well as listeners. She also knew that first impressions are lasting and wanted her first music video to showcase her talent and personality; to successfully do so she needed to find help to finance the music video, and for assistance she turned to an angel investor. “As a struggling artist, an angel investor truly is an angel, allowing artists to produce and publish works,” said Rae, who is extremely happy with the result of the music video.

Rae said she learned a lot about the filming and production process of a music video during the shoot for I Could Get Used to This, which has helped her in the filming process for her second video 24 Hour Church (In Memphis) scheduled to be released in February.

Rae is a believer in the music video as a medium for getting your music to the audience. “As the adage goes, one picture is worth a thousand words, I think the video medium compliments a song’s delivery, is able to reach a broader audience, and successfully positions an artist if done with the necessary sensibility to maintaining consistency of an artist’s brand,” said Rae.

Since its release, I Could Get Used to This has been featured on The Country Network, a station that reaches over thirty million homes and 42 markets, bringing new attention to Jessica Rae and her talent. The Country Network has also expressed interest in her next music video for 24 Hour Church (In Memphis).

Rae’s songs have something to say; whether it is about her, the genre of country or the audience. She prides herself on being authentic, a quality evident in her decision to record an entire album driven by the power her voice. Rae’s minimalistic approach to music does not deduct from her performance, but rather engages the listener. The intimacy of Rae’s music allows the audience to fully focus on the splendor of her voice.

Rae’s goal is to make an impact in the lives of her listeners. “I believe in family, virtue and laughter, and I think my fans recognize this about me when I am performing on stage,” said Rae.

Darling Parade has been together since early 2010 when members, Kristin Kearns (vocals), Adam Hatfield (guitar), Nate McCoy (bass), and Casey Conrad (drums), found each other in Nashville with the hope of starting a band.  This can easily be mirrored to any other story from this side of town, however, what sets this band apart from the rest is their instantaneous success.  DP released their first self-titled EP and witnessed their hard work pay off. Their song: “Never Fall Down” won the 2011 American Sound Song Contest and other various songs made their way to TV shows such as SyFy’s Stargate Universe, ABC’s The Lying Game, and The CW’s Fly Girls.

Soon after, they found further success in the release of their second EP, What You Want, and third EP, Until We Say It’s Over.  Even though both EPs were released online only, they quickly became admired by their fans and went viral.  Most recently, DP reached number eight on Billboard’s “Next Big Sound/Fastest Accelerating Artist” chart and took “Artist of the Year” and “Song of the Year” at the Nashville Independent Music Awards.

Some might argue that DP could just be one lucky band, yet in person, their emotional dedication and strong work ethic is nothing to be ignored.  Band mates Kearns and McCoy agree that their success is largely due to their passionate social networking as well as their songs’ television placement.  “One thing seems to lead to another,” said Kearns, “We will get one opportunity and it will spark another.”

The band’s most recently released EP, Until We Say It’s Over, has been receiving a fair amount of attention in the past few months.  When asked if DP had any plans on releasing a full length CD McCoy replied, “No one really buys full albums that much any more.”  Kearns chimed in with an interesting thought, “We get into the studio and we tell our fans as we are doing it so we want to get it to them as soon as possible.”  Their main point being, momentum is key.  “It’s the singles that people care about, it doesn’t matter if we release a single with twelve tracks or five,” McCoy said, “they are still going to buy two or three of the best songs on it.”  With the band’s method of releasing EPs close together it allows them to keep their fans engaged and excited year round.

DP has been grateful to have the opportunity to join forces and record songs with Skidd Mills and Jon King, as well as writing songs with Stephen Christian of Anberlin and Dave Elkins of Mae.  Even though DP loves writing together, they have benefitted greatly from their collaboration outside of the band, “I love it (collaborating/co-writing), for me it is a learning experience,” Kearns explained.  “I get to learn from other styles, it helps you grow as a writer.”  Hatfield noted that working with their producer, Jon King, has also been a productive experience for them all, “Every band has that one producer that you are each other’s muse, JK for us is kind of like that.  We are so in tune with each other in the studio and we are also so hard on each other to really make sure we put out the best we can.”

Although the band has had a lot of external help in their endeavors, social networking has been their best strategy thus far in gaining forever fans.  According to their Facebook page, their biggest fan base is located in Nashville Tennessee, second is Mexico City, and third in the running is Chicago.  Two of these cities: Mexico City and Chicago, DP has never even played a show in.  In explanation McCoy said, “We talk to all of them,” referencing their fans on Facebook, “anyone that ever comments on our page we try to get in a conversation with.” The band agreed that when they play out of town shows the majority of the fans that show up to see them have discovered and followed them through Facebook.

DP played their last show of 2011 at the Hard Rock Café in Nashville November 29^th.  When asked about their plans for 2012 their faces all lit up, “We are going to hit the road pretty hard next year and try to get to all the places we haven’t been and see all the people we haven’t seen,” McCoy reported.  Fans can look forward to multiple showcases in January with DP as well as more exciting merch and music videos.

For more information on Darling Parade please visit: http://darlingparade.com/

But, there is more to him than that. As a songwriter and musician for more than four decades and a producer of various types of musical genres, to say that music is his business is almost an understatement. So it was only natural for him to start his own music and entertainment production company, Better Angels Music.

Launched in 2007, Better Angels Music is a company that is focused on bringing music and entertainment back to the people, rather than just doing it for the money.

“Inspired more by the message than the money,” its website says. But not just any music or entertainment will do for Better Angels Music.

“It’s always about quality over quantity,” says Rob.

Which is why they always strive for the best. Many of the artists that work for Better Angels Music, or BAM as it’s called, have outstanding accomplishments. Matthew J. Rogers, a writer for BAM, has recently landed a cut with Jordin Sparks, a winner of American Idol. Josh Thompson and Danny Simpson, two other writers, have songs on Brad Paisely’s most recent album, This Is Country Music.

But BAM’s most recognizable artist appears like a blast from the past.

Russell Hitchcock of the popular 80s band Air Supply, released a country album with BAM summer of 2011. And although Air Supply has played songs from Hitchcock’s album Russell Hitchcock, Tennessee on their 2011 tour, they also perform their classic 80s ballad “All Out Of Love.”

No matter what decade or genre their artists come from, the message that BAM spreads is quite clear.

“If you make good music consistently, it’ll get out there and do what it’s supposed to do, ” says Vice President and General Manager Gary Ray.

Press Release after CMA Awards

For Immediate Release

Better Angels Music Song “Church Pew or Bar Stool” Enjoys Accolades For Inclusion on the Jason Aldean CMA 2011 Album of the Year, “My Kinda Party”
As Company’s “Way Out Here” Is One of BMI’s Top 50 Songs for 2010

Nashville, TN (November 10, 2011) – Nashville-based Better Angels Music is receiving praise this week, as one of the company’s songs, “Church Pew or Bar Stool” is one of the critically acclaimed tunes on Jason Aldean’s CMA Album of the Year, “My Kinda Party.” Written by Better Angels Music songwriter Josh Thompson with co-writers Adam Craig and Michael Howard, “My Kinda Party” was released on Broken Bow Records on November 2, 2010.

Meanwhile, Better Angels Music’s “Way Out Here” has garnered a BMI Country Award as one of their top 50 songs for 2010.

Also written by singer/songwriter and popular country music artist, Josh Thompson, with David Lee Murphy and Casey Beathard, the song “Way out Here” was released on Josh’s debut album of the same name, “Way Out Here” (Sony Music Entertainment) February 23, 2010.

Better Angels Music CEO and Chief Creative Officer Rob Rappaport said, “We’re honored to have a song on Jason Aldean’s CMA Album of the Year, as well as one of the songs from our publishing catalog included in BMI’s Top 50 Songs for 2010. Josh, David Lee and Casey are extremely talented. We’re pleased to receive this award from BMI. The accolades are well deserved by these great songwriters.”

The band has also made it’s presence known on MTV/Ourstage by winning Specialty Finals Grand Prize, #1 Cover Bands Winner for the song “Never Been Any Reason, #1 Rock Video Winners and Video Finals Grand Prize Winners for the original composition and video of “I Can See The Light”.

The CD and digital downloads are available at: iTunes, Amazon MP3, Amazon On Demand, to name a few, and at the bands web store www.teazertickets.com. The Teazer CD “Resurrection” can also be purchased at F.Y.E. 2400 West End Ave Nashville, TN and F.Y.E. Zane Plaza Shopping Center 1080 N Bridge St Chillicothe, OH

Teazer will be supporting the album with a few select shows by teaming up with The American Red Cross to raise funds to benefit the organization and showcase the new CD release. Our next “Rock For Red Cross” show is Saturday November 12, 2011 at The Vern Riffe Center for the Arts at Shawnee State University in Portsmouth Ohio.
In addition to raising funds for The American Red Cross, Teazer performs what they call “A Soldier’s Salute” during their show. The band has local Veterans and family members to submit photos of Soldiers, these photos are featured on the large 20×20 projection screen on stage while the band plays songs to Salute them. It’s an incredible performance.
Through sponsorship local and regional businesses can contribute to the event by enrolling in the “Vouch for a Vet” program. The monies from sponsors will go to purchase admission to the show for a Veteran or family member of a fallen soldier, with a percentage of the proceeds to also benefit the Portsmouth Red Cross. The bottom line here is to help a Vet come to the show and watch the “Soldier’s Salute” honoring them.

Tickets are on sale now at The McKinley Box Office 920 Second Street Portsmouth, Ohio 740.351.3640 and Ticketmaster http://www.ticketmaster.com/venue/41868

In July 2011 Teazer was awarded the Governor’s Proclamation in the state of Ohio by Col. Thomas Moe at our 1st “Rock For Red Cross” show in Chillicothe, OH at this time for our efforts to support servicemen and servicewomen in our armed forces.

Teazer may bring visions of an 80’s Hair Band band but when asking where the name originated from the band tells me we came up with the band name based on the story of a Schooner during the British/American war of 1812 and the current myth of a ghost vessel.

Please visit the band at www.rockwithteazer.com

I can’t claim to know how inspiration happens. It arrives at unlikely moments, so we carry notebooks and scribble on napkins or sing a few bars of a melody into a cell phone. Sometimes when I play it’s as if my hands and ears are being led. The ideas seem to be coming from somewhere else, and we’re always looking for a way to tap into their source.

But once that moment of inspiration has passed, we need tools and craftsmanship to work with the gift we were just given. No one thinks twice about the craft of lyric writing being worth serious study. Why not the craft of composition?

Now, everyone knows great musicians that never studied formally in their lives. But there’s a fundamental misunderstanding about where the gift and ability for greatness really lie. The gift is often not just the physical ability to play well, it’s an innate ability to explore and learn. Even if the process is unconscious, learning an instrument is an ongoing exploration, an exercise in trial and error. People who learn this way HAVE studied, but on their own….instead of being guided, they were able to guide themselves.

But imagine that as our gifted player works through exploration and trial and error, they learn the names of each distinct sound. They develop a conscious rather than an intuitive understanding of the materials of music: what a fifth sounds like, or the shift of a major chord into minor. This understanding has nothing to do with the source of inspiration, it’s a tool for craftsmanship.

Despite this, some people still believe that having command of these tools would hurt their creativity. I suspect that if you asked, though, they would say that inspiration and “the rules” come from two different places. So why, then, would learning about one hurt the other?

I have a theory about the source of this belief. I did not enjoy studying music theory in college, it just seemed like a list of do’s and dont’s – but one day I had an epiphany. These were not rules but principles, more like laws of nature. Not the reason music sounds good, but an explanation why. This was a revelation to me, and it changed everything: I realized that the “rules” tell us why some music works, but we’re not obligated to follow them!

You’ve probably heard the cliché “you have to know the rules before you can break them”. This isn’t actually true, because musical exploration doesn’t require any knowledge other than how to create sounds. If you can produce a sound and then experiment with putting different sounds together, you’re making music, and it may or may not break the rules. But since the principles of theory are as fundamental as gravity, we’re often likely to follow them anyway because it sounds right when we do. So we could say that you DO need to know when you’re following the rules if your ears and fingers can’t guide you outside the lines on their own. Once again, it comes back to the gift we were given: how much we can comprehend intuitively.

I believe that people spend way too much time thinking about these gifts, or their perceived lack thereof. “Talent” is not a useful word, and attempting to measure it is a waste of time. Yes, if you’re talented and work hard, you will learn and improve faster than someone who isn’t. But the person who supposedly lacks talent can also learn and improve if they work hard. Talent is a lot less important than a good work ethic, a willingness to learn, and a desire to be great. Desire and drive help us aim high again and again, despite whatever frustration we feel. Learning and study coupled with desire and drive is a powerful and unstoppable combination.

So what does all this mean to a creative person working their craft?

I would say that one can make a choice between two approaches. One is to stay “pure”: in other words, to rely upon your gifts to provide the tools you work with. The other is to be a student: formally or informally, it doesn’t really matter. Being a student means choosing to learn, to stay open to new ideas and new approaches. These lead to new tools, new skills, and ultimately more options. To me, it seems like a no-brainer. Most of the time, talent has its limits, but learning only stops when we stop paying attention. Paying attention and keeping an open mind keeps you from getting stuck. As a creative artist – a songwriter, musician, lyricist, or painter – the value and wisdom of this should be obvious. So DO study, even informally. If you’ve never played songs you didn’t write, start. If you play but don’t practice, start asking yourself what you can improve. Read books, watch videos, and listen to music! Watch great players and listen to great writers. Keep your ears and mind open…and above all, don’t choose to view knowledge as a straightjacket when it should be a set of wings.

Katie Kerkhover has played many venues in her career as a musician—Buster’s in Lexington, Vollrath in Indianapolis. But there has been one place that she’s performed that will always stick with her—a lawn, filled with empty lawn chairs and parked cars.

“I was probably 12 years old and it was at a festival. It was in the heat of the day in August and we when we were on stage, we called it the lawn chair salute because it was literally folded-up lawn chairs and parked cars,” Katie recalls, laughing at the memory. “Someone even left their oxygen tank there.”

But that was before her days as lead singer of the group, Katie Kerkhover and the Die-Nasties. Now, she and her band, made up of guitarist Tim Craven, guitarist Blake Hickley, and drummer Andrew Grooms, are playing bigger venues in cities across the states and hope to do so for as long as they humanly can.

Katie has been performing since she was a child, but until she met Tim Craven a few years ago, she had been a part of the country scene. When she and Tim met after touring the country circuit in Nashville, she finally encountered someone who creatively meshed with her.

“For someone reason, Tim and I really clicked while writing. It [the creative process] really just starting falling out,” Katie says. She and Tim began writing and creating songs with various musicians and in 2009, she and Tim released Blister, Katie’s first rock album.

With influences from bands such as No Doubt, Blink 182 and Guns n’ Roses, Blister, which Tim described as being more pop-punk than rock, received positive feedback. Featured on AOL’s homepage after its release, as well as in TV shows and a documentary, Katie still is happy about its outcome. “I couldn’t be happier about it,” she says.
In early 2010, she and Tim met their other guitarist, Blake, who joined the group. They rotated drummers until March 2011, when Andy Grooms joined the band, completing what is now known as Katie Kerkhover and the Die-Nasties.

After the group was formed, they knew they needed a name that would make them memorable. They set up a bracket that was similar to the NCAA’s March Madness brackets and, after rounds of voting, they voted on Katie Kerkhover and the Die-Nasties.

2010 was a busy year for Katie Kerkhover and the Die-Nasties. They released a music video for their song “Habit,” which got airplay on MTV. “Making a music video was so awkward,” both Katie and Tim admit. “It felt so weird, pretending that I was on stage. It was surreal.”

Katie Kerkhover and the Die-Nasties also starting touring in 2010 and give a performance that, according to Katie, has the crowds jumping and dancing. With Katie’s off-the-wall costumes (she once wore a corset that she hand-stitched with Swarovski crystals) and their high-energy songs, Katie Kerkhover and the Die-Nasties deliver a whirlwind of a show. Inspired by the performances of Rhianna and Lady Gaga, Katie Kerkhover and the Die-Nasties seek to give audiences everything they’ve got.

But while they’re on the road, they’ve encountered some strange sights that traveling has to offer.

“Once, when we were on our way to a show, we saw a guy who had a car full of mannequins,” Katie says. “We tried to take a picture of it, but every time we slowed down, so did he and it was kinda weird.”

Tim has other strange stories of travelling, but his have more to do with the actual venues that Katie Kerkhover and the Die-Nasties play. Tim has a collection of venue bathroom pictures and he’s seen some pretty bizarre ones.
“There was one that had four toilets without any walls around them. And no toilet paper,” Tim says.

There will be more weird toilets and creepy travelers in the Die-Nasties future, with their second album coming out in late 2011 or early 2012 and their upcoming shows at the Rock Over Broadway showcase on Sept. 30 at Cruisers Live Music in Somerset, KY and the Hard Rock Café in Nashville on Oct. 29. The album, which has yet to be named, will be filled with more personal songs and rock-filled chords. “I’m really excited,” Tim says. “It’s going to be great.”

Tickets for the Rock Over Broadway at Hard Rock Cafe’ on October 29th on sale now. Get two tickets for $7.00 which is half off then the door price of $7 each. Tickets will be held at the door. On the bill for October 29th is Kris Bell Band, Black Water James and Katie Kerkhover and the Die-Nasties

Name for tickets

Michaels grew up around music- his family owned a San Francisco music shop where he first began his ventures into music. “The first time I said I wanted to be a singer I was six years old, and I’ve never really changed that.” explains the band leader.

Throughout his career Ryan Michaels has looked to ‘the greats’ for inspiration, “Bono, Bon Jovi, James Taylor- people that put out great music and use their voice as a way that can help people.” Michaels’ passion for sharing his experiences is perpetuated by these artists, “That drives me to want to have a voice. Especially as a song writer, listening to artists that are amazing writers in addition to singers has propelled me.”

Ryan Michaels’ strengths lie in song writing and performing. “I love connecting with people and meeting people and uplifting people; if you can uplift people in a way that isn’t preachy or arrogant- that’s always a balance. The best balance that I’ve found is to write authentically about things I’ve been through and if I’m not in a position to talk about it then I won’t. If it’s something that I’ve been through I usually feel good sharing it with people.” Evidence that his fans seem to be responding to his method of authenticity and relatable writing is apparent when following his ever-expanding fan base. “People that have ‘lived’ seem to be able to connect to my lyrics,” explains Michaels.

The band made headlines this year with their music video “Life is for the Living” which is made up of a series of clips about the struggles of real people. The video started a social movement which essentially proclaimed that regardless of your situation-live your life.

Other highlights of the past year for the band include an official showcase at South by Southwest, The House of Blues in Chicago, The Roxy Theater in Los Angeles, and a venue near and dear to the hearts of the band, 12th and Porter- which Michaels claims jumpstarted his career.

As for the future of Ryan Michaels Band they will be recording a new album in Los Angeles this year. The shift from Nashville to L.A., a Mecca of music, means big things for the band. “I love being from Nashville, I want to wave the Nashville flag, I’m very proud of that but over the past couple years some of our success has expanded my network outside of Nashville. There has been a lot of interest in what we’re doing in Los Angeles- there are parts of their industry that may be able to support what we’re doing a little bit more.” Next year they plan to expand their tour to include Europe and spread their inspirational music across the globe. “We’re really excited about the new music,” says Michaels, excitement held not only by the band, but by their supporters everywhere.

However, I’ve come to make some observations in my years here in Nashville, and I would be remiss to not point out that what follows are opinions based upon these observations. I’m not speaking as an authority here but simply as a member of the community.

There’s a difference between networking and what I would call “social climbing”. Networking is exactly what it sounds like: building your network, your circle of people who know you and your music. One wants to be aware of who’s who and how much weight they carry in the industry, but it’s generally considered poor etiquette to pursue someone higher up the ladder too aggressively. This is sometimes known as “gherming” and is a good way to develop a bad reputation. People with power in the entertainment industry are constantly being approached by artists, managers, lawyers and agents, many of whom may be looking for something for nothing: make me (or my artist) a star, because I/they are great and they deserve it. It’s not hard to understand how someone might become less and less receptive to these overtures over time. I’d suggest that this is not a matter of self-importance, as some folks I’ve met have (somewhat bitterly) remarked, so much an attempt to keep from being overwhelmed by the never-ending stream of hopefuls.

There’s nothing wrong with identifying someone that may be able to help you, finding out the best way to approach them, and following the proper channels to reach them. You’re much more likely to get to that person and will probably find them more receptive. Also, know what these people do, what exactly you want from them, and what they will get out of it. I’ve heard people on multiple occasions get upset with a manager, producer, or publisher when they start talking about financial arrangements that to my ear were perfectly reasonable. This is the music BUSINESS, after all, and it’s unreasonable to expect anyone – especially successful pros with an established track record – to work for little or nothing based upon your or your client’s promise and potential alone. Also, remember that one hundred percent of zero is still zero. There are plenty of bad deals out there in which the artist gets the short end of the stick, so to speak…but if you learn enough about the business and the existing norms you can tell the difference between a good deal and a bad one.

A really creative (and extremely gutsy) person might be able to use guerilla tactics to reach someone…..Kris Kristofferson landing a helicopter on Johnny Cash’s lawn comes to mind as an extreme example, but according to legend this encounter led to Cash’s recording Kristofferson’s “Sunday Morning Coming Down”. Just remember that if your plan backfires, you may lose a future opportunity to interact with or work with this person. Nashville in particular is a small community….if you encounter someone once, odds are you’ll run across them again, and good work DOES get noticed. Word gets around….so don’t worry too much about what happens in a single interaction. Take the long view and be patient.

So what about social climbing? A social climber puts networking before music, and chooses who they interact with based on their status in the industry. Done subtly, this doesn’t come across as “gherming”…but I’ve been to plenty of conferences where introductions are made by people peering at each others’ badges to see if they’re worth the time for a conversation. It doesn’t leave a good impression if the conversation doesn’t proceed, and it misses something important: sometimes peers can help each other as much as or more than the people who are higher up the ladder. On a related note, pursuing busy, powerful people without cultivating a relationship on their terms first is unlikely to come across as anything other than the calculated move it is. As I’ve said before, there’s nothing wrong with working to advance your career….but working on your skills and material and building your network are the most important things. Good work attracts attention, and good etiquette creates goodwill. Treat people as people, not stepping stones, and they will return the respect. The combination of all these factors will probably do more for your career than trying to impress any single person.

Cunningham’s contemporary Christian music pours from within as a result of life lessons and his unique path to personal salvation. Revisiting, renewing and reinforcing his personal relationship with God, the tracks contained on WHAT ABOUT TONIGHT reveal, in emotion, song and music composition, Adam’s feelings surrounding spiritual evolution and his intimacy with Christ.

His course to Christ is mapped eloquently in the current single from the project, “You Made Me Your Own.” The intimate ballad is the quintessential Christian love song with a message that is two-fold; the belief that God loves us, one and all, sinners and saints–regardless of our faults, along with lyrics that illuminate the story of a child’s unequivocal acceptance, a family’s uncondtional love as he or she is adopted into a new family. With strings and building percussion, Adam Cunningham crescendos with a doubly moving sentiment and closes with children (his own children) singing the traditional “Jesus Loves The Little Children” a cappella.

“This project was different from my last because I produced it; I engineered it; I wrote it. I wanted this project [and everything I do] to represent me as true to who I am,” Cunningham explains. “This is not because I think I am the only one who can do it right, but because I wanted the end result to be as real it is could be.”

As a worship leader in North Carolina, Cunningham and his family crossed paths with many a music industry professional and those connections eventually led him to Music City. Shortly after moving to Nashville in 2003, Adam put out his first album on TrackStar Recordworks. His debut single “You Are My God” met with great success on the charts and radio and is still enjoying airplay today. He then aligned with Better Angels Music, a publishing house and label where “songs come first,” and
WHAT ABOUT TONIGHT is no exception.

Featuring 12 Cunningham originals, the self-produced album is loaded with surprises. Featuring cuts such as “Bring You Home,” boasting big band orchestration, groove tunes like “There’s Too Much” (moved by Beatle-esque rhythms and electric guitars), to likely church hymn standards such as “Let There Be Song,” with every chapter and every verse, WHAT ABOUT TONIGHT is certain to become a credence of every music lover and critic.

Celebrating its third year as a Music Row fixture, Better Angels is an all-encompassing entertainment entity committed to creating quality music and offers in-house production, A&R, publishing and label services. Ten songwriters reside under the Better Angels Publishing umbrella; nine artists in various genres are signed to the Better Angels record label and, currently, there are two productions in development under the wings of the entertainment division.

To become better acquainted with Adam Cunningham visit www.betterangelsmusic.com /or/ http://adamcunningham.com where WHAT ABOUT TONIGHT can be pre-ordered.

MEDIA/PUBLIC RELATIONS CONTACT:

Back in 2007, I was lucky enough to spend 3 days in heaven at Lollapalooza in Chicago. Looking at the schedule weeks prior to the event I knew of some bands that I absolutely had to see. The other hundred or so fell by the weigh side. Each day started off the same. We arrived when the gates opened and left when the final “Good night Chicago” rolled through the crowd. But with each day came some serious downtime; hours of free time that had developed from the names of bands on the paper lineup being uninteresting.

Here is where the brightness of stage performance shines bright through the dullness. Walking through the grounds of Grant Park, the sweet sound of fan interaction came soaring at us from one of the smallest stages at the festival. The band, Ludo, was gearing up the crowd. Back and forth went the band and the people until a roaring applause started before the first song. As the band swaggered through the set list, the indications were clear. This band was the best band I had ever seen live. They all seemed genuinely thrilled to be there and thankful to the handful of people in the crowd who were as well. Ludo provided such a unique style compared to the bands I was listening to at the time. Their songs, such as “Good Will Hunting By Myself,” expressed a comical story sung by a lead singer who talked/sang while using the entire stage and pointed in the crowd. I had never heard of their songs before, let alone their name. But by the end of their party rock concert I was, and still am, a huge fan.

There was another band that day that first captured my attention solely on their performance style. A duo named Matt and Kim. Their layout was simple, a girl drummer, Kim, was placed stage right of lead singer and keyboardist, Matt. Again, before this unforgettable memory took place, I had never heard of them or their music. To be honest, I couldn’t even remember seeing their name among the list of bands on the schedule. As they began to play, the energy in that area of Grant Park was electrified. To this day I have never felt anything like it. They played with such pure passion and joyfulness that one couldn’t help but have a good time.

With a huge grin, Kim started off the drum beat for a song titled, “Yea Yeah.” With Matt portraying a younger Jerry Lee Lewis on the keys he shouted to the crowd, “You most likely don’t know this song. But you will be singing it at the end. It goes like this, yeah yeah yeah yeah yeah yeah.” I was hooked. The next day a band missed their flight and the duo filled in. On a grander stage with a larger crowd, the band played with the same energy and vigor they had done so before. They blew everyone out of the water, yet again.

From these experiences, plus a myriad of other dull shows and amazing ones, I’ve realized that a band or artist’s number one priority should be stage performance. Already I can hear the arguments of practicing so one doesn’t mess up. That’s the beauty of it though, when a lyric is flubbed or a chord struck wrong it adds flavor to the performance. It gives the crowd a unique event that could never be replicated even if tried. Everything involved with stage performance must, I repeat, must be synergistic. From the stage set up to the interaction with the crowd, all of it must be conveying the same style/persona to the crowd. Mixing these signals will not only confuse them but will halt the fan creation process.

In a world where IPods and illegal downloads are king, a concert is the stage where bands can prove they are much more than that. It is also a moment that can hardly be duplicated, like a burned CD can. They can give you personality and provide a one of a kind experience that you would be sad was over. Stage set up, clothing, song selection, lighting, interaction, etc. must complement each other. Essentially they must be each other’s Yin and Yang.

Fools for Rowan is known for their high energy concerts, regardless of the crowd. “We’ve played for anyone from ten people to ten thousand people” explains lead singer Erin Mullins. The band plays with full force regardless of the crowd. “When we walk on the stage we’re dry… when we walk off it’s like we took a shower in sweat.” Clearly, these rockers know how to put on a show. “Jordan, our drummer, will be standing on his stool at some point, guaranteed. We’ll all be jumping in the air. We leave all the energy we have on the stage by the end of that show.” Fools for Rowan keeps the live performance interesting by taking a few of the songs off their album, Twisted.Tied Up.Tangled., and putting an interesting spin on the original version.

What more could you ask of the talented group of rockers? If you answered ‘Well, I would like to meet them’ to that question, then you’re in luck. Fools for Rowan is one of the few bands who may be even more in love with their fans than their fanatical listeners are with them. “The best moments for me personally… are when you can hear the crowd singing the songs back to you” Erin Mullins says “many of them have been to so many shows that they just feel like family to us.” One of the keys to any band’s success is their relationship with their fans and Fools for Rowan shines in that aspect. The devotion of their fans is enough to make your heart melt- they’ve had fans make them birthday cakes, send them gifts, and one fan even has a Fools for Rowan tattoo.

The band draws a diverse crowd of music fans with a common love for the alternative rock hits produced by Fools for Rowan. Music promoter Dan Shaw is no stranger to the realities of the music industry and can see something special in Fools for Rowan. “To have a full house of fans at The Rutledge for the last Nashville show at 7pm on a Friday was impressive. Nashville is a tough market with so much talent here. This band has true fans and the respect from all in attendance.”

There is no doubt that with the support of such a vast audience (and their striking musical talent) that the band will be well known in no time, but it is clear they remain grounded by their fans. “We wouldn’t be able to do this without them…we’d be in our garage, or singing karaoke somewhere.” Thankfully for us Fools for Rowan is not in a garage but on a summer tour with exciting stops like Summerfest in Milwaukee, which features several bands and is a highlight of the band’s summer tour. They will also be playing the Elbo room in Chicago; Kayla Chaffee-Artist relations coordinator says “The 100-capacity room will offer the audience and band an electrical feeling that you can only feel at an intimate venue,” making it a show definitely worth attending. “We are excited to host Fools for Rowan because we love the sound of their music, we also enjoy out of state acts because it gives us an opportunity to see another side of music. We take pride in offering our venue to growing bands, and Fools for Rowan will definitely enjoy what we offer.”

The band’s electric passion for music makes them strong contenders for stardom. To get in on the ground floor and see the musicians before they ‘hit it big’ visit their site www.foolsforrowan.com to check out summer tour dates.

After much deliberation she made the move from Buffalo, New York to Nashville, Tennessee—the home of country music. Her trek south to Nashville has had an impact on her work as an artist. “The music has transformed into me more so; I’ve been able to find myself in my music.” The city also has a lot to offer as far as experience and wisdom go; Amanda has been able to combine her own aptitude for the music industry with the seasoned crowd of country music’s best producers, writers, and musicians that will take her career to another level.

With the help of her new team, Amanda is setting out on her summer tour spanning 3 states and 18 venues. “I’m very serious about my music, but I just like to have fun and for the audience to have fun,” she explains regarding her on-stage performance. It’s not unusual to find Amanda among fans during a concert; she strives to engage the audience in her music. “Performing and being on stage has always been my favorite part.”

Just because she is fresh to the country music scene does not mean she isn’t fully capable of commanding the crowd. Amanda has been well received by country music fans across the country as an opening act for big names in country music like Sara Evans, Gretchen Wilson, and Travis Tritt.

Her first solo tour includes a return to areas around her hometown of Buffalo, New York. Amanda is looking forward to bringing her Nashville band and newly acquired knowledge back to Buffalo. She also plans on debuting some of the songs off her third album, which is still in the recording process—so there is a lot for Nagurney’s fans to look forward to during the tour.

All-American, gifted, down to earth, and driven, Amanda Nagurney is a country music talent not to be missed. Visit her website, www.amandanagurney.com, for more information about her tour, upcoming album, and exciting new projects.

First, let’s be clear on the distinction between the roles of producer and engineer. A producer works primarily in two areas: handling the details of the project (booking the studio, hiring musicians if necessary, etc) as well as making the musical and sonic decisions that shape the recording to meet the artist’s vision. A conscientious producer will get to know the artist, their music, and their personality. Even if you’re working with someone that has achieved a level of success and become known for their own sound, the producer and artist need to establish musical common ground for their partnership to work. (And make no mistake, no matter how famous or successful the producer is, it’s still a partnership!)

The dynamics of this can be different: some artists may choose to leave most decisions to the producer (this is common in urban genres, where the producer often creates complete tracks for the vocalist). Other artists may have a strong vision of what they want to sound like, and will want to share or direct the musical and sonic decisions. Ultimately, the artist should have final veto power, but keep in mind that allowing a producer to pull (or nudge, or coax) you out of your comfort zone can be a powerful growth experience.

The engineer is the person at the controls. The engineer takes direction from the producer and creates the technical means to achieve the sounds the producer and artist want to hear. I’ve worked with many talented producer/engineers, but skill in one area does not necessarily mean skill in the other. In my experience, it helps the music when you have a team. Most people perform better when they can focus on a single role and do that one thing the best they can. From a sonic perspective, two sets of ears in the control room can evaluate a track better than one. From an artistic perspective, the producer’s presence keeps the engineer focused on the sonic signature of the project.

The “sonic signature” is often defined in preproduction. The producer and artist evaluate material, test ideas, and map out the project’s parameters and direction. Sometimes preliminary demos are made before entering the studio to track. Every artist may do different amounts of preproduction, but unless you have an unlimited budget it’s generally best to have some musical and sonic decisions made (or at least developed at the conceptual level) before you’re “on the clock” when time is money. Others may prefer an improvisational dynamic, leaving most decisions to be made during the actual session. This can lead to some real magic or a lot of wasted time, depending on how the players interact. Every group of people has a different dynamic, and bands or sessions are no exception. A good producer goes for the magic, but knows when to pull back and move on.

Another important quality of good producer is good “people skills”. Recording is often an emotionally charged experience for an artist, and the studio can be intimidating. The ability to manage personalities in what can be an intense environment is extremely helpful. Also, if something just isn’t working, the producer needs to be able to communicate this to the artist without breaking the vibe. Studio pros can shift gears at a moment’s notice, but that comes with experience and skill. For our purposes, we can safely say that an engineer or session player has logged more hours in recording studios than the average artist, and is more at home and at ease in the studio environment. A great producer helps everyone on the team stay relaxed, productive, and engaged in the project.

What a producer is generally not: a producer is generally not an agent or manager. A producer’s role does not include getting you signed (though someone with contacts may be able to help open doors for you, don’t ever assume that this is part of the situation). Some people may offer their connections (which may or may not be real) as a hook to attract clients, but I’ve seen many situations where the producer made promises and never made any effort to follow through. The product in most of these cases was, perhaps coincidentally, sub-par. You never know when someone really can help you, but the offer itself as part of the discussion about making a recording may be cause for caution. As in so many situations in this business, take in everything you are told with an open mind and a skeptical eye.

Another caveat: I mentioned earlier how being pulled out of your comfort zone in the studio can sometimes yield great results. But there is a difference between leaving your comfort zone and being forced into a box. You want your recording to be as unique as you are, and you want it to reflect both the way you actually sound AND the way you would like to sound. Making a recording can raise your music to a new level: the process of examination and evaluation tends to help the best ideas stand out while the others are pared away. But if you feel you are being squeezed into a suit that doesn’t fit, you may be right. Some producers and engineers simply assume they know better: sometimes they do, but sometimes they don’t. Don’t allow someone to change your music to the point that you no longer hear yourself, or plug you into a “cookie-cutter” assembly line that serves the engineer’s time management but not your career. There are countless closets filled with recordings that will never see the light of day because they ultimately did not represent the sound and personality of the artist. Evaluate as you go…whenever possible, leave the studio with recordings. Again, multiple sets of ears can be helpful, as we can sometimes get drawn in and not see what’s happening until it’s too late. The pre-production process can help you avoid this…the clearer you are about what you want, the more likely you are to get it. Don’t be rigid – sometimes even the wildest ideas are worth trying – but your producer should also be making sure you stay on task and on target (not to mention on budget).

It can be difficult to choose the right people to work with when we’re presented with so many options. Being clear about what you need will help make the decision easier. Make a clear-eyed evaluation of anyone you may be thinking of working with. Get a sense of who they are and what they’ve done in the past. But above all, trust your ears and gut. An unknown and unproven producer might help you make the best record of your career, and a big name might walk through your project in their sleep. Don’t be swayed by promises or dropped names alone but by the sound of the music: that’s what matters most in the end.

The band is composed of five members, each with unique talents that influence their style of music. Stephanie Moyer, the only female member, commands the stage with her vocals. The emotion behind her voice is clear, and brings a sense of sincerity to Snow Black Sunday’s poignant lyrics. The powerful rock that surrounds those lyrics is provided by guitarists-Marty Pelto and Joe Freas, bassist-John Cotter, and Keith Petitt on the drums. When these musicians unite it is virtually impossible to stop yourself from tapping your foot along to the beat. The bass and guitar solos are incredibly haunting and show the range of their skill. The beat provided by Petitt’s drumming intensifies the sound.

The personalities of each band member, both on and off stage, set them apart from many other groups in the hunt for musical success. They appreciate the audience, and it shows in their music and performances. Snow Black Sunday has a passion for connecting with the crowd, which steams from their down to earth demeanor and ‘Regular Joe’ approach, “If we happen into your area come hang out with us…we can all grab a coke and talk about ghost hunters or pro wrestling…RIP Macho Man…bring donuts.”

Their upcoming tour Kicked Out of Nashville holds a lot of excitement for both the audience and the band. “A Snow Black Sunday show is energetic and explosive, huge sound and over the top performance” says guitarist, Joe. The band is excellent at bringing their songs to life on stage, one of their favorites being, In His Eyes. In His Eyes starts off slowly and gradually builds into a forceful rock ballad showcasing the range of each member of the band-as do most tracks on their album.

The Kicked Out of Nashville tour features nine different stops beginning at the Hard Rock in Nashville-one of Snow Black Sunday’s favorite venues. The crowd can look forward to an engaging concert, “we will entertain the hell out of you….never a dull moment,” promises the band.

From Nashville they will head to Indiana, Illinois, and return to Tennessee for the rest of the tour. The band is enthusiastic about the opportunity to play at new venues, particularly The Vollrath in Indianapolis, “it has an amazing historical background so playing there is something we are looking forward to” says guitarist, Joe Freas. “The venue was the 1930′s gangster John Dillinger’s old hangout” adds John Cotter.

Another highlight of the Kicked Out of Nashville tour is Snow Black Sunday’s appearance at The Elbo Room in Chicago. A representative for the Elbo Room paint’s a charming picture of the club, “We provide local and national artists the opportunity to play, whether they are doing a U.S. tour and want to stop in for a show or they just want a random Wednesday gig to play for a few fans. Any genre is accepted at the Elbo Room, we see a variety of bands walking through the door, ranging from rock to reggae music.” Snow Black Sunday draws a diverse audience so the Elbo room is a perfect fit. The venue is anticipating hosting the band this summer, “Snow Black Sunday brings an energetic sound to the Elbo Room. Having a female lead singer with incredible vocals and a strong band behind her, they will bring a diverse crowd who is looking to hear inventive music along with a lively performance.”

Snow Black Sunday is hoping to add more dates to the Kicked Out of Nashville tour, if you’re interested in booking contact booking@dreamrow.com; and to learn more about the band and listen to music by Snow Black Sunday check out http://dreamrow.com/booking-roster/snow-black-sunday-band/.

Upcoming Snow Black Sunday Tour Dates:

6/24 The Vollrath Tavern, Indianapolis, Indiana.
6/25 Elbo Room, Chicago, Illinois.
7/23 Bell Buckle Amphitheater, Tennessee.
8/13 The Boro, Murfreesboro, Tennessee.
8/20 The Coup, Clarksville, Tennessee.
9/3 The Hard Rock, Nashville, Tennessee.
10/21 The Hard rock Nashville, Tennessee.
11/4 Clarksville, Tennessee.

Photos provided by Deon Russell Photography

Nowadays, the new era for marketing independent and unknown artists relies heavily on the soundtrack to television shows or movies. A greater opportunity to be heard and earn extra revenue now exists because of music placements. Kris Bell, who has recently secured a music placement deal with MTV and of his album “Turn It On, Turn It Up” to Fox and Discovery, says “The way people get music has changed and the way artists are paid has as well. I think it’s more important than ever to find alternative revenue streams for original work other than CDs and downloads.”

Many independent artists think music placements are unobtainable. Graham Colton said it best, “I never thought about the possibility of it. I always thought of music on TV/film as ‘only for Aerosmith’ or gigantic movie songs.” But now look at him. In terms of licensing music to television, Graham is one of the most successful artists of our day. His songs have been featured on HBO, Kyle XY, Wildfire, Thanksgiving Day Football, and most importantly the boot song on American Idol with “Best Days.”

The benefits of music placements are endless. First and foremost many placements pay (there is a slim possibility that a given placement won’t). However, that shouldn’t necessarily be the main concern for any artist when making these types of deals. Musicians can find that when one of their songs captures a viewer’s attention while they watch their favorite television show, these people will search for them. The potential for the birth of new fans is incredibly great. They will research the artist by tracking them down on MySpace to hear more songs or buy a couple of ITunes downloads.

In essence, the television/movie placement is just the first taste of an artist that many people otherwise might not have found before. It is the new era of marketing for independent artists. That’s the great thing about music placements. With his songs appearing in such shows as Oprah and Castle, Graham Colton has seen noticeable results reflected in concert ticket and CD sales. When asked about it Graham said, “It changed my entire world and opened up so many new channels for people to connect with my music.”

But don’t think it just happens. It takes a lot of hard work, persistence, and a great team to land music placements. Danny Benair is the music supervisor for the popular California band The 88. He has helped the band land such music placements for shows such as How I Met Your Mother, The O.C., and currently the theme song to NBC’s Community. The band employs Benair, who started the music licensing company Natural Energy Lab over 11 years ago.

Many artists understand what a music placement is just may not know how it gets done. Danny Benair describes various ways in which the music is “found.” His company sometimes searches for new songs/bands themselves. However, most of the placement deals are made by his company being “in touch with people who work at the studio, supervisors who reach out to a band direct, or come to us with a request.”
Sometimes music placements can be unstable. This is not a negative connotation in the slightest. What this means is that deals can take shape and come to a close anywhere from an hour to a year. There is no fine timeline that can map out exactly when a deal should be done, when who should talk to whom, etc.

The crucial first step is to gather a team. For some artists hiring a music supervisor may not be in the cards or the budget. Heed this advice from a seasoned veteran of music placements. With all of his licensing deals being secured, there is a great chance that if you watch Discovery, Fox, MTV, and Oprah’s OWN network, you will hear one of his songs. Kris Bell’s advice for independent artists who are trying to get their music on television should be written on a note card, laminated, framed, and memorized. In his words of wisdom Kris says, “Do some research into reputable companies and people who work in this field of the music business. Ask other artists, bands, managers, etc. Reality TV programs have very small music budgets so it has been increasingly easier for independent artists to have their music used.” As an independent artist who has been there and certainly done that let his words guide like those coming from a guardian angel.

In this new age of Rebecca Blacks and auto tune tracks, artists need to find another way to showcase their music. Music placement is the answer. Not only is the reach so much greater than any local band can even imagine, streaming their music to opposite coasts and potentially overseas, but all it takes is that one song. The song that just enthralls the moviegoer or television viewer and never leaves his or her head. It just takes that one instance to propel the viewer into further searching for the artist to prove how successful music placements truly are.

Among those few are the members of the 80s band, Teazer. The band formed in ’79 as a cover band in southern Ohio, from members of various bands, including another 80s band SD Kite.

“In the local music scene, everybody knows everybody,” drummer Tony Cottrill said. “Eventually what’s going to happen is that the cream will rise to the top and the best will unite.”

Like all good things, Teazer came to an end and eventually its band members spread out across the country. While all had loved the band, they pursued different careers and Teazer remained only a memory. A music historian, local to southern Ohio, started a Facebook page on older bands from the area called the Chillicothe’s Rock & Roll Scrapbook. The Teazer members began their reunion on this page and were instigated into getting back together by the same local historian.

Back in the 80s, Teazer had never released a final product; they were mainly a cover band. Now, they have released their first official album, an EP entitled “Resurrection”.

And the band isn’t just producing music now; despite the fact that they are spread out, they’re also putting on live shows. The band did two shows last year that were concert events, and this summer they will be putting on a show in Ohio, July 29 & 30 at the Majestic Theater in Chillicothe, OH in addition to some festivals.

The organization of everyone is really the main issue that the band has. Due to the distance between members, they are trying to keep their organization skinny by not paying for a manager, a promotion person, or a producer. Everyone that helps out the band are people they personally know who are willing to work pro-bono.

Since the band reunited on a Facebook page, it’s only logical that they have several web pages based around them. Some of which are the band’s homepage, their Facebook page, their YouTube channel, and a place to buy tickets to their shows.

And their shows are definitely worth seeing. Teazer makes each and every show special, which is why they setup a meet and greet at every show. They rent a room within the venue and have it catered, then fans are allowed to come in to take pictures and talk to the band. In addition, the band incorporates a lot of video content into their shows. One of their big hits is when their guitar player plays The Star-Spangled Banner with a video of fallen soldiers playing in the background.

If everything works out well for them, the band eventually wants to go on tour. After essentially being resurrected by a Facebook page, Teazer has a hopeful future.

“If we’re blessed enough to get that opportunity, we would like to do that,” Cottrill said. “No, actually, we’d love to do that.”

“To walk away with the award for best guitar was humbling. I’ve been playing guitar since I was seven and to get recognition for something I love to do was awesome,” says Bell. “I was in a tough category with some amazing guitarists, so just to be nominated felt great.”

Bell creates his own genre of “American rock” by mixing modern, alternative, and southern rock. He combines passionate storytelling with powerful guitar riffs that drive his songs from the first chord to the final guitar solo. Bell’s album, Turn it On, Turn it Up has been played on over 148 radio stations and was named Album of the Year by Nashville Rock in 2010.

Prior to the launch of his solo career in 2007, Bell was lead guitarist for American Idol star Bo Bice. While working with Bice, he had the opportunity to play shows across the country the performances have aired on Jimmy Kimmel Live, MTV and VH1. Recently Bell and his band have secured the opening slot for American southern rock band Molly Hatchet. The show will be May 14 at the The Heart of Lake Cumberland Springfest 2011.

See the press release

The Branded came together following the simultaneous dismantling of each member’s musical projects. Brian, Masta, Jay, and Mike’s similar taste in music brought them together; and in the words of The Branded, “everything just clicked.”

The name, aside from being short, sweet, and having impact also “reflects the importance we place on branding ourselves in today’s market,” says the group, “and coming up with imagery and sound that people quickly and easily relate to the band.”

Their hometown of Chicago has undeniably contributed to their sound.  The band is friends with many of the talented local musicians in the Windy City and they have had a strong influence on the band.  “We collaborate with a lot of bands musically and promotions-wise, and that pushes us to stay on top of our game and better ourselves musically and on the business side of music.”

The down-to-earth rockers were clearly on top of their game when creating their debut album No Mercy.  Each track is better than the last; the songs contain an array of melodies that many progressive rock bands are unable to accomplish.

The album starts off strong with the song “Mamma Ain’t Got No Mercy for Ya.”  Bender’s voice in the first track showcases the raw power he possesses, and that power brings significance to the words.  The lyrics of the song are relatable for even the most novice of ambient rock listeners. The words stick in your head even after the final guitar note. The Branded agrees, “‘Mamma Ain’t Got No Mercy For Ya’ is great. We love the heavy riffing and the sing-along chorus.”

The presence of the band is clear from the moment they walk on stage; they command the audience. The wall of sound created by the combination of their instruments invites you into their melodic lair. The hypnotic guitar and bass solos draw the crowd in; while the drums rhythmic beat keeps the crowd raging. Their sound is animalistic; there is a quality of violence in the music, the notes combine in a wild fervor that awakens the listener’s senses.

It may be a cliché but The Branded knows how to put on a show, and their recent performances with bands like Hawthorne Heights and at prominent music venues like SXSW have proven them in that capacity.

Their concert is not just the music (although most would agree for The Branded that is enough), but the personality of the band, the venue, the lights, the energy, and the crowd’s interaction. “We have a full multi-media show that we use every time we perform. It really adds to the experience of our live show and sets us apart from most other local bands.”  This show will leave you pumping your fists and begging for more; it’s an energy few bands can conjure.

The raw power of a show featuring The Branded leaves little to be desired; they have it all, from charisma to an entrancing sound their talent is undeniable.

The band will be playing as part of Rock Over Broadway on April 30^th and if you consider yourself an avid rocker, this is the performance to attend.

Rock Over Broadway is an ongoing concert series featuring a variety of rock musicians at the Hard Rock’s Reverb Room in Nashville.  The concert on April 30^th will feature The Redding Shift, Heather Williams, and Blackwater James along with The Branded.  For more information on the event and listen to The Branded visit rockoverbroadway.com and dreamrow.com

More on Molly Hatchet

In the early 1970s a new form of music was emerging in the South. A mixture of blues, country, gospel and the English invasion of rock and roll that later was to be coined the phrase “Southern Rock.” Their self-titled debut album was released on Epic records in 1978 and reached multi-platinum status as the band established their reputation of working hard, playing tough and living fast through intense touring with such bands as Aerosmith, Bob Seger, The Rolling Stones and many more. In 1979, Flirtin’ With Disaster was released and history was in the making. The band continued touring on the road with an average of 250 live shows per year and like the first album it also achieved multi-platinum status. Molly Hatchet supports tradition that keeps developing the common bond and unity that keeps this style of music alive and well and rest assured Molly Hatchet is a band that after 28 years is always workin’ hard, playin’ tough, livin’ fast, and still Flirtin’ with Disaster!!

More about Kris Bell – Winner of the 2011 “Best Rock Guitar” award.
Born and raised in San Diego, CA, Kris Bell began playing guitar at age seven and to this day, it has been the backbone of his journey through life, love, and music. After moving to Nashville, TN in 2005, Kris was quickly hired as the Lead Guitarist for American Idol star Bo Bice. For the next two years, he performed on numerous national TV programs, toured the country, recorded on a major label record and was featured in a number one music video on MTV and VH1.

In 2007, Kris began pursuing a solo career, bringing his “American Rock” style to new fans from Georgia to California and building a dedicated following throughout the country. His music has been showcased on Nashville’s 102.9 The Buzz, WRFN Radio Free Nashville, Live @ 9 Morning Show in Memphis, TN, The Longtown Sound, FM102x, The Rock & Roll Report, and many other internet podcasts.

Read our Artist Spotlight on Kris Bell

Contact:
Dayna Lucio
(734) 755-3619
dayna@dreamrow.com

ROCK MUSIC TAKES OVER MUSIC CITY AT ROCK OVER BROADWAY

Nashville, TN (April 22, 2011) – Rock music is a phenomenon. The lifestyle, the guitar riffs, the anthems—they influence millions around the globe. On April 30, Dream Row is bringing that energy to Music City. Rock Over Broadway is a showcase for rock bands from all over to come to Nashville to perform at Hard Rock Nashville.

Nashville natives Blackwater James are one of the acts set to play for the evening. Who says a band that hails from the country music hub can’t exude hard rock? Blackwater James consists of vocalist and guitarist Christopher James, guitarist Deanna Passarella, bassist Josh Burns, and drummer Todd Schlosser.

“It’s an uphill battle to keep rock music around in Nashville,” Blackwater James manager Chris Foust says. “We are pumped to play with straight ahead rock bands to keep that type of music alive. We want to let people know there is still rock music in Nashville. Anytime we get to showcase rock music in Nashville we are all about it. Our main focus for the show is to have a good time with the crowd and have some fun.”

Also performing are The Redding Shift, The Branded (from Chicago, IL) and from VH1 Rock n Roll Fantasy Camp, Heather Williams. The Redding Shift is made up of four members who traveled to Nashville to share their love of music with the world. Their sound combines many genres, from blues to punk, to create their rock sound. The Branded makes their unique sound by using giant guitar riffs and infectious melodies. Heather Williams has also participated in ESPN Great Outdoor Games and X Games.

Williams says, “What I do is pop rock, not too far from country and country rock. I think it’s going to fit in really well and it is going to be good. I have high expectations and I am excited about the show.”

Tickets for the Rock Over Broadway Show are on sale now for $10 and are available at the door or online at dreamrow.com. The doors for the event open at 6 PM. The show is open to all ages; however, an adult must accompany attendees under 18.

Dream Row, a Nashville-based live music promotion company, produces Rock Over Broadway. The showcase allows regional rock talent to show that Nashville is truly Music City, not just the center of country music. More information can be found at rockoverbroadway.com and dreamrow.com. Follow the show on Twitter via @RockOvrBroadway.

No matter what type of venues you and/or your band generally play, odds are you are using some kind of sound reinforcement. Perhaps you mostly play showcase rooms or festivals that have a pro running sound, or perhaps you have a PA system of your own that you primarily use. Either way, some basic knowledge of live sound is a great asset to a performing artist or group. The purpose of this article is to offer an overview, along with some tips on how to improve the sonic experience for both the artist and the audience.

First of all, let’s identify the parts of the sound system. Most systems have two sets of speakers: mains (directed at the audience) and monitors (directed at back at the performers onstage). These can be run from a single mixing board or “console”, or there may a separate console for each. Pro sound techs call the main mix position “FOH”, short for “front of house”…this console controls what the audience hears, and is responsible for volume levels, blend between the various elements onstage, and any signal processing (like reverbs, delays, EQ, and compression, to name the most commonly used). In any large concert you are likely to see the FOH engineer positioned on the floor, set back a distance from the speakers and generally dead center between them. If there is a separate monitor engineer, their console is most likely to be off to the side of the stage. This allows for easier communication with the performers during the show, and allows the engineer to have a better sense of what the musicians are hearing. In this article, we’ll be focused primarily on monitors in a variety of situations and setups.

Regardless of which setup you are working with, the most important thing to keep in mind is that the onstage sound needs to allow everyone onstage to comfortably hear everyone else. I can’t emphasize enough how much onstage sound can determine the quality of a performance. When you can hear what’s going on around you, you can stay focused on making music! This is a key element of the sound engineer’s job, and your own understanding of the variables involved will help you communicate and make the experience much more comfortable for everyone. Also, always treat the sound tech with respect and they are likely to return the courtesy!

Depending on the venue and the complexity of your onstage layout, there are a variety of ways monitor speakers can be set up. The classic configuration involves “wedges” which sit on the floor of the stage, pointing diagonally up at the performers. Sometimes everyone onstage has their own, and sometimes there might be only one or two for the entire band. Some systems allow for multiple monitor mixes (in which different players onstage can have different things send to their monitor) and some don’t. Be prepared to work with either, and understand the impact this has on the dynamics onstage. Also be aware that some bands (and venues) set up monitors in a way that actually create or magnify sound problems. You won’t always have the ability to change a poor setup, but you can learn how to compensate to at least minimize any problems that may arise.

The two most common problems performers encounter with onstage sound are feedback and “volume wars”. “Feedback”, as you probably already know, is generally an ear-piercing squeal or an overwhelming low hum or “woof”. This is created when sound from a speaker goes back into a microphone, creating a loop: sound comes out, goes back in, comes back out, and so forth. A competent sound engineer will have the knowledge and tools to address this problem for you, but sometimes you may need to make adjustments yourself. This might be a tweak at the mixing board (a very large topic best addressed in another article), but it might also be as simple as mic vs speaker placement. If a speaker is pointed at an open microphone, feedback will result. Simple solution – keep your mics behind your mains and your wedge monitors pointed up at an angle so that the mics reject the sound coming up at you from the speaker. Most mics used in live settings pick up sound in what’s called a “cardioid” pattern, so-called because the primary pickup area is heart-shaped. If your monitor is aimed at the point between the two upper curves of the heart (which will be the opposite end from the one you sing or play into), the mic will reject the sound from the speaker and only reproduce what you’re doing in front of it. Overly high monitor volume can counteract this effect, so it’s a good rule of thumb to try to keep stage volume from getting too loud….this also helps prevent the aptly-named “volume wars”.

Volume wars generally begin with one person on stage not being able to hear themselves, and asking for more monitor or turning up their instrument. There’s nothing inherently wrong with this, as long as this adjustment doesn’t make it harder for someone else on stage to hear themselves. That person will then ask for more level or turn up….it’s easy to see where this can lead. Not only can onstage volume become ear-splitting (and you DO use earplugs already anyway if you’re in a loud band, don’t you?) but the increased coverage area of louder sound sources can cause them to conflict and actually cancel out part of the sound. So while this may seem counter-intuitive, it’s possible to turn up the volume to a point where you begin to LOSE sound and hear less instead of more. So keep your onstage levels manageable. If you can’t hear yourself, a small increase in volume is fine, but if that doesn’t do the trick the next step is often to start bringing the level of other instruments/voices down. Remember, balance is the key.

On a large stage, there’s enough distance between everyone to help minimize these issues. In a small club, your proximity to each other can magnify the potential for problems. A few helpful tips in such a setting:

1. Stay in front of your mic! If there is a drummer or amp right behind you, you want your body to block some of that sound and keep it from “bleeding” into your microphone. If you hold the mic in your hand, be consistently aware of where it’s pointing, and NEVER let it point at a speaker or other sound source.

2. If you can’t hear yourself sing, DON’T back away from your mic…it will only allow more other sound to come through and you’ll hear yourself even less. Sometimes you have no choice but to move in closer; you can also ask for a little more vocal in the monitor or lower the onstage sound source levels. Again, on a large stage this is less likely to be an issue.

3. Separate or isolate louder onstage sound sources. If your band has two electric guitarists, place the amps on opposite sides of the stage. Keep your volume at the lowest possible level that will still give you the tone you need. If you can’t get your sound without cranking up to overwhelming levels, use a stomp box or signal processor, or a less powerful amp that will “break up” at lower levels. Amp stands are helpful in that they direct the sound at the player’s ears instead of their feet, so they will have a more accurate sense of how much sound is actually coming out.

4. Instrumentalists, be dynamic….sensitivity to everyone else’s stage levels makes for a better experience for all. This can be especially tricky for drummers, since their placement at the back of the stage can make it hard for them to hear everyone. A dedicated monitor wedge for the drummer is a really good idea. If the drummer hits really hard, consider using a plexiglass barrier to minimize the amount of drum sound that reaches the mics. You will see these used on guitar amps in many pro situations as well.
5. Try to avoid pointing speakers at highly reflective surfaces: windows, mirrors, flat walls, etc. This is sometimes unavoidable, but the knowledge that sound will bounce back at you more directly from such surfaces will help you place speakers more optimally.

Using an in-ear monitor system instead of onstage wedges can be a great solution. It frees up stage space and lowers stage volume at the same time. This is the route most big-time acts are going these days, and the systems are becoming more and more affordable. You will need a dedicated sound tech, though…and if you’re touring with your own sound system you should consider hiring one regardless of the type of system you use. Having someone who knows your music at the controls who isn’t busy playing makes a world of difference.

One last related topic I want to address, and this relates to the “mains” or FOH. There are two primary approaches to mixing live sound. One is to “set it and forget it”: getting the sound up and full-sounding and allowing the interaction of the players on stage to determine which elements are more prominent (lead vocals, solos, etc) and when. Essentially, the band mixes itself. A classic example of this is a bluegrass band clustered in a semicircle around a single mic. Soloists step forward from the semicircle and then step back to melt into the ensemble. With multiple microphones, blending lead and backup vocals is often accomplished similarly, with the background vocalists simply backing off the mics. Soloists often use a boost – a “stomp box” or some other piece of outboard gear – to stand out when necessary. What all of these examples have in common is that the blend comes primarily from the stage, and the sound tech’s job is simply to amplify that blend so the audience can hear everything.

The other common approach is for the sound tech to make adjustments throughout the set – raising levels for solos, pulling levels down for backing vocals, and so forth. This is a perfectly legitimate way to work, but it requires the players to stay constant with their onstage levels and let the person at the soundboard create the blend. The band and the sound tech need to be on the same page here, or you will find yourselves working against each other instead of together.

Which approach you take depends on the sound and style of your music, and on the preferences of both the band and the sound tech. There is, of course, also a middle ground between the two, as some situations call for a blended approach.

Personally, I love the dynamics of musicians interacting onstage, and I like the sound system to simply allow the audience to hear the same thing the musicians do. In essence, you want the performance to be heard as it would be if the listener was sitting in a room with the band. Musicians play better when they can hear and react to each other. This might seem like an obvious point, but it isn’t always. I’ve observed (and been in) enough situations where a group of people can be playing at the same time without playing together. Significant differences in the onstage mix can isolate the musicians from one another, taking away the interaction that allows magic to happen. On the other hand, on large stages different monitor mixes are often a must to compensate for the distance between the players.

Live sound is a large and complex topic, and I’ve just barely scratched the surface in this article. I also don’t claim to be an expert in this area….I’m a musician, not a sound engineer….but years of experience working with and without a pro on hand have taught me a lot about what works and what doesn’t. As always, the more you know, the more self-empowered you become. So pay attention and observe. Even as you develop your personal preferences, never stop learning or lose your openness to trying new things. Happy gigging!

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The show will be held in the Reverb Room inside Hard Rock with admission beginning at 7:30 p.m. Entrance costs $5.

Given the local success of the first outing, a repeat performance makes sense for both Dream Row and Hard Rock. All the artists from the first show return including Kris Bell, Snow Black Sunday and Lunge with Kentucky rock group Out of the Ashes making their first appearance.

“Hard Rock Café Nashville is very excited to welcome back Rock over Broadway,” said Senior Sales and Marketing Manager Julien Salley Jr., “With an electrifying lineup…this event is definitely geared towards shock and awe!”
It’s easy to understand the anticipation: round one set a high standard. Snow Black Sunday’s Stephanie Moyer dawning a wedding dress mid-set and Lunge playing until the venue closed remain particularly poignant moments. Fans hope for equally memorable moments this year and the talent seems happy to oblige.

“The Hard Rock Nashville is the premier music venue here in town and with the success of the first Rock over Broadway, we believe Dream Row’s Rock over Broadway II will be even bigger and better,” said Kris Bell.

With a total of 161 venues in 52 countries, including 129 cafes and 13 hotel/casinos, Hard Rock International is one of the world’s most globally recognized brands. Hard Rock owns the world’s greatest collection of music memorabilia and is also known for its collectible fashion and music related merchandise, Hard Rock Live performance venues and an award winning website.

Dream Row is a group of professionals with many years of experience in the entertainment industry. Since 2007, our mission is to be a premier live music promotions company. Dream Row is currently producing shows throughout the Southeast and Mid West regions. There will be a schedule of events throughout the year on our website under our events menu. Check out our new events scheduled at the Nashville venues like The Limit Nashville, Hard Rock Cafe and in other areas.

The first thing you want to keep in mind is that pro-level side players are supporting themselves playing gigs, and will expect (and need) to be paid reasonably for their time and effort. This might seem like a no-brainer, but it’s not….some artists have an expectation that their talent and potential alone are enough to get musicians to make a commitment to their project. It does happen, but people need to make a living. If you have paying gigs, you’ll have a much larger pool of talent to pull from. If you don’t, all you have to offer is potential and promises, and that doesn’t pay the bills.

So this raises an important question….how do you book yourself if you don’t have a committed band? The answer is simple. As a solo artist, you’re promoting yourself, not the musical unit that supports you. Your promotional materials need to be focused on you and you alone, so that if a support player changes it doesn’t have an impact on your image or appearance of professionalism. Be clear about what you’re presenting, and promote that. If your recording has a full band and you plan to perform with a single acoustic guitarist, make sure the booker understands that. Then you know what you’re looking for and what will be required of that player. If you’re putting together a full band, consider the logistical factors: will you be traveling? For short weekend trips, one-shot gigs, or extended runs? How many musicians can you reasonably travel with and support? Remember, the standard is for players to be paid for the performance and receive a stipend as well….if your drummer is going to need to pay for his own meals or gas out of his gig pay, the gig becomes a lot less attractive. All of this needs to be made clear at the outset. If you really want to look professional, have a simple contract that spells out the players’ responsibilities and what you will provide in return. But don’t make the mistake of putting an item in the contract that demands a full-time commitment, as this is potentially a deal-breaker unless you have the funds to put your band on salary.

Let’s say you or your booking agent has set up a run of gigs, and you need players quickly. First of all, know that musicians know other musicians….virtually every sideman has a list of people they can recommend if they can’t take the job themselves. Sometimes one contact is all you need, if that person can assemble the rest of the band. If that person is capable of being the bandleader, even better…but expect to compensate that person additionally if they will have greater responsibilities and time commitments. This may include recruiting musicians, writing charts, arranging parts, compiling setlists, or any other small tasks that you as the artist may not want to handle. If you don’t have the means to hire someone to run the band, learn how. (It’s not as complicated as you might think: know your parts, know your cues and be able to cue the other players if needed. Above all, always make your expectations clear and be prepared to lead).

This raises another important point: have CDs and a chart book for your entire set. Professional side players are accustomed to stepping in on short notice and can easily get through a gig cold if you provide the tools they need. Giving someone a songlist the day before a show and expecting them to find and learn everything on their own time is not a good idea. If you have charts, players often don’t need to know the song in advance…the chart provides a guide, and their ears, instincts, and experience fill in the rest. Once again, the clearer you can be about directing the band, the better. If you need to pay someone to put this together for you, do it…consider it an insurance policy for your show.

Let’s say that you have gigs booked, you’ve been able to assemble a steady band, and now it’s time for rehearsals. It’s key to understand that rehearsal is for tightening the details…beginnings and endings, specifics of the stage show, and so forth. Your players should know their parts when they arrive so that no time needs to be spent learning the songs. This goes for the artist as well…have your act together and know your material, and the players will follow you. Nothing will lose you respect faster than calling a rehearsal and not knowing your own set, and personal respect can be the x-factor that makes someone commit to your project. Treating your band with the respect they deserve as professionals is also essential, and will go a long way in building the loyalty you ultimately want.

On the musical side, artists take different approaches. Know yours and communicate it clearly. If you expect the show to sound just like the CD, make sure you have the players and instruments you need and make it clear that they are to learn the parts exactly. This makes for a consistent product and is the norm in country and pop music, but it can keep you from standing out if your recording is too close to the standard genre formulas. However, some artists prefer to put together an ensemble with a character of its own. This can be riskier in that your sound depends upon the presence of those specific players, and substitutes or replacements need to be able to step into the role and create that sound.

All of these are simply factors to consider, not obstacles. There are a lot of great musicians out there, and the bottom line is that they want to play: not just to pay the bills but because it’s what they do. Ultimately it comes down to plain common sense: you might be the star, but without good supporting players you may as well be a karaoke singer. Never forget that you are assembling a team, regardless of whose name is on the marquee. Put yourself in the other person’s shoes and try to see things from their side. Treat people with respect and make sure you understand their needs and motivations. Be clear and unapologetic, but don’t waste time arguing or negotiating if someone’s mindset or lifestyle needs won’t serve your vision. The thought and effort you invest will repay you artistically, help move you forward in your career, and save you hours of drama and headaches. It’s worth it, and both you and your fans will hear and feel the difference.

Sparks’ album ‘The Scorpion in the Story’ is a tour diary in the concept album, in that each song on the album was written about a different real-life character, each in a different city during Tori’s travels across the United States in 2008. There is a map inside the album artwork that lets the listener visually follow the musical journey.

In March of 2011, Tori will be speaking and performing at the South by Southwest (SXSW) festival in Austin, TX. After this she plans to move to Barcelona to take advantage of the enthusiastic response to her music overseas.

Bell’s infatuation with music began early: At the age of four, some neighborhood boys showed Bell and his brother a KISS performance with the intent of scaring the pair. However, instead of fear, the sight of Ace Frehley breathing fire and playing guitar inspired awe in the young Bell, igniting his zeal for music. Though not from a musical family, Bell was instantly drawn to the art after his initial exposure and after a few years of wheedling, he convinced his parents to buy him his first guitar. The guitar was classical, so Bell began his career as an axe man learning classical compositions. His command of guitar and fervor for music grew in direct proportion. At 13, Bell started his first band, and by 14, he was already writing his own material.

Like almost any artist, Bell’s evolution as a musician was directly linked to his influences. He began listening to The Beatles, The Rolling Stones, The Ventures, along with Simon and Garfunkle before transitioning into the Blues with the likes of Robert Johnson and B.B. King looming large and finally made his way to Southern Rock-a genre he credits with teaching him how to solo and whose influence is still prevalent in his music. And all the while Bell continued to sharpen his skills. “While my friends were playing football, I was practicing guitar,” recalls Bell.

After completing high school, Bell teamed up with fellow musician Mike Lewis to form HoneyMoon Pie. After a couple of years, Bell parted ways with Lewis and joined Fith, a band which included some of Bell’s former schoolmates. Bell recounts memorable experiences during his time with Fith including performances for crowds of thousands and multiple showcases for major record labels. Unfortunately, after years of touring, the scene in Bell’s native San Diego began to wither along with the resolve of his band mates.

Unwilling-or perhaps unable-to abandon his aspirations as a musician, Bell bid California adieu and relocated to Nashville in 2005. The move almost instantaneously yielded results: Bell auditioned for American Idol contestant Bo Bice’s band and was selected as lead guitarist. During his time as Bice’s guitarist, Bell gained invaluable insight into the reality of cross-country, big label touring. From tour bus etiquette to itinerary schedules, Bell experienced a great deal privy only to those inside of the corporate music world.

After a year with Bice, several forces simultaneously pushed Bell in the same direction. Even though he enjoyed his lead guitarist gig, Bell’s creative voice could not be silenced. To feed his inventive fire, Bell sporadically posted acoustic versions of original work on his Myspace page. Additionally, Bice’s immediate career outlook appeared dubious. Given the turn of future for his band and the growing popularity of his solo work, Bell began entertaining the possibility of recording his solo material and launching his solo career. The tragic loss of his mother was the final push: While in San Diego for her funeral, Bell gained new perspective regarding the transient nature of life. “I just thought: Life is short,” said Bell, “If I didn’t do it {record the solo material} now, I would regret it later.”

Bell’s initial plans for Turn it On, Turn it Up were far removed from the form the record became in its final incarnation. Bell enlisted the help of Bice’s drummer and bassist and began recording at Darkhorse Studios in Nashville. He approached the process in a nonchalant manner, but Bell quickly found himself in the throes of artistic creation. He wrote feverishly, writing a great deal of new material. What began as a side project for some social network fans had escalated into his debut album as a solo artist. After recording stalled at Darkhorse, Bell moved the project to Wilderside Studios where he began working with Geoff Koval and Matt Wilder. Bell was so inspired by the partnership that he stripped down all the material he had previously recorded, leaving on the bass and drums, and began anew. Bell describes Turn it On, Turn it Up as the dawning of his identity artistically, the realization of his sound.

So now that his career’s on the upswing, it’s time for the sex and drugs to compliment the rock and roll right? Not exactly. Bell’s been happily married since 2004 and is the proud father of two children. His usual day consists of waking up at 7a.m. to take his son to school before returning home to spend some time with his daughter before her daily nap. Once the young one snoozes, Bell begins to work. “Nap time is quality time,” explains Bell, “that’s the time that I write, set up meetings, and play guitar.” Bell’s kids definitely win the “My-Dad-is-Cooler-Than Your-Dad-Contest.”

Mr. Bell might not fit the typical portrait of an artist, but one can’t ignore the man’s talent. “Full-Time Father” may not be as romantic as “Mysterious Moonlighting Casanova” , but Bell’s dedication to his family and-let’s just say it-normalcy are concurrently refreshing and inspirational: Bell shows us that not everyone has to take the Magical Mystery Tour to create great music and that being eccentric and erratic aren’t the only ways to be interesting.

The South By Southwest Conference offers experiences in original music, independent film, and emerging technology (www.sxsw.com). It is an annual conference held in Austin, Texas that showcases new music, movies, and media. The conference offers its participants panel discussions, trade shows, talent showcases, and a plethora of opportunities for networking.

The conference is a 5-day event. It originated as a folk music conference but now it attracts artists for all genres. During the day, attendees can benefit from mentoring sessions with industry professionals, lectures and discussion panels with speakers who might be other musicians or artists who have found success or experts in various areas of music business.

Sparks has been asked to be a panelist at the 2011 conference. She will be discussing booking and touring. She was asked to join the panel by friend and ReverbNation founder, Lou Plaia.

One of the features of the South By Southwest Music Conference is the mentoring sessions offered. “Basically, they ask some of the panelists to do one-on-one or small group mentoring sessions in which they try to answer questions around a certain topic.” Sparks explains. Sparks is not sure yet if she will be doing a mentoring session but if she does, she expects her topic will be touring and independent promotion. “I am not one-hundred percent sure how these sessions are scheduled but I believe people can request a mentoring session with someone who has ‘expertise’ in an area they want to learn more about. It can be anything from production to event promotion to music law. Then, if someone is available to meet with them during the scheduled time, they do.

“There are also a ton of official and unofficial showcases that take place in venues all over the city,” Sparks reveals. “The whole city turns into one, big, gigantic music conference. It’s pretty cool but it can also be kind of exhausting. You spend five days wandering around Austin, watching shows, playing shows, eating free barbeque, and drinking beer and mojitos in the sun!

“It’s a blast to go but it can be expensive if you’re not one of the artists officially showcasing,” Sparks notes. “That’s why most people there are music industry professionals, as opposed to some music conferences, which are smaller and cheaper and you don’t find as many high-level people – like the head of a major record label or editor- in-chief of a popular music magazine – to hear you.

“It’s definitely an industry networking event,” Sparks says of the South By Southwest Conference. “It is not a fan-oriented event. Not unless you’re a die-hard fan who wants to spend $1200 for an admittance badge!”

When it comes to networking via music conferences, Sparks cannot stress enough the importance of it. In fact, networking is how she met Lou Plaia, who asked her to be a panelist at this year’s SXSW Conference. “I met him at a music conference in Washington, DC about four or five years ago. When I first started seriously attending these music conferences and taking advantage of the networking opportunities, I attended a conference called The Future of Music Conference,” Sparks recalls. “I met Lou there. We became friends and have managed to stay friends. I feel lucky to have people like him and a few other people like him in my life that I admire and respect and with whom the feeling seems to be mutual. It makes it so much nicer going to these hectic music conferences when you have other people to look forward to seeing.”

The Future of Music Conference was an enlightening experience for Sparks. “It was a lot of industry professionals. It wasn’t as many artists as it was managers, lawyers, and business people,” she remembers. “Not that it’s bad to network with other artists, of course. You can always learn something from them as well. But at that stage in my career, it was helpful to meet people who were more on the business side of music because that’s what I knew the least about.”

Sparks definitely believes that the opportunities and experiences an artist can gain from a music conference are invaluable. However, it is important for the artist to recognize their individual needs before signing up and paying the admission fees. For some artists, music festivals might be a more appropriate venue. So what is the difference between the two?

“Some conferences are very similar to festivals. And some conferences, like South By Southwest, have a festival within them. So if you purchase a conference pass, you also have the opportunity to go to a variety of cool and amazing shows in addition to the panels and mentoring sessions.” Sparks explains. “A festival typically consists of just shows. They are usually a showcase of artists, although sometimes there will be food vendors, video artists or other concert-type vendors. The only real networking that occurs is through accessing various VIP rooms for different performers.

“Conferences are more industry oriented,” she continues. “It’s kind of like continuing education for musicians! Depending on the nature of the conference, the panels might be very, very basic. For example, a smaller conference might have a panel discussing how to get started in the music industry or how to copyright your material. You’re not likely to see those topics at a larger conference, like SXSW, because most of their attendees already know those things.”

Some conferences will even have what are known as official showcases, that only registered attendees can go to. Typically, artists who perform at those do not get paid and some of them even pay to perform. “The idea is that you are showcasing for people who could potentially make a difference in your career.”

Sparks admits that conferencing and networking can be intense and overwhelming. But once you start attending a few of them, you begin to get more comfortable with the process. “You learn what to do and what best not to do,” she shares. “For example, I have learned through my networking experience not to go hand out my CD to a bunch of people I’ve just met at a conference. Instead, I get their business card or contact info and ask if they mind me sending them some of my stuff. This way, I’m not just another CD in their bag when they get home. My sending it to them later creates another connection and the opportunity for them to remember me as more than another face at a busy conference.”

One final piece of advice Sparks has for artists looking to attend music conferences or festivals is to remember to have a good time. “I’m definitely guilty of going to these things and stressing myself to death. But you have to remember to have fun too. It is important to take it seriously but enjoy it too.”

Tori Sparks will be speaking at the South By Southwest Music Conference in March in Austin, TX, She will also be playing the Access Film and Music Showcase (http://www.accessfilmmusic.net) at the Sundance Film Festival (http://www.sundance.org/festival) in January.

NASHVILLE, Tenn.—Dream Row and the Wildhorse Saloon Mercy Lounge will host a breast cancer benefit show “Rockers for Knockers” with the Save the Ta-Ta’s foundation on Dec. 12 featuring performances by local artists, a silent auction, and guest appearances.

“We’re very excited about this event; we’re in a great venue, we have a ton of local support, and
of course, we have great music,” said Dream Row Director of Operations Dan Shaw.

Tickets on sale now!

The show begins at 5 p.m. with cover off $10. VIP tables, which seat 10, are available for $500 per table. All proceeds go directly to the Save the Ta-Tas Foundation, an organization which raises money to fund breast cancer research.

The event boasts a number of special guests including Ms. Tennessee International, the Titans’ Cheerleaders, the Predators’ Dancers, and Ms. Davidson County.

This benefit show continues Dream Row’s trend of work with charitable organizations: Over the past year the Nashville based company hosted fundraisers with local chapters of several nation-wide
charities including Agape, the Cystic Fibrosis Foundation, and the Food Allergy & Anaphylaxis Network.

“All of us at Dream Row believe that we should do something to support our communities,” said
Shaw, “whether you donate financially or work as a volunteer doesn’t really matter, but we should all
feel some type of social responsibility.”

Of the seven acts performing, Snow Black Sunday, Mystery, Kris Bell, Amanda Nagurney, and Rachel Schleicher all book shows through Dream Row’s booking agency. Fellow artists Out of the Ashes
and the Nearly Deads round-out the lineup. Founded by Julia Fikse, the Save the Ta-Ta’s Foundation raises money through the retail of Save the Ta-Ta’s brand clothing as well as donations which it then uses to fund innovative, independent breast cancer research. The organization has raised over $400,000 for research.

Dream Row is owned and operated by Elite Technology Systems Inc. and strives to provide insight into the entertainment industry for the benefit of independent artists. Dream Row publishes Dream Row magazine, an online publication dedicated to aiding aspiring talent, and operates a booking agency that includes a number of Nashville-based musicians. Additional information is available at Dreamrow.com.

Sparks has actually toured in Europe a few times now and has found that her biggest adjustment is always finding her way around! “Parking, driving, train stations – all of these are a bit different, sometimes drastically different, than in the U.S.” she explains.

Getting her bearings isn’t the only problem Sparks faces when she is in Europe. “There are also multiple currencies, multiple languages, cultural differences, and all of it takes time to adjust to,” Sparks says. “And by the time you’ve figured out a particular city’s trolley system or traffic laws or whatever, you’re on your way to the next country!”

“I suppose the over-arching difference is that there are so many different cultures within a much smaller geographic space. It’s fantastic, but can also be difficult to navigate unless you’ve done it a few times. I think that the key is to give yourself a lot of travel time, and to expect the unexpected,” she notes. “And gas is quite expensive.”

It is often said that Europe is far more open to independent and less mainstream music than the United States. Sparks has found that to be fairly true of her experience as well. “Although I’ve been lucky to have had some amazing audiences in the US, I do find that to be generally true. I think the reason is that people in the UK or on the continent tend to have more of a generally social element to their free time – there is more of a pub culture, people walk and take public transportation, and tend to spend less time at home watching TV,” she reveals. “As a result, the idea of going out doesn’t always mean going out to see a specific concert or go to a specific bar. It’s to get out in the world and be with friends, or make new ones, just to be in a social context.”

“It’s impossible to accurately generalize an entire continent,” Sparks admits, “but I have found that more people in Europe are willing to give music they haven’t heard of a shot. If they don’t like you, they’ll tell you, or simply won’t come back. If they do like you, they’ll probably be back, and bring their friends. And buy you a pint or two. There is more enthusiasm for the unknown, possibly because they’re used to so many cultures intersecting. It’s not abnormal to meet people in Europe that speak several languages and have lived in multiple countries.”

In Sparks’ experience, no one country is more receptive to North American musicians than another. “I think that bigger cities are more likely to book American music, simply because in some of the smaller towns most folks don’t speak English, except, of course, in Ireland and the UK” she concludes. “There are better venues in each city for American music, but that’s similar to the US, in that American roots music is genre-specific. I’ve found that I often get a crowd of ex-pats (American, Canadian, sometimes British or Irish) in the non-English-speaking countries, which is an added bonus. For me, at least, the Czech Republic, Germany and Spain were some of the most enjoyable shows as far as audience response.”

So should you decide to take your show overseas? Possibly. But there are a few things to keep in mind before you embark on your bon voyage. Not least of which is the cost of getting there. “Plane tickets and work visas are expensive!” Sparks warns.

But costly transportation isn’t the only thing you need to consider before booking a tour across the Atlantic. “I think that Americans or Canadians touring in countries in Europe will just have to deal with the adjustments I mentioned before, and possibly with culture shock in certain social or professional situations,” Sparks speculates. ”But those are the same things that European, or Asian, or Australian artists would have to deal with when coming over here. Just getting your bearings and realizing that things work differently in other countries.

“Laws and customs are different. In the US, there are many cultures that mix and mingle, but in general, things work kind of the same way across the bulk of the country, barring certain specific cities like New York City or San Francisco, Los Angeles, places that present their own unique challenges and perks.”

Despite the added challenges you might face managing a tour in Europe, Sparks believes there are a lot of advantages to it. “First off, there is the adventure factor! That’s a good enough reason for me!”  Sparks also confesses that she uses this tour as a perfect opportunity to practice speaking French.  However, she has many professional reasons for doing a European tour as well. “American or Canadian artists can take advantage of the international-artist ‘cool factor’, so to speak. American music is definitely not unknown in Europe, obviously, but there is more of a novelty factor that accompanies an American act there rather than here. It’s the same idea as a British or German or Brazilian band touring in the States – people are curious and sometimes press is more likely to cover the show, because it sounds exotic. Also– and this is my opinion only – I think that, in some ways, European audiences, in general, are more receptive to acts they’re not familiar with.”

There are some rumors about European touring, however, that Sparks feels should be debunked. “There is a myth in the States that ‘Europe pays way better than here.’ That is not necessarily true. It depends on the venue and the promoter.”

So why would an aspiring musician want to try and build a fan base in Europe, rather than, say, focus 100% of their energy toward fans in the U.S.? “In my case, the album The Scorpion in the Story was receiving a lot of press and airplay in Europe, and this was the first time I actively tried promotion overseas. The response was good enough that I thought it was worth checking it out as another live market, or series of markets. I’m
glad I did, it was great.” Sparks discloses. “I’ve been to England, Ireland, France, Spain before, but this was my first time in the other countries (Germany, the Czech Republic, the Netherlands, Belgium). I think you need to play wherever your fans are most responsive, be it in your home country or wherever. I know a few bands who are huge in the Philippines or in Japan, so they concentrate their tours in those geographical areas. For my part, I’m planning on going back overseas next spring and possibly relocating to Europe semi-permanently. I have my sights set on Barcelona, but we’ll see. I accidentally formed a band in Prague – long story – so we’ll see where that goes!”

Sparks has other exciting news in store for when she returns home to the States. She has been asked to speak on a panel at the SXSW (South by Southwest) Music Interactive. The panel is entitled, What It Takes to Get and Promote Gigs and will take place March 18th, 2011. Start time to be announced. Other panelists will include Kevin Lyman, organizer of the Warped Tour – a touring music and extreme sports festival, and Lou Plaia,  founder of ReverbNation. Plaia has previously worked for Atlantic Records and Lava Records.

“Lou is the person who approached me about being on the panel. I’m even more excited to be on the panel with him, specifically, because his company has done so much to help out independent artists since it started a few years ago. We’ll primarily be talking about booking, touring, promotion.”

We wish you all the best of luck Tori!

To keep up with Tori Sparks at home and on the road, visit her website at www.torisparks.com.

So it’s essential that the band is aware of the need to communicate. The best players do so naturally…for me, some of the greatest joy in music-making comes from working with people who are always listening, reacting, and interacting. On the other hand, I’ve been onstage with people who seemed to think they were alone, and nearly every time someone in the audience noticed it and commented. A good ensemble should be greater than the sum of its parts, and watching musicians push each other to new heights is exciting and inspiring to an audience. This can only happen through constant interaction, however subtle. Pay attention!

One might argue that this is what rehearsal is for, and it’s true that in rehearsal everyone gets to know what to expect from the other players. But there’s more to think about than playing the right notes at the right time. Classical musicians play the same notes in every performance, and work out the details of articulation, dynamics, and tempo in rehearsal. But what makes the performance cohesive is the musicians’ attention to each other. The same goes for a seventeen-piece big band or a bluegrass group. If all your attention is focused on your part, or you play your part the same way you always did when there’s a different dynamic onstage, (say, additional musicians, or a venue that calls for a different vibe) you’re not doing your job.

If you are an artist with a backing band, communication with the band or bandleader is key. You should know and be able to articulate the tempo, and feel of every song. (It’s not necessary to know the speed on the metronome, but you should be able to count off the song even if the drummer usually does it. This will come easily by simply paying attention to how the song feels most natural to sing). You should be tuned in enough to the instrumental parts that the rise and fall of energy from the band is enough to give you your cues, but you should also be able to count measures if you need to in order to know where your entrances are.

You should also know how to give cues: to step up to the mic when an instrumental section is ending so that everyone knows you’re about to sing. To cue the end of the song, and whether it’s a sharp cutoff or a longer tag. For the band to continue a section you want to extend if you’re inspired to stretch out. And remember, the more thoroughly you know the musical details of your material, the more easily you can communicate with the players who support you. You will also earn a lot more respect if you are actually leading the band instead of just standing out front!

Above all, treat players with respect…they are artists on their instruments just like you are, and they are there to make you sound good. If you have firm expectations regarding dress, onstage demeanor, early arrival, length of breaks, etc, then lay them out. Don’t assume that everyone is on the same page, even when working with consummate pros. You can count on a professional to be timely and prepared, but every group has a different dynamic and it’s your responsibility to let everyone know what you need from them. If there’s a formal hierarchy, make sure everyone understands their place in it. Good leadership makes any group effort into a well-oiled machine.

I have seen many disagreements and bitterness that could easily have been avoided if leaders took responsibility for communicating their needs, and onstage “train wrecks” that wouldn’t have happened if the musicians were paying closer attention to each other. It’s simple and fundamental, but sometimes we miss the obvious. So tune in and make your onstage team into a tight, cohesive, and flexible unit…your audience will notice the difference and so will you.

Established in 1946, the Idle Hour originally served as a watering hole for the local factory workers and engineers around present day Music Row. Although the bar closed temporarily in 2004, its reopening was met with jubilation from its loyal community of patrons. A rumored haunt of John Rich, the Idle Hour can’t match the opulence of the surrounding recording studios, but boasts an undeniably unique charm, one epitomized by Thursday nights, songwriter’s night.

The Idle Hour contrasts its neighbors in more than just architecture; the venue’s entire take on music differs from almost all of Music Row: while studios are driven by profit and commercial success, the Idle Hour offers musicians a completely unbiased platform from which they can share their music. No auditions necessary; on writer’s night, anyone that walks in the door can play, so long as they bring their instruments. The Idle Hour inspires such devotion in its clientele because it’s not trying to filter the music on display; the speakeasy simply strives to provide a stage which welcomes absolutely anyone, regardless of talent.

Therein lies the secret ingredient of the Idle Hour: it’s not trying to be anything other than what it is, a dive where everyone is allowed the stage, free of requirements or questions. Said stage may be no more than three chairs, some microphones, and a wall of amps, but it’s a stage completely bereft of pomp and ceremony where anyone can play with cathartic fervor without fear of rejection. A constant cloud of cigarette smoke may hang throughout the entire bar, and the only three white lights in the entire joint shine on the stage, but this atmosphere is self-imposed and caters directly to the wants of the clientele. The cadence that carries across the bar is never forced or false: many of these songwriters will never make a career out of their music (though established song writers do frequent the mustard colored building), but the ardor with which they perform is electric and infectious. These musicians embody music before money, expression without the expectation of success, and the Idle Hour is their cathedral, a stage where they know they are always welcome. On Writer’s Night, everyone’s famous for 15 minutes.

But idealism needs a healthy dose of reality to be channeled effectively. Those reality checks can come in all kinds of unwelcome forms: bad contracts, LOTS of rejection, nasty club owners/bosses, or a broken-down van in rural Nebraska after a gig that barely paid gas money. These experiences are a necessary part of your growth process as an artist/writer/industry professional. They are both unavoidable and invaluable. Having the support and guidance of someone who has walked in your shoes and learned those hard lessons themselves can help you avoid some of the worst pitfalls. That person can act as a mentor – a teacher, in a sometimes informal but very real sense.

There’s a saying in Eastern philosophy that the teacher appears when the student is ready. If you aren’t interested in advice, you are  not likely to attract a mentor. It is important to recognize that no matter how savvy and confident you may think you are, you probably still have a lot to learn. Keep in mind, also, that being labeled “unteachable” can really hurt you, especially in a small, closely-knit community like Nashville. It’s not a matter of ego, or putting the value of your perspective up against someone else’s. Sometimes it’s as simple as having a clear-headed sounding board for your ideas and perceptions. A good mentor will listen and guide, affirming the value of your work while helping you stay pointed in the right direction. They will be supportive but realistic, encouraging you to aim for the sky while reminding you to keep your feet on the ground. A naysayer is not a mentor, but neither is a “yes-man”. Someone who loves everything you do may not be completely trustworthy, and someone who doesn’t like any of it is may not be the right fit for you.

Note that there’s a difference between a mentor and a supporter or a benefactor. A mentor will challenge you to learn and grow. The relationship may sometimes be maddening. Let’s face it, no one really likes criticism, but if it comes from someone you respect and helps you to grow, it can be of great value. There are many examples of great musicians who were mercilessly critical of the younger players who worked for them – Miles Davis comes to mind as one of the most famous examples – but every musician who came through his band still speaks of him with great respect and awe. More than just a bandleader, Miles pushed his players to new heights and encouraged them to break through their own boundaries. His own willingness to lead the way made this possible. Davis was a groundbreaking artist in a constant state of evolution and there was no way to keep up if you weren’t willing to follow the trail he blazed.

But mentors can be far more subtle. A high-school English teacher or track coach may have shown you what you were capable of when driven by high expectations. A family friend who always expressed interest in your career or made it clear they supported you may have given you the encouragement you needed. My own mentors were some of my teachers in high school, college professors, musicians – both professional and amateur, coaches, physical therapists, or even peers who just knew something I didn’t. The nature of the relationship is not the important part of a what makes someone a mentor. It is the content of your interactions.

All my primary guitar teachers in college stand out in my memory as mentors and guides. I learned as much about life as I did about playing guitar. Alan Spriesterbach at the Hartt School of Music taught me the value of slowing down and learning to listen. Ben Verdery, who maintains a busy career as a performing artist and composer while running the guitar program at Yale University, showed me that it was possible to walk both paths at once. He was also the first to suggest that I had music of my own to create. His energy, his obvious love for his work, and willingness to find his own way in music gave me a picture of a fulfilled artist’s life. Nicholas Goluses at Manhattan School helped me recognize my role as a leader and organizer and helped me build the confidence to lead calmly (a point I sometimes forget, but that’s a topic for another article). When I was recovering from my hand injuries, I studied the  Alexander Technique, a discipline that focuses on body awareness and ease of movement. My movement coach, Chloe Wing, taught me things about the physical aspects to making music that I use every day in my own teaching. She also saw in me the potential to be creative before I had written a single song. I wouldn’t be the musician, writer, or teacher I am today without all their influence and guidance.

Even now, as I carve out my niche in Nashville, I talk, play, and work with people every day who help me stay focused and guided. Twenty-plus years of experience have built a level of confidence and savvy, but the need for outside perspective never goes away, and I’m grateful to each of them for it.

There are so many names I could mention and I don’t mean to diminish their contributions by not doing so. My point is, many of the people we meet on our journey can help to lift us higher. Our level of openness to what they have to say is important to our success. It once again comes down to the same idea: that excellence comes from the combination of strong skills and open ears. Find the people who can help you develop those and listen closely.

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Sparks says the first thing to know is that it is really difficult arranging and managing your own tour. “A short tour isn’t all that hard, especially if it’s all taking place in one country. It just requires you to be organized, responsible, and have a good memory and an ability to keep good records,” she begins. “But if you multiply that by thirty shows in thirty days, especially if it’s across several different countries, it can get crazy.”

There are many details that are involved when booking a tour. “When you’re handling all the booking yourself, you have to book the shows, reroute when necessary if other gigs become available, as well as try to negotiate for money, a place to stay, and food. And once all that is done, then you have to send out special notices and promotions, find a place to stay if the venue is not providing one for you, coordinate travel times, and keep track of things like ‘What time am I getting there? Am I eating there? Do they have a PA system or am I providing my own? How long do I play? Do I get a free drink? Do I have to pay for diet soda? What is the cover charge? Do press people get in for free or do I have to cover their admission’?”

And those are just the responsibilities involved when you are touring alone! “If you’re touring with a band, all that work is quadrupled because you have pay all the band members and make sure they are where they need to be when they need to be.” If you are touring with a full band, Sparks strongly recommends hiring a road manager. “It’s just impossible to do on your own. A road manager will keep track of all those details for you and sort of act as the babysitter of the group. A good road manager will keep track of the itinerary and keep detailed copies of all the essential information. He or she will be responsible for knowing exactly what is going on and reminding the band members every day.

“People sometimes ask if I write songs while I’m on the road.” Sparks jokes. “I’m always like ‘No way! I don’t have time! I’m too busy remembering where I have to be when!”

Finding venues to play in cities you are unfamiliar with can be a challenge. Sparks offers this possible suggestion. “Sometimes, if I have the option, I will ask people ‘Hey, I know you live in Seattle. Do you want to do a show together?’ A lot of times other bands will help you set up a show in exchange for booking themselves a gig as well. But, if that’s not an option, you can check out tour schedules of other bands you know who tour in those areas or you can go online and type in ‘live music + the name of the city where you’re hoping to play’ and see what comes up. Check out several of the sites that come up and see which ones seem like they best suit your music and abilities.”

Unfortunately, there is no surefire method to booking successful gigs while on the road. “It’s all about trial and error,” Sparks confesses. “You may play somewhere only to find out that you really should have been playing somewhere else. But then next time, you’ll know to try and get that venue you should have been playing.”

How does Tori determine which cities to tour? She admits that sometimes the decision is based merely on wanting to go there. “I like to put extra pins in my map. I have a map in which I put pin in all the cities I’ve played. So it’s fun for me to be able to add pins!

“I pick my cities based on a few things,” Sparks reveals. “For example, if someone offers me the opportunity to play a show in, say, St. Louis , I might book it and then wind up trying to book other shows around it. I also try to look at cities I’ve been to before or have radio play in or some reason to play there. Or sometimes it just comes down to the convenience of driving to a particular place versus another. I might be doing a few shows down south and even though I don’t have much of a presence in Birmingham, Al, it’s on the way so maybe I’ll try to book a show there too. “

Another important thing Sparks reminds musicians is that touring is costly and usually not very lucrative. “Some musicians like to make it appear, based on the things they post on their website, as if they are making all kinds of money from touring. That’s just not true. Ever. Touring is very expensive and even more so if you have a full band.”

So how does Sparks handle finances while on the road? “I know I probably should tell you that I sit down and meticulously plan out a detailed budget with every expense I might encounter, but I just don’t have time to do that,” she confides. “I tour with the philosophy to spend as little as I can, while making as much as I can! Sometimes I make money, sometimes I break even, and sometimes I lose money.”

Still, there are expenses that you should plan ahead for so they don’t wind up accidentally piling up on you. “In the northeast, there are a lot of toll roads. One time when I was touring up in that area and doing a lot of back and forth between places, I wound up spending somewhere near $150 in tolls in a week!”

Tolls aren’t the only expense that can add up on an artist while on a tour. “People don’t realize how much things cost [when you’re touring] in relation to what you actually make. Think about if, every day, you had to fill up your gas tank twice. Then on top of that, you had to go out to eat twice a day. Add to that the cost for twice as many guitar strings as you’d typically go through, plus make-up, toiletries, and money for tolls. You can easily spend $100-$200, and that’s not including hotels!” Sparks advises musicians to consider their offers carefully. “When a venue tells you they can pay you fifty bucks or that you’re working off a percentage of the door, you’re going to be losing a ton of money to go and play that gig. Sometimes you have to take it because it’s the only offer you have. But you definitely want to think about your compensation offsetting the costs of playing there.”

If there is one aspect of touring that most musicians don’t truly grasp the magnitude of, Sparks believes it’s the time it takes to set it all up. “Promotion and booking always takes a lot longer than you think it’s going to take. You set aside a few weeks to put together a tour and promote it. Sometimes it all falls into place but other times you don’t hear back from anyone and you have to call people back a hundred times” she clarifies. “Also, just looking up local newspapers from cities you are going to takes time. This is something you have to do because it is up to you to do your own promotion and make sure people know about your shows. Even if you toured in the Midwest last year, maybe the editors of certain publications have changed so you want to make sure you’re on top of those things. And all those things take a lot more time than you realize.”

And Sparks cannot stress enough the importance of promotion when you’re on the road. “In your hometown, you can at least tell your friends and family and co-workers to come out and see you play and generate somewhat of a repeat audience. That makes it a little easier to build your fan base. It’s a little harder to do that in, say, San Francisco, when you’re only in town once a year or so.” It is up to you to do whatever you can to get the word out about who you are and where you will be playing.

Sparks has been fortunate enough to have the opportunity not only to tour in the United States but in Europe as well. She is about to start another tour in Europe at the end of this month. Touring in Europe is different than touring here in the U.S. because you’re traveling between different countries. “I’ll be renting a car because I have so many tour dates in so many different places. Some of the places have really great public transportation and others don’t. You have to figure out how you’re getting from here to there and what you need in order to do it,” she shares. “There are a lot of logistics that you have to consider when traveling from place to place in Europe that you don’t have to think about here in the States. Most places here, you can just plug your destination into your GPS and be on your way!”

Transportation isn’t the only problem you’re likely to run into when touring in Europe. “Booking in Europe is pretty much the same as it is in the United States except when you email venues, you have to hope that they speak English! Especially in smaller towns in places like the Czech Republic, not everyone you attempt to contact for a booking is going to speak English.”

There are also issues involving international work that you need to factor into your planning. “In Europe, there are import taxes. If you are there for professional reasons, you technically should have a work visa in order to be making money from your tour,” Sparks explains. “Not everyone follows those rules. Some people try to get away with saying that they are just in Europe on a vacation. But if you don’t go through the proper steps and obtain the proper paperwork, you run the risk of getting caught and getting into trouble.”

Whether you are touring in the United States or Europe, Sparks does offer some essential advice. “Even though you may have booked a nice looking club, you still need to ask them ‘Do you have a PA system?’ It sounds silly but sometimes you’ll show up places and they won’t have one and they’ll say ‘Oh, we thought you had one’,” Be sure to confirm other details as well. “Ask about little things such as ‘Are you providing the sound guy or am I?’ Don’t just assume anything. Always ask about the details.”

So what does Tori Sparks feel is the most rewarding this about all the hard work that goes into arranging and managing your own tour? “The most rewarding thing is when someone comes back to see you multiple times and tells other people about your show. Or when someone tells you ‘I listen to your CD in your car all the time.’ Or ‘I just drive eight hours to see you because I heard you one time on the radio and I’ve been following you ever since.’ When people show you that they really care and are touched by what you do, it’s definitely an honor. That, to me, is the coolest part. Those are the things that make the crazy schedule and all the things that go wrong while on the road worthwhile.”

Tori Sparks is on tour in Europe from September 28^th through November 1^st. Then, from November 8^th through December 6^th, she will be touring back in the U.S. on the west coast and in Arizona.

-Tori Sparks lives in Nashville, and is currently touring the United States, Canada, and Europe. She is known for the DIY work ethic, and is in the process of recording her fourth album, to be released through her independent label, Glass Mountain Records

“Record labels are kind of like relationships. When someone says ‘I’m with a label’, I equate that with a female friend saying ‘I just met this guy.” That could mean you met the sweetest guy in the world, it could mean you meant the most evil man in the world, you met a rich guy and you’re going to be the next Princess of Monoco or it could mean you met some homeless guy in the alley and you’re going to adopt him. Labels are the same way. You could be on some massive, machine label or you could be signed with one or two people who just enjoy music and decided to call themselves a label.”

The problem with independent labels nowadays is that the term “label” doesn’t hold the kind of weight that it used to. “Having a record deal doesn’t necessarily mean anything. Someone can say they are going to sign you to their label and it could mean they are going to sign you for a week. Or it could mean they are going to sign you but do nothing with you or for you.” Being signed to a label may sound impressive, but it doesn’t guarantee you’re going to see any success.

Oftentimes people will go into business as independent labels, despite the fact that they have very little experience in the music business. Sparks is all too familiar with this scenario. “When I was still going to school in Florida, a friend had sent some of my music to some people he knew up in Nashville. One the people called me and asked if I’d be interested in coming up to Nashville. He explained that he was with an independent label that had, until now, worked exclusively with country artists but they were looking to branch out into rock music.

“Unfortunately, they wound up defaulting on the deal. They didn’t do anything they were supposed to do. They were not holding up their part of the contract at all, so after two years, I asked to be let out of my contract. It was a very negative experience but it did teach me quite a bit and it made me mad enough to give me the initial motivation to start doing things for myself.”

Sparks’ experience is not uncommon. Sometimes the negligence of the label is intentional and other times it merely stems from a true lack of understanding of how the business works. For example, someone with a strong background in entertainment law may have started his own label, yet know very little about promotion or touring. Sometimes an artist can manage to escape a lousy independent record deal without too many repercussions. Other times, artists lose a devastating amount of time, money, or personal work.

“The label I was with did help me produce a record but they didn’t help me promote it.” Sparks recalls. “On the one hand it was good because it inspired me to do things on my own, but on the other hand, it also caused me a lot of legal trouble, spending several years having to fight them for the rights of the songs I had recorded while with them. At least if it had been a good deal, the promotion they might have theoretically provided could have jump started things for me in a different way.”

Sparks decided to take control of her own career and promote her music on her own. But despite her label having less than honorable intentions for her and her music, Sparks found herself up against a problem many unsigned artists find when they self-promote. “As a relatively unknown artist, I was running into a lot of skepticism from radio stations because I wasn’t on a label. Unfortunately, if you’re not well-established already, stations tend to see self-released albums as ‘Oh, so you couldn’t get a deal’.” She explains. “Well, I was doing everything that a label does anyway. I was doing the promotion, the booking, etc. So technically, I was the label! Eventually, I decided to just come up with a label name and put up a website for it and start promoting myself as being on that label.”

And thus, Glass Mountain Records was born.

“And now that I’ve done two albums on that label, people have seen the label name a few times in various places and have recognized it.”

Even though Sparks feels she is doing all the same things to promote her career that she always was, she admits that having the official label has helped. “If someone recognized the name of a label, they are more likely to play or review your music. A label sort of acts as a stamp of authenticity. It gives the impression that, theoretically, you have expertise behind you.”

So does having the backing of a label help your credibility even if it’s your own label? As Sparks puts it, “there are so many independent labels nowadays that even industry professionals can’t keep up with all of them!”

Starting your own label is definitely a viable option for artists. According to Sparks, there are several different ways to go about it, depending on your personal preference, expertise, and overall goals. “In my case, my label is myself and a few interns, contractors, and people that I hire to help me so that I can have a formal way to release my own stuff.” She notes.  “I also self-manage even though you can have you own label but an external manager. Just as it is possible to be signed to a label and self-manage if your contract allows for it.”

The steps for starting your own label really depend on what your goals are for one. If you want to start a label for yourself or even as a collaboration with other musicians as a way to promote each other’s music, the most important thing is to make sure you have the appropriate means for obtaining those goals. “If your goal is to produce and promote a record, you will need someone to do radio promotion, act as a publicist, create a website, do CD manufacturing, and take care of distribution. Basically, all the jobs that are necessary in order to put out a record, you need to be able to do or have the means to hire people who can do it for you.”

While Sparks admits she enjoys her own personal success that she has had through her label, she also makes it clear that she is not planning to take on other artists any time soon. “If you’re going to promote artists other than yourself, you need to make sure you have the means to invest in them.” She explains “I don’t feel I have the financial backing that would be acceptable when doing so. I say ‘acceptable’ because there are labels out there who will sign artists when they do not have appropriate means to back them and they wind up not doing anything for that artist. If I’m going to sign someone, I’m going to put their stuff out and back them up financially. I’m not just going to say ‘Yeah you’re on my label. I own all your stuff now. Good luck touring’.”

Now that she’s on her own, Sparks admits there are pros and cons to being her own manager and acting as her own label. “One thing that is helpful about not being on someone else’s label or working under someone else’s management is that I can do what I want. If I want to take a year off and move to another country, I can do that. Or if I decide that even though I just released an album a year ago, I want to release another one now, I can. If I want to tour in Texas or California, I can. I don’t have to ask anyone’s permission. If I think something is a good business move or a bad business move, it’s my call.

“However, if I was with a manager, theoretically they would have more expertise than me and would have more connections than I do. They would be able to take some of the work off my shoulders and alleviate some of the pressure by making some of those more difficult decisions. Of course, that is based on the assumption I’d be signed to a good label. I could be signed to a bad label that would be making decisions for me, but not necessarily ones that were in my best interest.”

To sum it up, “freedom is the best and worst of both worlds. You have no one to help you but you have no one to get in your way either.”

With online streaming and digital distribution becoming so popular and accessible, many people feel labels are becoming obsolete anyway. Social networking sites, such as MySpace, Facebook, or ReverbNation are said to be replacing the need for record labels. “Sort of.” Sparks responds. “At the very least, they are eliminating the need for certain aspects of a traditional record label. For example, sites like these are allowing artists to take care of their own distribution, rather than having to rely on a label to do it for them. However, now that every musician in the world can theoretically get their music online, the question becomes how do you get people to buy yours? You still need good promotion and lots of it. Maybe even more so now that people have access to millions of artists.”

Tori Sparks is a true success story. But even she knows that there is no one-size-fits-all procedure for a successful music career. What works for one person may not work for someone else. The important thing to remember is, “whether you’re a band, artist, or someone starting up your own label, the first step is the same. Figure out what your goals are, both short-term and long-term. That will give you an idea of what type of musician or company you want to be. My approach as a twenty-something, Americana-rock artist who is self-releasing her own albums, is going to be different than the eighteen-year old pop artist whose goal is to grace the cover of Rolling Stone. The same goes for a label whose goal is to be the next Universal South.  “The approach is going to be completely different.”

“The best thing people can do is educate themselves about the business, ask people questions, observe, and learn by experience. You can’t just sit at home and hope someone will discover you on the internet.”

On a final note, Sparks reiterates that while this is an amazing and fun job, it’s also a lot of work. “I definitely encourage people to do this but don’t do it if you only want to do it because you think it would be cool to say you’re on a label. Owning my own label has been a very positive thing for me but it’s also been a lot of work. If your sole motivation is to be part of the glam, you’re going to be disappointed. I do this because I love music and I wouldn’t be happy doing anything else.”

Tori will be on the road here in the U.S. in September and November. During October, she will be heading overseas to do some touring in Europe. Please check out her tour dates at www.torisparks.com. You can get your Tori fix before she leaves, however, as she will be playing a show with several other artists on Friday, September 3^rd at the 12th and Porter to benefit Cystic Fibrosis Foundation of TN and the Great Strides Walk of Sumner County here in Nashville. Show starts at 7pm with Eva Hunter and Kristen Cothron opening up the night. The Show is only a $5 donation at the door

-Tori Sparks lives in Nashville, and is currently touring the United States, Canada, and Europe. She is known for the DIY work ethic, and is in the process of recording her fourth album, to be released through her independent label, Glass Mountain Records

The financial benefit to the band/artist depends on the terms of the individual contract. Some labels might give a band/artist more money up front. Some may grant the band/artist touring subsidies that would not be offered in traditional contracts. In many cases, bands/artists are allotted more time to develop the skills and abilities critical to maintaining a long career in music. In any case, a 360 deal will allow the label to cross market items like CDs, ringtones, V.I.P. concert packages and other merchandise, which could very likely make for a larger overall profit.

Many industry professionals believe 360 deals to be a desperate attempt by labels to regain some of the financial control they have lost due to declining record sales and crippling overhead. Others fear that with so much focus being placed on “band branding”, actual music will be tossed to the wayside. They feel these 360 deals focus on selling anything that might possibly turn a profit, rather than taking the time to develop the music. Not to mention, with labels already losing so much money as it is, how much weight can their promise to work with a band long-term really carry?

However, labels argue that 360 deals allow them to sign a wider variety of bands/artists. Since they no longer have to rely on recouping their investments via record sales, they can focus on developing bands/artists long-term, rather than signing only those with potential radio-ready singles. They also maintain that with less pressure to recoup their development costs immediately, they will be able to promote more bands/artists at once, thus increasing the label’s overall chances for success. If they have a variety of avenues from which to make their money back, then they can take a slow and steady approach to building a band/artist which, in turn, will give the band/artist more space and time to become a success and decrease their likelihood of getting dropped from the label.

While 360 deals can be offered to virtually all bands/artists, the likelihood of obtaining one will only emerge if you are an act that already has a loyal, ticket-purchasing fan base or has already attracted attention from businesses for possible endorsements. Yes, a label will theoretically have more time to devote to a band/artist, but they are only going to invest in it if the opportunity to generate financial profit is already in place.

The emergence of 360 deals does hold the potential for more bands/artists to obtain record contracts. However, it is still unclear as to whether these deals will truly benefit the band/artist long term. Revenue from touring, merchandising, endorsements, etc, used to go solely to the act. With 360 deals, the label now retains a cut of every profit stream a band/artist may have. Will such control also provide the label with unjust creative control?

Still, the potential to obtain revenue from multiple sources does put more responsibility on the labels to seek out such opportunities for the band/artist. Being signed to a 360 deal could likely provide bands/artists with far more promotion than they could obtain on their own.

Whether a 360 deal is the right decision for a band/artist depends on the individual terms of the contract and their need for financial backing and promotion from an outside source. If you are in a position where a 360 deal has been offered to you, be sure to read it carefully and assess your needs as a band/artist thoroughly before signing.

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Kris Bell opened the proceedings, immediately setting the tone for the night with his aggressive rifts and expansive solos. A calm man offstage, Bell has all the right moves onstage, commanding the audience’s attention and rewarding his onlookers with vocal anthems and solos which move to the fore, yet coalesce ever so well with the whole of the song. Not defined by volume, Bell also displayed his ability to slow down the pace with a ballad or two. A combination of contemporary rock and Southern twang, Bell reinforced his credentials as a genuine rock talent.

As the first act came to a close, the crowd continued to rise both in number and ardor. Seemingly sensing the moment, Snow Black Sunday stormed the stage with their brand of hook-laden rock. Lead singer Stephanie Moyer crooned over undeniably catchy guitar play and tight drumming as the band’s melodious sound ignited spontaneous dancing throughout the crowd. As the performance reached a crescendo, Moyer suddenly appeared garbed in a wedding dress complete with a batch of flowers ready finish out the set to the delight of the audience. As Snow Black Sunday left the stage, I wondered with anticipation how Lunge would answer the standard set by the first two performances.

Despite the inevitable thinning of the crowd as the night wore on, the final act was certainly worth the wait. Lunge took the stage to chorus of cheers from their intense following which lead singer Eric Coons continually referred to as “the Lunge Army.” Featuring gargantuan rifts supplemented with belting vocals and moody keyboard play, Lunge more than matched their adoring fans’ enthusiasm. Lunge’s rendition of Tears for Fears’ “Shout” epitomized their relentless performance which ended with the Lunge Army pleading for more, even as Hard Rock shut the party down.

Reviewers often bemoan the lack of bodies at a particular show, contrasting the talent on display with the lack of audience; luckily, this was not the case Friday night. The somewhat small upstairs of the Hard Rock was well populated with onlookers for this exhibition of rock. Both the performances and the sound quality were exceptional, providing a fantastic platform for Dream Row to rock over Broadway.

Dream Row would like to give a special thanks to Nashvillerock.net for their promotion of the show. Also Deon Russell for the great photos.

So the process began. Myself and the rest of the writers smooshed into our temporary, creative workspace, which very closely resembled the director’s bedroom. We proceeded to spend the next five hours bouncing the same three ideas back and forth, each time pretending it was something radically new and original. At 2am, I made the authoritative decision that writing these three ideas down in some type of script-like format might help facilitate the filmmaking process. By 4am, we finally had a completed script that we all enthusiastically agreed didn’t completely suck.

The next step in the filmmaking process was casting. Much to the delight of my overwhelming ego, the director decided to cast me as the leading female, primarily due to the fact that he wanted to start shooting at 6am, and I was the only person still awake! Still, a role is a role and I was determined not to disappoint. I downed a pot of coffee and got my butt over to Percy Priest Dam, where our first scene was being filmed.

The crew set the scene up just right so that our opening shot would be perfect. As luck would have it, the camera was ready to role right in time for the sky to darken, lightning to strike, and rain to come pouring down. Sure. It hadn’t rained on a Saturday since the floods, but the day we decided to film an outdoor scene essential to the plot of the film we have only 48 hours to make, the heavens opened up and dumped buckets of water. Needless to say, filming was temporarily delayed.

But as it usually does in Tennessee, the rain ceased and the sun came out. In no time, it was back to the 98 degree norm. This timed out perfectly for our first scene, which involved me going into the lake. Yes, the lake. I had to stand in the dirty, smelly, slimy-bottomed waters of Percy Priest Lake! Ah the things I do for my art. I stood thigh-deep in the water for almost an hour while the cameraman perfected the shot. While I waded, I felt something swim up against me leg. Three times. I’m pretty sure it was an eel. Or a piranha.

Next up was the closing scene. (For those of you unfamiliar with filming, you typically shoot scenes out of order and piece them together during the editing process.) This happened to be one of my favorite parts in the film because it involved finding my dead body in the trunk of a car. Just as we were wrapping up shooting, a park ranger came over to inquire about what we were doing. Apparently he wasn’t in the know about the film fest and wanted answers as to what we were doing in the park with a camera and a seemingly-dead body. Some people just aren’t exposed to culture, I guess. Anyway, he interrogated the director for several minutes before allowing us to wrap up.

Ummmm… did I mention I was still in the trunk while this was going on??? Nearly a hundred degrees outside, and I’m baking inside the trunk of a Neon! Thankfully the ranger’s line of questioning ended when it did. Any longer and I wouldn’t have had to pretend to be a dead body!

With nearly half the day over, it was time for us to head back over to the director’s house to film the other scenes. Unfortunately, I had to stop home quick to walk my dog. I say ‘unfortunately’ because evidently, the fifteen minutes it took Maeby to empty her bladder perfectly coincided with lunch! I arrived back at the director’s just in time to watch everyone toss their sandwich wrappers into the trash and call “places” for the next scene. Over 30 hours without sleep and now I was being deprived of food? Talk about risky filmmaking. A few more hours of this and someone was likely to get hurt.

I remained a trooper, however. I somehow managed to keep myself awake for eight more hours. We managed to shoot all the necessary scenes and I didn’t inflict bodily harm on anyone. Not even when someone complained to me that they’d only gotten six hours of sleep. Six hours? I hadn’t even gotten six minutes! Just shy of midnight Saturday night, we officially wrapped up shooting. The director announced “that’s a wrap” and the cast and crew celebrated around my lifeless body, which was now in a jumbled heap on the floor.

This was where my services to the project ended. Sunday was reserved for the editing and music scoring. While I do know my way around Final Cut Pro, (film editing software), a prior commitment kept me from volunteering my assistance; I was committed to living in this body, which was no longer functioning by Sunday morning.

Yet, even without my help, the film was edited and scored and turned in to the film festival committee with two minutes to spare! ThinkBirdie Productions’ film was now eligible for awards at the festival premier. All that’s left now is to attend the premier and keep our fingers crossed.

It was nearly 40 hours without sleep and minimal sustenance, but it was an unforgettable experience. I am so grateful to have worked with so many talented people. My first 48-Hour Film Fest was an invaluable experience. I learned more about filmmaking in one weekend than I had previously in my whole life and I had the opportunity to network with people from all sides of the business. Plus, I got to be a movie star for one day…how can I argue with that?

Dream Row’s developers are a technical bunch. We like to talk about the nuts and bolts of code and what makes the web work. When we do, we try not to get too technical on people; however, we sometimes slip a little, especially when it comes to the idea of web standards and our approach to web site development and SEO.

Why?

Many reasons, really. Here are our top three.

1. Search Engine Optimization

We like HTML (the “markup”) to be as minimal as possible, to convey meaning rather than visual formatting, and to be easy for search engine programs to catalog and rank. Devoting plenty of effort to creating a solid foundation based on web standards is well worth it, because it makes the search engines’ jobs much easier. The result? A better shot at good ranking.

By the way, when we start an SEO campaign on a typical web site, it generally takes $1-2k in work to get it standards-compliant and ready. When we do the development from the beginning, that work is already done, minimizing SEO startup costs. The benefit is a site that hits the ground running. That’s kind of a side point, though. On to our second reason:

2. Compatibility

Most web sites work perfectly fine in the browser the developer used, on the platform the developer ran. That much is a given; anybody with a simple web editor can do that. The difference between that and professional web development is vast. A standards-based web site works:

• in any web browser
• on any operating system
• on any device
• by any program

…that wants to consume the content on the site. Odds are that the majority of your site’s visitors will be people using something like Firefox, Internet Explorer, Safari, or Opera on a Windows PC or a Mac. However, you likely don’t want your web presence to exclude people on Blackberries, iPhones, Android devices, iPads, or other mobile devices, do you? What about screen readers for the vision impaired? It takes a professional group with expertise in web standards to build sites that have this level of cross-platform/device compatibility.

Oh, and you may have noticed how this ties in with the first point (and extra points to you if you saw it): what are search engine spiders but special vision-impaired programs that don’t have a web browser but still want to read your site? They’re the most common non-browser device there is!

3. The Future

This is a fairly simple extension of the second point. A few years ago did anybody outside of Apple Inc have any idea that they’d be releasing a hybrid iPod/phone device? Nope. So what happen when the iPhone hit the market? Did we need to rebuild all of our web sites with a special iPhone version? Not at all—because we built to web standards. The same thing happened when Google released Android. The same thing will happen when the next big (or little!) environment comes out.

Living by web standards makes your web site future-proof. Web standards are methods and conventions that we all agree to follow for the sake of compatibility. New devices might work differently from old ones internally, but you can bet they work best in a standards-compliant environment. Building to standards now saves re-development costs tomorrow.

It’s an Issue of Quality.

Entitled “Rock over Broadway”, the show begins at 10 p.m. with the doors opening 30 minutes prior. The Hard Rock Café provides a fantastic stage for Dream Row to showcase their rock credentials.

“Dream Row is excited to produce a full rock show at a venue in the heart of downtown Nashville,” said Dream Row Director of Operations Dan Shaw, “we’re excited about the show and confident our lineup will not only captivate listeners inside the venue, but also attract people from the street.”

The lineup for the night boasts a variety of local artists. Snow Black Sunday has worked with Dream Row in the past, but both Lunge and Kris Bell are relative newcomers for the entertainment company.

“We’re enthusiastic about the opportunity to work with Dream Row and perform our original work at such a great venue,” said Snow Black Sunday guitarist Joe Black.

Each band has found success in their own way; Snow Black Sunday’s debut album initially sold out at first press while Kris Bell garnered radio play from various stations including 102.9 the Buzz. Lunge continues to record material for their upcoming release entitled “Album of the Year.

Before Dream Row published Dream Row magazine, the media firm booked talent locally. Dream Row continues to build its reputation as a legitimate booking agency by maintaining a roster of talented artists.
Dream Row remains dedicated to promoting independent music and providing artists and professionals with the resources they need to excel. A multi-faceted firm, Dream Row publishes Dream Row magazine, which provides readers with insight into the entertainment industry to better prepare them for career decisions, and operates Plugs , a business network which connects entertainment artists and professionals across the world.

See official press release

This weekend, 700 filmmakers from Nashville are making films in the 48 Hour Film Project! These films will screen at Belcourt Theater (dates and times are listed below or to the right).

See more information here.

Camera selection is most important for those seeking a professional career in photography. Those engaging in photography solely for entertainment purposes are more at liberty to select whatever camera they desire.

“If it’s just for fun, you can use whatever you want. If you’re using it for work, you want a full-frame sensor and the highest megapixels that you can afford,” Christopher advises.

Once a camera is selected, a photographer must be conscious of how to set up lighting situations correctly and effectively. Clouds often prove to be a photographer’s worst nightmare.

“[Take, for example,] when you’re shooting outdoors and you have a subject you’ve lit with lights and you’ve lit it so that it’s backlit with the sun, or at least there’s sun out to make the scene look crisp. If a cloud rolls by and you keep shooting, your model might be giving you really great stuff to work with, but it’s all in the shade and your lighting has gone to waste.”

Nighttime photographs, to an amateur, may appear to require special training to capture. Taking a photograph where the model is illuminated but the blackness around her retains its dark shade requires special knowledge to execute. Obviously, a flash would illuminate the entirety of the photograph, therefore obliterating the intended image.

“It’s just a matter of balancing your background and your foreground,” Christopher says. “The model has to be very still. She cannot move. In order to capture the darkness, you’ve got to use a very slow shutter speed – probably a minute to two minute exposure. You’ve also got to have light on the model. With that long of an exposure, you don’t need much light at all.”

When transitioning from photography as a hobby to making a living taking pictures, there are several ways to gain credibility in the field of image creating. Photographers may try their luck by submitting their best shots to contests or offer headshots to a theater company. However, Christopher advises that a webpage is the most important thing an amateur can possess in order to further credibility and create establishment.

“It’s very important to have a website. You can also get lists of manufacturers for whatever you want to shoot. Make a promo card and just start sending those out to ad agencies, marketing people. Trying to shoot editorials for magazines,” Christopher suggests.

Perhaps one of the most important things a beginner can do is build a strong portfolio. Highlight your best shots by printing them on 11”x14” paper and inserting them into a folder or scrapbook large enough to hold them. A strong portfolio sampling your work may mean the difference between receiving jobs and gaining no credibility in the photographic field.

*all photos are by Jason Christopher Photography

The lights were low as I entered the venue and took in the intimate setting of small tables and chairs positioned close to a stage dressed in almost gothic blood red curtains. Couple this with the moody lighting and pouring rain and the atmosphere veritably cried out for music. Dan Shaw, Dream Row’s director of operations, informed me beforehand of the acoustic tone of the coming show which pleased me just fine. Artists are much more vulnerable, and in my mind entertaining, when removed from behind their wall of sound.

Mystery’s Dee Miller and Tony Loreto began the night’s festivities with original work from Mystery’s two releases “Reflections” and “Numb the Pain” and even treated the audience to some new material on their upcoming effort. Loreto’s guitar was a little flat for my taste but Miller’s seemingly all encompassing voice flooded the room and more than made up for her comrade’s tuning troubles. The source of Miller’s growing reputation around Nashville is instantly recognizable as her voice oozes emotion and demands the audience’s attention. Miller invites the audience into her world while spinning songs of sorrow in tunes like “Shoulda Know Better” and “Blindsided”. The tempo of the songs remained somewhat similar, all at a slower pace, which made some songs seemingly overlap. However, Miller’s powerful pipes supported by Loreto’s guitar play made for an entertaining and striking performance.

Next to the stage was Amanda Nagurney. Boasting impressive credentials, Nagurney faced the audience with only her guitar. Nagurney smartly began with more up-tempo songs to energize the crowd and crept into slower stuff later in the set. Certainly the most polished of the artists on display, it’s easy to understand how she’s landed gigs opening for Phil Vassar, Gavin DeGraw, and Miranda Lambert; the girl has talent. The contrast between Miller’s muscular vocals and Nagurney’s softer style provided for interesting fare. Nagurney’s original work is simply catchy and her guitar play provided the perfect backdrop for her coming of age tales. I must admit, my favorite part of Nagurney’s set had to be her rendition of “Sweet Child of Mine”. Talented and engaging, Nagurney certainly has the capabilities necessary for success.

Finally, Rachel Schleicher rounded out the night accompanied by her trio of band mates. A student of the musical arts, Rachel surprised me with her natural stage presence and sensual vocals. The injection of percussion and lively guitar play changed the dynamic of the evening, but Schleicher’s vocals easily met the high standard set by her predecessors. Her vocals were sultry yet boisterous as she treated the audience to a mix of original compositions and covers. Her entire set was well done, but her performance of Peggy Lee’s “Give Me Fever” was electric and fit her vocal style perfectly.

All three leading ladies impressed me with their performance. While each was talented in their own right, it was the contrast in styles that made the respective vocalists stand out. Whether intentional or not, the variation and rise in tempo of each successive performance created an enjoyable elevation of energy culminating in Schleicher’s performance. Given the talent on display, I was surprised by the somewhat scant audience, but nonetheless, my compliments far outweigh my complaints. Dream Row’s lineup boasted talent in spades and thoroughly impressed me, framed as they were in red.

Walker lost his hearing when he was five years old as a result of contracting spinal meningitis and scarlet fever simultaneously. But he has not let his disability hinder him from having success as a songwriter. He began writing when he was eleven years old.

“I’ve always wanted to be an entertainer to some degree, but I realized that songwriting was my niche when I wrote my first real song.  Everyone can write a little something, but this was something different.  I guess I was about twelve or thirteen years old when I realized it was something I really wanted to do.”

Still, there are a lot of great songwriters living all over the country. Walker knew if he was serious about pursuing songwriting professionally, he would need to get himself to a major music city. “I started working more actively in 2000, commuting from Tulsa, Oklahoma to Nashville three or four times a year. I finally made the move to Nashville in 2004.”

Walker admits the biggest mistake he made starting out was “thinking I was going to come to Nashville and be a hit writer right off the bat. I had to learn to swallow my pride many times.”  But Walker didn’t give up. When others would have packed up and headed home, he kept at it, networking as much as he could. Currently, he has written several songs with CMA artist, Brinn Black.

David Walker’s disability has made songwriting more of a trial. While lyric writing is not much more difficult than for any other writer, music writing is a challenge. “I do play guitar, although my range is somewhat limited on what I can play.  This is partially because of my inability to hear short notes, or certain pitches.   I can [usually] feel them through vibration, but not always.  So getting what I hear in my head out, through the guitar, poses a bit of a challenge.” Luckily, Walker’s networking skills have given him the opportunity to co-write with other writers who connect with him on a musical front. “Tom Templeman is a writer I work with well.  I’ve known him for over ten years. Brinn Black, whom I have had the privilege to work with, has a style very similar to mine. [Our akin music styles] makes it easier to get my melodic ideas across to them.”

It would be easy to assume Walker’s disability has been a hindrance to his career. In some ways, he believes that it has but in other ways, he believes it has helped. “I think I see the world in a different view than the ‘hearing’ do.  I tend to be more observant of human behavior and reactions.”

Like most successful songwriters, David Walker highly recommends co-writing. “Writing on your own is great if you have the talent to do so and the ideas to write off of.  But I have found that with co-writing, you don’t run into a brick wall as often.  Two writers that work well together can usually overcome most difficulties, whereas on your own, you have no one else to bounce ideas off of.”
He also suggests that aspiring songwriters do not write with a particular artist in mind. “As a rule for myself, I don’t write for any particular artist.  It limits what you can write if you’re writing for one or two [particular] artist(s). I suggest that [writers] write in general, but with a gender in mind by which they want the song to be sung.  Sometimes you can find a song that can be sung by either [gender].”
Every profession requires its experts to have certain skills or qualities. According to Walker, songwriting is no different. He believes there are several traits one should possess if they plan to make a career in writing songs. “First, [you need to have] a thick skin.  You’re going to get told ‘no’ a lot in this business.  You’re going to be critiqued by others in this business.  You have to remember not to take it personally.  Second, [you must] be willing to accept advice from those who have been in the trenches a long time.  They know things because they’ve been there or have done it themselves.” That’s good advice for any profession but it is especially appropriate in a field where rejection runs so rampant.
David Walker cautions aspiring songwriters about the biggest mistake most songwriters make. “[Most songwriters] don’t take their time to network and get to know other writers.  We have a term in this business; it’s called ‘gherming‘. The last thing you want to be known as, in writing circles, is a ‘gherm’.”

So how can songwriters avoid this mistake? “Networking and getting known to other writers is crucial to the next step of co-writing.   Don’t ask someone to write with you the first, second, or even the fifth time you meet them. Have patience.”
In Walker’s final advice to budding songwriters is this:  In this business, unlike any other, you will find people willing to lift you up to your dreams. And at the same time, you will find people looking at you like you’ve lost your mind! They will try to convince you that you have. But if the music truly lives within you, then never give up.  Take your time. Attend writers’ nights, get to know people, NETWORK and hang out where other writers gather.  Keep an open mind. And above all…keep writing.”

For more information on David Walker, please visit the following sites.

http://www.facebook.com/?ref=home#!/profile.php?id=1361291203&ref=ts
www.myspace.com/songwriterdw
http://www.digitalrodeo.com/davidwalker

We always encourage you to plug yourself, of course, but what’s the end result you’re hoping for? Why do you want to market your site?

• Is your goal to sell more of a particular product?
• Are you selling ad space and wanting more traffic so your ad revenue increases?
• Are you trying to get as many people as possible to sign up for your newsletter?

The choices you make here make a difference, because a genuinely effective marketing campaign will squeeze every last bit of effectiveness out of each marketed page, all with the idea that we’ll meet the goal.

Only you can do step #1 for yourself. Once that’s done, your web development team can jump in and lend a hand with the rest:

Step #2: Research keywords & write great copy (see also step #5)

There are a few different ways to get access to keyword popularity & competitiveness data; doing this kind of research takes time, but it’s a vital part of the process, because the copy—the actual words on your web pages—needs to be optimized to target users who search for the keywords and phrases you choose. It takes experience to find the right balance between getting maximum effect, where each search result comes from somebody looking for exactly what you provide, and overdoing it, where the search engines will treat your site as spam and blacklist it. You can never get it 100% perfect; the search engines are always changing and improving their ranking processes, so trying to “game the system” backfires more often than not (beware unscrupulous SEO companies who say they have “secret” or “proprietary” techniques to gain higher listings; that’s playing with fire). The best thing to do here is put together great writing with the results of step #3.

Have you ever used the “view source” function in your web browser? You’ll see the raw HTML “code” (called the “markup”) that creates a web page. There are good ways of writing markup, and there are bad—obsolete—ways. Unfortunately, quite a few web designers are still using poor HTML to create their web pages, reasoning that if it looks right in a web browser, it’s fine. We admire the pragmatism there, but the web is more than just people using web browsers. You’ve also got devices like screen readers for the blind, mobile devices, and the search engines themselves, all trying to view your web site in different ways. Unless your HTML is built in a simple, high-quality, standard way, your web site will fall flat in one or more of these less common usage scenarios. We almost can’t stress enough how true this is when we’re talking about SEO techniques; the cleaner your code is, the easier it will be for a search engine to understand it, and the higher your rank will tend to be.

Step #4: Publicize your site

Steps 1–3 have been laying the groundwork for this one. This is where the rubber meets the road. Here you start the active marketing phase of the campaign. Submitting to free directories, paid directories (when it’s worth it, of course), running pay per click ad campaigns on the search engines themselves—there are plenty of ways of spreading the word. The more you can plug yourself on industry blogs, newsletters, and so forth, the more you’ll be able to increase what we call “organic” results, where people find your site simply by virtue of it being mentioned somewhere. It’s the web version of word of mouth advertising, and is just as valuable online as off.

There is quite a jungle of options here, but don’t be afraid; we can help you make sense of it all.

Step #5: Hire a professional writer

This is a separate step? You bet. Not every SEO campaign goes this far (depending on how much time the writing team needs to spend, the costs can add up pretty quickly), but for those who want the absolute best for their site, you can’t beat the work of a professional writer. You may have keyword-optimized copy from step #2, but if it doesn’t flow in a friendly, conversational way, while you may gain traffic coming in from the search engines, your visitors are just going to leave quickly because they won’t be very engaged.

What almost every SEO campaign comes down to is this: content. There really isn’t a way to make up for lack of it. The better your content is, the higher you’ll rank on search engine listings. The better your content is, the more other web site owners will link to you as a source of good information. As more people link to you, you’ll rank higher on search engine listings. If you put effort into creating great content, you really can’t lose. Done correctly, it creates a feedback cycle of higher rank, more visibility, more visitors & links, higher rank, more visibility, more visitors & links, and on and on. Keep it up, and your problem changes from one of visibility to one of having the technical infrastructure in place to keep up with the demand.

We like car analogies. Here’s one we’ve used before:

If you bought a car that could only drive on smooth asphalt but couldn’t drive on concrete unless you drove in reverse—and couldn’t drive on gravel unless the sun was shining, would you think that was a very high-quality car? Of course not!

Would you buy that car just because it was cheaper than a Ford or Chevy? Of course not! Why? Because you understand there’s more to a car than the price. There’s a quality consideration.

You could put money into fixing it to work on all roads in all conditions, but over time that would amount to more than just paying for a real car, plus you have to deal with the headache of fixing a job that should’ve just been done correctly to begin with. Nobody needs that headache.

Web site work is surprisingly similar. There are plenty of places to go to get really cheap work done, but it all ends up as a car that only works in perfect conditions rather than something to be proud of.

Benefits of Quality

When you buy standards compliant web sites you put your resources to work where they’re really needed. You generally pay more at the beginning, but the total cost of ownership of a high-quality web site is actually lower than a low-quality site.

• Web standards give you a more powerful web site
• Web standards give you reduced maintenance costs
• Web standards give you accessibility (for screen readers for the vision impaired, etc.)

We’ve been in the web industry for a while. We’ve taken over plenty of projects that were created too cheaply up front and ended up costing their owners more in maintenance, headaches, and lost reputation than if they had been built with quality as a priority from the start. Quality work costs more. At least now you know why: because it takes a long-term view.

Remember, a web presence, like a building, can only be as strong as its foundation. It’s worth making sure the foundation is solid.

Taking that initial step on the road to musical success is going to vary greatly, depending on where you are living. “If you live in say, Omaha, Nebraska versus say, New York City or Nashville, the approach is going to be very different,” according to Sparks. Since Sparks currently lives in Nashville, which is a major music city, her initial approach might deviate from someone else’s. “If you live in Nashville, or any other city with a major music scene where a lot of music industry professionals live, it’s important to take it slow. You’re not going to be playing at the Ryman Auditorium for your first gig. And you wouldn’t want to. You need to build up your experience first to be ready for a big opportunity like that.”

But as much as you don’t want to jump right in to playing huge venues, Sparks does advocate playing out as much as possible. “If you can play an instrument, like guitar, and you have a few songs that you’ve written, start out by playing open mic nights . Then, move on to writers nights .” Besides invaluable performance experience, Sparks has found many additional benefits to playing these kinds of events. “Things like that will allow you to network with other people who do what you do. [You will get to meet other people] who are at your level, or maybe a little bit above, who are working their way up. In doing that, you’ll get to meet, not only writers, but other people too. [For example], maybe you’ll meet a drummer looking for someone to play with or someone who is interested in recording and will cut you a deal to record your first few [demo] songs.”

Tori Sparks cannot stress enough the importance of performance experience when starting out in the music business. “Get out there and start playing. Play small gigs first and don’t worry so much about getting paid, initially.” Even though Sparks advises new performers to be flexible with their compensation requirements when playing out, she does believe you should not provide your talent for free forever. “I am of the idea that once musicians reach a certain level of professionalism, they should start requiring venues pay them something for performing. Even in a town like Nashville, where that can be hard because so many artists are willing to play for free.”

Once an artist is comfortable with performing for open mic and writers night audiences, they should start playing showcases. Showcases vary from open mic nights in that an artist may play anywhere from a half hour to an hour long set. (Open mic sets usually consist of only a few songs per artist.) “You really want to work your way up to this though. You can’t just go out and play an hour long set if you’ve never performed your songs before. It just won’t be good!” Sparks knows that this can be a long and tedious process but “if you know you want to be an artist and you want to tour, you need to make sure you are laying the ground work for it. You have to start out small and work your way up.”

For those aspiring musicians who are not living in Music City, USA, Tori Sparks has counsel for you as well. “If you live in a smaller town where maybe there aren’t very many music venues, start by asking coffee houses if you can host an open mic night. Ask friends, or friends of friends, if they’d be willing to host a house concert for you so you can have a venue.”

Once you’ve gotten comfortable playing at home, Sparks recommends taking your show on the road. “Start playing open mic nights in other cities. Build a local following. Venues want to know you can bring in an audience and if you can prove to them that you can do that, they are much more likely to book you again. Also, if you can show you have a following and a history of bringing in decent crowds to venues, other bigger venues will be more apt to book you.”

Most musicians know, playing out in bars and clubs will eventually fire up the debate of cover songs versus originals. Which should you be playing more? Which will provide you a likelier chance of success? “Covers versus original songs really depends on your long term goals,” Sparks says. “If you are an artist or in a band that plays really solid cover songs, you can make pretty decent money playing out at bars and clubs. In fact, you’ll probably make more than artists who are playing mostly original songs! But, if that’s all you play, you’re not going to make it out of the local bar scene. A lot of original artists will play sets of half cover songs and half original songs to make a pretty strong set.”

Tori Sparks believes the half-and-half approach to cover songs is best. “I think that your job as performer is to put on a really good, entertaining show, no matter whose music you’re playing. It’s definitely better to mix in some covers if you’re not sure all your songs will be well received by a particular audience or are just not ready to be presented live quite yet.” Still, Sparks advises not to neglect your original work either. “If your goal is to get industry professionals interested in your music, you do have to play your own stuff.  Again, it really all depends on what your long terms goals are.”

Tori Sparks is an accomplished musical performer but she speaks from personal experience when she encourages others to take their time learning how to be a strong performer. “When I started out, it was exciting just to be able to play in front of people! But I am glad I started out slowly and didn’t rush into playing huge venues and big shows. Because now when I get to do that, I really feel ready for it. I am comfortable performing and performing my own material. I feel I can hold my own among more experienced artists and if I am asked to play a showcase or open a show for another band, I am confident that I will do a good job.”

Sparks recalls a particular time during the early phases of her career, where her novice performance skills proved to be a disadvantage. “I played a gig once when I was 18 that was the worst night ever! I played at 11 o’clock on a Tuesday night. I drove all day to get to this venue. My guitar strap broke in the middle of the set. My guitar string broke [as well]. Some of those elements were beyond my control but I didn’t do a very good job because I was flustered. As a result, that particular club does not ask me back when I am in that town, even though now, I have a fairly good performer reputation and in that town, can bring in about 100 people. But it doesn’t matter to them because they remember me as an amateur.”

“In the beginning it’s all about getting better,” Sparks reiterates. “Getting better at singing. Getting better at your instruments. Becoming a better songwriter. And becoming a better performer.” But once you have advanced your art of performing, what is the next step? “Once you have spent some time really honing your craft, then start thinking about mixing demos and building a website for yourself. And even there, start off small and work your way up. Make a few demos using GarageBand on your computer before you shell out lots of money on studio recording. Use free web host pages before spending money to have someone build you a fancy website.”

Beyond performing itself, Tori Sparks stresses the importance of understanding performance legalities. Sparks suggests that artists “make sure if you are going to perform, the songs you’d be playing are copyrighted. You would need a PA (performing artist) form if you are only copyrighting the song itself and an SR (sound recording) form if you have a sound recording of the song you need copyrighted. Register your songs with ASCAP, BMI, or SESAC.”

Not only should artists be sure to have their songs registered and copyrighted, but Sparks recommends “getting involved with a performance rights organization so that when you get to the point where you can get your songs played on even a few radio stations, you won’t have to worry about registering with a PRO. Those are the people that are in charge of collecting royalties for things like airplay, so you want to make sure you’re involved with that right from the start.”

Is copyrighting something that artists really need to be concerned with so early in the game? According to Sparks, yes. “I think it’s important to copyright your music if you’re going to be playing out, not because of the fear that someone is going to steal it, but because you never know when an unexpected opportunity will come up that will require it.” Sparks cites an example. “It isn’t likely but let’s say you’re playing out and someone comes to you and says ‘I love that song. I am making a movie and I want to use that song in it. When could you get it to me?’ You don’t want to say ‘Well, I have to get it copyrighted first.’ Because the process can take about six months from the time you send in the form, so why not have it done ahead of time.”

According to Tori Sparks, the most important thing aspiring musicians can do is perform, perform, perform. Start out small and work your way up to bigger venues. Decide which songs to play to build the strongest set possible. Know the legalities of playing out and be sure to copyright your work. There are no guarantees in the music business, but taking these steps can make your chances at success much greater.

For more information on Tori Sparks, visit www.torisparks.com or www.myspace.com/torisparks.

Special Thanks to Elliott Davis on the reporting.

I don’t think anyone would dispute that learning is important; there’s learning your instrument, the craft of songwriting, the ropes of the business….but there are many ways to go about it. We all learn as we go, whether it be through formal or informal study or some combination of the two, and accumulated experience. I chose to go to music school first where I earned two degrees in classical guitar performance. I can’t say I had a plan, at first, other than knowing that I wanted to go to college and that I wanted to play music. After a few years of study, I decided to develop a performing career as a concert guitarist and teach in a university program. But I was gigging in rock bands all along. And when a guitar-related hand injury forced me to stop playing for a few months, I had to take a hard look at what I really wanted to do. My focus shifted to songwriting and the path of an independent artist in the commercial music world.

It felt like starting over. I wondered if I had made the right choices. Eight years of my life and thousands of dollars I had invested in preparing for a career I wasn’t going to pursue. In some ways, I really was starting over. But even if I had stayed in classical music, I would have still been just getting started. Negotiating the perilous pathways of the music business requires skills and knowledge you can’t develop in a practice room. Those hard lessons would come later. But ultimately, my formal education did help to prepare me for the challenges that lay ahead. It just did so in more subtle ways that took me years to realize.

Formal schooling taught me to be articulate enough to write my own press kit and find the best way to explain a concept to a student. In my fifteen years as a self-managed artist, I would often be complimented on my promotional materials and found, more than once, that I could be a more effective publicist or promoter than the professional I had hired to represent me. In school, I learned to show up on schedule, respect deadlines, and manage my time efficiently. The work ethic and standards of responsibility I had developed as a student gave me a tremendous advantage in business dealings. Simple things like a prompt response to a phone call or email sent the message that I was serious about my career. I also found that the ability to multitask effectively was as essential to an independent artist as it is to a grad student at crunch time.

On the musical side, I had the ability – actually, the luxury – to make practicing my instrument my number one responsibility. I learned to listen and react with finesse and subtlety, essential skills for an ensemble player in any setting. I developed a command of tone, timing and dynamics, and absorbed music theory and structure in a way that still serves me every day as a songwriter, arranger, and producer. And the laser-like focus a conservatory student applies to practicing, as intense as any Olympic athlete, is a valuable life skill in any profession. That patience and discipline helped me to rebuild my technique after my hand injury and come back an even stronger player than before.

Schooled or not, we learn these life lessons as we make our way in the world. There is no substitute for experience. Many great musicians honed their skills on the road. I remind my students constantly how many of their heroes were never “formally” educated. I can’t think of too many rock stars with Master’s degrees! Still, the intense, extended focus on opening your ears and mind that formal study offers does take your abilities to a level they might not otherwise reach.

Having said all this, I do still believe that the academic route is not for everyone. A person with great natural gifts might not want to step away from their own work as an artist to study things someone else has decided they need to know. Once you’ve attained a level of command over what you do, it’s very hard to enter a situation where you have very little of it. I’ve had students express great frustration over this. They feel if you are already an artist in your own right, following your own vision is much more gratifying. My response to them is that they should think of the two sides, artist and student, as two separate and parallel paths that will meet down the road. The skills you build as a student help you develop your artistry. However, formal study does require an openness to different ideas that not everyone is willing to adopt. Consider your own learning style. If you think you would find the academic environment stifling instead of stimulating, you’re probably right. Some people thrive most when forging their own path and success as an independent artist often requires you to do just that.

In subsequent articles, I will explore the ways that learning can continue over a lifetime and how the skills that make it possible are mostly a matter of mindset and not necessarily part of any formal curriculum. But an intense and focused study with masters who have learned how to learn is undeniably valuable. Ultimately, whether formal education is for you or not, is a matter of where you are on your journey and where you want to go. I didn’t know those things when I started school but I was a whole lot closer to finding out when I finished. And that is why the path I took was the right one for me – twists, turns, and all. Your own path is for you to find.

So how is an artist or band to know whether or not signing with a label is the right choice for them? Well, first off, it is crucial to understand what the role of a record label is. Typically, a label (major or indie) will sign an artist with the agreement that it will market that artist in exchange for a portion of the royalties on their recordings. The contract is exclusive, which means that the artist is not allowed to produce any recordings for any other label while under contract with their current label. A contract can either provide means for the artist to complete recordings to be delivered to the label, or for the label itself to complete the recordings with the artist. If an artist is not already experienced in studio recording, the label will likely be involved in selecting producers, recording studios, studio musicians, and (if the artist is not also the songwriter) songs to be recorded. With artists that are more established, the label is generally less involved in the recording process. Once the recordings are completed, the label will usually facilitate the promotion of the song or album or hire a third party to do so.

If you are offered a recording contract, be very careful to read it thoroughly. Very often these fees are recouped by the label once the band or artist starts seeing revenue come in from the recordings. The label will generally reimburse itself one-hundred percent of the funding it provided for the recordings before passing along any of the profits to the artists. In many cases, if the recordings do not sell well enough to offset the costs of the production, the artist or band is responsible for reimbursing the record label. This also applies to any advances you might have been given before any profits were made from the recording. Such practices can leave you in astronomical debt so be sure you have read the fine print of all sections of your contract before signing it.

In order to determine if signing with a label is worth the portion of your recordings royalties that will go to them, it is imperative that one knows what exactly royalties are. It’s a term that gets thrown around quite a bit in industry circles. But sometimes that concept can be tricky to comprehend. Royalties are fees paid by a particular party (known as the “licensee”) for the right to use a particular song (the legal term for which is “intellectual property”). These fees can be determined as a percentage of overall sales or as a fixed amount per item. In a recording contract, a label will likely ask for royalty interest, which essentially gives them the right to collect royalties for future uses of a song.

In the music industry, royalties are collected from five subgroups. The first are print right royalties. These refer to fees collected from music distributed in print form, or as it better known to most of us as, sheet music. The second are mechanical royalties, which are collected from recordings distributed on tangible forms, such as CDs, cassette tapes, or vinyl albums. The third are performance royalties collected from performance of songs (live or recorded) by other bands or albums on stage or screen. This type of royalty generally comes into play with the performance of cover songs. The forth are synchronization royalties, which refer to fees collected from the use of a song in a movie score, television show, commercial advertisement, radio promo, etc. And the fifth and newest subgroup is known as digital rights royalties. These are royalties collected from online music distribution, such as mp3 downloads, webcasting, streaming, etc.

If you’ve determined that a label’s funding for your recording production will be of benefit to you and that the percentage of royalties you will surrender to them is reasonable, there is one more factor to consider in your decision to sign. This is your ability to maintain creative control over your songs and music. If you are a brand new band or artist, you are likely to retain little control at all over how the final released version of your songs or album will sound, what genre they will fall under, what artwork will appear on the cover, which lyrics will be changed, etc. You will also have very little control over which studio is used for the recordings, who is involved in producing,  mixing, and mastering, and if you are not the songwriter, even very little control over which songs are chosen to be recorded. Most labels insist on holding a majority of the creative control unless they are particularly desperate to sign the band or artist.

There are usually some types of provisions in the contract that will give the artist control in terms of the right to deny certain costs. This protects the artist against incurring debt by the company without the artist’s consent. Still, these provisions are not guaranteed so be sure you read your contract thoroughly.

A recording contract with a major or indie label will provide you with a built-in network of resources, but those connections may not be worth the costs in the long run. Only you, as the band or artist, can determine if it’s the right path for you. Whichever option you choose, should you be fortunate enough for the opportunity to present itself to you, be sure you understand as much about the label-artist relationship as you can before you enter into it.

Stay tuned for a follow up article, which will discuss in more detail how to read a recording contract and what red flags to be looking out for

Rachel Schleicher, Amanda Nagurney, and Dee Miller & Tony Loreto from “Mystery” Perform to Support the FAAN Walk for Food Allergy in Nashville

Nashville, Tenn. (June 25, 2010) – Dream Row and the Food Allergy & Anaphylaxis Network (FAAN) present the FAAN Benefit Show at 12th & Porter on July 16 from 7 to 10 p.m., featuring Rachael Schleicher, Amanda Nagurney, Dee and Tony.

“We greatly appreciate Rachael, Amanda, Dee and Tony for sharing their talent to support FAAN,” says Julia Bradsher, FAAN’s CEO. “With approximately 12 million Americans who have a food allergy, it is important that everyone learns how to respect every bite.”

All of the proceeds from the FAAN Benefit Show at 12th & Porter will support fundraising efforts for the upcoming Walk for Food Allergy in Nashville, Tenn., on Saturday, Aug. 28, in Centennial Park. Admission to the concert is $5. Proceeds from both events will help FAAN support its mission to raise public awareness, to provide advocacy and education, and to advance research on behalf of all those affected by food allergy and anaphylaxis

“Food is such a large part of our lives, that it’s nice to help organizations advocating for those with food allergies,” said Dan Shaw, Dream Row Operations Director.

Rachael Schleicher is a rising junior at Belmont University studying vocal performance and business, with dreams of owning her own business, teaching voice lessons, and performing.

Amanda Nagurney is a 21-year-old singer, songwriter, and musician, who despite her young age, is already a success. Nagurney’s first single “Just Me & the Road” reached the #2 spot on the Independent Music Network country chart in January 2010. Recently Nagurney made the permanent move to Nashville and released her second album “So Full of Country.” Look for Nagurney on tour with Gretchen Wilson and Sara Evans.

Dee & Tony where added to the bill late as we had an artist cancel. We are happy they agreed to play for this great cause.

About Dream Row
Dream Row remains dedicated to promoting independent music and providing artists and professionals with the resources they need to excel. A multi-faceted firm, Dream Row publishes Dream Row magazine, which provides readers with insight into the entertainment industry to better prepare them for career decisions, and operates Plugs Entertainment Industry Network, a business network which connects entertainment artists and professionals across the world.

About FAAN
Founded in 1991, the Food Allergy & Anaphylaxis Network (FAAN) is the world leader in information about food allergy, a potentially life threatening medical condition that afflicts approximately 12 million Americans, or one out of every 25. A nonprofit organization based in Fairfax, Va., FAAN has approximately 25,000 members in the U.S., Canada, and 58 other countries. It is dedicated to increasing public awareness of food allergy and its consequences, to educating people about the condition, and to advancing research on behalf of all those affected by it. FAAN provides information and educational resources about food allergy to patients, their families, schools, health professionals, pharmaceutical companies, the food industry, and government officials. For more information, please visit FAAN at www.foodallergy.org.

Dream Row had the opportunity to sit down with Dr. Pruett and delve into his experience writing the book.

Dream Row: First of all, what is the MuzikMafia?

David Pruett: Nobody really knows! MuzikMafia is a musical and artistic collective that arose from a diverse Nashville scene to a commercial enterprise. It was a business comprised of a group of people who just wanted to have fun and say “it’s ok to be who we are.” Their message was “love everybody and do your own thing.” People clung to the message and clung to the idea of MuzikMafia. People against the corporate entity. [The artists involved in MuzikMafia] gained a high demand for their music and the Mafia community got larger and larger.

DR: Was MuzikMafia a revolution?

Design by: CARLA DAENINCKX

DR: How were you chosen to write the story of MuzikMafia?

DP: I was in the right place at the right time. I had non-profit intentions to document a very worth-while phenomenon. I spoke to John Rich, the “Godfather”, about researching the MuzikMafia , who said “tell our story.” I told John Rich why I should interview him, instead of why I could. I didn’t want to write an article, but a serious documentation. I was one-hundred percent open and forthcoming. I promised [the members of] MuzikMafia that I would send them everything first so they could check the facts. I am a PhD and a scholar so I write based on historical fact and point of view.

DR: Does the book portray everyone equally?

DP: No, regretfully. There is still more of the story that could have gone in there. Some members deserve more recognition.

DR: Did the members of MuzikMafia hold back at first?

DP: No. Even from the get go, John Rich and Big Kenny invited me on their tour. Again, I was honest with my intentions so I got unprecedented access into the artists’ personal lives. We had a mutual respect for one another.

DR: So the book is more their platform?

DP: That was the intention. As a scholar, I didn’t want to impose my viewpoint. I wanted the readers to get to know the MuzikMafia the way I knew them. I worked with MuzikMafia for five years. I interviewed most of the core members, some even five or six times. [What went into the book] was not promotional stuff. Just the truth. It takes out all the b.s.

DR: How was Big Kenny during his interview?

DP: [Big Kenny] remained the same throughout the whole process. He is fun-loving, larger than life, and sincere. He maintained his integrity [throughout the interview]. What you see on TV is exactly how he is in real life.

DR: Some people, like the Mafia Soldiers, are upset they were not included in the book.

DP: I couldn’t include everyone. To keep from making it a ten year project, I had to focus [on certain people]. As an ethnomusicologist, I focused on the musicians who made the music, rather than the receiving end of the music, including fan groups and audiences. Soldiers are a complete study all by themselves. The goal of the book was to get to the very center of what MuzikMafia was, so I had to cut out the peripherals.

DR: Do you believe that MuzikMafia was a true love for everyone involved?

DP: Absolutely not. Not everyone entered MuzikMafia on the same status. Some wanted different things. It was not a homogenous group of people. I asked all members to define the MuzikMafia and no two answers were the same.

DR: Was the Chevrolet American Revolution Tour a mistake for MuzikMafia?

DP: Chevrolet wanted to make money. They highlighted Big & Rich and Gretchen Wilson. The tour generated publicity for MuzikMafia but didn’t really teach the public about what MuzikMafia actually was. It made the musicians money but MuzikMafia never adopted the “outlaw” image.

DR: What is your relationship with John Rich like now?

DP: John returns emails very quickly, although I haven’t heard from him in about four weeks. John was the first one to receive a copy of the book. [When the book first came out], I got hate mail and I emailed John about it. John said, “if you’re not pissing someone off, you’re not rocking hard enough.” John Rich has intelligence and integrity. And up until the last chapter, he is portrayed very positively.

DR: Does John feel regret about MuzikMafia?

DP: Ask John. No [I don’t think he does] and he shouldn’t. He made a lot of people a lot of money and helped a lot of people with their careers. He almost single-handedly changed Nashville’s music output. John works harder than anybody and he’s had a very positive impact on the music industry. When it comes to getting something done, where most people would [put it off until] tomorrow, John did it yesterday. He has written over 1000 songs. He has earned everything he has accomplished.

David B. Pruett completed his undergraduate degree in music performance (percussion) from Appalachian State University and his graduate degree in ethnomusicology from Florida State University. He taught for five years at Middle Tennessee State University in Murfreesboro, Tennessee and is currently teaching world and American music classes at the University of Massachusetts at Boston. His book, Muzik Mafia: From the Local Nashville Scene to the National Mainstream (American Made Music Series), is available on www.amazon.com.

Framing your subject within the shot and paying attention to lighting situations and the overall composition before snapping the photo ensures minimal editing in the aftermath of the shoot. Some photographers carelessly snap numerous photos of the same scenario in the hopes of capturing their vision in one of the photographs.
“I call it the ‘shoot-and-pray’ method,” Jason laughs. “You just keep shooting and pray that you get a few good images out of it. It’s a waste of time. Your model is going to get bored, and you’re going to look like you don’t know what you’re doing…because you don’t.”

Before the digital age began dominating the realm of photography, photographers were given an average of 36 images per film roll, in which to contain their desired images. Having attempted traditional photography myself, I understand the disappointment that comes with inexperience. If the film doesn’t develop properly for any reason, your images are forever obliterated. If the camera settings are askew, the photographs may end up blurry. This may be a major problem when traveling long distances to photograph a model or object. In situations such as these, digital photography is particularly beneficial.

“The benefits [of digital photography] are cost; you don’t have to buy any film. Another benefit is instant gratification. You see the images right away.”

In spite of the added benefits, Jason still prefers the traditional method.

“I hate the invention of digital cameras. I wish it never happened,” Jason says.

Photography must be learned properly in order to be appreciated. If the camera is on “automatic” and the photographs being created are decent in quality, there leaves little necessary room for improvement. The best thing to do is learn from the ground up, especially if you plan on making photography a career.

“My advice? Take workshops. If you can’t afford a workshop, there are lots of online sites that explain photography. There are so many ways to learn photography. Take your digital camera and turn off the LCD [Liquid Crystal Display] setting. Don’t look at [the instant image that appears on the back of it once you have taken a picture]. Only shoot 36 frames per subject. Then, go back and compare then. Instead of shooting and looking at the image, shoot and shoot and shoot. Then, go back and look at your images and see what you did wrong. Or, buy an old, cheap, film camera and learn to shoot film.”

Learning the essential elements of photography will enable the photographer to create more vibrant images with less “doctoring” of photos after the shoot. Nevertheless, the true composition of photographs is an art slowly becoming dissolved by the elements of Photoshop and eight gigabyte memory cards.

“Ultimately, the real art of photography is fading fast.”

Of course, this is all in addition to the six shows she played during the four-day festival. “It’s all about reaching out to people and showing them my music,” Black proclaims. “I just want to be out there [at CMA Fest]. There are six thousand people here each day. If I can get point-one percent of them, that’s huge.”

But more than 100 artists perform and hold fan parties during CMA Fest. What makes Brinn Black so special? Fan, Craig Troutman, puts it best. “Anytime you get to talk to a performer, it’s cool. But Brinn has real conversations. You feel like she really gets to know you.”

Troutman attends many fan parties during his annual ventures to the CMA Fest, but he notes Brinn Black’s as being one of his favorites. “It’s more personal than others. Her fan party is more than just a quick photo op.” Troutman realizes that the bigger an artist gets in terms of popularity and fan following, the harder it is for them to maintain a personal connection with their audience. That is why he feels Black “scores extra points with her fans!” Her ability to interact with them on such a personal level makes her a guaranteed favorite.

Black admits that she has her reasons for going to such lengths to build personal connections with those who attend her shows and buy her albums. “I know what it’s like to be a fan!” Black really seems to have an appreciation for her place in the hearts of her audience and does her best to show her gratitude. “It’s so important to go around and meet everyone after each show. If I have to be there for a few [extra] hours, so what? It’s my job.”

Singer/songwriter David Walker remarks, “[Brinn Black] is very personable, which separates her from other artists. She keeps it real and doesn’t try to be something she’s not.” Walker cites Black as his favorite writer/artist in Nashville. “She has a phenomenal voice and she’s an extremely great song writer. She’s just incredible all around.”

Fan events and autograph signings aren’t the only way Black stays in touch with her fans. In today’s widely competitive music industry, Brinn Black is doing everything she can to show her fans she is accessible. “Facebook is huge! I don’t tell people not to get onto my personal page. You’re kind of limited as to how much interaction you can have through your fan page so I am fine with fans coming to my personal page.” Black does take some precautions, however, when it comes to letting fans access her page. “I do make sure I keep personal pictures of my friends and me set to private.”

Black also keeps in touch with her fans through Twitter, email blasts, and her newly formed fan club, for which the party was held. “I don’t want my fans to think I’m untouchable,” Black shares.

One recent thing Black has been doing to build her audience is visiting local high schools of the cities she tours. “I go in and talk to the choirs,” she dishes. The experience is great fun for the veteran choir girl herself, but the students seem to love it as well. Plus, “I always get about 50 new Facebook friend requests after I’ve gone onto a school.” You can’t argue with that kind of publicity.

Her fans aren’t the only ones who express such deep admiration for her. Black is well-loved by the people who work with her as well. Ashley Dance, who does graphics work for Brinn Black, describes Black as “very personable. She is so much fun to work with!” Ashley believes that Black’s popularity with her fans undeniably stems from the fact that when she does an event, such as this fan party, she involves everyone. “There is no one in the room Brinn does not interact with.”

And although this is not an editorial, my personal opinion of Miss Black is all that and more. I must confess that, despite being a reporter, I secretly dread doing interviews! I always start to clam up and it seems no matter how thoroughly I write out my questions beforehand, I worry constantly that I am coming off like a stumbling idiot! But talking with Black totally put me at ease. She is so friendly and energetic that she can’t help but rub off on you. She makes you feel like she is so excited to be having a conversation with you that you almost forget who the celebrity is!

It is easy to see why Brinn Black continues to bring in so many fans and manages to keep them coming back for more. I am proud to report that as of June 13^th, she has gained one more

For more information on Brinn Black, visit www.BrinnBlack.com

Many aspiring performers may be concerned that those words will be uttered about them as they try to make it to the top of the entertainment industry. Some up and comers (merely a very few, hopefully) are, literally, starving artists. Hey, we understand! So it’s ok with us if you sell out. In fact, the next show or appearance that you have, sell every ticket! If a Dream Row featured entertainer informs us that they sold every ticket to one of their shows, we could not be happier.

There. We said it. You have our permission.

Unfortunately, packing a full-house is not the connotation of “sold-out” to which industry enthusiasts are typically referring. So, what does selling out generally mean? It seems to be a best-case scenario from a financial standpoint and a worst-case scenario from a reputation standpoint, right?

Exactly. Or is it?

The unspoken criticism behind the phrase is that an artist or performer is sacrificing their artistic integrity in order to fill a few more seats or sell a few more tracks on iTunes. The problem is that it isn’t always a necessary means to an end. Artistic integrity doesn’t have to be sacrificed in exchange for monetary gain.

Our desire for upcoming artists is to avoid two extremes. One of those would be the example set by author, Tom Clancy. Tom Clancy is a best -selling author in his own right. His name is on the cover of all the books he writes because…well…he wrote them. However, Clancy’s name also graces the covers of a series of video games (Tom Clancy’s Splinter Cell, for example) that he reportedly has little to nothing to do with. He merely sold the rights to his name to the French gaming company, Ubisoft, so they could use his name as a marketing tool, despite the fact that Clancy hasn’t written, designed or even had any input on the games. Mr. Clancy may have some good reasons for selling his name, but it remains a perfect example of the negative insinuation of the phrase, “he sold out”.

The other extreme to avoid is one that, unfortunately, keeps many would-be artists and performers working day jobs and dreaming about their entertainment careers instead of actually living them. This would be the act of sacrificing yourself for your art. There are many artists, myself included, that refuse to compromise what they feel is genuine music or art in order to reach a larger audience. In short, they refrain from producing music, writing comedy, or creating films for which they do not have a passion. The problem with such an approach is that one runs the risk of reaching a smaller audience. Not producing art based on the preference of the masses may attract a fan-base that appreciates you for your originality and dedication to your art. However, there may not be enough of them to support you financially.

There is a middle ground in between these two extremes. There are many bands who “sell out” by allowing their music to be used for movie soundtracks or other commercial use and as a result, enjoy greater exposure and a widened fan base. A band that comes to mind is Mute Math, who, after having been featured on the Twilight soundtrack, now have a much broader audience than before. While some original or “pure” fans may accuse Mute Math of leaving their indie roots behind in favor of a more lucrative career in more mainstream music, they were able to reach a much larger audience because of this strategic move.

There are always risks when an artist takes chances and attempts to widen their fan base. Some decisions may cost fans, but some may gain a greater audience who may find that they really like your work. Sometimes taking gambles that industry critics might consider “sell-out” moves can backfire and lose you your established audience. And sometimes they can pay off considerably. So don’t let someone else determine what is the right move for you. Only you can decide what is means for you to sell yourself out.

Just don’t sell your name…or your soul!

The musicians in Green River Ordinance already seem like veterans of the music scene. Founding members, brothers Jamie and Geoff Ice, started their music careers at ages 16 and 14. Almost a decade later, they’ve connected with Josh Jenkins, Joshua Wilkerson, and Denton Hunker to write the best songs they can. While many bands rely on one or two primary songwriters, the Green River Ordinance boys relish in the chemistry that can only achieved as a band. A full band of songwriters.

Many of the band members grew up around music. Joshua Wilkerson’s dad played in bands, touring with big acts like the Beach Boys and Cheap Trick. The Ice brothers grew up around their dad’s country/western band. Josh Jenkins father was a singer songwriter. A few decades ago, picking up a guitar and aspiring to be a songwriter would have gotten you labeled a ‘hippy’ or worse. These young men, however, were going into the family business. The same way a second generation auto mechanic can instinctively reach for a ¾” socket wrench, these hit-makers can spot a perfect harmony or a key-change. My dad was an engineer, and I remember how proud he was when I nailed a complicated algebra problem. These kids could play Pentatonic scales and tune a guitar by ear before middle school.
Coming from Texas, the members of Green River Ordinance couldn’t help but to have brought a little country/western influence into their music. But you can hear rock and pop influences as well. It’s always hard to pigeonhole a good band into a category. The best bands transcend any one style. Conversely, many bands overreach, trying too hard to avoid a typecast, yet leaving them without a real identity. It takes real songwriting talent to cross those lines. When asked to describe the band’s sound, Joshua Wilkerson responded, “Zac Efron and Edward Cullen playing catch in the front yard.” This isn’t a band taking itself too seriously. And, though I can’t quite fathom what Zac Efron and Edward Cullen playing catch would actually sound like, it must be good!

The term Green River Ordinance refers to a common American city ordinance, originally adopted in Green River, Wyoming, prohibiting door-to-door sales. Was the band making a political stance, offering a voice to vacuum salesmen? Was the drummer’s mom an Amway representative? No. They just saw a sign and liked the way it sounded.

You may be sensing a “don’t over-think it” vibe from these guys. That may lead you to the assumption that they aren’t serious or that they aren’t focused. You may think that a band that was founded by a 14-year old kid may have yet to grow up. No sense of reality. No sense of responsibility. But you’d be wrong.

Green River Ordinance band

As a society, we have grown accustomed to our rich and famous giving something back. Sometimes it is easy to become cynical about their motives, wondering if their intentions are genuine or if they are just looking for good publicity. The bank accounts of some stars are so massive that it’s hard to know if the large donations they make are much of a sacrifice at all. In the case of Green River Ordinance, we can be assured their contributions are heart-felt. Not long ago, the band launched a special campaign and website (thehopegros.com) designed to raise $100,000 for charity. Their official statement says it all: “This is the heart and soul of the band. Not just to be rock stars, not just to play music, not just to make money. We play to reach out… and to use our gifts to push back the darkness in the world.”
The website (thehopegros.com) has ten songs available for download. These are rare and previously-released versions, including original demos. Each song costs $0.99 and all proceeds go to charity. Similar to their ‘everybody get involved’ songwriting process, each band-member was involved in choosing the charity. In fact, each band member chose their own favorite cause and the fans can choose which charity their $0.99 goes to. In Green River Ordinance, everybody has a voice. They’ve taken care to make sure that as their fans, we do too.

I urge you to visit the website for more details. And if you’ve never heard any Green Ordinance music, what better way to experience some new music and help a worthy cause than by starting with a charitable download? You can also show your support by coming to one of their shows on their current tour, of which a portion of the proceeds also goes to many of these charities.

So what causes are these young musicians most devoted to?
Geoff Ice is concerned about water. Many musicians his age would only think about the bottled water they drink while on-stage. Geoff sees a bigger, and much direr, situation. Over one billion people do not have access to safe, clean, drinking water. Almost 40,000 children under 5 years old, per week, die from unsafe water and complications due to lack of sanitation. That equates to approximately 2 million children losing their lives each year.

Jamey Ice hopes you will help him raise funds and awareness for Nuru International. Nuru exists to eradicate extreme poverty with a holistic approach of empowering rural communities. Nuru focuses on five key areas of development; agriculture, water/sanitation, healthcare, education, and small business development. In simple terms, Nuru aims to help impoverished communities get back on their feet and then gives them the necessary tools to stay there.

Josh Jenkins wants to end slavery. You may wonder why Josh is jumping on a cause that appears to be 150 years old. You’d be the exact person Josh wants to educate. Human trafficking is a very current problem with an estimated revenue of over 5 billion dollars per year. Recruitment, transportation, harboring, or receipt of people for the purpose of slavery, forced labor, and servitude are all rampant in today’s global trade. Josh represents International Justice Mission, an organization of lawyers, investigators, and aftercare professionals working for rescue, care for victims, and justice against the guilty individuals and organizations.

Denton Hunker supports Freedom Is Not Free, an organization that aides wounded service members and their families, as well as the families of the fatally wounded. It is these brave men and women who pay the often forgotten cost of the freedoms we Americans take for granted. The whole family is drastically affected when a serviceman or woman loses their life or life-function.

Joshua Wilkerson is working with Autism Speaks to increase public recognition that autism cases are increasing in the United States. An autism diagnosis is more common than pediatric cancer, diabetes, and AIDS combined. Joshua wants people to learn that with an early diagnosis and treatment, a patient can learn to function successfully in everyday life. Autism Speaks is the nation’s leading nonprofit organization devoted to finding causes, prevention, treatments and ultimately a cure for autism.

Green River Ordinance is a rock band. They are five young men having fun, making music, and carrying on the family business. Quoting Carl Jung, describing their music with images of teen idols playing catch, and naming themselves after a street sign are only a fraction of what makes them such a fun band to be a part of. Playing music in front of adoring fans, AND using their gifts to help eliminate the darkness in the world… that’s the real fun.

I think these young men have figured out exactly where their priorities should be. And that is why they are a band to be taken seriously.

You can email Jamison Reppa at Jamison@dreamrow.com

I am completely overwhelmed by the technology that is coming at me. I try; I really do, to stay up to date. “Get on board now, or catch up later.” That’s what I always say. Those are really your only options, folks. I saw a guy pay for his Starbucks yesterday with his iPhone. Handed it to the chick and she scanned it. My husband almost fainted.

MySpace, check. Facebook, check. Twitter, check.

Every page I click on needs me to sign in, sign up, or connect thru Facebook. If anyone wanted to murder me, I am quite sure they could find me with half a brain and less than 5 clicks on their computer.

I have had a computer since before most of you were born. So long, in fact, that my AOL username was my FIRST NAME! Beth@aol.com. Seriously! That account is long gone, and I have had many, many, usernames since then. And it’s not that I haven’t kept up, mind you. But I have seen the evolution of technology and, until about 5 years ago, have not really felt the need to pay attention. That’s when all hell (or heaven) started to break loose.

MYSPACE

MySpace seems to have been the first Big Thing to follow your good old garden variety website. I had a website for a while, and it was a pain in the ass. In fact, when I created my MySpace page, this was my “About Me”:

“WOW. I thought I was hot sh– because I know how to run the U-Scan at Kroger. I’m on MySpace 2 days and am ready to pull the trigger with my toe. What a bag of crack THIS is! I have no idea why 3 hundred strangers want to be my friends. People who KNOW me don’t want to be my friends, so I guess this is as good a place as any to get some new ones. I don’t know how to post/blog/what my name is, what my USER name is, what my URL is, why my name isn’t coming up under any search, why my eyes itch, why I was invited to join an Escort Service in Nashville….(surely THAT guy isn’t REALLY my friend)? I don’t know what a preferred list is, who my readers are, if or why I have any, why I need safe mode, why sometimes my page is cool purple & red and other times its boring white, why all of my pictures are ‘too big’ to download, how to make them smaller, why I never paid attention in high school in typing class, what is going to happen when I try to ‘input’ my blog, why my Tivo didn’t record ‘Lost’ last week etc. etc. “

The fights I had from moving one person one notch in my “Top Friends”…oh my god! Now, MySpace is only cool if you’re in a band. Thank God.

<Craigslist

I realize Craigslist isn’t anything new, but I feel compelled to include it in this column because this past weekend, I accidentally bought a house in Africa. Well, almost. That sounds funnier than what actually happened. My husband and I have to move out of our dream house because this magazine never pays me, so we are looking for a house to rent in Nashville. How hard can that be? O.M.G. Every single house we inquire about is a scam. Here is an example of a response we got from one such inquiry:

Hello ,

Here is the application form. Get it filled and get back to me as soon as possible.
So I’m thinking, “Okay, this guy is just a bit eccentric.” So I come back with what I hope is a religious enough reply (Yeah, I know I should have caught it but I didn’t because, at that moment, I was still thinking most people are good, which they are not):

Dear Mr. Peterson,

I see some numbers under your name below, but I am afraid they appear longer than normal phone numbers! Is there a way we could contact you this evening to see about coming by tomorrow? We have no children or pets. Thank you so much!
Kindest Regards,
Beth & Robert Weedman

I know, I can hear you screaming “IDIOT!” Here’s the reply I got when the warning bells finally sounded:

Hi.
Thanks again for considering our house. I am promising you that you will be happy when you finally move into the house. I am happy to inform you that your application has been considered and accepted. I have forwarded your information to

my office lawyer here in Africa to prepare the lease agreement papers that will be mailed via FedEx or UPS to you along with other documents and keys for the house.

Reconfirm the information below to avoid mistake or error when sending the keys and documents to you via courier service: From your application, I understand that you would like to move in ASAP. That is OK with us. From the discussion we had earlier with our lawyer, he advised that you will be required to pay a down payment to enable us secure the house on your behalf, send the keys and documents to you via courier service and also to insure the package against loss or damages when getting to you. Please confirm back to me the actual amount you will be willing to pay down to enable us secure the house on your behalf, send the keys and documents to you via courier service.
Attention: My wife and I have decided to give you a grace of 2weeks; this means that your rent will start counting 2weeks after you have finally moved into your new home. This is to enable you enough time to unpack and arrange the home to your comfort.
Looking forward to concluding this transaction to everyone’s satisfaction! My regards to everyone in the family and once again we are happy to have you as our tenant.

Seriously? Well, that was NOT a happy day in the Weedman home. THE KEYS TO THE HOUSE WILL BE OVERNIGHTED FROM AFRICA????? Anyway, I happened to find out about this scam on a really good scammer website, which I can’t seem to get my hands on right now. However, if you click this link, called “Let Me Google That For You”, perhaps this will help: (No, really, click on it) http://www.lmgtfy.com/?q=Craigslist+scams+Nashville

Isn’t that awesome? This site comes in handy when your mom calls and asks you something. My mom called me last week and (dead serious) asked me, “What time is it in that city that Dolly Parton was born in right now?” WHAT? I then spent an hour telling her the difference between daylight savings and time zones. My mom is pretty chops on the computer, but like all of us, sometimes she gets the “Blue Screen of Death” in her brain. Let Me Google That For You: http://www.lmgtfy.com/

FACEBOOK

I feel it’s safe to say nobody needs to know anything else about Facebook, except that there is some new privacy upheaval pretty much every other day. www.mashable.com is probably the best website going nowadays about any and all things related to social media:

http://mashable.com/search-results/?cx=partner-pub-9942038924324175%3Acm4mfi-xpfs&cof=FORID%3A11&ie=ISO-8859-1&q=Facebook#993

Follow this guy on Twitter. Every hour brings amazing new news @mashable.

TWITTER

And then we have Twitter, my new favorite. Today, I lost a follower. I have been devastated all morning. What did I do? What did I say? What happened????

I am obsessed with my Blackberry. I was certain that as soon as I got one, THEN I would be okay. (But now I am looking at these iPads going,”Whoa!”). I am a PC user. Yes, I’m a dork. My husband has a Mac and occasionally I will play with it and do not understand people who say, “It’s so easy!!” I can never find anything. Plus, the printer options suck.

Now I am trying to get “feeds”, but I don’t have Google Mail so I signed up for Twitter feed and didn’t even understand the questions they asked me during the registration process! So there’s another dead icon on my desktop.

Again, I turned to @mashable and @Twitter_tips for everything I needed to know.

Last night, I found myself in a Real Housewives of New York “Talk Bubble” for three hours. I was like a crazy person trying to get in. There were thousands of people in there, all waiting to tweet as we watched The Real Housewives of New York.

I love my Blackberry Tour9360, but the browser sucks. So I ventured onto www.crackberry.com to find help. WOW. I don’t even understand the questions, let alone the answers! I went to my designated forum, asked my question, and was told to “shut the f–k up because you are stupid.” Awesome. Made me feel all warm and fuzzy.

I realized, after three hours, I needed something called “Opera Mini”, which I downloaded but am completely unable to understand how it works because I DON’T HAVE A WRENCH ON THE ICON BAR!!!!!

Why does Lady GaGa call her fans Monsters? I had no idea what a Lady GaGa was, but once I heard her sing I decided she’s pretty cool. Am I a Monster?

My Twitter program, UberTwitter is awesome, but according to its location device, I live at a Harris Teeter store in Bellevue. Which isn’t true. I live at the Kroger in Bellevue.

Dream Row.

Yep. The very magazine you are reading is the most complicated of all of the above combined. But I will leave THAT article until I get paid. I’m probably in some scam here, too. They keep trying to get me to come to some guys ‘house’ on Charlotte for a ‘meeting’. I’ve had to join 27 different websites and 4 new twitter-like chat sites that all send me endless emails and updates 24/7 for things I’m not even involved in.

All right kiddies, Mommie needs a well-deserved nap. Leave some sweet comments for me and please visit www.GiveToGrammaDee.com , that story will come next month.”

The versatility of Jambox is what makes it powerful. Most low-end professional interfaces only have 1 or 2 inputs, whereas Jambox has 3. I like the stereo inputs because of its ability to handle keyboard audio or two acoustic guitars with pre-amps. Electronic drums can go stereo out into this device as well, allowing a full drum kit to be in on the jam.

Jambox, and software plugins like it, are revolutionizing the music industry. By giving professional-type recording capabilities to everyday musicians, we are opening a potential floodgate of new music, of hundreds of styles and genres. Online communities, such as Jamroom, are making the need for major record labels virtually moot. Finally, technology is putting the music business back into the control of the artists, which most of us can agree, is where it belongs.

Best known as the former “voice of Creedence,” John Fogerty has been creating hits since the late ‘60s. He found success with his solo career and solidified a name in the music industry with the release of his Centerfield album in the mid-80’s. Featuring great hits such as “The Old Man Down the Road,” and “Rock and Roll Girls,” the double-platinum album has proven to be one of Fogerty’s best.

The quarter-century milestone of the album’s original release will be celebrated with the release of a special edition, digitally re-mastered Centerfield album, complete with bonus tracks.
Over the past twenty-five years, the song’s recurring chorus “put me in coach!” has become an unofficial anthem in nearly every baseball stadium in the world.

“I’m happy that baseball fans have embraced it as their anthem for a sport that I’ve always loved and is part of the fabric of our country,” Fogerty shares.

He explains that the inspiration for the famous song stemmed from the frustration of watching his favorite baseball team losing on television. He would see a rookie player on the bench and momentarily pretend he was living that player’s life.

“I would always yell at the TV, ‘Put me in coach, put me in!” Fogerty confesses.

In addition to the album’s 25th birthday, the “Centerfield” song is due to receive honors at the Baseball Hall of Fame induction ceremony in July of this year, making Fogerty one of the few musicians to be honored at the Baseball Hall of Fame, in Cooperstown, New York. This event will air live, July 25th, on the MLB network.

“Because of the lasting contributions to baseball and Americana made by John Fogerty, we are thrilled to pay homage to him and the song,” says Jeff Idelson, president of the Baseball Hall of Fame.
In addition to receiving honors, Fogerty will also be donating his famous baseball-bat shaped guitar to display in the Baseball Hall of Fame museum.

Ultimately, his childhood dream of being a “centerfielder for the Yankees” was not directly fulfilled. Instead, his contribution to baseball remains in the soundtrack that has accompanied millions of games. Either way, Fogerty has indeed proven himself worthy to exclaim the final line of his song: “look at me, I can be centerfield.”
Fogerty is currently gearing up for his European tour, which is set to begin this summer. You can join the Fogerty fan community via the website at www.johnfogerty.com or follow John on Twitter at @John_Fogerty.

And don’t forget to pick up your copy of the digitally re-mastered, special edition Centerfield on June 29th.

Doak, working in tandem with his Nashville Muse website (www.nashvillemuse.com) and Enewsletter, gets musicians and songwriters together for opportunities and exposure through the website partner portal www.songcatalog.com. This feature the Doak offers on The Nashville Muse for performers allows them to get their music out in front of people in the recording business for review and possible interest. The Nashville Muse link to www.songcatalog.com has sections for artists to choose their field(s) of interest that perhaps they weren’t aware of. For instance, there are projects always ongoing for performers to license their work with advertising agencies to populate the slots of ad jingles or commercials. There are possibilities within the film and entertainment scene that need a movie scored or even animated series tracks. And, of course, there’s a link to those in the business of making music itself. This area of Doak’s site truly opens up a wide field of possibilities for performers to consider. As Doak puts it, “Friends don’t let friends play to an empty room.”

Doak also created an event that has taken hold here in the Nashville area he calls 3rd Sunday. The first was in March of 2002 and has continued monthly (June of 2010 will be the 87th month in a row of the 3rd Sunday at 3:00.) The event began when Doak invited a group of friends and peers with a love for music over to his Nashville home to share songs, network and just simply get together for the sake of getting together. Throw in some tasty food that everyone brings and you have Doak’s 3rd Sunday at 3:00 get-togethers. That one event has spawned a loyal, but ever-expanding constellation of gatherers ready to pull out the lawn chairs, guitars and songs for an afternoon of relaxed merriment, learning and sharing. This event takes place, you guessed it, every 3rd Sunday of the month.

In all, Doak exemplifies what it means to offer southern hospitality and honest integrity. Here in Nashville, it would be in your best interest to head over to The Nashville Muse and check out the possibilities that you might like to make use of. There is a wealth of information offered by Doak Turner’s Enewsletter that everyone should take part in if you’re serious about music and the entertainment industry. Go sign up to have it emailed to you, too. Doak’s latest venture is with his business partner, Will Carter which is www.musicstartshere.org a site that started March 2010 and is a GPS everyone that is new to the Nashville Music business. The site has over 200 video interviews with pros offering tips to those new songwriters, artists, musicians and business people in the Nashville Music community. “Makin’ Music Just Got Easier” is the slogan. Check out the video interviews that include hit songwriters, artists, publishers, PROs, banker, vocal coach, image coach, management, entertainment attorney and other areas in the Nashville Music community.

Located in the center of the eastern United States, on the banks of the Cumberland River, Nashville has long been a waypoint for goods traveling by river and rail. Since the 1920’s, songwriters and artists of all kinds come to Nashville to write, record, and showcase their talent to the labels on Music Row. More recently, however, alternative, rock and crossover artists have been finding success in Nashville.

One such band would be Kings of Leon. Their most recent album Only By the Night was certified platinum in the U.S. and in Australia and spawned three number 1 singles. From their formation in 1999, KOL has gone from relatives who couldn’t play their instruments to international rock stardom. With the international fame and money that follows, KOL could take up residence anywhere. But they choose to live and work in Nashville, where their road began and their journey continues.

Paramore is another band that hails from the Nashville area that has had great success in the last few years. Founded in Franklin, TN in 2004, Paramore was able to hone their performance style through gigs in the greater Nashville area, including Warped Tour, where they have been a regular feature since 2005. In 2007, Rolling Stone called them “the ones to watch.” And with good reason! Later that year, their second album, Riot! was certified platinum. With an infectious sound and incredible live show, Paramore’s best is still be in front of them.

With the success of acts like Kings of Leon and Paramore, Nashville can officially become the ‘music city’ that it boasts to be and we can eagerly await the new sounds of non-country artists from the Nashville crossroads.

But Nashville isn’t just a music city crossroads. It is also a center for filmmakers and film enthusiasts from around the world. Surprisingly, it has been for a long time. The Nashville Film Festival began as The Sinking Creek Film Celebration in 1969 and is currently one of the longest running film festivals in the country. The 2010 film festival scheduled over 200 films from 38 countries. 70 of those films were features and 9 were world premiers. (Of personal interest, Brad Paisley’s short film When Mom’s Away was also featured in this year’s festival.) Attendance to the festival typically numbers in the tens of thousands and celebrities ranging from Oprah to Robert Redford have been in attendance.

As the floodwaters recede and the cleanup begins in and around Nashville, a crossroads of another kind will be faced. While the damage to the city of Nashville may have been unprecedented in its’ history, it is not the first city that has had to clean up after a disaster. How the city chooses to move forward is crucial. Nashville can choose one of two roads after this disaster. It can follow the course currently being charted by a city not too far away in New Orleans, LA., or aspire to the example set by the city of Chicago after a fire in 1871.

We are all familiar with the devastation and historical loss caused by Hurricane Katrina in 2005. It dominated the news for days and the loss of many antebellum homes and historical landmarks to the flooding was covered in detail by the national media. The loss of history and culture was a central focus. We are still awaiting news of a full recovery. The Saints did win the Super Bowl, but beyond that, there still seems to be more focus on the history that was lost verses what could be gained by the future..

In Chicago, a fire destroyed everything for four square miles. It was 1871, so 24-hour news coverage had not been invented. But in the newspaper coverage that did exist, the focus was not what was lost, rather on how quickly the rebuilding began. The fire of 1871 has been cited as one of the factors that made Chicago the modern city it is today. The people of Chicago were unwilling to dwell in the past and mourn the loss of what was and what could have been. Instead, they cleaned up and moved on.

Nashville is at the same crossroads. The national news may have skipped over them, but the damage did not. The damage is estimated at over $1 billion. Some of it, irreplaceable. Nashville can choose to be defined by loss or by how the broken pieces of yesterday can be the building blocks of tomorrow.

“First thing to consider is what you’re using [the camera] for. If you’re going to take pictures and put them on a website but not print them, make sure it’s a Canon or Nikon with 8 to 12 megapixels. Also, make sure the camera is solid and has a good warranty.”

The brand of camera purchased makes a large difference in how smoothly it operates. “Both Canon and Nikon are really good cameras,” Jason says. The better quality your camera is, the sharper the image it produces.

Essentially, a photographer and his camera become one. The particular camera a photographer uses is just as vital as the guitar played by a musician. Cameras, like guitars, come with special features that may be more appealing to some than to others. Not all cameras possess the same features or may be used for all types of photography.

“Make sure it feels right in your hands. It’s just like a car; you’ve got to make sure it feels right.”

Camera sensors are an equally important feature to consider when selecting your first SLR camera. Sensors are internal devices which transfer the image data to a digital electric signal. “Sensor size is the most important factor when determining what camera to buy,” Jason advises. A full frame sensor is manufactured with dimensions nearly equal to that of standard 35 mm film. This sensor captures the entire image as it is seen through the lens. An APS sensor is smaller in size and crops out tiny sections of the image.

When searching for an additional lens, keep in mind that not every lens will produce optimum quality. Lenses are generally manufactured to accurately fit only the same brand of camera. “Do not buy off-brand lenses,” Jason advises. “You’ll pay a little bit more but, in this case, it’s important.” When a Nikon lens is put on a Canon body, the parts don’t exactly fit together the way a Canon lens would on a Canon camera.

Success ultimately boils down beyond simply the camera purchased by a photographer.
“Just because you have a 21 megapixel camera doesn’t mean you’re going to take amazing photos. You still have to be a good photographer. I’ve taken really great photos with just a point and shoot.”

In addition to camera and lens brand, sensor size, and megapixels, Jason advises any beginning or amateur photographer to begin learning the skill at square one.

“The best thing would be to buy a digital camera but still learn your photography fundamentals and practice them. Just because you’re good doesn’t necessarily mean you can’t be better. Even Robert DeNiro still takes acting lessons to keep himself fresh.”

For songwriters, the guest artist workshops are worth the price of admission alone. With the assistance and expert interviewing skills of former Guitar Player managing editor Andy Ellis, Grammy-winning songwriter Robert Lee Castleman and electrifying performer/recording artist Webb Wilder will discuss what they do and how they use the guitar to write and to create memorable musical settings for their songs.

Other classes of interest to songwriters are workshops on rhythm and groove, the Nashville Number system, creative accompaniment, fingerpicking styles, and more.

The Summit offers a great deal for players as well. More than “shredders” demonstrating licks and tricks, every member of the Summit faculty is an accomplished musician that knows HOW to put the notes together. This is the most important skill for any professional guitarist, regardless of your chosen genre, and a major focus of many of the workshops. From jazz improvisation to bottleneck slide to Steve Cropper-style Memphis soul, the goal of each class is to offer students insight into what defines a style and how a skilled musician knows what to play in that setting.

Registration for the 2010 Guitar Summit is open until May 1st, with a limit of 25 attendees. The fee is $125 for the entire weekend, (TSU students may register for a reduced fee of $100). The fee including all classes and workshops, a Saturday night faculty concert, and a roundtable discussion on guitar recording and session work. To register, contact Summit Coordinator Dave Isaacs, Professor of Commercial Guitar Studies at Tennessee State University, at 615-963-5355 x1 or by via email at disaacs@tnstate.edu. For more detailed information, visit www.TSUGuitarSummit.com.

According to the trio, they were brought together through mutual admiration. “[James and Matt] were playing in a band together that had a gig at a New York City venue. [David and Matt] were playing in a band that had a gig there later that night.” James and Matt were very impressed with David’s style. “We wanted to bring [David] into our band to give ourselves a more modern sound.”

The Beat Hounds try to rehearse at least once a week, outside of gigs. “Everyone plays in other bands too but we all feel it’s really important to rehearse with each other in order to have the chance to explore the songs and build our chemistry beyond just competency.”

When deciding which venues to perform, The Beat Hounds don’t claim much particularity. “We aspire to be choosey!” Matt jokes. While they agree that most bands, especially when they are in the starting out phases, do not have the luxury of being overly selective, Matt, David, and James subscribe to the notion that the image conveyed by a venue should fit your band. “You want to make sure wherever you are playing is appropriate for your genre and audience. If not, it’s not very likely that you’re going to be well received.” When Matt books performances for The Beat Hounds, he bases the location on different criteria. “I try to book our gigs based on the billing. If the other bands on the line-up have a good following and a style similar to ours, I try to book us with them. If I find a band I particularly like, I check out their MySpace page or website and see what other venues they have played and try to get us booked for future shows at those venues.”

Every band’s idea of success is different. To some, the ultimate success is represented by a record contract with a major label. But The Beat Hounds aren’t so sure a major label would be for them. “We won’t compromise when it comes to maintaining ownership of our own songs, which probably rules out a contract with most major labels. We don’t feel the need to have to capitalize on a gimmick, or a ‘rock or the moment’ type thing. We want to be a development.”

So what has been their greatest success thus far? The band cites two. Their first big musical milestone would be playing at the famed Mercy Lounge in New York City. The second is getting a good start on their goal of hitting a studio each time they tour. “We’ve been able to do something most bands nowadays don’t do. We tracked and mixed four complete songs live. No fixing, no editing, no headphones. With the technology readily available to musicians today, most bands focus on perfecting every chord. Every note. With our re-exploration of the art of live taping, some of our takes were more ‘perfect’ than others but we may not have liked them as much. We had to choose from whole takes rather than taking a piece from this one and a piece from this one.”

Each Beat Hound also recalls their biggest mistake in their musical careers. Matt admits to having been too much of a perfectionist at times. “I wrote a lot of good stuff that I wouldn’t promote because the recordings weren’t good enough for me.” If he could do things all over again, he would give some of his less-than-perfect recorded material more exposure. “Even if they didn’t become huge hits, getting them out into the ears of others might have given them more opportunity to grow into something.”

David recalls spending a lot of time at the beginning of his career not having anything personally invested in one band. “Playing in 25 bands at once doesn’t help! I lacked being a real part of something. Once I did that, it changed everything.”

James regrets not buckling down with his music at a younger age. “I always knew I wanted to do it but I didn’t get serious about it until I was older.” James advises aspiring musicians to focus on the type of music they really want to play. “Narrow down what you want to do but still be willing to learn everything you can.” He also cautions against spreading yourself too thin. “Don’t take on so many commitments that it stops being fun. When it becomes work, you’re doing too much.”

As the interview wraps up and the band is getting ready to go on stage, I ask Matt, James, and David if they have any insight or advice they could offer to other musicians aspiring to what The Beat Hounds have achieved. They have a lot of different responses, all of which warrant a quote in this write up.
“Play music you love.”
“Get really good. Practice a LOT!”
“Play as many instruments as you can, at least to try them out.”
“Find someone who inspires you in every genre.”
“Record yourself. Learn from each performance.”
“Songwriters, don’t edit until the end of a song. It’s all part of the process. Test lyrics can be an important part of the final product.”
“Don’t have narrow ears. You won’t like all kinds of music but try to find something you like in all music.”

But I think the best piece of advice comes from Matt, right before we shake hands and say our farewells. He says, “The best advice ever given to me was by a former band mate who told me, ‘if you stop to ask yourself if [what you’re playing] is any good, it wasn’t.’ I used to spend a lot of time on stage thinking to myself ‘does this sound ok?’ But when you stop thinking and just start doing, that’s when the music takes over and everything just clicks.”

And The Beat Hounds must not be thinking at all as they take the stage, because their performance is almost as impressive as their interview.

Sharing influence from Tom Waits and U2, to Patty Griffin and Jeff Buckley, Tori’s music is equally as unique. Sparks describes her sound as “a smashup of rock, folk, and blues.” Though she has yet to become a household name, her connections and accomplishments are impressive. In addition to being a member of Dream Row Plugs, Sparks belongs to SESAC, NSAI, Concerts in Your Home, Folk Alliance, GoGirls Music, and the Fort Worth Songwriter’s Association. Her music has been featured by Microsoft’s Windows Media Player website which she gained through the Reverb Nation organization, whom she speaks very highly of. Tori even pays her dues in the classroom, serving on the advisory board for Pro Music U, which offers courses and workshops for aspiring music professionals.

Tori manages her own career, which means she books her own shows on top of performing – which is often another area where she flies solo. For the full-band gigs, she uses hired help. When asked why, she jokingly says: “It’s too much like having a group of boyfriends.”

Apart from a radio promoter and publicists, Sparks oversees every aspect of her career – even her tour press. She explains: “I’ve found that I always get more tour press if I do it on my own. I don’t know why. Maybe its because the other people aren’t as motivated because its not their career or maybe its because some of these contacts respond better to word from the artists themselves”

This motivation stems from Sparks‘ drive to succeed. “Part of it is just the drive to succeed… I feel compelled to manage myself. The music aspect of it, the playing and writing, that’s the fun part. The business side of it, the opportunities and follow ups, I’m motivated to do because of the time i’ve invested in the music and I don’t want to just let it go by the wayside,” she says.

In case you’re wondering how Tori feels about the workload, she goes on to say: “as far as booking goes, I hate doing it with a passion (laughs) but, I also tend to panic when there aren’t any gigs on the books because that’s the only thing keeping me from living in a refrigerator box.”

With all the acclaim that comes with show-biz today, many artists don’t label their career a success until they appear on every late-night show and produce a couple of gold records. Tori’s idea of success is not so lavish. She says: “as far as seeing myself on TV, that’s really fun for my mom bit it doesn’t really matter to me.” While many of those artists use their music to earn them fame and fortune, Sparks orders her priorities differently. When asked about her own career, she says: “I just want to have enough money to continue to play music – to make enough to enjoy life, tour, and help other artists, and to get the gigs I want.” It’s unfortunate that so many artists conform their work for the sake of finance. The world could use a few more genuine souls like Tori – artists who create to express rather than profit.

Born just outside of Chicago, Tori moved to Sarasota, Florida where she spent much of her childhood. After graduating from Florida State University, Sparks relocated to Nashville after signing with a small record label. “Labels work like marriages. You don’t just meet some random someone and get married,” explains Sparks. After releasing her first album, Rivers and Roads in 2005, this “marriage” was beyond counseling. With a laugh, she exclaims: “They pissed me off and took my money!”

Naturally, the experience didn’t break Tori. With the cut-throat reality of the music business, every talent agent pushes their formula for success. “I get bad advice all the time,” she says. “People in New York, L.A., and Paris give me bad advice too but, using Nashville as an example, everyone tries to shoo you into that country, singer/songwriter mold and they want you to write about whiskey and stuff…everybody tries to advise your career from their perspective. There’s also the contradicting ‘you have to get a record deal’ and ‘never get a record deal.’ There’s 1000 opinions and really no right way to do it.”

Through the smoke of bad advice, Sparks has clearly found her own formula for success. “My advice is this: There is no magic key or cure or bit of advice. You have to just work really hard and keep in mind that there are crazy people in every business. You can’t let that stuff get to you. You’re going to experience a ton of rejection no matter who you are or how good you are. Learn from those rejections but trust your instincts and surround yourself with good people. You have to somehow ignore everybody but also learn all that you can from the various opinions being dumped on your head.”

One of Tori’s many “magic keys” has been her creative use of technology for self-promotion. Tori is on Twitter and has profiles on Facebook and MySpace. Yeah, well so does Phoebe Buffay – complete with a music video for Smelly Cat. What Phoebes doesn’t have is a mobile phone app. Tori Sparks? – There’s an app for that. Along with the app, Sparks has ToriMobile,” a streamlined version of her website for all of her fans on the go. iPhone, iPod touch, Blackberry, and any other web-based mobile phone can access these resources for news, blog posts, tour dates, and a multitude of other Tori-esque things. As an added bonus for those who visit (you don’t even have to join), Tori is offering a free download of the song Letter to a Wretch #2 which she recorded with Shawn Mullins. Sparks says: “ In doing that, I hope that people see that I’m not just another ad looking to take their money.”

Social networking outlets are no longer an option for those looking to make music a career – they are essential. On their usefulness, Tori says: “What else allows you to communicate with people on the other side of the world, instantaneously, for free? It’s amazing. Years ago that type of connectivity would have required mass mailings. The expense would have been enormous.” Fanship isn’t the only thing that Sparks has obtained through online networking. “There are fans who have become good friends over the years through a response to a newsletter or a comment about a show. I email them back and the communication continues until the relationship is more than fan/artist. Some of them have even helped me get shows,” she adds.

Though she has enjoyed many benefits of social networking, Sparks admits that there are challenges as well. “The down side is the amount of time you have to invest communicating with those people through different websites.” She continues: “The big (label) guys have teams to do that for them… you end up competing with those big teams and that’s a problem.”

The influence of modern advertising has also had a hand in binding the freedom of social networking. Years ago, ads caught our attention and enticed us to try the product. Social networks allow advertising to find you, rather than vice versa. Sparks admits, “It’s been a problem for me because everyone is overloaded with ads and invites – you get lost in the mix of it all.”

On being a career musician, Sparks jokes, “Music as a career is kind of like playing the lottery: it’s irrational but for some reason, I feel compelled to do it.” We at Dream Row are thankful that artists like Tori are around to compel others. May we all accept her policy of “irrationality.”

Have you registered for the Tori Sparks swag contest?

Tori’s upcoming shows in April

Saturday, Apr 10 @ 12:00 PM
Springing The Blues Festival @ Seawalk Plaza
Jacksonville, Florida

Saturday, Apr 10 @ 7:45 PM
European Street Cafe Listening Room
Jacksonville, Florida

Friday, Apr 16 @ 7:30 PM
Om On The Mat Concert Series
Grapevine, Texas

Sunday, Apr 25 @ 1:30 PM
Hard Rock Cafe
Nashville, Tennessee

Benefit Show for Flood Relief Benefit Show 5/22/10 starts at 6pm at 12th and Porter, Nashville, TN.

Manic Bloom along with Twelve South and Snow Black Sunday at 12th and Porter, 114 12th Avenue South, Nashville, TN‎ – All proceeds go to flood relief.

Headliner – Manic Bloom
Winner of Ourstage.com’s October 2008 Music Finals
First place in Rock and Alt Rock charts, February 2009

“…their high energy drew me in and captivated me until the very end… Their live show is incomparable; they are as solid as what you hear on their six track demo.”
-JB, NashvilleRock.net

“…epic piano, catchy vocals and breakneck drums to a pitch that is, more often than not, more frenetic and frenzied than anything else you can generally find in the alternative/progressive rock world… Manic Bloom is certainly a group to watch.”
-Michael Aguilar, Southeastern Performer Magazine

With special guests

Twelve South

Twelve South, a band based in Middle Tennessee, is comprised of six guys who love music and love God. Yet, they consider themselves a different kind of Christian band – one that isn’t afraid of dirty hands and digging in to do the work involved in God’s kingdom.

The members write songs about real-life situations and their pasts. They view themselves as a group of normal guys with God-given talents they are using together, reaching out to people through their lyrics. Their lyrics don’t have to be an obvious cry out to the lost, but the message is in all of their songs. They hope through the venues where they choose to perform and through their secular rock, pop and acoustic sound that they will begin to reach out to the world. They are simply Christians in a band with a mission to use their talent and music to help their fans dig deeper and uncover their hearts.

Twelve South began as a one-time gig. Alex was asked by a friend to perform for a church youth lock-in. Alex agreed on the condition he could find a band. He recruited from among fellow church members on praise teams, friends, and friends of friends. Out of this gig, three Twelve South members emerged. Alex, Jeremy and Scott all began to write together and stir around the idea of a band. With a friend as a temporary bassist, no drummer and waiting for an electric-guitar player return from the Dominican Republic, they explored the avenues of playing together. They began playing shows with fill-in members and without keys since Scott was on drums until the lineup was set. They also began playing under the name Downpour, until confusion arose since the name was also a part of the Calvary Baptist Church college ministry. At this point the guys needed a name for their new band. They began to think of ideas, and after much deliberation, they found a solution. They wrote down words on pieces of paper and threw them in a baseball cap. They picked the words out two at a time. “Twelve” and “South” were the first two picked. The guys liked it, but they continued to draw names. After coming up with some names that didn’t work like “Nerf Helmet,” they decided Twelve South was as good as it was going to get.

Snow Black Sunday
2009 saw the independent release of S.B.S. first album “The Benchmark Experiment” to rave reviews and a first pressing sell out within a few weeks. 2009 also saw S.B.S. branch out on numerous regional tours. in 2010 S.B.S. plans to travel even further with a new fresh sound a more energetic live show and a new album in the spring which will mark the second independent release in under one years time. S.B.S. has set them self apart from the norm in a over crowded always changing Nashville music scene by staying tight as a unit, working as a team, and staying focused on making new music and having fun. While the new “it” band always comes then goes the one constant in over three years has been S.B.S. in the Nashville music scene. no gimmicks needed, and all ways giving 90% we invite you to pull up a chair and watch the greatest show going today SNOW BLACK SUNDAY.

Purchase your tickets via the Add to Cart button below. Please bring the receipt for your tickets to the door to gain entrance to the event.

But how do you do it? Cracking your buddies up at the lunch table is one thing but how do you take your role as Anytown High School’s class clown and turn it into a living? You could start by visiting NashvilleStandUp.com. The site was founded in 2000 by Andrew Sullivan and is now successfully maintained by the self-proclaimed “America’s Favorite Comedian of All Time,” Chad Riden.

From the beginning, Nashville Stand Up aimed to showcase the local comedy scene and bring attention to comics working in or native to Nashville and experiencing success in places like New York or L.A. At the site’s debut, Riden had “created on-site profiles for active local comics, listed upcoming shows, started a mailing list, began writing semi-regular newsletters, and set up a forum where Nashville-based comics and fans could screw around while on the clock at work.”

Since then, Nashville Stand Up (or N’Sup, as it is affectionately dubbed by Riden) has grown into Nashville’s top website for comedy. Not only does it supply comedians and fans with information about who is performing where, but it also provides a network of people who share their passion for forcing other people to listen to their jokes. New comics can find numerous people with which to collaborate on projects, shows, and their acts. According to Riden, when you’re starting out, “Ninety percent of the stage time you get is from your comedian buddies hooking you up with shows. I’ve tried to make it easier for comics to meet and group up with people with the same comedic sensibility and still be a part of a larger, all-inclusive thing that promotes everything everybody is doing.” Many corporate events, private parties, random bar shows, and the occasional sleazy hook up are booked through the the N’Sup site as well, which means comedians plugged into it have the potential to get performance opportunities they might otherwise have missed.

Nashville Stand Up certainly comes as a breath of fresh air in a city where most other entertainment outlets focus solely on Taylor Swift…err, I mean music. Even publications such as The Scene and Metromix tend to lump their comedy features on the last few pages, along with magic shows and Bigfoot sightings.  “Nashville is called ‘Music City’,” Riden notes. “We’ve been working to get that changed to ‘Comedy Town’, ‘Chuckleberg’, or ‘Wackyville’ but the city council has largely ignored our requests.” N’Sup caters not only to aspiring comedians, but to those people who don’t have DVRs and actually want to go see a live show. Riden believes live comedy is a niche, quite different from comedy seen on TV. But it is for those rare breeds who get a rush from the suspense of waiting to see if someone will forget their lines. “We list all of the live shows in middle Tennessee and try to write up anything relevant to our local scene. We make it easy for comedy fans to find the comics around Nashville. We also promote nationally touring acts coming to town and work to bring comics here who otherwise weren’t planning on a Nashville stop.”

While he fully endorses time spent perusing Nashville Stand Up, Riden doesn’t feel aspiring comics should waste too much time promoting themselves online. While up and coming comedians need to have a place on the World Wide Web where potential fans can readily access them, they need to be mindful not to neglect their act in favor of creating a flashy website. “It is often said that comics who are the best at marketing themselves have the weakest acts. Are you [spending time] writing new jokes or screwing around online?” Still, Riden believes new acts should not underestimate social networking sites such as Facebook and Twitter. He also recommends joining ComedySoapBox.com and RoadComics.com, which are more comedy-centered. These networks allow comics to develop a fan base, promote shows, and get tips from those more experienced than themselves.

So what is the best advice Chad Riden has for someone crazy enough to attempt a career in comedy? “Get on stage as often as possible. Write every day. Live as learn as possible. While comedy classes and books are essential for learning effective joke structure and character development, the only way to genuinely enhance yourself as a comic is to perform.” Riden advises new and old comers alike to attend other comedy shows when they are not performing their own. “You can learn a lot from watching others.”

The thing that separates those who merely go through the motions and eventually burn out, and those who continue to grow and evolve as performers, is the persistence to keep writing new material and improving upon the old. Everyone can poke fun at Lindsay Lohan, and most of us do. But if you want to move ahead in comedy, you need to be able to write about things that make you unique. You need to be able to get personal and write about you. Maybe not as personal as your body positioning during your last visit to the gynecologist, but a good bikini wax story is always funny. Riden says it takes years to perfect, but “when you’re writing things from a specific, recognizable point of view, then you’ve got an act.” Aspiring comedians also need to be sure they are writing bookable material. Excessive profanity and toilet humor will not get you booked at a comedy club. Not that racy sex jokes aren’t entertaining (and sometimes even arousing), but they’re a dime a dozen. If you want to get your foot in the door, it is imperative that you are able to solicit laughter from the audience with clean bits.

If you are really, truly serious about turning your passion for comedy into a sustainable career, Riden offers some financial advice. “If you want to do comedy for a living, you should know that it does not pay well for a very long time. When you’re ready to go on the road, material items will only slow you down. All you need is a laptop, a cell phone, a reliable, fuel-efficient car, a notebook, and some clothes. Prepare to be a nomad. Don’t buy a house. Don’t buy DVDs. Don’t buy anything. Save your money.” Economists will hate you but they don’t have much of an appreciation for comedy anyway.

For more information on Nashville comedy, check out NashvilleStandUp.com or their affiliate site for group comedy acts, NashvilleComedy.com. To track America’s Favorite Comedian of All Time, visit ChadRiden.com.

You don’t have to live in a major city to sign with an agency, although you will have to be willing to travel to one for most auditions. Many agencies will sign talent residing up to several hundred miles away so long as they are willing to travel for work. You can find talent agencies in your area as easily as doing an internet search. However, you need to be cautious of scams and illegitimate agents. Your best bet is to search for agencies that are SAG (Screen Actors’ Guild) franchised. This does not mean you must have a SAG card to sign with their agency. It means that agency is recognized and approved by SAG. Being SAG franchised yourself is not necessary. If a talent agency is not franchised by SAG, they should at least be licensed by the state in which they are located. To find an agent in your state or check the legitimacy of a potential agent..

Unfortunately, there are many scammers out there who prey upon hopeful, starry-eyed, aspiring talent. While there are many honest legitimate agencies out there, there are thousands of illegitimate ones working to deplete your savings account. The key is to know the characteristics of an agency scam.

Avoid any agency that requires an upfront fee. These could include anything from registration fees, to audition fees, to account setup fees. Legitimate talent agencies make money only from commission earned from jobs they book for clients.

Be leery of agencies promising to sign you only if you complete their series of classes (for which you are required to pay) or participate in photo shoots (funded by you) with their photographer. Legitimate agencies may suggest classes or photographers but will never require them as a condition to your representation.

Steer clear of agencies advertised in the classified section. Legitimate agencies already have plenty of working clients and do not need to solicit more from ads.

Also, shy away from new agencies looking for talent. While they may not be intending to scam you, they more than likely do not have the resources or networks to get you consistent work.

And finally, avoid any agency that guarantees you work.Talent agents do not cast projects. They cannot guarantee that casting directors will hire you. They cannot get you work. They can only get you auditions.

And to think… some people feel it’s not necessary to sign with an agent. In today’s online world where tons of auditions and calls for work are listed on craigslist.org, www.actorsequity.com, and www.actorsyp.com, some aspiring talent prefer to find their own auditions and not be required to give 15% of their pay to an agent. However, many major-budget projects will seek talent via an agency, rather than advertise an open casting call.

The most important thing you can do if you choose to sign with a talent agency is to make sure you verify their legitimacy before you sign. Find out how many clients they represent and what kind of work those clients are being hired for. Talk to clients currently represented by them. Ask if they are happy with their representation. If you have a hard time finding current clients, you probably want to shop around for an agent with a better reputation.

I met Tyler on the set of the Nashville production of the Gwenyth Paltrow/Tim McGraw film, ‘Love Don’t Let Me Down,’ shot earlier this year in and around downtown. He wore a cowboy hat with a barbed-wire hatband and some impressive uptown boots. I quickly discovered that Tyler had an unruly sense of humor in addition to his wily charm. He and I managed to bump into each other from time to time and from scene to scene. It was difficult to stay focused on the script when we had a scene together due to Tyler’s conscious efforts to ramp up the humor.

His freshman album, Fired Up, just recently hit the streets. The album is a solid performance with only one flaw: It just makes me want to hear more. With that being said, I wanted to lasso Tyler into an interview before he wandered off into the big time. Luckily, he agreed.

DR: Tyler Allyn Dean…Give me a little backstory. Who is Tyler Allyn Dean?

Tyler: Gosh, well I’m an oil patch kid for sure, grew up with oil rigs and pump jacks scattered everywhere, we even have one smack in the middle of the city golf course. I still think that’s funny! Might be a little to much info, but we’re friends here, so I don’t mind telling you that I was a bit nerdy growing up. I kept to myself just drawing and writing until I was about 13, then the switch flipped and I got involved in the community, construction, arts, motorcycles and along the way I learned the power of a good hand shake and a good old fashioned “Hello” and now, it seems I don’t know a stranger. I am just awful at video games, I’m a hopeless romantic, and I’m constantly up to something. But in a good way though!

DR: Tyler, tell me when you first decided that entertainment was where you wanted to go. Was it an event or a slow process of elimination?

Tyler: Actually, I’d like to think of it as a slow process of illumination. From youth choir, to theatre, to film, or simply making an idiot out of myself at family events, entertaining became more and more visible to me. The connection when the crowd is involved and enjoying the ride is nothing short of perfect, and it’s what I want to do with the rest of my life!

DR: Do you play every instrument known to man, just a few, just one…or none? What is your favorite to play if you do?

Tyler: Well I took violin for about 5 years, tried the keys for a short time and still bend guitar strings from time to time, but my main focus has always been vocals and keeping the old pipes as strong as they can be, but to answer your question the violin is my favorite. I just wish I could play it better.

DR: How would you define your singing style? Any early influences that steered you in a particular direction or are you developing your own style?

Tyler: As far as style I’d like to say I have my own brand of writing and singing, but I really pay attention when guys like (Aaron)Tippin, (Trace)Adkins, Michael Peterson, and Garth (Brooks) come on the radio. I stop what I am doing and listen.

Well my mom has written about 300 gems and of course has had the biggest influence on me, and then for as long as I can remember I’ve followed writers like Will Nance, Buddy Brock, Phil Vassar, Steven Tyler, and Dean Dillion, and more recently Darby Ledbetter and Daryl Burgess. They’ve all made a big impression as far as where I hope to take my writing skills.

DR: So, you’re a real Renaissance man. You’re a singer, songwriter, and you have an active film/theatre side. Tell me about that. Do you love them all equally or is there one category you’re more drawn to?

Tyler: I wouldn’t call myself a renaissance man really, it’s just I can’t seem to sit still for long!

I find joy in each category, no preference and honestly my hope is that one doesn’t over shadow any of the others, I’d like to grow in each of them, and I think I can.

DR: You got a slot on LDLMD, the Gwenyth Paltrow/Tim McGraw motion picture shot in part, around Nashville. What was that experience like for you? Any high points…low points?  Any film/theatre projects in offing?

Tyler: LDLMD was great, the cast and especially the crew were a pleasure to work with so all high points from where I sit. I’m really excited to see Nashville exploding into the film industry. Nashville has so many wonderful locations and amazing talent to choose from, it’s only going to get bigger and better. That’s guaranteed.

I have several film projects slated, and I’m currently tweaking several original treatments for next year. I also hope to start shooting one of my own music videos within the year.

DR: February….1983. Charlie Pride and Crystal Gayle are topping the country music charts. This happens to be when you were born. Is there an era in country music that you particularly love?

Tyler: You just wanted to remind me I’m getting closer to thirty didn’t you! I guess the shotgun answer would be to say I love ‘em all, but the era that sticks out most for me is the 50′s. Nat King Cole, Elvis, Hank Sr. they brought it all to a new level then and I wish I could have seen them in person.

DR: You state on your agency website that your favorite theatre role was Leon Czolgosz in the Musical “Assassins.” Tell us a little about this character and the role he plays in the performance. He shoots President McKinley, right?

Tyler: Czolgosz represents the working man in “Assassins”. He’s oppressed, generally ignored, discontent with life, and a bit left of center and under paid. He finally takes it in his own hands to rid himself and the nation of who he believes to be the greatest threat to prosperity. Czolgosz was my first big lead in an off-broadway musical and it’s a performance that will stand out in my memory forever.

You are correct, Leon did shoot President McKinley in 1901 while at the Worlds Fair in Buffalo, NY.

DR: You just released your first album, Fired Up…a real resume of range on the album…everything from sentimental reflections to”boot stompin’, get-off-the-barstool and dance” pieces. Take us through the process of putting this thing together.

Tyler: People always comment about the diversity on this album, which reminds me of something Garth Brooks said: “Take care of the music, and It’ll take care of you.” I wanted to have something I could be proud of lyrically and melodically, and demonstrate my different layers as a singer and a songwriter. I had a lot of fun writing this one, and I think the album shows that.

DR: You were born in Texas and transplanted here to Nashville: A tale of two states and styles of music, so to speak. Do you recognize a difference in country music between the two regions, and does either influence your style more than the other?

Tyler: There is absolutely a difference, but I wouldn’t say that one influences me any more then the other. (In my music),”London, Texas,” for example, has more Nashville in it, while “Rio Grand With You” is nothing but good old fashioned Texas swing. Key thing to realize is that the music behind both, while different, does what its supposed to, which is set the scene and do its part in telling the story best. That’s what it’s about for me as a songwriter – making the song the best it can be in all aspects.

DR: There’s a fire at your house, God forbid. You have time to grab three things that mean the most to you. What are they? (…and the first thing can’t be a fire extinguisher…thought you were going to be clever and save everything, right?)

Tyler: Well the first thing I’d grab would be the book of poems my mother wrote about 10 years ago, it stays pretty close at hand. Second is my portfolio, packed with original artwork, poems, song lyrics, scripts, and things……and the final piece before the walls come down around me would absolutely have to be my handmade Ostrich Boots.

DR: Who is your hero?

Tyler: My Grandpa. He was an amazing man of God. I only hope I somehow measure up.

DR: Okay, gotta’ ask the obvious. You’re a good lookin’ guy, great sense of humor, very outgoing, and richly talented…single?  Really?

Tyler: Yes, I’m still single. Just waiting for my perfect work of art to come around I guess.

DR: You’ve got one phone call. You can call any musician to perform with and it’s guaranteed ‘yes’…who would you call and why? Give me an actor/actress, too.

Tyler: The artist I would call would be Martina Mcbride! The way I see it, if I can hang with her on stage for 120 minutes, I could hang with just about anyone in this industry! Plus I’d just really like to meet her.

Oh, without a doubt I’d give Clint Eastwood a ring, I really want to do a genuine western. He understands the genre and what great movie making is all about! So now do I get those calls?

DR: Tyler, is the glass half full or half empty?

Tyler: Actually the container is to large for the contents. Sorry, just kidding. That’s the Engineer side of me. Of course it’s half full!

DR: Today’s date is January 11^th, 2020. It’s a Saturday afternoon. There’s been a heavy snowfall and you’re stranded at home alone. You take some time to reflect on the last ten years since this interview. What has happened in your life? In ten years time, where is Tyler Allyn Dean? If you’ve done everything the way that the movie playing in your head describes, what does the last decade look like? Take us down memory lane.

Tyler: Well…it sounds like I’m still single, that’s a bummer!…..but I doubt I’m far off in saying, I’ll probably look back on the next ten years like I look at the last ten years today. I’ll sit there (alone apparently) but I’ll be content with the fact that I lived every day to the fullest, did everything I wanted to do, and smile knowing the best is yet to come if I just keep trusting God.

DR: Who do you want to portray you in “Tyler Allyn Dean.” The Movie?

Tyler: Oh I really don’t think the world is ready for that; please tell me studios aren’t around the corner! If I had to choose though, I’d probably say John Cena since we’re about the same build. Man, I hope that’s a long way off.

Venues looking to book Tyler should contact RETCORP Publishing at retcorpublishing@gmail.com or call 432.349.4896. Be sure to keep up with Tyler on his website, tylerallyndean.com. His debut album Fired Up, is available on iTunes and CDBaby.

Well, you might be surprised to know that psychologists have found that a mental function called “the halo affect” causes the average visitor to make a decision on whether they like the look and feel of a web site in just a 20th of a second. That extremely quick first impression is what helps the visitor conclude whether they are going to continue looking around the web site or not – if the site looks good, then they automatically conclude, consciously or not, that the other parts of the site will be good, too.

Humans conclude a lot of things according to how they perceive it visually – no matter how many times you say that you “can’t judge a book by its cover”, no one can disagree that visual first impressions are important. If something is aesthetically appealing, a person is more likely to pay attention to it for a longer period of time than just the initial introduction. Those automatic judgments are made as quickly as the eye takes in information, so it’s crucial to make sure that the design of your web site screams, “I’m so good-looking, I deserve your time!” If the visitor gets that impression from just the way the site looks, then you’ve reeled them in and have a better chance of selling them your product.

If the design is not easy on the eyes though, you might as well say goodbye to any chance of the web site bringing you business. Dr. Gitte Lindgaard of Carleton University says, “Unless the first impression is favorable, visitors will be out of your site before they even know that you might be offering more than your competitors.” * If nothing draws a visitor in to your web site, they sub-consciously conclude that there is nothing worthwhile to keep them there, either.

Simplicity, a nice color-scheme, and an attractive setup are part of what makes up a great web site. Dream Row can build such web sites for anyone who wants to make a good impression on visitors, both initially and after more thorough browsing, which will, by extension, help pave the way for a more successful career or business. Don’t let your reputation be tainted just because you don’t have a design that’s easy on the eyes; make sure that your web site is pleasing right off the bat so that every visitor who finds it will want to take a longer look at it.

* http://news.bbc.co.uk/1/hi/technology/4616700.stm

Source: http://news.bbc.co.uk/1/hi/technology/4616700.stm

Now, I’m a Florida ‘cracker’ if ever there was one. I grew up on the west coast, surfed on the east coast, and was a news reporter in the panhandle. I’m proud to say I’ve visited every county in the state. That being said, I know a little about Jimmy Buffett too. It’s virtually impossible to grow up in Florida without becoming an honorary ‘ParrotHead’. Yes, I’ve listened to nearly every album he put out and his music still takes me back to a simpler, yet raucous time in history. My friends and I were singing, ‘Why Don’t We Get Drunk’ long before any of us actually could get drunk, let alone know anything at all about the following verse. We amused our unassuming parents and other adults by singing ‘Cheeseburger in Paradise’ and ‘Volcano’ to throw them off the scent of our youthful indiscretions. These were my days and experiences with Mr. Buffett’s canon of work. Yet now, it seems history is coming full circle for me with the news that Jimmy is bringing a Margaritaville restaurant to downtown Nashville.

Jimmy Buffett breathed life into his music career right here in Nashville in 1970 with the recording of his first album, “Down To Earth.” Jimmy visits Nashville from time to time and several members of his Coral Reefer band live here in the area.

“I’ve been thinking about opening in Nashville for a long time, it’s where my music career began. It’s a very diverse place, and it’s a natural thing to put a stage in. You never know who’s going to show up.” Buffett is quoted as saying.

Shortly after Buffet brought the news, clouds began to form and a storm brewed in opposition to the project. A major component to the proposed venue theme caught the attention of the Metropolitan Historic Zoning Commission regarding the strict building guidelines in the Broadway Preservation District. The matter at hand is the ability of the new development to have windows that slide away or retract for an open-air experience on Broadway. New historic guidelines insist new builds retain a semblance of the historic nature of the downtown storefronts.
“They’re there to protect the character of our city and the buildings that make up our city,” said Tim Walker, executive director of the Metro Historic Zoning Commission.

The project’s architect continues to work with the city of Nashville on the matter and is scheduled to present updated plans at April’s commission meeting.

“I would say we’re 90 percent there, and there are just a few modifications to be made before the projects approved,” said Walker.

A very tangible reason that Nashville officials are so interested in the approval of the new project is the possible $1 million in annual tax revenues that Margaritaville could generate for the city –  not mention the 150 projected jobs that come with it.

The venue also has plans to create one of the most unique downtown performance experiences with an extraordinary stage and concert features. The first level of the café will feature a large eating area with a Gulf and Western theme of shrimp boats, palm trees, and other tropical eye-candy for a relaxed and casual dining experience. There will also be a rustic stage on the first floor for ground level performances. Plans for the sliding glass facade will allow Broadway passers-by to observe a piece of the action from outside the restaurant.

Things get more ‘local’ on the second floor with plans to operate a concert hall-like performance space with vaulted ceilings and ornate glasswork windows. This state-of-the-art venue will host professional sound and lighting gear and will be able to host serious ‘A’-list performances as well as spotlighting emerging local talent.

Moving to the top level will find you in the ‘Cowboy in The Jungle’ themed bar where one can overlook the mid-level concert stage from a more intimate, lushly appointed watering hole atmosphere.

The building project is an ambitious one that should see Nashville hang another star in its heavens of riches. Many residents have lamented the handling of the Musician’s Hall of Fame and Museum transition and feel a great sense of loss over this historic landmark. The city’s plan for a new convention center has hit a raw nerve with some residents as well. It seems that even Margaritaville has its own cache of doubters that feel the new endeavor is stealing away yet another portion of history that is/was downtown Nashville. Yet, considering the probable influx of funds, jobs, and tourists that it would bring, it seems unfair to lump Margaritaville in with the other corporate projects that are drawing so much ire. Music Row has seen its fair share of decline in this flagging economy and is trying desperately to bring eyeballs and wallets back to Music City through renovation and reinvention. Not only would Margaritaville be another showcase for Nashville talent, it would bring in tax revenue as well. In these tough economic times, the attention should be focused on restoring hope to the industry that made Nashville so revered and famous.

Now get ready to slip on a White Sport Coat and a Pink Crustacean, pick up a copy of the Coconut Telegraph and remember most of all, It’s Five O’clock Somewhere.

This is a good thing.

The Loew’s Hotel offered an amazing venue for the event, featuring a lovely space for vendors and sponsors of the event just off of the lobby, which opened into the beautifully appointed event hall. Nestled in one corner of the vendor and sponsor area, Shelby Flowers and Horacio Guendulain entertained the crowd with piano pieces from Bach, Beethoven, and other classics. Within the hall itself was an area set aside for the many extraordinary items up for bid in the event’s silent auction. Beautiful handcrafted jewelry, original works of art, and numerous other pieces lined two long rows of tables for all to consider and bid upon. The opposite side of the hall offered a long runway for the models to exhibit the line of clothing by Olia Zavozina. Vocalist Molly Jewel provided a beautiful program of songs for the guests prior to the fashion show. Backstage found the models and their assistants busily preparing for the show. The attentive and professional Loew’s Hotel staff served wine and hors d’oeuvres to the guests throughout the evening.

Former Tennessee Titan running back and legend Eddie George and his wife Tamara attended the event with their son and two very well mannered bulldogs. Taking the stage, Mr. and Mrs. George spoke of losing a loving pet through a tragic accident, in which most of us could relate. Throughout the hushed audience, emotions ran high. Through their philanthropy, the Georges are reaching out to the Agape Animal Rescue effort to promote the adoption and care of these wonderful animals.

A short, eight-minute film was shown portraying the many services and options that Agape Animal Rescue provides to those animals that they take in. The film also featured several foster parents that went on to become permanent parents of some of the pets. One particular piece of the presentation showed a very neglected mixed breed dog named “Norman” that came to Agape for care and hope. Norman was the guest of honor and featured dog of the evening. A very animated and genuinely happy Norman took to the stage shortly thereafter with Tanya Willis and his new beaming parent.

Fashion designer Olia Zavozina presented a line of children’s wear along with wonderful pieces for both men and women. Primarily a women’s wedding gown designer, the line up for the evening’s fashion show ranged from sophisticated flowing dresses to smart refined creations. Of course, many of the lovely models graced the runway with some of the four-legged guests of honor who were simply on their best behavior. The finale of the runway fashion event was topped by an amazing dress that exhibited a form fitting, white satin upper that exploded into graduating ringed layers of alternating white and black ruffles from the knee to the ankle. The event’s attendees broke into applause as it became clear that the model wearing this one-off creation was none other than the beautiful country music artist Holly Williams. Backstage, I had a few moments with Holly to ask her about her involvement with Agape and her interests in helping animals in need.

“…I’ve been doing a lot of independent rescues for about two years now. I go to shelters, rescue shelters…especially kill-shelters and get dogs”

“…I’m a huge dog lover, so I foster (parent). I think I’ve found homes for about 20 to 30 dogs now. I’ll just take them to my record company, my publishing company, and the hair salon. That’s what I do. I never send an email…(laughing) …when you have them in your hand they just can’t say ‘no.’”

This was Holly’s first Agape Animal Rescue event and she says she’d love to help out again in the future. Holly has recently been touring the world and promoting her album, “Here With Me” as she travels.

The end of the evening saw those that had bid on and won their silent auction treasures gathered to claim them. Guests lingered for over an hour after the event to socialize and speak with the hosts and sponsors. Several of the four-legged attendees were already preparing for a good night’s sleep by ‘resting their eyes’ and yawning from ear to ear.

We at Dream Row are proud sponsors of the good works provided through Agape Animal Rescue. Take the time to look into this rewarding organization by visiting their website at www.agaperescue.org.

Photos in this article provided by Richard Suter Photography

Glitter and Glam 2010 Angel Level Sponsors

The proceeds from this event will be distributed among organizations representing cancer research, fatal childhood diseases, the medically uninsured, and military families in need. One charity rings loud to my heart as they fervently race to find a cure for Muscular Dystrophy. This type of philanthropy is ironic in an event like this, as the disease affects children early in life right about the time they start to walk. Parents notice their son or daughter walking on tipped toes with feet pointed inward. Over time, the ailment will leave these children confined to a wheelchair, never to walk, let alone run, ever again. It’s a disease of the muscle, not of the brain. Perfectly healthy children become prisoners to their own bodies while their friends romp around the playground. Running multiple miles for these children could allow them to one day, through research, run a race for themselves.

Another charity sponsor is The Leukemia and Lymphoma Society. This disease runs rampant in America, leaving healthy children and adults enslaved to chemotherapy and radiation treatment. As most illnesses do, this has a ripple effect on the patient, their family, work, and personality as they battle cancer of the blood and lymph nodes.  Money donated to this cause can help fund more research and develop resources to find a cure, to stop mothers, children and best friends from suffering from this random stealer of life.

To support the participants of the race and their families, countless bands and performers will be rocking down the route to encourage those who are running, and to entertain the thousands of people who came to support them.

For people like me who don’t run unless they’re being chased, the music is there to keep me excited. There will be 50 local bands playing live on 28 different stages. Additionally, there will be a monumental performance gracing the end of the race by Jerrod Niemann, Heidi Newfield, and John Rich with Cowboy Troy.

Jerrod Niemann is a new face to the country scene, but has been in the industry for years, writing songs for mega-stars such as Garth Brooks. This time, he’s stepping out from behind the scenes and giving a rare live performance. In addition to Niemann, Heidi Newfield from the band “Trickpony” will be performing. She is known for her wild bombshell curls and her honky-tonk antics on the stage. Her most recent album, “What am I waiting for”,  takes the listener on a journey through heartbreak, revenge, and self reflection.

The grand finale is none other than Jon Rich, from the award-winning country duo “Big and Rich.” He will be performing alongside his friend and fellow Muzik Mafia member, Cowboy Troy. We all know Rich for his big opinions and even louder voice, but his new album sings the heart of our nation today. With hard economic times and love getting nitty-gritty, he sings what we all think but are afraid to say. His newest hit “Shutting Detroit Down” is sweeping the nation on radio as well as television news and multiple other media outlets. You can expect this show to be equally as patriotic as entertaining.

An event with music, charity, mingling, and a marathon – Sounds like a day Nashville won’t forget, and a day to change the lives of many for years to come.

I saw Brinn perform for the first time during the 2010 Country Radio Seminar at the Renaissance Hotel in downtown Nashville. For those of you who have never had the pleasure of attending CRS, there are private shows held in the hotel rooms throughout the night. I stood elbow to elbow with a small crowd in a room overlooking Nashville. She sat on a stool and confidently sang with a smile, backed only by an acoustic guitarist and drummer who, for the night, traded his throne for a cajone. It was immediately clear that I was in the presence of something unique. As I turned to inspect the crowd, the mutual look of pleasant surprise on every face confirmed my gut feeling. Evidently we all became a bit too lost in the music…and our loudness. Midway through Brinn’s third song, several Nashville Metro Police officers had to ruin the party.

A few weeks ago, I had the great pleasure of spending an afternoon with Brinn on a stroll through Nashville. Once again, I was pleasantly surprised. Brinn has toured nationally and has even made her mark in many parts of Europe. The surprise was that her accomplishments have left her small town charm absolutely unchanged. Commuters slowed to get a second look as we made our way past the traffic circle en route to Music Row while arguing the intricacies of college football. In the end, we agreed to disagree – her with the chomp of orange and blue, and I with the roll of the crimson tide.

“I’ve been a singer my whole life,” she remarked. Born to a classically-trained opera singer, it’s easy to see where the talent comes from. Her sound is a little bit country, a little bit pop. “It’s like Sugarland meets Kelly Clarkson,” says Black. At 16, Brinn earned the opportunity to sing at the 75th annual D-Day celebration in Normandy, France. “That opened my eyes and I fell in love with performing,” she remarks of the experience. A little more than two years later, Brinn found herself making the 13+ hour move from Chester, VA to Murfreesboro, TN where she enrolled at Middle Tennessee State University to study Classical Voice.
After performing in a few operas and other MTSU productions, Black made what she considers “the best decision…since coming to town.” After studying classical voice for more than four years, Brinn changed her major to the newly created “songwriting” concentration in the Recording Industry department at MTSU. Through her newfound major, Brinn was mentored by many of the top songwriters in the music business and earned an internship with Bug Music here in Nashville where she was given a songwriting room session every week to book co-writes and hone her craft. When asked about her experience, Brinn says: “The entire music community in Nashville has been nothing but supportive throughout these past four years. I have been completely blessed.”

With so many new opportunities, Brinn decided the timing was right to make the move to Nashville.

Though the grass looked greener in Music City, Brinn quickly learned that success doesn’t come without sacrifice. “When I first moved to Nashville, I was completely overwhelmed,” she explained. “I played the hall of fame lounge, Douglas Corner, The Commodore… anywhere I could, five nights a week, sometimes to only one or two people.” She confesses, “I didn’t really know what I was doing. It was completely overwhelming because I never said ‘no’ to anything. There were times that my body would just physically shut down because of everything that I was trying to keep up with.”

Relief would come as unexpectedly as the opportunities keeping her overwhelmed.

Through what they both may argue was by divine appointment, Brinn met her manager, Art Wasem, at church. She explains: “We would meet every few months and he always gave me awesome ideas on my career and what I was doing with it. Him becoming my manager (last July) was a God-send…things still get overwhelming, but now we have a plan for it,” she says with a laugh. “Every day after I get in from the gym, we sit down and make a list and check things off as we finish. One thing (Art) has taught me is that successful people make lists,” comments Black. Apparently, Wasem is on to something. Though her music is no stranger to radio, Brinn’s single “Not That Girl” has recently earned substantial airtime here in Nashville. When asked about her support staff, Black says, “I feel incredibly blessed to have them in my life.”

Newly equipped with a support team, opportunity came knocking once again from MTSU. Brinn was approached by a group of students who were interested in using her career as a case study in the international marketing of a rising country music star. Noticing the potential, Black welcomed the opportunity and as a result, traveled to Cannes, France to attend the international music conference, MIDEM (short for Marché International du Disque et de l’Edition Musicale). Being the only country artist in attendance, Brinn wowed the attendees and returned to the states with more than ten equipment and apparel endorsements including ProDance Footwear, and Gator cases. “It was a great way to start of 2010!,” she said with a smile.

The success continues to roll in for Black. Most recently, she has begun to attract the attention of several well-established record labels. When asked about the recent successes, she says: “I keep pinching myself…there’s no way this is really happening to me!” Dream Row will be home to her upcoming video blog – bringing you live updates on her career and some of her personal life. Brinn is playing select dates in and around the southeast before heading out on her summer tour. Until then, she is the Wednesday-night performer at Cadillac Ranch in Nashville.

Take advantage off the opportunity to see her while it’s easy to do so. I have a feeling that those days are numbered.

Be sure to check out brinnblack.com and myspace.com/brinnblack. Her album,“Places She’s Never Been” is available on iTunes and CD Baby.

Death on Two Wheels is all of the above. They have a raw, dirty sound that is southern to the core with the perfect mix of guitar-driven rock and vocal harmony. One fan compared them to the Foo Fighters and “Jet…if Jet had grown up in the dirty South.” A couple of weeks ago, Dream Row caught up with Death on Two Wheels members Trae Vedder, Andrew Knox, Paul Doss, and Greg Neel before their show at The Basement in Nashville. The interview took place just after a disappointing loss in a game of beer pong before another show sent them careening on their journey back to their hometown of Atlanta, GA. Read on as they talk about their experiences and what defines success for them at this point of their career.

DR: You guys have been touring for a while now. What defines success for you as a band?

DOTW: We recently played a show in Detroit. There were like 7 people there, and we were wondering if anyone was getting us, and as we finished playing, off in the distance we see this girl walking off with our CD and she waved it at us.  We were like; “well she took it off the merch. table but it seems like she is going to enjoy it, alright we can call that a “sold” CD, and later we went behind the merch table and there was $7 sitting there with a note that said, “this is all I had, I hope it’s enough,” and we were like yeah!!! We sold a CD!

(Experiences like that and) selling a CD and shaking that person’s hand and then having them comment later online that the CD hasn’t left their CD player for a week – that’s when you know that you have connected. That is what makes you want to keep doing it. Something a little as five names on a email list at the end of the night. Those people want to stay in touch with us and that is how you build it. That is success for us at this point.

DR: Along those lines, how are you keeping up with the fans with all of the social media that is currently out there, like internet radio, Facebook, and Twitter – have you had success with that type of media?

DOTW: We have had a lot of success with (those avenues): that is how we promote ourselves…. we hope it continues to grow bigger and bigger but who really knows? It definitely still matters to have posters and put them up, but it matters more to have a presence on those sites. Without the web stuff nobody would know about any gig.

We have (also) been giving a cover song away as a free download (as publicity on this leg of the tour). I think it is important to give people a little taste of what your doing for free and see if they (the fans) respond to it.

I know that we have talked a lot on this tour about if they are stealing the music or getting it for free legally. Either way, you hope that translates to a ticket sold or a t-shirt sold or a CD bought in person.

DR: With regards to people getting your music illegally or for free, have you experienced a detrimental side of it?

DOTW: At this level, it is not non-existent, but it doesn’t really affect you when you are just starting out, it is just another new level of accessibility and the good outweighs the bad, at this level any way.

DR: Your new album is titled “Separation of Church and Fate”. Where did you come up with that name?

DOTW: It kind of spawned out of the lyrical content of “Take It Away” which is about struggles with life in general and “Separation of Church and Fate” seemed to wrap it all up in there. We kind of love puns so it was a good way to slide that in there too.

DR: You are hearing new bands all the time. What does it take for an artist to catch your ear?

DOTW: Being on the road where you see two or three bands every night, the relationships with those people that you meet helps play a part in what makes you stop and listen to what a band is doing.  To like an artist or for us to grow the attention from our fans, a handshake or a hug makes all of the difference.

Conviction is (also) a really big thing. Seeing a band that really knows what they are doing and they have their own spin on it and it isn’t just a rehash. It’s pretty easy to pinpoint where most bands influences are from and if you can avoid that to an extent or if you hear like 20 different influences, then it becomes its own thing.

Everyone is looking for originality that isn’t so foreign that it is unlistenable…something familiar and something different all at the same time.

DR: Talking about relationships, how do you handle arguments within the band?

DOTW: We definitely have arguments and everybody bumps heads and being in the van traveling around on tour is just like being cooped up in the studio and making a record; it is exactly what you want to do until something goes wrong and then it is exactly what you don’t want to do. But we couldn’t be a band if we couldn’t get through those things. That’s the beauty of it, when the polite stuff gets out of the way, that’s when honesty happens and through any sort of argument, ultimately if you have your head focused the right way you can take a lot of positives away from whatever horrible thing happened

Every day you are going to run into something where you want to kill somebody…and it’s the stupidest little things (that drive you crazy) and you have to (just) roll past it.

DR: Any career advice?

DOTW: Your experiences trump any advice you will get. You hear a lot of things and you either don’t believe them or you don’t understand until you see it for yourself. It is kind of a “fall down, get back up again” kind of thing.

DOTW: You can’t have enough patience. You think you are really good but you are probably only going to get better and look back a year from now and think, “I really wasn’t that good at all.”

DR: As a band, what are you guys expecting to accomplish?

DOTW: The overall goal is to make a living at it. That would be the greatest thing, to support yourself doing what you love, but you have to start with baby steps and take what is there. Music is great but you still have to sing for your supper.

If you like gritty, original Southern-Rock, Death on Two Wheels is for you. Be sure to check them out on MySpace, Facebook, and Twitter. If you like what you hear, buy something! It might even get you a handshake or a hug.

deathontwowheels.com

twitter.com/do2W

myspace.com/deathontwowheels

“Ga-Ga OOO LA LA……”  I think I first noticed it with Lady Gaga. No, I think it first really bothered me with Lady Gaga, but now the more that I listen to popular songs, the more I hear it. What is the purpose of singing your own name in a song? Isn’t that kind of like talking in the third person? Are you trying to make sure that I know who you are?  If I bought the album, I could take the time to just look at the front cover where the name of the artist is cleverly emblazoned. Maybe they are just trying to keep me from killing myself, trying to figure out just who it is singing this incredible song.

The reasoning for this name-dropping bothered me so much that I actually spent time searching for an answer.

I petitioned the mighty god of information (Google) and found some like-minded friends in a group on Facebook, which I quickly joined. Other than that, there seems to be little explanation of why this behavior exists. So I am making one up.

It seems that shameless name-dropping is a fairly recent trend in pop music (think F-E-R-G-I-E and the previously mentioned Lady Gaga). I think that they borrow this from some artists in the hip-hop genre who have been letting us know who is behind the microphone for years. 50-cent and Snoop Dog are just a couple that come to mind without much thought. But where did this originate? After many long hours and sleepless nights, I think the answer may lie in the highly competitive world of sports.

Watch any sporting event and you will find that athletes have their names on their uniforms (think baseball or basketball, not so much NASCAR or golf). Prizefighters have gone as far as having their name tattooed on their body. This is very telling. I see two reasons for this behavior of writing your name on your body or constantly mentioning it in your music. As strange as it may seem, they are as applicable to cage fighters as they are to pop starlets.

Reason 1 – The individual is afraid that they will completely forget who they are.

This is a well-reasoned concern in boxing, where you have someone intentionally trying to cause damage to your head. That kind of continual abuse could easily result in brain damage or memory loss. Lets say that a really nasty left hook left you with a case of severe amnesia and you woke up not knowing who you are. Having your name tattooed on your body would definitely help in the recovery process.

Amnesia is not so much an occupational hazard in pop music, but in an industry where constantly changing tastes in music and appearance can cause artists to change their look, music, managers, values, and utilize plastic surgery, it can be really easy to forget who you are. Britney Spears comes to mind. There’s someone who completely forgot who she originally was. We may never find that person again.

Including their name in song lyrics may help remind these artists who they are, if for no other reason than the mechanics of having to sing those words every night. If their appearance changes as much as Lady Gaga, this can be really important.

Reason 2 – The individual needs to differentiate themselves from others who look, dress, and sound just like them.

Going back to the sports arena, teams who compete wear uniforms to identify them as being part of that team. Color designates team, then they have names on the back of their jersey to indicate individuality. This is probably to help identify them to the casual observer from a distance. Again, this is more noticeable in team sports such as football and baseball than in NASCAR or golf. This is because there are more casual fans in baseball and football than there are in NASCAR or golf. You don’t hear many people saying that they watch NASCAR because they “just like racing.” They go because they want to see Dale Jr. dominate. They can even tell you which car is his while wearing a blindfold. In contrast, there are many people who will go to a baseball or football game just because the weather is nice. Those fans can’t be troubled with memorizing the name of every player. That’s why it’s conveniently draped across their back.

So maybe saying your name in your song is there to help the casual listener. Those who listen “just for the beat” shouldn’t have to worry with searching for the uniqueness of the artist. They can just hear “OOOO…GA GA” and download the song from iTunes. That way, they can learn the parts where they can really fist pump the next time they’re in the club. Or… could it be that the music just sounds so much like everyone else that you have to say your name to make sure people don’t confuse your “incredibly unique” sound with another artist who sounds just like you?

But all of that was before Itunes.

If you’re one of those fans who listen to ONLY the song you like on an album, the Itunes store enables your disease by allowing you the opportunity to trim the unnecessary tracks and order your music by the song rather than the album. Just as with music, Itunes also offers video a la carte.

Since my class is currently studying the outbreak of WWII, I wanted to show them a couple of episodes of The History Channel series WWII in HD. If I wanted to purchase a DVD, my only option would be to spend $30 plus shipping on the entire season and I would wait 3-7 business days to receive it.

No longer.

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With iTunes, I can choose what I want and leave the rest. Suppose I only want two episodes. Rather than the $30+ price tag and a shipment that I would’ve had to wait on (figure 1), I can download episodes at $2.99 each (figure 2) in a matter of minutes, without ever leaving the classroom.

If history isn’t your thing, you’ll be happy to see that virtually every network on TV sells individual episodes almost as soon as they air. I’m a big fan of House M.D. If I wanted a particular episode, I would open the iTunes Store (figure 3)TV Shows, then Networks & Studios (figure 4). Scroll down a bit and there is the FOX logo on the first page (figure 5). Click there, and you get a list of every Fox show available on iTunes (figure 6). Click House M.D. and take your pick of season and episode (figure 7). Take some time and look around in the iTunes Store. Many networks offer discounts and some are even free.

I’ll have an order of Community with a side of Modern Marvels to go please…

Figure 3 - Click to enlarge image

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Those in the know saw the changes as little more than probable updates to CS3 and not an entirely new offering. This discovery earned Adobe criticism for pushing small changes into a new release just to satisfy their bottom line. This has been an issue of contention for Adobe and consumers since the 2003 launch of CS1.

There were a number of video production professionals who were truly upset over Adobe’s failure to address the issue of the new H.264/MPEG-4 video format in CS3 as the new format was fast becoming the industry standard in newer camcorders at the time. Adding to the dissent was the fact that this format was recognized by Adobe competitors and incorporated into their software far before Adobe. Consumers naturally thought Adobe would simply release an update for the CS3 suite to add this oversight. Instead, they pumped out CS4 without ever looking back. Sure, CS4 added better HD processing at 64-bit rendering speed and better utilization of some graphics processors, but the entire affair left a bad taste in the mouth of previous CS purchasers and a blogosphere of seething, angry video producers. Now, less than a year and a half later, we see the release of Adobe’s CS5. Wisely, they spent a little more time and effort this go around.

It is difficult to list, breakdown, or bullet-point the massive amount of game-changing technology that Adobe has poured into this Creative Suite. The only thing to be said at the onset is that there is going to be a boatload of code jockeys out there having nervous breakdowns. For creative designers and novice users that work in the mystic realm of right-brained thinking, this new suite will offer you an entire universe of new possibilities without ever once having to code or have someone code anything you work on. That feature itself is reason enough to pony up the funds to invest in this release. Adobe has finally unshackled those of us that enjoy design and creation, yet aren’t “wired” for (or especially hate) coding to finish concepts. The platform does all of the coding itself whereupon you can share files and projects between applications seamlessly as it crunches the numbers in the process. This is not simply evolutionary, but rather, revolutionary.

Another feature of the new CS5 video production suite is something all professionals are going to do back-flips over. Remember when working on a video project that involved rotoscoping and how ridiculously difficult it was to do anything other than destroy your eyesight with mattes and frame tracing? That personal nightmare is over. The new rotoscoping feature takes a very rough outline of the first frame element you select, applies an outline with amazing precision, and frame by frame, applies the first logarithm trace automatically to the selection all by itself. Even if new elements are revealed as the frames progress, the application understands to add them to the outline in each frame. This had me picking my jaw up off of the floor. What used to take days for videographers can now be done in and hour or so. Harnessing the 64-bit processing power allows a professional to forget the days of 5 second, choppy playback segments. Now you can stream the entire clip smoothly as you’re working on it. This, of course, depends on the amount of RAM you’re utilizing, but Adobe’s new Mercury Engine player will change the way video editing is done within the application you’re using.

Adobe Photoshop is still Photoshop. You won’t be scared off by any new interface or tool structure. What you will have to get used to is the fact that 10-year olds will now have a tool to put some mid-level Photoshop gurus on unemployment. Photoshop tools now utilize algorithms to think for you in ways never before realized. Content-Aware smart masking and layering will now see 12-year-old Erin, cutting and pasting an image of herself onstage with Lady Gaga faster than a bee-stung stallion. You can take an image into Photoshop, use smart masking, create a new layer, delete the image from the first layer, and the new software will automatically fill in the background image where the deleted selection was from the existing background information! Add a new palette of brushes and uses for them, time-saving Illustrator features that do a great deal of process thinking for you, and you have a new Creative Suite from Adobe that finally integrates genius technology to allow the creative process to flourish.

The new suite broadens Photoshop’s ability to streamline work for photographers, as well. Mini-Bridge opens within Photoshop to display your catalog of images instead of having to have Bridge open in the background. Images can now be adjusted within Photoshop to utilize HDR capabilities, using a series of images or even just one to create surreal and beautiful imagery.

There is so much more this new release offers that it would take weeks to fully report. Needless to say, Adobe has knocked it out of the park with CS5. To fully appreciate the new features and amazing technology under the hood, head over to adobe.com and watch their presentation on this game-changing software. Patience pays and this time Adobe has rewarded all of us with a truly innovative, impressive, and powerful product!

“I am a 30 year-old comedienne who is just getting started. Any advice? Warnings? I am not a hack nor am I real raunchy and rough. Just reading some of your philosophies, I sense your mentality to be refreshing! Sincerely, Deidre”

Dear Readers: I get many emails like the one above, and Dream Row has given me the opportunity to start a column for aspiring stand-up comics. Sometimes I’ll be informative and sometimes you may find me funny. Sometimes I may just be irritable and piss you off. As with anything, take what you want and leave the rest.

I am a 22-year vet who had a great career till I ruined it with drugs and alcohol. But we’ll get to that later! You may be looking to get into stand up, or maybe you’re just here for an interesting read. Nevertheless, I’ll tell you all about what it takes to get there, and show you how easy it is to screw up. Do you have questions? Send them (and hate mail) to editor@dreamrow.com. He loves that. I am happy to offer you whatever advice you care to hear. Bear in mind that often, these are only my opinions. And yes, my opinions are 100% correct.

Lesson 1: Your Appearance

Part A: Your Physical Appearance

The quickest, surest route to your goals (not that there is a quick/sure way) is to start with your appearance. When I started in 1986, I was one Hot Mama.  Tiny waist, giant boobs, long legs, and blonde hair. Ironically, this can also work against you.   I found that it took me a few minutes for the women to relax and realize I wasn’t after their retarded, inbred, bucktoothed brother that they were holding hands with.

The best advice I ever got was from James Lee Reeves when I first started comedy 20+ years ago. He told me “Always look your best on stage, even if you’re only up there for 5 minutes,” and he was 100% right.  I don’t care if you drove 29 hours to do five minutes, as soon as I see ratty jeans and a T-shirt, I immediately think, “they don’t care.’” I get arguments about this all the time from comics who say, “But that’s me.  It’s my character.”  Yeah, okay, whatever. I’ll tell you right now, if it’s between you and someone else, and they are better dressed, a club owner will go with the person who took a little more time with his/her appearance – even if you are a tad funnier. At this point in your career, the club owners are the ones you need to impress, whether you like them or not. I’m not saying you have to wear a suit or a dress every time you’re on stage. Just look like you give a damn. Take the extra five minutes to run an iron over that shirt, guys.

“But Beth, there are exceptions to every rule.” Yes, there are, but you probably won’t be one of them. Though I shudder as say this: if you have a costume, that would be the exception. Have you seen American Idol when someone comes in with a costume on? Sure you have, they get axed on the first few episodes. I NEVER recommend costumes. Why? Larry The Cable Hack is a good example. He went onstage in his pajamas one night and BAM!, the world as we know it was forever changed.

Also in this category: If there is something obvious about your appearance like bad hair, weight, muscular dystrophy, or if you look exactly like someone in the public eye, you must mention this immediately, then move on.  The audience will be thinking, “Does he/she KNOW how that looks?” They won’t listen to you until you address it. On the other hand, if you’re exceptionally beautiful, try to make a few self-depreciating remarks without going overboard.  Don’t talk about how fat you are if you don’t look fat. People resent this, especially women. I’ve been beautiful onstage and I’ve been hideous and 300 lbs. Sadly, 300 lbs gets bigger laughs, but I don’t recommend staying that way for the sake of humor.

I have also had tragically messed up hair my whole life. I do a couple of hair jokes and move on. I’m not saying that self-depreciating comedy is for everyone. In fact, most television producers will tell you that they aren’t looking for that. Richard Lewis did that. Think of the comics you see all the time on TV; very few look disheveled. Regardless of your personal opinion of them, you never see Jerry Seinfeld or Steve Harvey on stage unless they are wearing a suit. Harvey is always dressed to kill. People don’t want to pay good money to see someone who looks like the three teenagers who are sleeping in their basement.

Part B: Your Character

If you want to be able to pay bills via comedy, beware of having a one-joke act, i.e.: I’m fat, I’m Chinese, I’m Black (no one will ever do it better than Eddie Murphy), I’m a housewife (Roseann already did it). It’s boring, repetitive, and unoriginal! You may not always be fat. Then you’re left with no material. Just acknowledge it and move on. Remember Andrew Dice Clay? Costume AND a one-joke act. Which is a shame, because Andrew is a very funny guy. It’s unfortunate that he painted himself into that “one look, one joke” corner. True, he made a load of money for a couple of years, now he’s fallen off the planet.

If you are Gay and proud of it – rock on. But you’ve got to gay it down if you ever want to do mainstream television, especially the women. Sorry girls. I don’t know one gay female comic on the planet making tons of money today…except Margaret Cho. But still she’s not a household name the way a Tim Allen or Roseanne is. Is it fair? No. In regards to that, you’ve got to remember that most people are idiots. If you walk onstage with an axe, sporting a Mohawk and army fatigues with tattoos all over your neck… good luck. I don’t make the rules. I’m just callin’ ‘em as I’ve seen ‘em for many, many years. Most lesbian comics I know that are really good always end up going for a ‘softer’ look, because you want your audience as open as possible when you hit the stage so that you appeal to as many people as possible. Save your waders and machine guns for “Gay Night” at the Comedy Club.

Lastly, for God sake people, take a shower. I seriously cannot tell you how many comics (mostly male) do not bathe, or use deodorant, or brush their teeth – Swear to God. There is nothing worse than meeting a great comic only to be ambushed by the funk. It makes me want to jump through a plate glass window. This is basic hygiene people. Learn it in kindergarten like the rest of America.

“Nashville’s Beth Donahue-Weedman has been a successful comedian and former on-air radio personality for more than 20 years. You may recognize her from the CMT special “Southern Fried Chicks” where she performed alongside Etta May, Trish Suhr, and Sonya White. These days, she is a perfectly healthy, self-professing shut-in, proclaiming: “If Starbucks delivered, I’d never leave the house.”

Over the past decade, entertainers such as Seal, Chris Daughtry, Maroon 5, John Mayer, and many others have joined the cause and provided their musical talents in an effort to spread joy among the traditional gloom of the hospital.

With regularly scheduled weekly performances, this organization makes an effort to cater to everyone. Even the performers find themselves thoroughly entertained as they croon for several minutes to an audience of smiling faces and teary eyes. Musician Darius Rucker recently made an appearance at Veterans Administration hospital in Nashville. “It was an amazing experience, just going in and watching the faces,” he says. “You seem to just be making people happy for those two-and-a-half, three minutes that you’re playing.”

The organization also provides “CD Pharmacies,” a free service much like a library system in which patients can check out music CDs and audio players for their own private use.

You too can contribute to this organization in a number of ways. There are always positions available for volunteer office assistants (organizing CD Pharmacies and Fundraising) and guides (acting as a liaison between musicians and hospital staff). Of course, there’s always room for musicians willing to donate some time.

Volunteers are currently being accepted in New York City, Philadelphia, Miami, and Nashville only. To become a volunteer, simply visit the company website at www.musiciansoncall.org and fill out an application in the category of your choice. You may also help by donating any popular children’s CDs (Jonas Brothers, Miley Cyrus, Taylor Swift, etc.). Send donations to 1133 Broadway, Suite 630 New York, NY 10010 for use in CD Pharmacies.

Yoda was created as a puppet in the original trilogy, and his puppet form was brought back briefly in Episode I. The word “puppet” seems to cheapen the concept a little, but the making of Yoda was incredibly painstaking. The challenge facing the creators was to create a puppet that was believably powerful and wise and not just a less-hairy version of one of the Muppets. Frank Oz is responsible for voicing and puppeteering the original Yoda that millions got to know and love, and he had each eye blink and ear wiggle down to a science. This hands-on, intricate work shows that Puppet Yoda has a traditional quality that CG Yoda can’t top – both versions were elaborate in their own way, but Puppet Yoda is reminiscent of the good ol’ days of Star Wars, while, for some, CG Yoda represents the weakening of the quality of the franchise in later years.

For two shots of Episode I and the entirety of Episodes II and III, Lucas decided to graduate Yoda from his puppet form to a more advanced, computer generated version. The plan for the legendary fight between Dooku and Yoda inspired this transition: older, stiffer Puppet Yoda could not fight. Millions clapped their hands together excitedly after this scene and forgot all about stagnant, all-bark-and-no-bite Puppet Yoda. Also, in the prequels, CG Yoda could walk. In the original trilogy, the actor Warwick Davis had to take the stage whenever there were any walking scenes. If you’re the type of person that places the importance on looks and technological capabilities, CG Yoda clearly wins.


Perhaps, though, Puppet Yoda and CG Yoda don’t need to be placed on opposite sides of the ring. The creators of CG Yoda clearly did not think they were better: they toned down the realism of their creation so as to not outdo the awe-inspiring puppeteering performed by Frank Oz in the original trilogy. They saw CG Yoda as an ehanced version of Puppet Yoda, not a replacement. The decided look of Puppet Yoda, and his little quirks, still served as the basis for CG Yoda’s attributes. CG Yoda meant that Yoda could convey power through silence as well as he could through words. It’d be reasonable to conclude that CG Yoda was just further, prettier means of proving just how awesome Yoda is.

Whatever your inclination is, there is clearly only one way to settle this matter: an ultimate Puppet Yoda vs. CG Yoda face-off. Fight!

For more than you ever thought it was possible to know about Yoda, see:

• Yoda. Wookieepedia, the Star Wars Wiki.
• The Making of Yoda, Part I. CineSecrets.
• Yoda at starwars.com

The first thing you have to know about Brad Paisley is that he is a consummate practical joker.  For example, Mr. Paisley once had Josh Gracin’s tour bus manipulated in such a way that the entire tour crew thought the bus had broken down beyond repair. He also had his band dress up as pimps and then strut out on stage during Kelly Pickler’s cover of Dolly Parton’s song ‘9 to 5,’ making it appear that Pickler was singing about a prostitute’s work schedule. On another occasion when things were apparently ‘slow’, Paisley had the wild idea to kidnap Jack Ingram…fun, right? Well, the humor doesn’t stop there. In a fit of apparent pent up craftsmanship, Brad and the crew fashioned a cage built from PVC piping and imprisoned Ingram therein. When it was go-time, Ingram was wheeled onto the stage with only a microphone and a hacksaw. Oh, Mr. Paisley, when do you find the time to ply your trade with all of this mischief making, let alone find time to draft, film, and edit a submission to the Nashville Film Festival?

Nonetheless, he has. It seems that at an opportune moment when his wife Kimberly Williams-Paisley had business to attend to out of town, Mr. Paisley began to formulate a stream-of-consciousness prank involving his infant son Huck, left in his care. The plan set in motion involved rushing to a Toys R Us to buy a very realistic looking doll and dressing this doll in Huck’s outfits. Camera in hand and brain in full-tilt wacky, Paisley began a project that saw young Huck in a myriad of staged, ‘not-safe-for-baby’ vignettes. In one scene, young Huck is seen doing a little target practice with a pistol and another has the adventurous little tyke riding a horse. There is also a segment supposedly showing the youngster rocketing down a hillside in his stroller at break-neck speed.

Upon returning from her scheduled trip, the doting mother apparently sat horrified as she pressed play on the waiting film. Of course, the horror turned to hilarity once she was aware of the scheme. The film was screened at the Sedona Film Festival and they asked that it be submitted to their line up. This move piqued the curiosity of many involved with the Nashville Film Festival. After some discussion, Mr. Paisley agreed to allow a screening of When Mom’s Away during the upcoming festival here in Nashville. Festival organizers have scheduled the screening for April 22

So, if you’re in the mood to see a brave young lad set out on a series of adventures that no child should ever try at home, set aside some time on April 22^nd for a peek into Paisley’s twisted sense of humor.

Oh, and if you’re wondering if Paisley ever becomes the victim, the answer is ‘yes.’ During the Paisley Party Tour, Brad got singer/songwriter Jewel with a rather adult-themed prank. To keep it family-friendly, we’ll just say that it involved a swinging crew member dressed as a condom. Late last year, Paisley’s plane landed at the Nashville airport and he was immediately swarmed and handcuffed by a hefty group of police officers. Once secured in the back of the police cruiser, he was informed that he was facing serious criminal charges. When pressed, they divulged that he had committed serious crimes of ‘excessive noodling’. It was at this point that a shaken Mr. Paisley realized he had been served up a big steaming bowl of revenge from Jewel. Touche’ Jewel…touche’. Now I’m wondering what Mrs. Paisley has in store for her husband after watching When Mom’s Away.

Since then, the controversy caused by Mayer’s inflammatory remarks has died down a bit as the tabloids have moved on to fresh controversy. So now Mayer can breathe a sigh of relief and move one with his life, right? Or can he? The truth is that there may not be a way to measure how the interview with Playboy affected the person and the persona that are collectively John Mayer and whether the damage done will be permanent or not.

First, let me be clear about what I mean when I say person and persona. In an aspiring artist or musician, or really in any public figure, both are needed and the distinction between the two is critically important. The person, is just that: who you are in real life, the person that exists when the lights are off, when there is no one around. The persona, as defined by Merriam-Webster, is “an individual’s social facade or front that reflects the role in life the individual is playing.” In other words, it’s the image that is cultivated and used in public to market the artist (and the products they offer) to a chosen, or target, audience. The ultimate goal is for the persona to provide the impression of being the person while still allowing room for some personal privacy.

As the persona is supposed to be like the person, it can be a challenge to keep the two distinct from one another. One setting where this can be especially challenging is in an interview. With John Mayer, the greatest shock was not what he said, but the fact that what was said didn’t match the persona of who John Mayer is supposed to be. A whole lot of negative attention could have been avoided if Mayer had followed some very basic rules about interviews.

If by some chance you have been living in a place where you are not inundated by popular music and celebrity gossip and you have no idea who John Mayer is, here is a quick rundown of the John Mayer persona: First, one of his most popular songs is entitled, “Your Body is a Wonderland.” Most of his concert attendees are female, with good reason. Second, Rolling Stone called John Mayer one of the “new guitar gods” in a 2007 article. Mayer has shared the stage with B.B. King and Buddy Guy among others. In a sentence, John Mayer would be a balance between the gentleman who knows exactly what to say to a girl to make her feel special and a guitarist who enjoys the mutual respect of blues legends.

The first rule to remember in every interview is: You have NO control over what is said about you. If there is a chance that something you say can be misunderstood or taken the wrong way, don’t say it. Remember that the person giving the interview has a job and part of that job is to bring readers or viewers to the publication or outlet that employs them. In case you were wondering, controversy is a GREAT way to drive traffic. Everyone loves a good train wreck. For example, Mayer was asked the question: “Do black women throw themselves at you?” He responded with: “I don’t think I open myself to it, My d*** is sort of like a white supremacist.” This statement carries a magnitude of shock value. Why, you ask? Because it came from the mouth of a guy who tours with a band comprised mostly of African Americans and enjoys (or maybe “used to enjoy”) their respect. That statement does not fit with the persona described above. If the person of John Mayer prefers other women to African American women in private, that should be something that the persona of Mayer should be careful about discussing publicly.

The giveaway that Mayer’s person responded to that question rather that his persona comes later in the interview. In reply to a question about having a “hood pass,” Mayer stated that he didn’t have a hood pass and that “being black” has less to do with the color of your skin and more to do with how you handle adversity: “It’s making the most of your life, not taking a single moment for granted. Taking something that’s seen as a struggle and making it work for you.” That statement reflects the persona of John Mayer and has little in common with the person who said he has a racist penis. The statement about his penis was almost certainly one used by Playboy to create controversy and drive readers to their publication.

This brings us to the second rule: Answer the question. Then stop talking. What I find interesting is that for a artist who can find incredibly powerful things to say in a lyrical phrase, Mayer suffered from diarrhea of the mouth when he was asked if he thought that fame would be all “rainbows and unicorns.” Mayer’s response: “I had a conversation about fame with Jen [Aniston] before we ever really stepped out in public. She said, ‘Do you understand what this entails?’ Two weeks later I had people outside my house. I was smart enough to know it would probably make me a salable item for the paparazzi. I knew I’d have to move to a home that had a gate. But that pearl of possibility that lives in your heart when you meet somebody you want to know more about has such a different molecular density than everything else that you have to pursue it. And I wouldn’t undo it, man. Because if it had worked out, I would have reaped the benefits. I would be sitting here saying, ‘What I have when I go home is the thing I’ve always wanted.’”

The answer to that question had very little to do with whether or not fame was what Mayer thought it would be. It is better to keep your responses short and to the point rather than go into great detail and risk being misunderstood. I personally read the pointless musings of many people on a daily basis. If what they say goes over 120 characters, Twitter doesn’t post it and I lose interest. A carefully phrased answer to the above question could have been re-tweeted repeatedly to millions. Instead, we have a painful scenario where Jennifer Aniston tries help Mayer understand what fame is about. I don’t know how successful she was.

Rule number three: Avoid sarcasm. Sarcasm is a wonderful thing. It just has a couple of problems when used in interviews. Sarcasm depends on the context of the statement to be really effective. In a typical interview, the most quotable statements will be used and they may be pulled out of context. If those statements happen to be sarcastic, it is up to the interviewer, not the interviewee to decide whether or not to share them.

In another interview with Details magazine, the author had this to say about Mayer: “How does someone who makes such inoffensive music manage to offend so many people? Although he doesn’t seem excessively arrogant for a multimillionaire rocker, when Mayer speaks he has a tendency to deliver his lines—whether sincere or surreal—deadpan. When written, the words convey something different from what they do in person, which can make Mayer appear obnoxious.”

Sarcasm depends on a tone and inflection to be effective. in Mayer’s case, he uses a deadpan delivery quite often. There isn’t currently a symbol to designate when someone is using a sarcastic tone or inflection in print. It is then left up to the writer of the article to designate when a statement is sarcastic. It is entirely possible that Mayer was being sarcastic in many statements in his interview but the author of the Playboy article did not indicate that. As a result, Mayer could mistakenly sound offensive and obnoxious.

So before you get ready to go to your next interview, do two things. First, remember the persona that defines you in public and allow that part of you to answer the questions. Second, follow the guidelines listed above and you will be on your way. Just in case you need those guidelines in 120 characters or less, here they are again in abbreviated, tweetable form:

1. Remember you are not in control.

2. Answer the question, then shut up.

3. Avoid sarcasm or confusing lingo.

Like so many independent artists today, his first endeavor wasn’t so successful. Though Christopher currently holds a prominent reputation in his chosen profession, much of his young life was spent engrossed by live music. Through his bands, Rock Bottom and Badfun, he desperately tried to make a career of music. When stardom fell out of reach, Jason was left picking up the pieces.

“What happened was that whole grunge sound came into existence and there was no more room for the rock sound,” Jason says. “I was dead set on being a rock drummer. When the band broke up, I didn’t have a backup plan,” he laughs.

Fortunately, Jason began the next phase of his life shortly after his failed music career.

“I lived near Agoura Hills and near there was where they shot Dr. Quinn Medicine Woman starring Jane Seymour,” Jason explains. “My mother worked at CBS, so one day she said ‘How about I get you on this show as an extra?’ The show was shot literally 2 miles from my house, so I got a job as an extra.”

It was during his television work that he re-discovered his calling in photography.

“Ever since I was thirteen I wanted to be a photographer. I just didn’t know what direction I wanted to go in,” he reflects. “When my band broke up, I thought that was the end. I guess when one door closes, another opens. Then the show got canceled. I guess I worked on it for about 5 years. So now I thought ‘what the hell am I gonna do?’”

In spite of his panic, he did succeed in finding more work on the small screen. Though he enjoyed his work in the studio, there was still something missing in his life.

“I turned thirty. Literally, I woke up one day and said ‘I need to be a photographer.’ I walked into the office of the show I was working on at the time and said ‘I quit.’”

That action alone began what would evolve into a successful career in photography.

The art of creating images spans a broad range of subjects. Photographers specialize in portrait, wedding, photojournalism, landscape, still life, and advertising, just to name a few. Jason would eventually stumble upon fashion photography and begin pursuing a career in capturing images.

“I started off just doing headshots,” Jason explains. “I started noticing fashion magazines at Barnes and Noble. I liked the clothing, the couture, the whole idea of telling a story with photos. The key of fashion photography is knowing fashion. I just started looking through fashion magazines and I learned fashion. I wanted to shoot women with beautiful clothes on. I needed to teach myself fashion; what looks good on a woman and what doesn’t.”

“Photoshoots require careful preparation. Models must be notified, budgets must be discussed, the locations must be selected, and a wide variety of other variables must be solved in order to produce images of perfection,” he continued.

“It takes about a week of planning. You gotta cast the model; you go over the concept; how you want to display the clothes. Do you wanna go on location or in the studio? You gotta find the location; set the date. Sometimes it can take 2 weeks before you get everyone in sync. Meanwhile I am planning and trying to find what the designer wants; what look they’re going for.”

Although Jason primarily shoots living models, his artistry isn’t limited to that particular genre.

“I love shooting landscapes, whether it be sunsets, mountains, or old buildings. I also like shooting people, just regular people on the streets.”

Jason’s trip to the southern states illustrated all the luxurious colors of nature. Having spent much of his life in the bustling streets of Los Angeles, a trip to the country served as a photographer’s retreat to paradise.

“I’ve never seen old homes just left there on the side of the road. Shooting that, you realize there’s a culture there. I wanna capture that.”

The recent precedence of internet browsing has brought forth a wave of successful businesses. The quality of a website can now determine the level of respect the public holds for an individual. An easily accessible, well-constructed website draws a larger crowd and instills credibility in the site-possessing individual or company.

“I’ve had a site online for at least 10 years” Jason says. “You have to think of yourself as a brand. Nowadays, you have to have a good website that brands you. That includes the colors and logo. It’s got to navigate clearly. People wanna see pictures right away. You know ‘Can this guy shoot?’ The website is very important.”

No statement could ever be more true. However, though owning an impressive website may be important for any company, the internet also allows room for amateurs to gain unearned attention.

“Having a website has totally increased my business and my exposure,” Jason shares. “If you wanna talk about the internet, it’s actually hurt my business. You get photographers who really don’t know what they’re doing, they just fix their photos with photoshop and they can get hired. They can take any poor shots and make them good.”

The digital age has virtually paralyzed the world of film, enlargers, and developer chemicals. Dark rooms are practically a thing of the past.

“Good photographers are only good photographers because we shot with film and you can’t retouch your work” Jason articulates.

Jason now receives over 24,000 monthly visitors to his website.

As mentioned on his website, Jason offers workshop opportunities for up-and-coming and intermediate photographers. The classes offer tips on working with and posing live models, adjusting lighting situations, and understanding the process of shooting photographs.

“I tailor [the workshops] to the needs and skill of that particular photographer. I have one this weekend and the guy sent me a list of what he would like to learn, so I customized it for his needs. I once had a woman who didn’t know the correlation between f-stops and shutter speeds, so I literally had to start at square one. In my workshops, I teach people how to work with clothes, how to work with the model, how to direct a model. I go over a shoot really from beginning to end.”

Not every high-end fashion photographer sets aside time for scheduling workshops; this alone sets Jason apart from his fellow photographers.

“Some people have asked me why I have workshops. I want all photographers to be equal. I want us all to be at the same level” Jason shares.

No matter what career choice an individual takes, one will always seek after sources of inspiration and motivation. Jason deals with the same problems as any other artist. How does he deal with it?

“It’s been tough,” he admits. “I know I am really good at what I do. I know I will deliver a product that will impress the client. I can only do what I like and hopefully get a call for work. That keeps me motivated.”

If you would like to follow his career or possibly schedule a personalized workshop, check out his website: www.jasonchristopher.com.

Fashion Shoot For Gods Daughter Clothing from Jason Christopher on Vimeo.

There is a man, Jim Jannard by name, who founded the ever-fashionable Oakley sunglasses. Jim was always a photographer and for more than 20 years, actually shot all of his own ads and commercials. In 2005, Jannard founded another company… yes, it was called RED Digital Cinema. Just as Oakley did with sunglasses, RED is leading the market when it comes to professional products in a low-budget market.  Years of experience with film and video, along with a close examination of his collection of over 1000 cameras, led him to develop the RED One.

The smooth black design with intriguing red lenses and lights alone are enough to set the Red One apart, but this little gem boasts more than what meets the eye.  Jannard designed this to be his end-all camera. The rush of the digital age has taken us away from analog tape recordings to cheaper, more accessible formats. The RED One grasped this idea firmly and ran with it.

A friend from L.A. told me about this camera a couple years ago. His enthusiasm was cause for research. After checking it out, I’m a believer. For the price, this is really one of the best cameras that an indie filmmaker could want. I mean, Peter Jackson used a couple of the prototypes for one of his films. Now it’s the camera he “can’t live without.”  District 9, Angels and Demons, and The Book of Eli are just a few of the films involving the Red One. There will always be advocates championing the film-reeled cameras of old, but Jannard took a bold step in the right direction with the creation of the Red One.

Though Jannard is primarily a photographer, his creation is becoming the industry standard for indie film-makers. The camera has a patented semiconductor for its’ incoming light sensor, giving it the capability of a camera shooting on 35mm film at up to 30 frames per second. However, you may be surprised to hear that most 35mm films are digitally scanned for editing at only 1/4 the resolution that the RED One produces. Drop the resolution down to 2-3K and you can get 60-120 fps.  Not only is the video quality impressive, editing footage from the Red One is a breeze. If you eliminated 75% of the image quality, it would still meet the requirements of HD resolution. The raw video files drop right into non-linear editing programs with absolutely no rendering or conversion. Oh, and I almost forgot to mention that it shoots 12.6 mp still images.

The Red One has an msrp of $17,500. If that price sounds steep, let me remind you that this camera outperforms others priced well above $100k. Check it out at: www.red.com

The red headed, sultry lead singer Ashley Beth sings with heart. But, sorry boys she’s taken. Ashley is married to Dave, the leader and guitarist of the band. They came up with the name of the band by throwing out ideas to each other. It was a joint effort and not an easy one at that. But when sugar lime rolled off Dave’s tongue, Ashley finished his sentence with blue and voila. Not only do they play in the band together but they co-write the songs as well. The other band members include Jonathan “Fence Post” Bradford (percussion and drums), Eric “Mudd” Johnson (bass guitar) and Mr. Al Plourde(keys). S.L.B. was formed 3 years ago but has gone through some changes. The current S.L.B. lineup met on craigslist and has been playing together for about a year. They are based out of Mt. Juliet, Tennessee. They perform frequently around Nashville, Alabama, and Georgia. They play a various venues, festivals, and coffee shops which has gained them lots of attention. Their set list includes covers and originals. Some of the covers include “Ain’t No Sunshine” (Bill Withers) and one of my all time favorites “Come Together” (The Beatles). You can find a set list as well as their calendar at: sugarlimeblue.com.

I visited their webpage sugarlime.com and listened to their tunes. While listening I also discovered a breathtaking, artistic photo of Ashley holding a sugar lime blue, that is. I particularly like the song “Go Home”. The haunting sound of the keys struck a chord in my soul. The lyric “Go Home, Go Home Little Girl” has sadness but underlying hope. The guitar break in this song reminds me of a Santana lick. “Happiness” is also another must check out tune at: myspace.com/sugarlimeblue. You can definitely hear a Grateful Dead influence on this record. I love the groovy guitar parts. I felt like I was on a natural high, floating on the clouds of happiness. They have downloadable songs on both websites.

Sugar Lime Blue takes me back to a time when music was real and raw. This band has no gimmicks or costumes. They are just real musicians with real artistic expression. You can tell this bunch of modern day hippies are in love with recording, performing and overall just making music. They are currently unsigned but I’m sure not for long

Well, a group of local people who deem themselves funny put their money where their mouths are and do just that. Not eat money….do improv comedy! Music City Improv is comprised of former members of the groundbreaking improv group, Improv Nashville. Barry McAlister, Jill Mothershed, Sheryl Bryant, and Cindy Carter created Music City Improv in June of 2009. I had the good fortune of pestering artistic director, Cindy Carter, into answering a few questions about the group for me.

What prompted you to start an improv group?

“We are all former members of the groundbreaking improv group, Improv Nashville. When that company decided to take an indefinite break, I realized I didn’t want to stop improvising (it’s addictive like that!). I decided to bring together another group and gathered together a few trusted and responsible friends to get the ball rolling.”

Why do you prefer improv to other types of comedy? What makes it unique?

“Improv is special because it is truly fly-by-the-seat-of-your-pants fun! Certainly sketch and stand-up have their place but improvisers have no script… just their wit and ability to trust each other. I also love that it’s a team sport in every sense of the word. What we achieve onstage is something everyone playing contributes to. It’s quite the rush walking out there, having no clue what you are going to say or do, having no idea what your scene partner(s) is going to say or do and creating something that is fun and unique. What a rush!!”

How much rehearsal time goes into an average performance?

“We always get the question, “Well, if you’re an improviser, why do you rehearse?” Actually, it’s a good question. Improvisers have to constantly work the muscles that keep us in good improv shape. The more we work with each other, the more trust we build with each other to go farther and farther onstage. Our rehearsals consist of exercises to build and strengthen those performance skills but we’re rehearsing the ‘how’ not the ‘what’. We rehearse one night a week.”

Are you accepting new members? If so, what requirements do you have for actors wishing to join?

“Time and natural attrition has brought our membership down to 11 so we are just now to the point that if anyone else leaves, we would consider opening the group up to auditions. As for requirements, an improv background is preferred but it’s all about what character choices you make, how well you play with others and how creative you are willing to let yourself be.”

What has been the biggest obstacle in your success as an improv troupe?

“Not having a permanent home or theater, I think is the hardest. You are constantly asking your audience to follow you.”

What is the best advice you could give for someone starting out in comedy?

“Don’t just think about it… do it!! Sometimes that’s all that separates people who get on stage and those who are in the audience. The folks onstage have the courage to try. Also, study all you can. The second you think, ‘I got this,’ is the second you fall flat on your face. However, the good news is… the study/work is both fun and rewarding.”

Music City Improv performs the 2^nd and 4^th Fridays of the month, alternating between the “Post-Depression Theater” in East Nashville and “The Next Level” downtown. It should also be noted that they’ll play for anyone who will have them! You can find out more about this off-the-cuff comedy troupe at their website, musiccityimprov.homestead.com. Those of you on top of your social networking game can also follow them on Facebook and Twitter.

Much like George Bailey in the classic 1946 film, Amanda has had her share of ups and downs. Like so many other musicians, she says that her greatest challenge has been dealing with music as a business. “I wish I could simply just worry about the music side which has always been fun for me” she explains. Nagurney admits that despite the challenges of learning music as a business, she has taken advantage of the experience and allowed it to make her a better artist.

Another challenge facing Amanda Nagurney can be answered with the following question: What do NFL teams and country music have in common? Neither of them do well in Buffalo, NY, at least not in recent years. The fact that Nagurney has accomplished so much is proof of her talent but there is a limit to the amount of success possible in her hometown. Although The Goo Goo Dolls and Rick James called Buffalo home, there is no direct translation in the hillbilly language for the word “superfreak” and I doubt that “black balloons” will ever be a hot commodity south of the Mason-Dixon line. Before you bring up state’s rights, let me comfort you with the knowledge that this ain’t your typical Yankee. As a matter of fact, she tells us “My next step is to move to Nashville.”

So far for Amanda Nagurney, the “ups” have clearly outnumbered the “downs.” Nagurney has already made waves in the independent music scene with number 1 and number 2 spots in both country and mainstream charts. Amanda was also voted “Next Rising Star” by “Music Rising Star Magazine.”

At such a young age, it’s easy to assume that she is naïve to the challenges of a career in music. However, a quick glance at her resume proves otherwise. Though she began performing at the age of 8, Nagurney started writing her own material at 17. The transition from performer to songwriter was a milestone for the New York native. On the impact of this, she says, “The way people respect my writing and singing is great and makes me want to keep going!” Here’s some proof for the skeptics: Amanda has opened for Phil Vassar, Joe Nichols, Miranda Lambert, and is scheduled to open for Travis Tritt at the Arizona Country Music Festival at Lake Havasu. Even Rodney Dangerfield would have no argument with that.

The attraction in Nagurney’s music is clear to see. Southern life personifies honesty and no-nonsense character- exactly the message in Amanda Nagurney’s music. She explains “A lot of my songs in one way or another deal with guys and relationships. My songs can be relatable to any age and gender.” With the modern media-glorification of the glamorous lifestyle, songs such as “Just Me and the Road” and “Gone Fishin” are a breath of fresh air proclaiming the beauty in the simple things of life. This type of writing is reminiscent of country stars Miranda Lambert and Martina McBride. No doubt you’ll be able to hear that before reading that Nagurney lists them both as major influences.

Despite her big dreams, Nagurney knows that she owes her success to her fans. In fact, she sent a special message to her biggest fans:

“I would love to thank my parents for all of the help, support and love that they have given me through all of these years. They are my biggest fans and would do anything for me to succeed in my career. They are always there for me if I have problems and concerns about my music and they are right there to boost me back up.”

And somewhere in Buffalo, an angel got their wings…

Like many talented artists, Hannah’s story started far, far away: her roots began in Wisconsin, and then were transferred to Michigan. She moved to Michigan when she was 13, already with it fixed in her head that she had to be on stage, had to perform, had to show her talent to the world. That first came in the form of musical theater, but when she moved to Michigan, the fact that this outlet wasn’t readily available meant she had to find other means to express her talent – which turned out to be a blessing in disguise.

“My first inspirations for songwriting came from wanting to perform and express myself creatively because I wasn’t able to anywhere else, ” Hannah says, “We had a guitar lying around so I started to vent that pent-up energy through singing and playing.”

She started singing, performing, and “writing about love” in her early teens, but her natural talent enabled her to sound like she’d been doing it for decades. Her first experience performing with a guitar was at fourteen at a local fair. At seventeen, as a contestant in the Colgate Country Showdown, she had the opportunity to open up for Joe Nichols and Rodney Atkins. That same year, she released her first CD (Watch Me Fly – available at CDbaby.com, on iTunes, and if you happen to live in Michigan or Wisconsin, it’s for sale at a couple of music stores in those states). Between and around these events, Hannah played everywhere that she could: including countless fairs, talent shows, restaurants, coffee houses, festivals, and weddings.

Not being in a Nashville-like environment for her first years of songwriting and performing helped Hannah grow without being inhibited by the competitive aspect. “There are so many talented musicians and artists in my area, but not many opportunities for kids in the arts,” Hannah relates. “I was one of the only kids doing what I was doing.”

So, who helped hone this youthful powerhouse of energy, talent, and ambition? “My family has been a major, major force in everything that I do,” Hannah says. Apparently it’s working well – Hannah, with her mom serving as her biggest fan and manager, has already sold about 600 physical copies of “Watch Me Fly” and has a little under a thousand online song downloads to her name. She’s also been featured on several Michigan radio stations.

Now at nineteen and living on her own, she’s only getting better. Last year, she decided she was ready to take on Music City and began attending Belmont University. Despite a ridiculously busy class schedule in an entirely new area, Hannah is flourishing both personally and musically. Her song “Backroads” received an honorable mention in Gary Allen’s Music City Beat February Songwriting Contest and was chosen for Song of the Day by FM102x.com on March 4, 2009 (check out the Backroads video here!). Hannah amplifies these successes by performing regularly throughout Nashville. But Hannah isn’t allowing a packed schedule to get in the way of her strong songwriting talents! One of her new beauties, Forgetting to Forget, was chosen as a semi-finalist in the Mike Pinder songwriting contest. Hannah describes Numb From the Cold, another recent addition to her repertoire of quality songs, as “sound[ing] really different than how I usually write” – proof of her growth.

Currently, Hannah’s education is simultaneously teaching her about the music industry and how to maintain top vocal performance. “Belmont is teaching me things that I can apply directly to my career,” she says. “There are so many talented and highly competitive people in Nashville. It drives me to constantly up my game. It is a wonderful place to thrive as an artist.”

With performances that always exceed expectations, a remarkable songwriting growth rate, and numerous contest wins under her belt, it’s safe to say that Hannah Bethel is definitely thriving.

Hannah Bethel on Myspace
Hannah on CDBaby
Hannah’s EPK

Looking back over the span of Sean Combs’ career, it’s easy to get lost in his transformation. Before you snicker, give yourself a minute to reflect on the fact that Diddy has personified success for more than a decade in every venture- becoming a millionaire more than 300 times over.

George “Pretty Boy” Seals has learned a thing or two from Diddy. Not only does he bear a striking resemblance to the hip-hop superstar, his business ventures are as far reaching. In addition to his own musical ventures, his “PrettyBoyBeats” network has a hand in developing some of Nashville’s up and coming talent. “Pretty Boy” produced hit singles “Do The Cashville” by J.Bone, and “I Didn’t Know (IDK)” by the Atlanta-based R&B duo Neon.

Born in Houston, TX, “Pretty Boy” earned an appreciation for music from his parents’ love of classic R&B and soul. Seals has nurtured a musical addiction of his own since he was in high school. As a youngster, “Pretty Boy” learned how to play several instruments and taught himself basic digital recording techniques. Armed with the musical foundation poured by his parents, his appreciation for the art flourished. He began experimenting with rock and hip-hop styles. His versatility as a producer stems from his ability to draw influence from diverse musical styles. Seals’ musical influences range from Quincy Jones to Nirvana.

At a modest thirteen years of age, Ma and Pa “Beats” relocated from Houston to Nashville. It would be here in the music city that young George would find the missing pieces to turn his obsession into a career. A fascination with DJ’s led Seals into producing. His ventures became more and more profitable. By 2005, his presence on the internet and at local beat-battles earned him countless production deals. Since then, “Pretty Boy” has collaborated with award winning Icon Studios producers The Drum Majorz as well as Grammy-winning artist Willie Clark. Seals has most recently produced tracks with the Atlanta-based “Udigg”, an affiliate of Atlantic records.

Seals refuses to keep all of his eggs in one basket. “Pretty Boy” is an aspiring actor and model, and currently has business ventures that include a clothing line and a radio station. When asked about being compared to Kanye West and Diddy, “Pretty Boy” states: “I definitely have been influenced by those great producers, but I live my own legacy.” With a wealth of resources and the talent to back it up, look for “Pretty Boy” to be around for a while.
Yo Kanye, Ima let ya finish… but “Pretty Boy” is gonna be one of the greatest producers of all time!

George “PrettyBoyBeats” Seals
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Producer / Composer / Songwriter / Artist / Pro Tools Audio Engineer
George Seals Music (BMI)
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I recently had the pleasure of working on the set of the Gwenyth Paltrow/Tim McGraw movie Love Don’t Let Me Down, which was filmed here in Nashville. I can tell you first hand that wherever I went behind camera, direct review, or anywhere near the sound guys, every computer in sight was running Pro-Tools. That may or may not surprise some readers considering the number of artists (Sting, Green Day, Linkin Park and Mutt Lange, etc) that are currently producing their work with this extremely capable box of heavy-duty construction tools.

Not too many years ago the very thought of having professional AND affordable audio and sound editors on the home crunch station was enviable, yet just out of reach. There were always multitudes of editors out there that did the job. Many of them were inexpensive or even free. When thinking about those programs, Audacity products spring to mind. They still do an amazing job with smaller, less heavy-duty projects. In fact, Audacity still offers a free download on their website. As of this writing they have released a Beta 1.3 version that is small, efficient and will give the novice or above average engineer a great toe-in-the-water audio editing experience. The learning curve is minimal, yet it’s still sort of like screaming down a steep, snow-covered hill in a cardboard box…it’ll get you where you want to be, but you wouldn’t want your friends to see you doing it. At some point you’re going to want to step up your game. This is when you should take the drive down the Pro-Tools highway.

Pro-Tools began as Sound Tools and was a handy transition into their original product line. Over the next few years, the editor added features and capabilities that began to distance the program from the competition. As the distance expanded, it was clear that Pro-Tools was a sound breakthrough.

Recently, Pro-Tools released their 8.0.3 version with an incredible set of features and additions. Of course, all of the new features can be thumbed through on Digidesign’s website at: degidesign.com. Some of the new features are important to point out.

At first glance, you’ll notice the new GUI and facelift…clean and intuitive. This is the way audio editors should look. One feature that I still can’t get enough of is the shortcut capability. As you open any session, you can press the SHIFT key and the application makes all plug-ins start up instantly. Rather petty to some, pretty awesome to most. Just having them ready on the fly like that really reduces the time it takes to make choices. And in my world, less time fumbling for plug-ins and add-ons is one less issue to deal with when you’re in the thick of it. Along the same line is the much higher resolution Waveforms. This version of Pro-Tools also gives you the capability to add musical notation directly to your work. This really comes in handy when you are working with multiple artists or partners that prefer to see their work or read from yours. Reading, editing and tracking is a breeze in this new version. On top of that, the new version hammers you with a lifetime of virtual studio instruments, effects, and plug-ins. The Midi sequencer is also fresh and multi-faceted. Plug it in, turn it up and be the creative engineer for your productions. This newest version will have you producing your work because you want to, not because you have to. I found myself awake at all hours of the night, trying new pitch intonations, track splicing, and honestly – putting virtual instruments into pieces that didn’t need them. Though it cost me sleep, I couldn’t stop because it was so profoundly expressive to be able to do so.

Personally, I can’t stop cranking up the computer just to go elbows deep into this application and its countless add-ons, plug-ins, and extras. The suite is going to set you back just south of $300. Yet, considering the capabilities of this audio/MIDI editing software, it’s definitely an investment for any studio.

“Clapton is God.” Those words were spray-painted across a wall in Great Britain during the autumn of 1967- a period of time when there were artists and musicians who inspired unprecedented (and sometimes unhealthy) awe. In the 43 years since then, there have been many artists summoning the same amount of respect and idolatry. From Hendrix to The Edge, there have been timeless artists that define a generation.

Lately, the artists who paint with noise have fallen strangely quiet. At the very least, they seem to be speaking with a whisper.

But where is the new god? Who are the modern artists that define this generation? What present-day qualities would distinguish a mere mortal from a musical god? Possibly the best question is: Does anyone care?

When Clapton was given “god” status, he was searching for the way that he could make his guitar sound like the blues masters of his early teen years. In a 2007 NPR interview, Clapton said that he really felt that the “purity of what they (blues artists) were trying to do, undercut everything else that you could hear on the radio.“ Clapton has, by his own admission, spent most of his life trying to be true to the purity he heard in those early blues recordings. For him, it was not so much trying to play faster than anyone else, it was a “drive, a drive to express something ideal.” He goes on to proclaim how he felt that this drive was “the most beautiful way of expressing over all painting and poetry or any of the other arts.” So for the guitarist first hailed as a god, the goal was simply to find the pure expression and stay there.

Artists such as Led Zeppelin’s Jimmy Page and Pete Townsend of The Who, are given credit for the formation of popular music, were just attempting to emulate the sound of their personal music-diety. For most of the artists in the 60′s and 70′s, making music was about expressing that ‘drive’ and creating something new out of something old- giving a different look to a traditional sound.

One modern artist that has been giving a different look to a traditional sound is country music’s Brad Paisley, a musician of holy talent. Over the past ten years, Paisley has established himself as not only a chart-topper, but also a talented instrumentalist, winning Grammys for Best Country Instrumental Performance in 2008 and 2009. Just as Clapton fused something old and something new, Paisley has earned god-status by mixing a muscled-up but traditional country sound with a wealth of pop-culture humor.

A recent look at the Billboard chart brought my attention to two things: First, most of the artists featured on the top 10 seem undeserving of being labeled “instrumental masters.” The Black Eyed Peas, Ke$ha, Young Money, and Lady Gaga are currently some of the top artists. Of these artists, the talent rests in the hands of the producer. The actual music was hidden beneath a sea of over-production. Bands Train and Lady Antebellum are distinctly different top 10 artists. Their music sounds like human beings played it with actual musical instruments.

To balance my perspective on the progression of music, I looked at Billboard charts from this week in 1967, the year that Clapton was declared god. I was surprised to find that most of the artists in the top 10 were pop acts like The Supremes, The Buckinghams, The Casinos, and Jonny Rivers. The Beatles and The Rolling Stones were also in the top 10, but they too were a minority among groups that I would vote “most likely to use vocal effects if they had them available at the time.”

So is popular music really any different today than it was in the late 60’s? At first glance, the answer would be no. Yet the pop music of the late 60’s was partially what led artists like Clapton to return to the purity of the art. Let us not forget that the music struggling to stay in the top ten came to its own. A mere two years later, a little festival called Woodstock happened. That weekend is still influencing artists to this day. When we look back to describe the music of the 1960’s, the artists who were popular then didn’t define their generation. Just as Train and Lady Antebellum struggle to keep musical purity today, such was the case with The Stones and The Beatles.

There is a certain timelessness that I hear when I listen to Clapton and Jimi Hendrix. That same sound is present when I hear Brad Paisley. I can’t say that I hear in Ke$ha. Dare I say that there is more to music and more to the expression of song than a flashy costume, a good hook, and sugar-coated lyrics? Yes. I do.

I think there are a couple of qualities that are important for today’s artist in order to make their music last- to become timeless. A dedication for the purity of what first drew them to music is crucial. The ability to make that music accessible to people while still remaining true is essential. There will always be people who will be willing to squeeze into a mold so they can have their day but there may not always be those who will take the hard road to stay true to the purity of the music that first drew them.

So, does it really matter? I think it does, but maybe not in the way that it seems.

I recently went to see Andy Zipf. I had the privilege of opening for him a couple of times when I was in college. He still tours in a van, packed with cds and merch, but he is now touring with a couple of other bands that have the same fierce independence and devotion to good music and live shows. Over the course of the show there were probably less than 100 people there. Those 100 people saw an incredible show, complete with Irish drinking songs, use of instruments as step stools, and the opportunity to occasionally sing back up. For me, it was a three-hour hiatus from the stress of life. During the show, strangers became friends through the experience of song, and for some, dance. We were able to set aside the burdens of our lives and dream. I think that is what the gods do. A song may be a song, but it may also be a stairway. There are so many people in this world who need that stairway. So does it matter? Absolutely.

So who is the next god? Who knows? But I hope they don’t give up. I hope they keep singing and playing and remaining true to the purity, the history, and the people that are waiting for them.

If you are the next god and you are reading this, your audience awaits. Just remember… the Hall of Fame doesn’t necessarily answer to Billboard.