OCTOBER 2016

WRITING BACHATA A Practical The Dominican Guide ’s Rise to Global Fame

LISTENING GUIDE Prince’s NOT FOR “When Doves ALESSIA Cry” DISTRIBUTIONCARA Standing Up to Peer Pressure, One at THE a Time MINIMOOG MODEL D October 2016 $2.99 Vol. 36 No. 1 Back to the Future UPC 884088547639 OCTOBER 2016 • VOL. 36, NO. 1 IN THIS ISSUE 4 MUSIC NOTES Ocean News & novelties Makes 6 LYRICS A practical guide to writing lyrics Waves With the release of 10 BACHATA two in two A history of the Dominican days, has taken his audience and the 14 COVER STORY Alessia Cara by surprise. 16 SONG OF THE MONTH “Wild Things” by Alessia Cara

18 LISTENING GUIDE “When Doves Cry” NOT FOR by Prince

20 COOL CAREERS Dr. Robert Thompson President, Music Sales Group s the music industry continues to Jam Records. Only two days later, Ocean indepen- adapt to changes in technology, dently released a second full-length , Blonde, 22 NOW PLAYING record labels and artists are con- which has since hit No. 1. The Minimoog ModelDISTRIBUTION D stantly looking for new ways to sell Both albums were released as streaming their work. One recent method has online exclusives on Apple Music. But because of

O C T O B E R 2 0 1 6 beenA the “streaming online exclusive”: By releas- its unusual format, Endless isn’t for sale—which ing music exclusively to an online subscription has left Def Jam a bit empty-handed and seems to streaming service—like Apple Music, Tidal, or make both Apple and Ocean bigger winners than Premium—labels require fans to pay if they the label or their listeners. WRITING want to listen. Yet for a number of reasons, this While this is but one piece of what has become LYRICS A Practical Guide BACHATA technique can backfire—making it the subject of a tangled disagreement, it resulted in a swift The Dominican Music’s Rise to Global Fame ongoing industry debate. decision from Lucian Grainge, CEO/chairman of LISTENING Enter R&B singer- Frank Ocean. Def Jam’s owner (UMG), to GUIDE Prince’s After a four-year hiatus following his high-chart- put an end to all streaming online exclusives under “When Doves ALESSIA ing debut album Channel Orange, Ocean fi nally UMG-owned labels. Cry” resurfaced in late August with, surprisingly, two This undoubtedly has created waves in the CARA albums. The fi rst, Endless, is a “visual album”—es- industry. The question is, how will other labels, Standing Up to Peer Pressure, sentially a fi lm with a —which served streaming services, and artists respond? In the O n e S o n g a t THE as his fi nal release under his now former label Def meantime, Ocean remains on the rise. ● MINIMOOG a Time MODEL D Back to the Future October 2016 $2.99 Vol. 36 No. 1 UPC ON THE COVER: PHOTO BY GEORGE PIMENTEL/GETTY IMAGES 8 8 4 0 8 8 5 4 7 6 3 9

musicalive.com October 2016 ✤ MUSIC ALIVE! ✤ 3 GOOD DEEDS

Editor-in-Chief Kate Koenig Senior Art Director & Production Manager Michael R. Vella Music Transcriber Adam Perlmutter Circulation Director Music Makes a Difference Mona Kornfeld AFTER LEARNING OF HOW terrorist attacks in Afghanistan affected Circulation Manager children and their families, American guitarist Lanny Cordola wanted Tia Levinson to make a change. So in 2014, he moved from Los Angeles to Kabul, Contributors Afghanistan and founded the Miraculous Love Kids, a guitar school for girls. Chris Sampson, Leila Cobo, Cordola, who has worked with Guns N’ Roses guitarist Slash and singer Melinda Newman, Adam Nancy Sinatra, teaches guitar to some 50 students at the institution, most Perlmutter, Rob Kemp, Max Levinson of whom are from poor families. “Music is a healing force and a peace mak- ing force,” says Cordola. “My hope is that ... everybody in Afghanistan will pick up a guitar and sing and make music.” ● themiraculouslovekids.org

POP QUIZ

Chief Executive Officer Irwin Kornfeld WHO’S NEWS President Will Edwards Editorial Director NOT FORJacob Mac Randall Collier Business Manager Barbara AT 21 YEARS OLD, Jacob Collier plays Boughton Advertising Inquiries: about as many instruments as the ikornfeld@ number of years he’s lived. This July, the London- intunemonthly.com Olympics Music born multi-instrumentalist released his debut Since the close of this year’s Summer album In My Room, a wholly independent work MUSIC ALIVE! Olympics in Rio de Janeiro, Brazil, we’ve that has the music world transfixed. On the album, (ISSN 1051-8975) is publishedDISTRIBUTION been thinking about our favorite Olympic Collier sings and plays a wide range of instruments, eight times each year, from theme . Can you match the following October through May, from piano, guitar, and drums to bouzouki, dulci- by In Tune Partners, LLC, 582 songs to their Olympic games? North Broadway, White Plains, mer, and accordion. And if that isn’t enough, Collier NY 10603, fax 914-948-4045, 1. “Barcelona” by A. London 2012 also produced his own music videos for the release, phone 914-358-1200. Freddie Mercury and Summer Olympics which feature duplicates of himself performing MUSIC ALIVE! is independently Montserrat Caballé owned and operated. No B. Rio 2016 Summer each part in real time. The up-and-comer was dis- part of this publication may 2. “Bang the Drum” Olympics covered by legendary producer back be reproduced, stored in any by and in 2014 when his YouTube cover of ’s retrieval system, or transmitted, C. Seoul 1988 in any form, by any means, Summer Olympics “Don’t You Worry ‘bout a Thing” went viral, after electronic, mechanical, 3. “Survival” by Muse photocopying, recording, or D. Barcelona 1992 which Jones signed on as his manager. Since, Collier otherwise, without prior written has collaborated with the Massachusetts Institute permission of the publisher. 4. “Oceania” by Björk Summer Olympics 5. “Heart and Soul” by E. Vancouver 2010 of Technology to develop unique audiovisual tech- © 2016 In Tune Partners, LLC, nology for use in his performances, and opened for 582 North Broadway, White Tropkillaz Winter Olympics Plains, NY 10603. Distributed to greats and at the the music trade by Hal Leonard 6. “One Moment in F. Athens 2004 Corporation. 2015 . We can’t wait to see

Time” by Whitney Summer Olympics GORMAN, (CORDOLA) GREG LANNY COURTESY(COLLIER) OF CORDOLA where he goes next. ● jacobcollier.co.uk ANSWER KEY: 1D, 2E, 3A, 5B, 6C 4F, Houston

4 ✤ MUSIC ALIVE! ✤ October 2016 6 . ✤ lyric fragments, half melodies, and beginnings of chord pro- chord of statement. sical beginnings and melodies, gressions half that eventually fuse together into one complete fragments, mu- lyric la to songwriting. The creative process is often a whirlwind of W MUSIC ALIVE! Through Through practice, you will learn what works best for you as lyrics, picturedright. hailed forherpoetic Joni Mitchellhasbeen singer-songwriter Left: Canadian . Art of the ✤ DISTRIBUTION October 2016 with a good answer. good a have with minds inquiring as wanted to long know, as haven’t for come But up career. the or question countless times over lyrics the course the of their music?” Professional songwriters are songwriting, asked this in fi rst comes hat The The truth is, there’s no step-by-step formu- The NOT FOR by ChrisSampson . . Lyric to it? If not, give it a try. For example, read lines lines four the read example, For try. a it give not, If it? to a song. Have you ever read a song’s lyrics before listening Before we dive in, let’s consider the role that lyrics play in IN A art WORD the studying by start let’s lyric. now, the for of But songwriting. of and lyrically can dramatically improve the craft—both quality of the your tech- songs. many about are musically—that learn will not there only can make the you process easier, however, that but way, the niques Along songwriter. a In upcoming articles, we’ll discuss the musical elements elements musical the discuss we’ll articles, upcoming In Here’s aguideonhowto Sometimes agreatsong

is allaboutthelyrics. craft yourown. musicalive.com . .

PHOTOGRAPHY:

PHOTOGRAPHY: PHOTOGRAPHY: musicalive.com Man.” “Mr. Tambourine to his1965hitsong, Handwritten lyrics .Above: Singer-songwriter Right: ARCHIVES/GETTY IMAGES IMAGES ARCHIVES/GETTY ARCHIVES/GETTY OCHS OCHS MICHAEL MICHAEL (DYLAN) (DYLAN) IMAGES, IMAGES,ROBINSON/GETTY ROBINSON/GETTY JACK (MITCHELL) PHOTOS: DISTRIBUTION NOT FOR

October 2016 ✤ MUSIC ALIVE! ✤ ✤ 7

Why was the experience of reading the lyrics so different from RECORD YOUR OBSERVATIONS. ing device so that you can listen to it after- hearing them sung on the recording? Essentially, it’s because the Make sure to always carry an audio Part of what it wards. Often, this technique will produce a lyrics are only 50% of the total work. When combined with the recording device (like a smartphone) means to be a line or two that eventually sparks more that make up the chorus to the song “Help!” by right music, lyrics can have a stronger emotional effect on listen- or notebook with you. If you observe ideas for the song’s overall story. without listening to the recording. You will notice the vo- ers. IMAGES IMAGES GOULD/GETTY PL (WONDER) IMAGES, KOENIG/GETTY GLENN (HILL) IMAGES, ARCHIVES/GETTY OCHS MICHAEL (ROBINSON) MCCRARY/REDFERNS, JIM (KING) PAGE): (OPPOSITE PHOTOS something interesting, write it down songwriter is to cabulary is straightforward: It rhymes, and there’s quite a This isn’t to say that music isn’t equally improved by good lyr- or record it. As you go, be sure to make be a keen STEP 3: TIGHTEN UP bit of repetition. ics, or that lyrics require a backing track to express deep emotion. note of your own personal insights. After you’ve quieted your inner editor and Now, listen to the recording of “Help!” This time, with mu- Many historians of would argue that the lyrics of The more you read and observe and observer of the allowed yourself to write freely, it’s time to sical accompaniment, a sense of desperation builds with each Bob Dylan or can stand alone without music, as a the more you keep record of it, the world around you. wake that editor up to start working with line of the chorus, peaking on “Please”—which also happens form of poetry. But for songwriting in general, both music and lyr- more inspiration you’ll have to draw your material. Most often, this involves sub- to be sung on the highest note of the melody. Suddenly, the ics typically rely on their partnership. from in your own songwriting. A songwriter’s gift traction. lyrics are given deeper meaning. Now that we’ve covered the basics, let’s begin the process of is the ability to When editing your work, remember: writing our own lyrics. STEP 2: ROUGH IT take these obser- KEEP IT DIRECT. Challenge yourself to Pictured clockwise from bottom Now that you’ve collected some ideas, say what you want in as few words as pos- right: Stevie Wonder, Lauryn Hill, STEP 1: GET INSPIRED your next task is to pick one you feel vations and turn sible. Can you edit four lines down to two? . Center: Smokey Robinson Part of what it means to be a songwriter is to be a keen inspired to write a song about. Once Maybe down to one? As you polish the writ- observer of the world around you. A songwriter’s gift is the you have something in mind, it’s time them into unique ing you produced in your INITIAL burst of ability to take these observations and turn them into to develop a rough draft. insights for their creativity, try to make it so that every word unique INSIGHTS for their listeners, sharing creative When we sit down to write, we often serves a purpose. inspiration in a way that can only be done through song. limit ourselves by editing our work be- listeners. KEEP IT SIMPLE. Don’t force complicated Those insights, of course, can only come to you fore we have a completed draft. We language where a simpler word does the if you’re paying attention. might be tempted to go back, erase, and rewrite when we’ve trick. To sharpen your insights as a songwrit- only written a few words—and after a while, we’re left with CHOOSE YOUR WORDS WISELY. The vocabulary you er, try the following: a blank piece of paper and a pile of eraser dust. choose will affect how well your song will connect with your OBSERVE EVERYTHING. Each con- The lesson here is to resist that temptation. For the fi rst listeners. Pay close attention to your word choice, and if an versation you have, video you watch, draft, silence your inner editor. Here are a few tips to help adjective or noun doesn’t quite fi t, look for one that will bet- or sound you might overhear while you get into the habit: ter express what you’re trying to say. Here are a few exam- walking down the hall could be the LET YOUR IDEAS FLOW WITHOUT JUDGMENT. While ples of lyrics with careful word choice that shape the song’s source of a songwriting idea. brainstorming, don’t decide if your ideas are good or bad. It’s message: READ AS MUCH AS YOU CAN. Read lit- better to have more thoughts on the page (from which to pick “Perth” by Bon Iver uses sentence fragments and uncom- NOT FORerature, poetry, non-fi ction, current events, and choose), and there willNOT be AMPLE time to clean them FOR mon word choice to create an abstract image, encouraging and anything else that you may come across. up later. When writing a rough draft, treat it as one! listeners to imagine their own interpretation. WRITE EVERY DAY. Just like a who stays techni- “Boondocks” by Little Big Town paints a vivid picture of cally PROFICIENT with daily scales and exercises, a writ- small-town life, conjuring up details and specifi cs such as er should set aside some time each day to write. the taste of honeysuckle and the sight of tin roofs along As a daily exercise, choose an object, person, or specifi c gravel roads. time and write it at the top of a clean page. Then, set a timer “So Good” by B.o.B. takes us on a world tour and describes DISTRIBUTION for ten minutes.DISTRIBUTION Ready, set, go! Start the Caesar’s “swagger” with the attitude and com- timer and write down anything that comes HEAR THE MUSIC mitment INHERENT to hip-hop. to mind about your chosen subject without at musicalive.com/ Give some thought as to how you want to hear-the-music- stopping. Think about how you perceive the october-2016 communicate your song idea and the vocabu- subject through the senses—touch, taste, “Goodbye Pork Pie Hat” lary that will do it best. Take the time to ana- sight, sound, and smell—for doing so can by Joni Mitchell lyze your favorite lyrics and what it is you like help bring your writing to life. “Little Big Town” about them—then work on using those ele- LET YOUR MUSIC SHAPE WHAT YOU by Boondocks ments in your own writing. WANT TO SAY. Play a musical idea—wheth- “So Good” er it’s a few chords or a melody—and sing by B.o.B. HAVE FUN! along using the words or sounds that come Hopefully, this guide will help to get you start- to mind. It might feel a bit silly and you’re ed with writing your own lyrics. But, there’s so likely to come up with gibberish at fi rst— EXTENDED PLAY much more for you to discover. Most of all, en- but remember, our inner editor is shut off. Go to musicalive.com/ joy the process of expressing yourself through Record this process on an audio record- extended-play-october-2016 songwriting! to hear more great lyrics.

8 ✤ MUSIC ALIVE! ✤ October 2016 musicalive.com musicalive.com October 2016 ✤ MUSIC ALIVE! ✤ 9 ch 10 radio,Spanish language you chances are may worldwide gain to popularity. bachata out has grown of its regional origins out stadiums Madrid, from Argentina to the Santos, success who like of artists sells from the Republic. to Dominican Thanks style of bachata, atraditional folk music star. He sings mostly the Spanishin in however, Santos isnot your standard pop became the first Latin star to do so. name few. to a and , He also able feat: Madonna, Paul McCartney, er whostars have achieved that remark- doing, so doing, so In In he he joined joined the of the oth- of ranks oth- ranks Yankeethe Stadium. 50,000-capacity of Bachata” sold out performances at I global mainstream. global mainstream. its waytothe folk stylefound the Dominican international fame, international fame, beginnings to From humble ✤ What is bachata? is What you If never listen to Unlike Madonna or Paul McCartney, For two consecutive nights, the “King MUSIC ALIVE! a historical homecoming. homecoming. historical a was for born, what would become New York City borough where he thereturned the to Bronx, 2014 OF SUMMER N THE , singer , singer Romeo Santos

✤ DISTRIBUTION October 2016 NOT FOR o

musicalive.com

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PHOTOGRAPHY: PHOTOGRAPHY: musicalive.com PHOTO: JOHNNYNUNEZ/WIREIMAGE BY LEILACOBO DISTRIBUTION NOT FOR Got It Grooe

in and AnthonySantosperform Luis Vargas, Romeo Santos

October 2016 ✤ MUSIC ALIVE! ✤ 11

13 ✤ . With lyr- . With s. 2000 was the top-sell- MUSIC ALIVE! ✤ .

We Broke the Rules Broke the We

October 2016 2016 October

far far it’s it’s how how on on And,And, back back looking looking sias’ “Bailando” and Anthony’s “Vi- “Vi-sias’sias’ “Bailando” “Bailando” Anthony’s Anthony’s and and Other Latin stars continue to to join join Latin Latin stars stars continue continue Other Other like like hits Igle- hits Igle- crossover crossover producing producing MiMi Vida.” Vida.” Marc Anthony and Enrique EnriqueMarcMarc and and Iglesias Iglesias Anthony Anthony the movement, with artists such as as artists artists with with such such movement, movement, the the ABATING ABATING come, it’s safe to say bachata isn’t going going isn’t isn’t bachata bachata to to safe safe say say it’s it’s come, come, MeMe Tomorrow.” Tomorrow.” to fade away anytime soon. soon. soon. anytime anytime away away toto fade fade the girl group classic, “Will You Still Still “Will Love “Will Love classic, classic, girl girl group group the the You You Grace climbed the charts cover of of cover cover her her charts charts the the for for climbed climbed Grace Grace Not long after, another young Dominican star young another after, long Not chartscharts his his with with bilingual, bilingual, R&B R&B take take romantic, romantic, Leslie Leslie bilingual bilingual In In 2013, 2013, bachatera bachatera bachata. bachata. on on Not long after, another young Dominican star young another after, long Not from the Bronx, Bronx, Prince Prince the the from from the the into into burst burst Royce, Royce, no signs of signs of no no signs of signs of no the modern revolution sparked by Aventura shows shows shows Aventura Aventura by by sparked sparked revolution revolution modern modern the the highest-grossing Latin tour of the year. To this day, this this day, day, To To year. year. Latin Latinhighest-grossing highest-grossing the the tour tour of of ing Latin album of 2009 in the U.S., followed by the the the by by 2009 2009 of of inging Latin Latin album album followed followed U.S., U.S., in in the the A few years later, Aventura’s The Last Aventura’s Aventura’s later, later, years years A few A few In 1993, a Bronx-based group of young Dominican-Amer- young of group In 1993, a Bronx-based released In 2002, Aventura Led by singer Romeo Santos, Aventura brought brought Aventura Santos, Romeo singer Led by of listeners in the 2000s. bachata to a new generation Led by singer Romeo Santos, Aventura brought brought Aventura Santos, Romeo singer Led by of listeners in the bachata to a new generation vv i i r r larity at home and abroad. Freer than ever before of societal of before Freer than ever abroad. and home larity at reinvention. for ready was bachata constraints, icans formed Aventura, with an uenced urban-infl take on piz- the of sound acoustic the Keeping genre. traditional the “Ro- Anthony guitar percussion, hand and (plucked) zicato Max Lenny and brothers Santos, Santos, and Henry meo” infused bacha- their Santos) to Antony relation (no Santos R&B-tingedta with vocals, in and, breaking tradition, with lyrics. English some to a new spoke music Spanish, the and English inboth ics charted The album listeners. bilingual of bachata generation U.S. in the million 1.5 copies sold and Europe across HERE ANDHERE NOW AND NOW tt a a , , popu-popu- to hear musicalive.com/ by Aventura more bachata. “Bachata Rosa” extended-play- by Juan Luis Guerraby Juan musicalive.com/hear- october-2016 october-2016 “Enseñame a Olvidar”

Go to ’s Tropical’s Albums charts, ’s Tropical Albums Tropical charts,’s by Calderón José Manuel

at the-music-october-2016 EXTENDED PLAY STIGMA HEAR THE MUSIC “Qué Será (Condena)” de Mi ele- ele- NOT FOR FOR NOT Rosa Bachata Bachata Rosa Bachata .

Bachata eventually becoming the category’s top-selling category’s the becoming eventually DISTRIBUTION Bachata Rosa Through the ’90s, ’90s,ThroughThrough the the artists artists Dominican-born Dominican-born Then, in 1986, bachata inThen, 1986, bachata un- wasn’t it growing. But was bachata surely, but Slowly A Dominican Luis sing- Juan Guerra. was musician That Billboard 1 on No. at Debuting A popular fi Prince gure in mainstream Latin pop, A popular fi performs bachata in an urban style. Royce musicalive.com album of the year in the U.S., winning winning U.S., U.S., in in year year the the the the a a of of album album GRAMMYGRAMMY Latin Latin Al- Al- Best Best Tropical Tropical for for in 1992.bum While biggest biggest its its genres, genres, of of a range a range blended blended album’s album’s as the as the such such bachatas, bachatas, were were hits hits “Burbujas “Burbujas Rosa,” Rosa,” “Bachata “Bachata track track title title al al Panal.” Panal.” Abeja Abeja “Como “Como and and Amor,” Amor,” de de MAKEOVER MODERN A of uence infl The to to the the streets streets the the from from bachata bachata vated vated internationalinternational stage. stage. Bachateros Bachateros could could STIGMA same the without perform now beginnings. beginnings. its its since since bachata bachata followed followed had had that that “El “El Santos, Acos- Santos, Acos- Héctor Héctor Torito” Torito” likelike Antony Antony ZacaríasZacarías Frank Frank Ferrerira, Ferrerira, Chichí Chichí Per- Per- Reyes, Reyes, & Alexandra & Alexandra rose rose to to greater greater Monchy Monchy and and alta, alta, a more respectable platform, platform, respectable a more a sing- and Cordero, Paredes, be- Cabrera Ramón named er en- series gan a performance titled “Lunes de Amargue” at restau- El Túnel, a high-class Soon, in Santo Domingo. rant oth- with on caught trend the artists, gradu- and bachata er began image music’s the ally, to improve. au- to a wider through broke guitarist Blas when dience bachata- the Durán recorded record- bachata rst fi The Mujeres.” las a “Consejo merengue, further the into bachata took song the guitar, electric with ed modern era. in particular musician revolutionized 1990stil one the that international music’s the image. Berk- the at composition jazz studied Guerra , and er be- he where in Boston, Massachusetts, Music of College lee jazz with bachata and merengue his native gan to meld in 1982, his graduation Upon arranging instrumentation. and a formed he where Dominican to Republic, returned the he 440 And in called started the and recording music. the a turning for create point would what released 1990, they genre: top-selling category’s the becoming Bachata Rosa eventually

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the genre through the 1970s. the through genre the the genre through the 1970s. the through genre the ’80s, ’80s, began began early early in in that that the the But But RAGS TO RICHES a part a part became became the the of of it it Once Once RAGS TO RICHES mainstream, bachata still still faced faced mainstream,mainstream, bachata bachata judgmentjudgment with crime and poverty. Despite Despite Despite poverty. poverty. crime crime and and with with the lift of government restrictions, restrictions, lift liftthe the government government of of most national media media media national national most most TEDTED and Leonardo Leonardoand and Paniagua. Paniagua. to change. Looking to give bachata Looking Lookingtoto change. change. bachata bachata to to give give Leslie Grace climbed the charts Still of "Will You in 2013 for her cover Me Tomorrow." Love Leslie Grace climbed the charts Still of "Will You in 2013 for her cover Me Tomorrow." Love his station, he helped to launch the the the to to launch launch helped helped he he hishis station, station, guitarist guitarist Edilio Edilio Calderón, Calderón, careerscareers of of chata artists and audiences. Through Through artists artists audiences. audiences. and and chata chata Paredes, and singers Ramón Cordero Cordero Cordero Ramón Ramón singers singers and and Paredes, Paredes, maintainedmaintained strong stronguenceuence over over infl infl ba- ba- reach, and for many years, Aracena many for and reach, reach, and for many years, Aracena many for and reach, chita was also the fi rst with national national national with with rst rst fi fi alsoalsothe the was was chita chita tions to give bachata , Radio Guara- Guara- Radio Radio airplay, airplay, to to bachata bachata give give tions tions capital—in 1964. One of the few radio sta- radio few 1964. the of capital—in One capital—in 1964. One of the few radio sta- radio few 1964. the of capital—in One GuarachitaGuarachita in in Santo Santo Domingo—the Domingo—the nation’s nation’s the name of Radhames Aracena Aracena started started Radhames Radhames of of name name Radio Radio the the 's album Bachata Rosa made bachata known around the world. As the demand for bachata increased, a businessman by increased, a businessman bachata for demand As the In 1961, Trujillo was assassinated. The end of his infl u- infl his of end The assassinated. was Trujillo 1961, In As the demand for bachata increased, a businessman by increased, a businessman bachata for demand As the ence meant the end of a dangerous era of OPPRESSION of era a dangerous of end the meant ence The bachata. on ban radio Dominican the people—and the what recorded Calderón Manuel José singer year, following de Será “Que singles, bachata rst fi the be to considered are Amor.” “Borracho de and Mi (Condena)” gime of former Dominican president Rafael Leóni- das Trujillo (1930-1961), placed government the the on harsh restrictions airwaves. the from banned was bachata and industry, music declared was Dominican style, traditional another Merengue, the cial offi music of thecountry. .

cultures of the Caribbean. the of cultures Its greatest musical Ca- traditional the ence, infl u- is a roman- ribbean bolero, by ned defi style dance tic a 3/4 Other meter. styles in- bachata uence infl that Do- the waltz, the clude not know. But once you do, you once But know. not mistaking no the there’s sound. COUNTRY ROADS of style A guitar-based music from the Dominican first bachata Republic, island the from emerged NOT FOR FOR NOT UN-UN-

October 2016 2016 October October DISTRIBUTION ✤ love, heartbreak, love, love, heartbreak, heartbreak, MUSIC ALIVE! DuringDuring military military thirty-year thirty-year the the re- re- Known as bachateros, players of bachata per- per- bachata bachata of of players players KnownKnown bachateros, bachateros, as as The term “bachata” fi rst entered the language in the ear- the in language the entered rst fi “bachata” term The ✤ upon by members of the upper class. upper the of members by upon tryside to earn national recognition. As As recognition. recognition. to to quick- quick- earn earntryside tryside national national the the of of music music as the as the known known became became as it as it ly ly down down looked looked was was genre genre the the folk, folk, common class. upper the of members by upon GETTING ON ITS FEET around around famous famous became became it it Before Before a long a long still still had had bachata bachata world, world, the the Dominican Dominican coun- coun- to to the the from from go go way way marks of the bachata sound. sound. bachata bachata the the of of marks marks along with the plucked—not plucked—not plucked—not the the with with along along strummed—guitar, are trade- and hardship, earning bachata a repu- a repu- a repu- earning earning earning hardship, hardship, hardship, and and and bachata bachata bachata “bit- “bit- “bit- or, or, or, amargue,” amargue,” amargue,” de de de as “música as “música as “música tation tation tation güira, güira, güira, the the the of of of The The The sound sound sound music.” music.” music.” ter ter ter plucked—not the with along strummed—guitar, are trade- or the güira, a metal scraper. güira, güira, güira, the the the scraper. scraper. scraper. or or or a a a metal metal metal UN- of of tell tell stories stories would would They They REQUITED formed the music on one or two guitars, guitars, two two or or one one on on music music the the formed formed drums, drums, bongo bongo maracas, maracas, claves, claves, with with of the countryside. Much like the bolero or the waltz, the the waltz, waltz, the the or or bolero bolero like like the the Much Much countryside. countryside. the the of of with with along along went went to to a type a type dance dance that that of of also alsoterm term applied applied music. the family and friends. Taking hold in some of the poorest neigh- neigh- poorest poorest the the of of in in some some Taking Taking hold hold friends. friends. and and family family to to de- de- came came “bachata” “bachata” Dominican Dominican in in Republic, Republic, the the borhoods borhoods scribescribe the the guitar-based guitar-based “música “música de deesta,”esta,” fi fi or, or, “party “party music,” music,” minican merengue, and the Cuban son Cuban the and minican merengue, of an informal gathering meant it then, back 1920s, but ly José Manuel Calderón rst performed on the fi recordings of bachata in 1962.

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ch ch 14 ItTube. wasn’t long before audience. an gain to she started Adele like artists and Jessie Jand uploading them You- to writing. When she was 14, she began performing songs by entries, and short stories to music in her first attempt at song- everying day,” she get to better.” says. trying “I’m time first my for afew months, then learn- herself. began teaching still to] “I’m [led and getting into music amore in serious way.” instrument, She took lessons big first my gift, big me,” she says, still warmed by the memory. “It was my fi and [itcar turnedout that] they had boughtrst [the for guitar] one day,“Then my momtold me get to something from the come infatuated seeing someone with after play it on TV. sheif could save up buy to aguitar, instrument an she’d be- say.wanted to who, Ocean, herself, like and had Frank something they own Sheeran, favorites Ed like , artists in Italian-born mother. she As got older, found 20, Cara, her and even the music of from Italy, pop artists adored by her MichaelJackson, Sinatra, standard-bearers to Frank like with music—from the classic pop and of rock the Beatles and do,”to she says. through my music, then it’s I think powerful a really thing self-acceptance. sues anxiety, beauty associal unrealistic and standards, much deeper the than fare fodder, usual addressing such is- popular music to twist by delivering songs that delve into it’s about astatement. making Cara ForAlessia ✤ Eventually, her YouTube presence the earned attention A few years later, she began setting her poems, journal herAs 10th birthday approached, asked Cara her parents Growing up in Brampton, Ontario, Cara’s home was fi lled I’m able“If or make to agirl aboy feel safe or understood 20-year-oldThe singer-songwriter hasprovided awelcome MUSIC ALIVE!

✤ DISTRIBUTION October 2016 NOT FOR , it’s not just about music, making that] someone relates to. Iwant be able to do to that for effect on people. Iput Everything out [can be something released late that in 2015. realized music “I have can an of the material she for wrote her debut album, Know-It-All both feel each connected to other,” she says. ety. the “That’s beauty what in do Ican with music—we can understand to grew Cara that she wasn’t alone her in anxi- universal,” are ings she says. listeners As related the to song, common. opened “It my eyes the to idea that music and feel- from her personal experience, the emotions it evoked were I’m the one who isawkward. Everybody else loves parties.’” thatparty wasn’t great,” she says. thought, “I just ‘I’m weird. ing theing song, Ithought all Iwas about doing was talking a found audience, an much Iwas her mak- to “When surprise. moreing go home. to than anti-social The anthem quickly whenparty she was 17, hating being there, and wanting noth- ballad, told the R&B-tinged ofan attending story Cara a , and Justin Azalea, Bieber. Iggy contract with Def Jam as such to Records—home artists they for began searching labels, and she signed arecording the in studioskills while she school. high was in still Soon, dio and producer, and spent more ayear honing than her contract she with him, was stu- connected with recording a managerof Tony artist amanagement signing Perez. After The The positive reaction to “Here” helped Cara frame the rest She that soon realized even though the song was drawn In In 2015, she posted her first original song online. “Here,” By MelindaNewman show themthey’re wants toconnect with fans—and ALESSIA CARA songwriting, Through her not alone. musicalive.com musicalive.com , ,

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PHOTOGRAPHY: PHOTOGRAPHY: playbecause what would they dowith that information? of,” she says. “I’d never make asong about my on life with tour Cold- want put to out something that no one understands or make can sense since it’s not experience an which to most of her relate. never can fans “I whatever reactto energy yougive them.” be just aswelcomingThey’ll you to asyou them,” to are she says. “They youif give the crowd your give everything, you they’ll their everything. she andthe crowd communion in are with each other. told “He me [that] renowned for ability his connect with to audiences. summer.this She paid close attention who is Martin, frontman to Chris rockersarena on the British band’s stadium that tour concluded from late September through early November, learned alot from opening for entertainer.” ter singer and songwriter,” she says. needed “But Ireally how learn to be aproper to into her camera phone. “[Over] a very long getting a handle time, on Istarted how be a bet- to and Things,’ [say], ortiful,’ ‘Wild ‘You don’t have belong.’” to every single person—whether it’s through asong about Your body to image, such as ‘Scars Beau- musicalive.com “I think it’s think important“I connect with to people.” self-describedThe introvert, who her isheadlining Know-It-All Tour II Part However, don’t hear about to expect her experiences touring song, a in the in advised trust audience to Cara Martin understand and to that herAs popularity grew, needed Cara how learn to play to alive to audience and not just DISTRIBUTION NOT FOR

October 2016 ✤ MUSIC ALIVE! ✤ 15

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11 A C©‹ A # ™ ## # œ œ œ œ Œ‰r œ œ œ œ ™ & œ œ œ œ œ Œ œ œ œ œ œ œ œ œ œ Wild Things We don’t care what they say, no way, no way. And we will leave the emp-ty chairs to tell me to tread. I’d rather be a wild onein - stead. Don’t wan - na hang a - round the HE TITLE OF ALESSIA CARA’S new single “Wild Things” might call to mind wild, reckless antics, or children’s author Maurice 14 C©‹ B Sendak’s book by a similar name. But to Cara, the song’s lyric # # & # # œ œ œ œ ™ œ œ j j ŒŒ‰j “Where the wild things are” evokes something a bit different. It œ œ œ œ œ œ œ œ œ œ œ œ œ refersT to an imaginary place that’s free of peer pressure, where one can feel those who say we can’t sit there. We’re fine all by our - selves. So in crowd.The cool kids aren’t cool to me. They’re not cool er than we are. } comfortable in their own skin—an idea that speaks to the song’s underly- Pre-Chorus ing message of self-confidence and rebellion against the in crowd. An em- 17 A C©‹ A phatic, syncopated drum beat heard in the pre-chorus adds to the song’s # # ™ # # ‰ j ™ œ ™ ™ ™ ‰ j ™ ™ courageous spirit, and a pulsating bass tone heard throughout drives the & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ music forward with anticipatory rhythm. And, in sticking with the message hey we brought our drum and this is how we dance. No mis- tak - in’ we make our breaks if of being true to oneself, the official starsWild Cara and Things her real-life best friends enjoying a night out in the city of Toronto. 20 C©‹ A C©‹ Words & Music by Alessia Caracciolo, # ## ™ ™ j ™ James Ryan Wui Hun Ho, Coleridge Tillman & # œ Œ‰œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Verse you don’t like our 8 - 0 - 8s Then leave us a- lone, ’cause we don’t need your pol - i - cies. We Moderately 2 bars Intro Chorus B A A C©‹ 23 # # ## j ™ ™ j ‰ Œ j ## #4 & # ‰ œ œ œ œ œ œ œ ‰ œ œ œ œ œ œ œ œ œ & 4 Œ‰œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J œ Jœ Ó œ 1. Find ta - ble spac - es. Say your so - cial grac - es. Bow your have no a- pol - o - gies for be-ing. Find me where the wild things are. NOT FOR NOT FOR Oh, my, we’ll C©‹ A C©‹ A 3 A C©‹ A 26 # # Œ j # # # # j œ œ Œ‰œ œ ‰ Œ j ‰ œ œ # # j j ™ Œ & œ J œ œ J œ œ œ œ œ Óœ œ œ œ œ œ Ó œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J œ ‰ J œ J head; they’re piœ -œ oushere. But you and I we’re piœ -œ o-neers. We make our own rules, our Find me where the wild things are. be al- right. Don’t mind us, yeah. Oh, my, we’ll

C©‹ B 30 1. 2. 6 C©‹ DISTRIBUTIONB # # DISTRIBUTION™ # # j Œ ‰ j ™ j ™ # # & œ œ œ œ œ Œ‰œ œ œ œ œ œ œ œÓ œ œ œ œ ‰Œ œ œ # # Œ ™ œ J J J œ ‰ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ Find me where the wild yeah. We will own room no biœ- asœ here. Let’em sell what they are sell- in’. They’re no buy-ers here. 2. So be just fine. Don’t mind us, yeah. Bridge 34 C©‹ B A E 9 A C©‹ # # ™ # # œ ™ œ ™ œ ‰ œ œ œ œ œ # & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ J ## # carve our place in- to time and space. We will find our way or we’ll make a way. (Say hey, hey, hey.) & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ gath - er all the reb - els now. We’ll rab - ble - rouse and sing a - loud. things are. 3. I lose my ba-lance on these egg - shells. You End with Pre-Chorus 38 C©‹ B A and Chorus # ## ™ j # œ œ ‰ ‰ ‰ j ‰  Œ‰ & œ œ œ œ œ œ œ œ œ œ œ œ œ j œ j ™ œ œ œ œ œ œ J ©2015 Sony/ATV Ballad, Tabulous Music, Universal Music Corp., Songs of Universal Inc., Bhamboo Music PubAll rights Findyou’re great.Don’t you your face. Let it shine, shine, shine, shine, shine, shine. So…

for Tabulous Music administered by Universal Music Corp.,© TK all rights for Bhamboo Music Pub administered by Bughouse PHOTO: MEREDITH TRUAX

MUSICALIVE.COM OCTOBER 2014 17 16 ✤ MUSIC ALIVE! ✤ October 2016 musicalive.com musicalive.com October 2016 ✤ MUSIC ALIVE! ✤ 17 LISTENING GUIDE

An appreciation of infl uential and current popular music that discusses and defi nes a song’s elements in real time. BY ROB KEMP HEAR THE MUSIC Listen to “Why Doves Cry” at musicalive.com/hear-the-music-october-2016 PRINCE’S URING A 38-YEAR CAREER that request of director Albert Magnoli to match the fi lm’s concluded with his death this past April, themes of parental drama and romantic struggle. And, Prince Rogers Nelson produced count- in a highly uncharacteristic decision for any pop song, “When less hits that have since established Prince stripped “When Doves Cry” of one crucial ele- him as one of the most infl uential pop ment: a bass part. Like many of his songs, each sound artistsD of our time. His 1984 album Purple —the was recorded and produced by Prince himself, and Doves Cry” soundtrack to the fi lm by the same name—contained originally, a bass part was created for the track. But in several of his best-known hits, including the No. 1 lead a move that worked out in his favor, it ended up on the Avant-Garde Meets Pop single, “When Doves Cry.” The song was created at the cutting room fl oor. in the Biggest Hit of 1984 PHOTO: RICHARDPHOTO: AARON/REDFERNS E.

2:04 The second chorus repeats 0:00 4:53 An aggressive, heavily 0:18 0:56 the instrumentation of the 1:34 3:20 The syncopated kick distorted guitar solo A snare sound At the end of the fi rst. Prince echos the lyrics drum leads into four begins the recording, introduces the beat fi rst verse, Prince’s The initial keyboard fi gure ”So cold” and “She’s never The beat returns to the returns, followed by stripped-down kick drum bars of a three-part followed by a slightly of the song, followed vocals are doubled satisfi ed.” The chorus ends vocal harmony, followed syncopated kick drum by the main melodic on “Animals.” A faint Prince’s wordless falsetto with a series of improvised of the song’s intro. Prince in a style reminiscent of his repeatedly sings “When doves by a rapid, sixteenth- pattern created with theme played on high harmony is vocal melodies, doubled on note solo played on an a Linn LM-1 Drum a Yamaha DX-7 heard on the lyric contemporary and fellow the fi nal phrase. cry” in eight overlapping, 5:54 pop giant, . dramatic phrases. Oberheim synthesizer in Computer. NOTkeyboard. FOR“They feel the .” NOT FORa Baroque-inspired style. End DISTRIBUTION DISTRIBUTION FIRST SECOND SOLO INTRO VERSE CHORUS VERSE CHORUS CHORUS BREAK 00m 01m 02m 03m 04m 05m

5:45 1:49 A fi nal, The second verse features 2:50 3:35 4:14 0:33 1:04 A repetition of the Prince launches into Prince’s vocal infl ections rising synth 0:12 Prince sings a variety of subtle vocal melody Prince’s voice is heard Beginning with “How could infl ections and harmonies. A chorus follows, this a guitar solo as the become anguished the fi rst verse you,” the chorus is sung in time with a quiet synth main beat resumes. His screams as sharp brings the for the fi rst time in the with no musical synthesized pizzicato (plucked) song to a form of electronically an octave harmony, with an string sound repeats an eighth- pad in the background. ongoing vocal ornaments exhales are added in the accompaniment additional harmony heard Prince continues with and infl ections build in background, accenting close. modifi ed “yeah”s. other than the note melody before switching They repeat fi fteen on “Alone in a world.” A high- to a chromatic pattern at “Don’t improvised vocal intensity. every other beat. sparse drum pitched keyboard melody phrases. times before fading in programming. make me chase you.” the next section. enters the mix.

18 ✤ MUSIC ALIVE! ✤ October 2016 musicalive.com musicalive.com October 2016 ✤ MUSIC ALIVE! ✤ 19 MSG’s artiststohave their musicheard. hecreates opportunitiesfor outside ofthespotlight, productions,andmore.Now performances, film/TV oversees theproduction oflive ,theatrical network ofmusicindustryprofessionals,he help ofacreative globalteamandanexpansive actively hispassionforproduction.Withthe fulfills commercial music.Asamusicpublisher, Thompson theatrical,and and composersinclassical,film, and publishesawiderangeofaward-winningartists Sales Group (MSG), whereherepresents,produces, production. Today, Thompsonpresidesover Music before hediscovered histrueambition:live concert major artistsfromtheMoodyBluestoFrankSinatra School ofMusicinRochester, NY, goingontotourwith hestudiedtrumpetattheEastman performing artist, Startingoutasa began withhiminthespotlight. industry hasbeenalongandwindingroadthat DR. ROBERTTHOMPSON’Scareerinthemusic 20 President, Music Sales Group Thompson t Rober r. D Cool Careers ✤ MUSIC ALIVE! won’t happen because of veteran music industry executives like of veteran industry music won’t because me. happen The innovations that will happen in music in the next twenty years years twenty innovations next The in in music the will that happen

✤ DISTRIBUTION October 2016 They’ll happen because of young like because They’ll you. happen NOT FOR BY KATE KOENIG Embrace that! precipice ofenvisioningamusical worldthatIcan’teven fathom. musicians like you who arereadingthisarticle.You’re alreadyonthe music industryexecutives like me.They’ll happenbecauseofyoung music inthenexttwentyyears won’thappenbecauseofveteran a blessingindisguise.Finally, theinnovations thatwillhappenin Withoutexception, every thejobIlost. oneofthosefailureswas get, since Ileft highschool:theschoolIdidn’tgetinto, thegigIdidn’t poor clothing.I’ve kept ajournalofprofessionalfailuresinmycareer RT: INPURSUINGACAREERMUSIC? INTERESTED MA!: WHAT WOULD YOUR ADVICE BETO AYOUNG PERSON just afewhighlights. of Cards intoafullevening concertattheKennedy Center, toname Housecomposer Jeff BealturnedthemusichewroteforNetflix’s Led Zeppelin’s JohnPaul Jonescomposedanopera,andfilm Copeland (from thePolice) score, composedaneworchestralfilm group offolkswithwhomI’ve worked. SinceIjoined,Stewart RT: MA!: happen. my favorite place: behindthecurtain,knowingthatIhelpedmake it yet contributing toeverything thatwashappeningonstage.It’snow producer—standing off-stage andnothavingthespotlightonme, was somethingthatresonateddeeplywithmeasalive concert into producingalbumsandconcertsinallareasofmusic.There Edition.] Firstitwaswithclassicalcomposers, thenitexpanded and startedworkingwith Universal[the musicpublishing firm, curious andabitofrisk-taker career-wise, soImoved toVienna, when Ihadtheopportunitytomove toEurope.I’ve alwaysbeen RT: IN THEBUSINESSSIDEOFTHINGS? MA!: to exploretheboundariesofwhatbeingamusicianmeantinmylife. faculty wasincrediblysupportive andinspiring,encouragedme degreesinclassicalandjazzsimultaneously.separate master’s The one ofthefewprogramsbackthenwhereyou couldcompletetwo studying attheEastmanSchoolofMusicinRochester, NY. Itwas RT: YOU FORWHAT YOU’RE DOINGNOW? MA!: professor. performing andtouring [while workingoff andon] asacollege and doctoratefromtheEastmanSchoolofMusic.Ithenstarted classical, jazz,rock,orreggae.Fastforward:Iearnedmymaster’s learned thatitdidn’tmatterwhatgenreofmusicyou played, beit was anincredibletrumpetplayer inNewYork City. Throughhim,I town! Ihadamarvelous teacherinhighschool,RayCrisara,who very empoweringmomentforashy, introverted kidfromasmall RT: BACKGROUND INMUSIC. MA!: TELLUSABOUTYOUR EDUCATION AND

[Know that] failureisnothingbutanopportunitydressedinvery yearsI hadbeenperformingprofessionallyforalmostfifteen itwasmyexperience If Ihadtopointonesinglemoment, I startedplayingtrumpetwhenwaseightyears old.Itwasa The globalteamattheMusicSalesGroupismostcreative WHAT DOYOU ENJOY ABOUTYOUR THEMOST JOB? HOW DIDYOU BECOME MOREINVOLVED HOW DID YOUR BACKGROUND PREPARE

musicalive.com

PHOTO: JESSICA LEHRMAN Now Playing EXTENDED PLAY BY KATE KOENIG Listen to the Minimoog at musicalive.com/extended-play-october-2016.

Minimoog Model D NOT FORHEN THE MINIMOOG MODEL D was introduced in 1971, it revolutionized popular music as the first portable synthesizer. Inspired by the 1963 Moog Modular synthe- sizer, the Minimoog was the brainchild of engi- neer and electronic music pioneer Robert Moog, Wwho founded Moog Music in 1953. The original Moog (pronounced like DISTRIBUTION“rogue”) stood at several feet tall, and allowed users to generate raw sound waves and modify their textures in a variety of ways. It was also the first synthesizer to include a keyboard, which encouraged its use for musical experimentation. Due to its size, however, it was mostly sold to recording studios and schools. At just 30 inches wide, the Minimoog made the Moog’s innovations far more accessible to the average user. Some of its earliest and most influential adopters were progressive rock keyboardist Keith Emerson, jazz composer/arranger Chick Corea, and icon Bob Marley. Though its production halted in 1981, the Minimoog’s unique sound Pictured above and below: The Minimoog’s control panel made it a mainstay in popular music through the ‘90s. features knobs to adjust volume and resonance, and can This summer, Moog Music announced the reintroduction of the be left upright or folded back. Minimoog Model D, along with several of their vintage synthesizers. While staying true to the original design, the new version features more powerful overdrive effects and MIDI capabilities, making a piece of history accessible to a new generation of musicians.

22 ✤ MUSIC ALIVE! ✤ October 2016 musicalive.com