Unlocking the Song Within: Applied Process for Writing Collaborative Songs with Youth-At-Risk Peter Satchell

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Unlocking the Song Within: Applied process for writing collaborative songs with youth-at-risk Peter Satchell

Submitted in partial fulfillment of the requirements of the degree of Master of Sound Design by research creative work and written commentary. Wednesday 23rd September 2020 Creative works and other documents can be found by clicking on: ‘Pete Satchell MFA Thesis’ or https://www.dropbox.com/sh/hg2sl6j51njrxy8/AADgW46ctSvlI7oli_tTmQKDa?dl=0 The files accessed by these links are confidential and are only to be accessed by the examiners and relevant University of Melbourne staff. The University of Melbourne Supervisor: Doctor Roger Alsop Orcid ID: https://orcid.org/0000-0003-3145-8156

Abstract Songs and song-writing are an integral part of society. Positively engaging youth in the medium of music and song-writing holds significant benefits for the whole community. Youth crime, recidivism, unemployment, and disengagement from education, and consequent alienation from mainstream society within this cohort exists. Increasing numbers of youth are becoming exposed to the Victorian justice system, with record numbers of secondary education ‘dropouts’, makes these problems exacerbate. The project intends to outline a possible arts-based process for ameliorating this. The broad aims of this project are to document a song-writing process with youth-at-risk based on my practical/personal experience, and to publish the outcome for similar facilitators. This outcome is intended for those with no formal training in Music Therapy. Song-writing is well documented as having beneficial effects with youth-at-risk, though there is currently little documentation on actual processes for collaborative song-writing with youth-at-risk. This is identified as a problem, as idiosyncratic processes are normally used by facilitators, and there is a lack of knowledge sharing. By developing and publishing actual processes, new approaches may be used and then interrogated further by practitioners. In over six years of song-writing with youth-at-risk in different contexts and settings, I have found that self- expression through song-writing can help achieve a better self-worth and lead to a healthier, happier, and more productive life for the individuals I have worked with. The approach to this study is to examine relevant literature, develop a process for collaborative song-writing with participating youth-at-risk, test this process through co-writing songs with youth-at-risk, and document the co-writing activity to further develop the process. The value of this process to the participants will be assessed using questionnaires before and after the song-writing activity. The participants are youth deemed ‘at-risk’ by the Victorian Department of Health and Human Services and were identified through Living Music Australia.

Declaration This is to certify that: I. The commentary comprises my original work towards the Master’s degree. II. Due acknowledgement has been made in the text to all other material used. III. The commentary is 31,218 words in length, inclusive of footnotes, but exclusive of tables, maps, bibliographies, and appendices. The thesis without the footnotes is 31,218 words as approved by the Graduate School, Faculty or RHD committee.

Acknowledgments I would like to thank my supervisor, Doctor Roger Alsop, for his encouragement and enthusiasm for the research. Special thanks: Special thanks to my family, Penny, Sadie and Veronica, and my parents Tony and Mary, who have always supported of the life of the creative artist . Colleagues: I would like to thank Andrew McSweeney for his support and the use of Living Music Australia’s studio where I conducted my research and to Ben Wiesner and Matt Voigt for supporting and encouraging my research. Notes: The referencing style is Author-Date, as recommended by the University of Melbourne, and implemented via Endnote 9.

ii Table of Contents

ABSTRACT ...... I

TABLE OF CONTENTS ...... III

Table of Figures...... ix

CHAPTER 1: INTRODUCTION ...... 1

Structure of this document ...... 2

CHAPTER 2: LITERATURE REVIEW ...... 3

Who are youth at risk? ...... 3 Youth-at-risk in Australia? ...... 4 Benefits of Song-writing with Youth-at-Risk ...... 4

Facilitator or Therapist? ...... 5

Why are Youth-at-Risk attracted to Hp Hop? ...... 6

Processes of song-writing with youth-at-risk ...... 6 What is a collaboration with youth-at-risk? ...... 7

Synthesis of current literature ...... 8 What is missing?...... 8 How I intend to fill this gap ...... 8 Potential Benefits ...... 8

CHAPTER 3: METHODOLOGY ...... 9

Current Methodology’s in the field ...... 9 International...... 9 Domestic including New Zealand ...... 14

Discussions with Colleagues ...... 16

Considering these approaches ...... 17

What I am doing ...... 17

Diagram of methodology ...... 19

Argument for this Methodology ...... 20

Conceptual Framework ...... 21

CHAPTER 4: ANECDOTAL EXPERIENCE ...... 22

My experience of creating a collaborative musical work with youth-at-risk. (Retrospectively)...... 22

Collaborator or Mentor? ...... 22

iii Collaborating with participants in a correctional facility ...... 22

Collaborating with participants who are not in a correctional facility ...... 23

CHAPTER 5: SONG-WRITING PROCESS ...... 24

The 3 Stage - 25 Step Collaborative Song-writing Model ...... 25 Stage 1 – Foundational - Steps 1 – 10 ...... 26 Stage 2 – Development – Steps 12 – 17...... 29 Stage 3 – Refinement / Assessment – Steps 19 – 25 ...... 31

My collaborative process with the 3 participants from Living Music ...... 33 Living Music Studio...... 34 Equipment used for this Research ...... 34 Logic Pro 9 and Logic Pro X ...... 34 Ultrabeat ...... 35 The EXS24 Sampler ...... 36 The Studio ...... 37

CHAPTER 6: ANALYSIS ...... 39

Analysis process ...... 39

Part 1 Part 3 Pre-research Questionnaire (Figure 32 Participant Questionnaire Stage 1 page 156) ...... 40 What were the participants socio-demographics? ...... 40 What are the similarities in musical and cultural histories? ...... 41 What are the participants objectives and expectations? ...... 42

Analysis of Collaborative Song-writing Model ...... 42

Stage 1 – Foundational ...... 43 Steps 1 – 4 Building rapport ...... 43 Steps 5 – 10 Technical Development and Assessment ...... 44

Stage 2 Development ...... 46 Steps 12 – 14 - Lyrical Development and Recording...... 46 Steps 15 - 17 Music and Recording Development and Assessment ...... 47

Stage 3 – Refinement / Assessment ...... 48 Steps 19 -20 Production refinement and assessment ...... 48 Steps 21 – 25 – Mixing, preparing for publication and assessment ...... 49

Part 3 Post-research Questionnaire...... 51 How much did you enjoy the project? ...... 51 Were you able to freely self-express yourself? ...... 51 What did you learn? ...... 52 What were the benefits? ...... 53 Would you recommend the process? ...... 53 Are there any improvements that you would suggest? ...... 54

CHAPTER 7: CONCLUSION ...... 55

Future Developments ...... 56

Afterthought...... 57

iv BIBLIOGRAPHY ...... 58

APPENDIX ...... 62

Appendix 1 ...... 62 Song 1: Oho ...... 62 Friday 20th July 1:30pm ...... 62 Socio Demographics (Optional) - Question 1a ...... 62 Question 1b ...... 62 Question 1c ...... 62 Question 1d ...... 62 Question 1e ...... 62 Question 1f ...... 62 My Thoughts ...... 63 Musical History - Question 2a ...... 63 Question 2b ...... 63 Question 2c ...... 63 Question 2d ...... 63 Question 2e ...... 64 Question 2f ...... 64 My Thoughts ...... 64 Cultural History - Question 3a ...... 64 Question 3b ...... 64 Question 3c ...... 64 Question 3d ...... 65 Objectives and Expectations ...... 65 Question 4a ...... 65 Question 4b ...... 65 Question 4c ...... 65 Question 4d ...... 65 Project Commencement ...... 66 Drums ...... 66 Bass...... 66 Piano ...... 67

Friday 27th July 1:30pm...... 68 Drums Live ...... 69 Piano w/echo ...... 70

Friday 3rd August 1:30pm ...... 71 Song 2 Begins ...... 74 Strings ...... 74 Horns ...... 75 Bass Groove #2 ...... 77 Varispeed Drums ...... 77 Electric Guitar ...... 78

Friday 17th August 1:30pm ...... 79 Vocals ...... 79 Lyric Explained ...... 80 Tracking the Vocals ...... 82

Friday 31st August 1:30pm ...... 83 Refinement - Editing the track #1 ...... 83 Re-track Vocals #1 ...... 83 Piano Coda ...... 84

v Friday 5th September 1:30 ...... 85 Refinement -Editing the track # 2 ...... 85 Tracking the Vocals #2 ...... 86 Refinement – Editing #1 ...... 87 Re -Track Vocals #2 ...... 88 Shout Outs ...... 89

Friday 12th September 1:30 ...... 89 Mixing ...... 89 Mixing Drums ...... 89 Re-recording Shout Outs ...... 90 Control Room Banter ...... 90 Mixing and banter continued ...... 91

Friday 19th September 1:30 ...... 92 Final day! ...... 92 Questions and debrief ...... 92 Enjoyment - Question 1a ...... 93 Question 1b ...... 93 Question 1c ...... 94 Self-Expression Question 2a...... 94 Learning Question 3a ...... 94 Question 3b ...... 95 Question 3c ...... 95 Question 3d ...... 95 Question 3e ...... 95 Benefits ...... 96 Question 4a ...... 96 Question 4b ...... 96 Recommendation and Improvements ...... 96 Question 5a ...... 96 Question 5b ...... 97 One Word Response to each Instrument ...... 97 Final Words ...... 98

APPENDIX 2 ...... 100

Song 2: Sam ...... 100

Friday 20th July 2:30pm...... 100 Socio Demographics (optional) Question 1a ...... 100 Question 1b ...... 100 Question 1c ...... 100 Question 1d ...... 100 Question 1e ...... 100 Question 1f ...... 100 My Thoughts ...... 101 Musical History - Question 2a ...... 101 Question 2b ...... 101 Question 2c ...... 101 Question 2d ...... 101 Question 2e ...... 101 Question 2f ...... 102 My Thoughts ...... 102 Cultural History - Question 3a ...... 102 Question 3b ...... 102

vi Question 3c ...... 102 Question 3d ...... 102 My Thoughts ...... 103 Objectives and Expectations ...... 103 Question 4a ...... 103 Question 4b ...... 103 Question 4c ...... 103 Question 4d ...... 103 My Thoughts ...... 103 Song ...... 103 Drums ...... 105 Guitar...... 106 Bass...... 107

Friday 27th July 1:30pm...... 109 Building rapport ...... 109 Tracking Day 2 ...... 110 Sam’s words ...... 111 Personal Reflections ...... 112 Tracking Vocals ...... 112 Vocal Playback and Banter ...... 114 Rapport and editing vocals...... 114 Assessing ...... 116 Bad Idea in F#m ...... 117 Piano ...... 117 Strings ...... 118

Friday the 3rd August 2:00 ...... 119 Facebook ...... 119

Friday the 10th August 2:00 ...... 120 Outro vocals ...... 120 Comping the vocal outro ...... 121 Vocal effect ...... 121 Mixing ...... 124

Friday the 17th August 2:00 ...... 125 Enjoyment Question 1a ...... 126 Question 1b ...... 126 Question 1c ...... 126 Self-Expression Question 2a...... 126 Learning Question 3a ...... 126 Question 3b ...... 126 Question 3c ...... 127 Question 3e ...... 128 Benefits ...... 128 Question 4a ...... 128 Question 4b ...... 128 Recommendation and Improvements ...... 129 Question 5a ...... 129 Question 5b ...... 129 One Word Response ...... 129

APPENDIX 3 ...... 132

Song 3: Brodie...... 132

vii Friday 24th August 4:30 pm ...... 132 Questions ...... 134 Socio Demographics (Optional) - Question 1a ...... 134 Question 1b ...... 134 Question 1c ...... 134 Question 1d ...... 134 Question 1e ...... 134 Question 1f ...... 135 My Thoughts ...... 135 Musical History - Question 2a ...... 135 Question 2b ...... 135 Question 2c ...... 135 Question 2d ...... 135 Question 2e ...... 136 Question 2f ...... 136 Cultural History - Question 3a ...... 136 Question 3b ...... 136 Question 3c ...... 136 Question 3d ...... 136 Objectives and Expectations – Question 4a...... 137 Question 4b ...... 137 Question 4c ...... 137 Question 4d ...... 137 Rapport building ...... 137 Song#1 starts ...... 138 Drums- Selecting a pattern ...... 138 Bass...... 138 Keys ...... 138 Bass modulation ...... 138

Friday 14th September 4:30 pm ...... 139 Assessment#1...... 139 Lyric Development ...... 139 Tracking vocals ...... 139 Control room banter ...... 139

Friday 21st September 4:30 pm ...... 140 Re-tracking vocals ...... 140

Friday 28th September 4:30 pm ...... 140 Assessment #2 & Suggestions ...... 141 Chorus - Guitar idea ...... 141 Chorus – Bass ...... 141 Guitar Improvisation ...... 142 Chorus – Tracking Vocals ...... 142 Vocal ad-libs ...... 142 Control room banter ...... 142 Friday 12th October 4:30 ...... 143 Assessment #3 ...... 143 Mixing drums...... 143 Sound effects, mixing and banter ...... 143 Ending the song ...... 144 Friday 19th October 4:30 ...... 144 Control room banter and assessment ...... 144 Debrief and questions ...... 145 Enjoyment Question 1a ...... 145 Question 1b ...... 145

viii Question 1c ...... 145 Self-Expression Question 2a...... 146 Learning Benefits Question 3a ...... 146 Question 3b ...... 146 Question 3c ...... 146 Question 3d ...... 147 Question 3e ...... 147 Benefits ...... 147 Question 4a ...... 147 Question 4b ...... 147 Recommendations and Improvements...... 148 Question 5a ...... 148 Question 5b ...... 148

Submitted forms: ...... 149

Table of Figures Figure 1 Theoretical Model of Collaborative Composition ...... 15 Figure 2 - Coded ten group compositional stages ...... 16 Figure 3 Methodology ...... 19 Figure 4 Collaborative Song-writing Model ...... 25 Figure 5 The edit window of Logic Pro 9 ...... 35 Figure 6 A screenshot of Logic Pro Piano Roll edit window ...... 35 Figure 7 Ultrabeat's main interface ...... 36 Figure 8 Ultrabeta’s Step Sequencer in full view mode ...... 36 Figure 9 The EXS24 sampler ...... 37 Figure 10 Main studio space at Living Music ...... 37 Figure 11 The vocal booth at Living Music ...... 38 Figure 12 The control room at Living Music ...... 38 Figure 13 - Analysis Method...... 39 3. Figure 14 Basic Drum Pattern - Oho ...... 66 4. Figure 15 Bass Pattern over 4 Bars - Oho...... 67 5. Figure 16 Piano chords (Verse) - Oho ...... 67 3. Figure 17 Violin e.g. 1E root on each beat - Oho Song ...... 74 6. Figure 18 Violin A - Oho Song...... 75 8. Figure 19 Violin B - Oho Song ...... 75 10. Figure 20 Violin C - Oho Song ...... 75 Figure 21 Violin D Harmony line starting on B note - Oho Song ...... 75 4. Figure 22 Horn E Root note - Oho Song ...... 76 7. Figure 23 Horn G minor 3rd note - Oho Song ...... 76 11. Figure 24 Horn B note the 5th - Oho Song ...... 77 4. Figure 25 Bass groove #2 - Oho Song ...... 77 5. Figure 26 Guitar lick - Oho Song...... 78

ix Figure 27 - Piano Coda, last 5 bars...... 85 Figure 28 - Telephone EQ setting ...... 87 4. Figure 29 Drum Pattern A (Verse) – Sam ...... 105 7. Figure 30 Drum Pattern B (Chorus) - Sam ...... 105 Figure 31 Verse Guitar - Sam ...... 106 Figure 32 Verse Chorus Effect - Sam ...... 107 Figure 33 - Chorus Guitar - Sam ...... 107 Figure 34 Bass Pattern A - Verse ...... 107 Figure 35 Bass Pattern B - Chorus ...... 108 3. Figure 36 Vocal Transformer Plug In ...... 121 6. Figure 37- Automation on vocal outro ...... 122 Figure 38 Participant recruitment form ...... 150 Figure 39 Plain language statement...... 151 Figure 40 Participant consent form ...... 153 Figure 41 Participant Questionnaire Stage 1 ...... 154 Figure 42 Participant Questionnaire Stage 3 ...... 156

x Chapter 1: Introduction

(Image- Mike Hishon)

“Music and writing words give me hope, it gives me a chance to tell my story. Without it who knows where the ***k I’d be…Probably on drugs and then back in prison, but I’d definitely on the streets committing crime” (Name withheld –Male 17-year-old, Former inmate Melbourne Youth Justice Centre)

This chapter outlines the aims, hypotheses and key questions asked relating to my research, it’s importance and limitations. This project documents my process for collaborative song-writing with youth-at-risk. Face-to-face song-writing processes with youth-at-risk are not well documented in the public domain. This is a problem as limited and idiosyncratic processes are used by facilitators, and there is also a lack of knowledge sharing. While there are many other therapies that may benefit youth-at-risk, such as drug and alcohol counselling, reducing homelessness and focused educational possibilities; these are not the focus of this thesis. My connection to song-writing is a professional song-writer for the past thirty years. While it is true that song- writing doesn’t support the broader community, the literature review offers information regarding the benefits of engagement with song-writing and that these benefits may reduce issues such as recidivism and may help youth-at-risk develop better sense of self and become more productive members of community. The hypothesis to be tested is: that there are definable, documentable, and transferable process(es) for collaborative song-writing with youth-at-risk. This project aims to present a pedagogy and frameworks for processes involved in writing songs with youth-at- risk. To further develop current process in collaborative song-writing with youth-at-risk; to interrogate and document a process used by an experienced facilitator in song-writing with youth-at-risk; to validate previous collaborative song-writing with youth at risk and to publish the outcomes for similar facilitators. This addresses the problem outlined in the hypothesis. The key question asked here is: can definable processes be documented in creating songs with youth at risk? This will be explored by myself working with youth-at-risk in collaborative song-writing and documenting the processes undertaken to create a final completed composition. This research is important because there is currently little factual and pragmatic documentation of actual processes for collaborative song-writing with youth at risk. I intend to further develop my current process in collaborative song-writing with youth at risk; to uncover the relevance and value of these process for youth-at- risk; and to document this process for dissemination. By providing such information, developing, and publishing actual processes, new approaches may be initiated, used, and then further interrogated and developed by other practitioners.

1 Anecdotal evidence from participants in my previous activity in the field with organisations such as: DHHS (Department of Health and Human Services), LMA (Living Music Australia), JSS (Jesuit Social Services), YSAS (Youth Support Advocacy Service) and ACMF (Australia Children Music Foundation), have indicated that they have had a positive effect and influence on their lives. Importantly, it has been found that positively engaging with youth-at-risk with song-writing is not only relevant, but can aid in traversing cultural and class division (Olson-McBride and Page 2012), and represent a ‘meaningful step toward enabling adolescents to build self- control, self-esteem, respect, empathy, and tolerance for others’, which may also produce significant benefits for the community (Bittman, Dickson et al. 2009). This project aims to address the problem of there being little factual and pragmatic documentation of actual processes for collaborative song-writing with youth-at-risk. While it may not be definitive it will provide a ‘manual’ for future facilitators in the area, which can be further developed and provide a forum for arguing and potentially validating the process used. I will be testing the approaches I take through collaborative song-writing with youth-at-risk by considering previous work I have done in correctional facilities and with work that I have done whilst engaged in this research project. The work done for this project was undertaken with three participants conducted at Living Music Australia. This work is documented and considered against a specific criterion discussed in the methodology, analysis of works and in the conclusion. Details are in the appendices. All, participants who participated in this research and past collaborative song-writing programs with myself as facilitator, have been deemed ‘at risk’ by the Victorian Department of Health and Human Services. The limits of this project are that I was not able to document the works that I have done prior to this research project. However, the documentation of the three collaborations provides the culmination of the knowledge I have gained in my previous work in the area. Structure of this document In this chapter I outline the aims and process for this research project. Chapter 2 offers a literature review of writings that describe and define who youth-at risk are, the benefits that song-writing has with youth-at-risk and writings in field of song-writing with youth-at-risk. In chapter 3, I discuss my methodology. Chapter 4 outlines my anecdotal experience with working with youth-at-risk. In Chapter 5, I outline my actual process for collaborative song-writing and equipment used with the participants for this project. Chapter 6 is an analysis of the musical works created and in chapter 7 I offer my conclusion. There are also extensive appendices that provide supporting information.

Chapter 2: Literature Review Though there is peripheral writing on the topics of music and youth-at-risk which include: engagement, socio/emotional/academic benefits, educational, criminal behaviour, and therapy, there is currently little factual and pragmatic documentation for collaborative song-writing with youth at risk. A Google scholar search for “song-writing for youth-at-risk” and “song-writing processes and youth-at-risk” revealed no hits, while a University of Melbourne library search for song-writing for youth-at risk-revealed 15 documents. By developing and publishing actual processes, new approaches can be interrogated, and further developed by practitioners. This chapter will be discussing the broad topics of: Who are youth-at-risk; Processes of song-writing with youth-at-risk; and Potential benefits of song-writing with youth-at-risk. Who are youth at risk? Attempting to define the term ‘at risk’ poses many problems when trying to understand the concepts and issues that surround the term. Identifying factors contributing to this label are interactions of individual and family circumstances, behavioural, educational, and social complexities. Kitty te Rielle in her article: ‘Youth-at- Risk: Further Marginalising the Marginalised, states that “policy identification of youth ‘at risk’ has tended to simplistically focus on personal attributes of young people”, which has set up a “a false distinction between a supposed problematic minority versus a ‘normal’ majority” (Riele 2006). In the paper ‘At risk of what? Possibilities over probabilities in the study of young lives’, a series of interviews conducted with recipients of social assistance to assess the language of ‘at risk’, Foster and Spencer found the term ‘at-risk’ reflected the probability that a young person whose current behaviour and social backgrounds would statistically, later in life suffer from ill health, poverty, criminal behaviour or social disrepute (Foster and Spencer 2011). In the 1984 book, ‘Programs for Youth-at-Risk: A Review of the American, Canadian and British Literature since 1984’, Withers and Batten argue that “social pressures and tensions” experienced in adolescence means that all youth are “in some sense at risk” (Withers and Batten 1995). So then, who exactly are youth-at-risk? Writings on youth-at-risk are vastly extensive. Since 1989 over 2500 articles have focused on this topic, with countless taskforces and institutions making recommendations for what is deemed a “crisis” (Swadener and Lubeck 1995). As a collective term, youth-at-risk has a broad and common understanding. In international literature, ‘risk’ is used to refer to youth who are outside the educational system, working life and social activity. Furthermore, risk refers to drug abuse, violence, poverty and exclusion (Follesø 2015). While there is no agreed definition of marginalization or ‘at-risk’, the United Nations Educational and Organization 2010: ‘Reaching the Marginalized’ offers the following: “a form of acute and persistent disadvantage rooted in underlying social inequalities”. A Western Australian government report positions youth as being at risk “if their life circumstances threaten physical, psychological or emotional wellbeing and preclude or limit the normative developmental experiences necessary to achieve healthy adult functioning'' (Colthart 1996). Often many different forms of marginalization interact, being described as intersectionality (Crenshaw 1989), which refers to “multiple systems of discrimination operating simultaneously”. For example, a young woman from an indigenous population may face discrimination on account of her gender, ethnicity and socioeconomic status/class (United Nations Educational and Organization 2010). Statistically speaking, at risk predicts a later life of ill health, poverty, criminality or social disrepute (Follesø 2015). It must be noted that some youth who have participated in projects that have been exclusively designed for ‘youth-at-risk’, have resented being identified as ‘at-risk’. Though openly willing to talk about the problems and difficulties they were having in their lives, be it friends, parents or schooling, they didn’t want to be referred to as ‘at risk’ because they felt that the term gave them a feeling of being labelled as bad or difficult people (Follesø 2015). The youth question, or ‘what is to be done with young people’, has been dominated by adult anxiety over youth as a social problem (France 2009). As a result, according to Peter Kelly, (Kelly 2000) the understanding of the problematic behaviour of youth, has changed over time. Disciplines, such as psychology, sociology, criminology, and educational studies, have increasingly focused on trying to understand ‘the youth problem’. Furthermore, ‘what constitutes the term at risk’ can differ greatly from professionals and the youths labelled as ‘at risk’. A 2007 study interrogating the best way that youth-at-risk should be approached, motivated and help transition into adulthood was conducted by the University of Nordland, Norway. Entitled ‘Youth at Flight’, it was originally titled ‘Youth at Risk’, the name change resulting from when the youth participating in the

3 study reacted negatively to being referred to as ‘at-risk’. In this study professionals and participants were surveyed and asked how they ‘understood the portrayal of being youth-at-risk’? It found that the two groups had vastly differing opinions with the professionals listing a variety of actions and behaviour, while the youths themselves spoke of loneliness, bullying and feelings of being an outsider and a failure. The adults focusing on the behaviour whilst the youth focused on thoughts and emotions (Follesø 2015). Frequently used to describe children and youth, the term ‘at risk’ has an instinctive meaning, though it has no consistent definition, which, can be viewed as stigmatizing certain groups (Moore 2006). However, having this flexibility can have its positives, enabling program providers latitude on defining ‘at risk’ for youth undertaking their programs. Youth-at-risk in Australia? In the past, in Australia, policy makers have measured ‘at risk youth’ by the level of education completed. The emphasis on ‘risk’ not completing secondary school. According to a 2004 project funded by the Australian Government Department of Health, ‘Young people, risk and resilience: facilitator's guide’, (2004) designed to support and train personal in the needs of youth-at risk, there are a range of definitions that are used to define youth-at-risk. These definitions are reflected by the different disciplines of an organisations concerns. Examples of these are: • Education 'at risk' of leaving the education system prematurely leading to poor transition from school to work or further study. • Police 'at risk' of entering the criminal justice system. • Mental health 'at risk' of self-harm or suicide etc. • Child protection 'at risk' of harm due to abuse or neglect within the family. • Accommodation services 'at risk' of becoming homeless or 'at risk' because the young person is already homeless. • Juvenile justice 'at risk' of re-offending. • AOD services 'at risk' of drug-related harm or 'at risk' of overdose. Flexibility aside, a standard is required as a reference point for law / policy makers, program initiators, funding bodies and the media to ascertain what ‘at risk’ means. Who is at risk? What are they at risk of? How is at risk measured? Though these questions are important, for my research, I am focusing on youth that have been identified as being ‘at risk’ by the Victorian Department of Health and Human Services. Benefits of Song-writing with Youth-at-Risk Songs and song-writing are an integral part of society. With youth crime, recidivism, unemployment and disengagement from education rising, Nichole (1999), Mickelborough (2010), Cunneen and White (2011), Cook (2014), Laurence (2014 ), Royce (2015), positively engaging youth in the medium of music and song-writing holds significant benefits for the whole community, and is considered useful and beneficial in working with youth-at-risk (Hunter 1968, Gardstrom 1999, Elligan 2004, Allen 2005, Laughey 2006, Bittman, Dickson et al. 2009, Chavis 2011, Cunneen and White 2011, Olson-McBride and Page 2012, Travis Jr 2013, Petrucka, Brooks et al. 2014). The following are views expressed by authors writing on the topics that include: engagement, socio/emotional/academic benefits, educational, criminal behaviours, and therapy when predominantly using the Hip Hop genre of music with youth-at-risk. Through six years working with youth-at-risk, I have anecdotally found that self-expression through song-writing can help achieve a better self-worth and lead to a healthier, happier, and more productive life. Hip Hop will be the musical genre when conducting my research. This is largely due to that in the previous three decade’s Hip-Hop music and culture have become a pervasive part of youth culture and consequently, music teachers and youth workers have turned to Hip-Hop music to interact successfully with the youth with whom they work (Kobin and Tyson 2006). Through song-writing set under specific conditions,(Tyson 2002) therapeutic factors of self-disclosure help enable youth to reveal intimate details of their life that they would

4 otherwise be embarrassed, ashamed or find too difficult or painful to recount (Olson-McBride and Page 2012), thus influencing amelioration of past traumatic events. In my field experience in song-writing collaboration with youth-at-risk, I have found that most participants overwhelmingly choose Hip Hop as their preferred musical genre. The below papers have documented the positive impact for the participants in song-writing related projects. For example:

• Baker and Homan (2007, p. 470-1) said that participants stated their satisfaction, pride, sense of agency and achievement from participating in the Genuine Voice project. • Gardstrom (1999, p. 218) found that Rap music may have a positive influence on participants whilst Country music may have a negative influence. One participant said "I love rap music. It slows me down when I'm upset. I don't think it creates a negative impact. Some rap calms people down if they like it." Another participant stated "Country music influenced me in crimes because if I'm in a bad mood it makes me more depressed." • For youth-at-risk participating in the Guitars over Guns Organisation project, Bernstein and Bernstein (2012, p. 53) said that, “All mentors cited the benefits of being involved in music as a means of justification for the GOGO program, particularly for students who may not have a musical/creative outlet otherwise. Four mentors described the program as a positive and constructive replacement for negative behaviours. Five mentors noted the sense of self- improvement and belonging felt by participants in GOGO”. • Silber (2005, 7(2), 251-271) said that music making allows the individual to communicate emotion within a psychologically safe environment if facilitated effectively. • Portowitz, Lichtenstein et al. (2009, 31(2), 107 - 128) said that music making of any kind requires think-first anger management techniques. • Cohen, Silber et al. (2012, 2, p.193) found that musical interactions and experiences are simulations of life experiences and springboards for discussion on social interaction. • Evidence collected by Song Room (Room 2013) an Australian non-for-profit organization who work with disadvantaged youth shows their programs: o Lifted students’ literacy (NAPLAN) by up to an entire year o Almost halved the proportion of children at the lowest levels on the Social and Emotional Wellbeing Index o Reduced school absenteeism by up to 65% o Improved children’s capacity to concentrate o Improved children’s levels of engagement with their learning

Facilitator or Therapist? As above, the benefits of song-writing have been well documented, and in many circumstances, are practiced as a form of music therapy. This leads to the question: To engage in collaborative song-writing with youth-at- risk, is a formal qualification required or is it a practice that can be acquired through real life experience? A formal qualification is not required to engage youth-at-risk in collaborative song-writing. At the Tell It Like it is - First Nation Hip Hop Forum in 2019, Living Music, and my work place, it became apparent that facilitators did not have any formal qualifications in song-writing with youth-at-risk. Instead, they had learnt hands on, via community workshops, working in correctional facilities, and by suggestions and through discussions with other facilitators. It is possible however, that specific and focused training in song-writing with youth-at-risk, leading to qualifications, may be beneficial to practitioners and clients. This research outlines a potential curriculum for such a course. Though this project maybe be further interrogated by music therapy practitioners, it is primarily designed for those facilitators who have no formal qualification, but who possess fundamental Digital Audio Workstation (D.A.W) skills, and, at the least, rudimentary musical / song-writing abilities.

Why are Youth-at-Risk attracted to Hp Hop? According to the article, ‘Teens Blast Music Through Streaming Services’ conducted by Edison research, Teenagers spend an average 4 hours, 2 minutes listening to music each day (Research 2015). It has been revealed that with young offenders in the US, 58% black youth and 23% white youth, listen to rap music every day (Cohen, Celestine-Michener et al. 2007). Statistically, in America, Hip Hop’s popularity is increasing. In 2020, Nielsen Music, the industry-standard information and sales tracking sector, revealed Hip Hop to be the nations preferred musical genre (Zhang 2020). Having its origins rooted firmly in the streets, in essence a DIY (Do it Yourself) genre, Hip Hop emerged in the Bronx as an explicit alternative to gangland culture (Ross 1992), and due to socio economic status, Hip Hoppers created value out of races and places that had seemed to offer only devastation (Morgan 2014). There are sub genres to rap that are embraced by youths whose disposition lends themselves to a certain style or way of thinking. Ellington found that the aspects of anger, abuse, misery, and inhumane circumstances often experienced by those who lived in a ghetto or poorer neighbourhoods, expressed themselves through the ‘Gangsta Rap’ genre, whilst ‘Political Rap’ was favoured by those who wanted to create a ‘social voice’ for those who feel alienated and overlooked when it came to academic, emotional, and social care. Furthermore, it has been validated that rap music has an educational value by bringing awareness of issues that are important to that of the listener. Rap is primarily vocal expression of emotional and cultural expression sustained by rhythm (Elligan 2004). In Australia, youth see Hip Hop lyrics and culture as reflecting young people’s emerging views about racism, poverty and social dislocation (Baker and Uhlig 2011, Hutchings 2016). The culture appears to express identity and authenticity by being true to themselves, refusing to imitate African‐American Hip Hop styles and rejecting what they perceived as “black Hip Hop brands (Henry and Arthur 2006). Anecdotally, through my collaborative song-writing experiences with Hip Hop and youth-at-risk, I have found this to be accurate. Though predominately viewed as a negative influence on formative youth, it has been argued that the true purpose of Hip-Hop is to empower people and to impact change and allow people to not only transform themselves, but also their communities (Calhoun 2016). Youth-at-risk view Hip Hop lyrics as a reflection of their own lives (Gardstrom 1999) and a channel for people to speak freely about their view(s) on political or social issues and therefore, engage others to become concerned and aware of these issues. Rap and Hip Hop have thus proved useful for youth to negotiate local spaces and histories while constructing individual styles and identities (Baker and Homan 2007). Processes of song-writing with youth-at-risk Current relevant literature regarding actual processes is rare. However, outlined below are seminal methods and approaches of creating music with youth-at-risk. One process, though not exclusively for youth-at-risk is Therapeutic Song-writing. This has been defined as “The process of creating, notating and / or recording lyrics and music by the client(s) and therapist within a therapeutic relationship to address psychosocial, emotional, cognitive and communication needs of the client” (Baker and Wigram 2005). Though both lyrics and music are an integral part of the song construction between the relationship of song-writer and therapist, the process is only therapeutic if the specific needs of the song- writer are met. With data collected in this area of study and the development of contemporary music therapy practices over the last ten years, Baker found this definition was still relevant in 2016 (Baker 2016). Engagement in collaborative music making with youth-at-risk is fundamental (Allen 2005, O'Neill 2006, Burnard 2008, Barrett and Baker 2012, Daykin, De Viggiani et al. 2012, Travis Jr 2013, Petrucka, Brooks et al. 2014). Though youth attachment to specific genres are not necessarily ‘fixed’ and that all music making broadens horizons and informs youth of cultural resources (Daykin, De Viggiani et al. 2012), youth-at-risk seek street credibility and authenticity to the music with most believing in the reflection-rejection theory, in which ‘music is perceived as a mirror of the adolescents lives rather than a causative factor in their behaviour’ (Gardstrom 1999). Therefore, over-coming disengagement, teacher’s pedagogies of delivery should be informed by the actual learner’s views on music, musical learning and desired outcomes (Burnard 2008). With the popularity and globalization of the Hip Hop genre, many music therapists have implemented its use when engaging with youth-at-risk. One such pioneering practice is HHT (Hip Hop Therapy) (Tyson 2002, Allen 2005), which uses Hip-Hop music and culture to engage youth and address their issues in therapy by encouraging them to reflect on Hip-Hop lyrics as they relate to the youths own life experiences. HHT also utilises concepts

6 from established forms of therapeutic approaches such as music therapy, behavioural therapy, and narrative therapy and may be instituted in either individual or group settings (Tyson 2002). Noticeable benefits have been noted by the participants in the program and with therapists who have facilitated such practices (Hunter 1968, Gardstrom 1999, Elligan 2004, Allen 2005, Laughey 2006, Bittman, Dickson et al. 2009, Chavis 2011, Cunneen and White 2011, Olson-McBride and Page 2012, Travis Jr 2013, Petrucka, Brooks et al. 2014). In Victoria, Australia, Melbourne Academy offers an accredited Victorian Certificate of Applied Learning (VCAL) model that tailors high school curriculum to draw on student’s musical strengths for engagement, where a student collaborates with local musicians to document experiences of street life (Rawlinson 2014). Other practices utilise ‘song communication’ and ‘lyric analysis’ via rap music where rap lyrics are analysed and in turn foster participants to create their own music (Donnenwerth 2012). Past methods of collaborative song-writing with youth-at-risk have implemented the use of workshops (Baker and Homan 2007), individual and group mentoring (Bernstein and Bernstein 2012), one on one participant - observer case studies (Hollingsworth and Ridgway 2014), frameworks based on qualitative research design and ethnography (O’Brien, Donelan et al. 2005), and qualitative community-based participatory research (CBPR) with a music-based method (Petrucka, Brooks et al. 2014). The proposed method I will be using for documentation and development of a process are influenced by the authors above. While they do not outline actual processes, they do provide frameworks on which to build. The main published outcome from this project will be the written thesis and accompanying audio files, comprising of completed songs. Sections of the thesis will be offered for publication in relevant journals and conferences. What is a collaboration with youth-at-risk? To establish what a collaborative work with youth-at-risk is, first we need to understand what collaboration is. An Institute of Museums and Libraries Task Force (2018), in a list of skills commonly referred to as 21st Century Skills, defines that collaboration means mutual respect to exercise flexibility, willingness, and to value the individual contributions to accomplish a common goal. In the past there has been a misguided view that youth are just soft pieces of clay that we can mould into our own interpretation of what we want them to be. Adults taught and the children listened. In more recent times, it has been deemed that youth are motivated and are able to take ownership in a constructive manner over their own development, with the adult being most effective when they support the positive potentials in young people. The label ‘positive youth development’ has been coined to emphasise and facilitate this way of thinking (Mattessich and Monsey 1992). As collaborators, it is important that we adults recognise, encourage, and facilitate the youths often untapped creative possibilities, which the Institute of Museums and Libraries Task Force highlighted as one of the Common Core Standards of the 21st Century Skills initiative and Civic classes. However, successful collaboration can be fraught with conflict and therefore collaborative skills should be taught from an early age (Friesem 2014). This is not always as simple as it seems. As adults we have the benefit of experience, an awareness of ‘life’s’ obstacles and therefore feel as if it is our duty to, at the very least, shield youth from any of these perils, and as policy makers or practitioners we indeed have an obligation to do so (Larson, Walker et al. 2005). Also, as Steven Goodman has stated, ‘positive youth development’ with youth-at -risk is not a black and white process. These youth may have problems collaborating, under the guidance of adults, because of mistrust for authority figures (Goodman 2003). Anecdotally and via research, it has been found that there is a certain amount of pressure from funding bodies for accountability and having a measurable impact when working with youth-at-risk, not only to produce a quantified result in the form of a completed work that the youth has engaged in, but to also have an awareness of any potential signs that may need to be addressed, especially if the youth is indicating any distress or future anti-social behaviour. Instinctively as adults we often look to steer the youth in a direction that we feel may diffuse this, which can create a paradox. In the past when having to take control of a song- writing session, I have found that there has been the risk of disengagement with the youth if they feel they have lost ownership of a song, resulting in loss of the collaboration. Conversely when an activity is completely handed over to a youth, the work is often derailed or may stall, leading to a lack of motivation and frustration that too can lead to disengagement (Diversi and Mecham 2005). This has been documented in a mentoring program that was developed to help face the challenges of assimilating poor Chicano youth in Utah into schools. It was found that mentors who felt they knew what was best for youth and had them engaging in

7 activities the youth were not interested in, resulted not surprisingly, in a lack of engagement or participation all together. Whilst the mentors who pandered to the mentees whims, although retaining engagement, often found that their role had become more of a show piece for the mentee and found themselves, for example, doing their homework rather than challenging or creating positive direction for the youth (Diversi and Mecham 2005). Too much structure created by an adult can result in a loss of engagement and ownership of an activity, whilst allowing the opposite in giving youth too much ownership does little to challenge or provide a positive direction. Therefore, a collaborative work with youth-at-risk is one that needs to be at essence driven by the youth themselves with supportive encouragement and guidance via an adult to achieve a common goal. Synthesis of current literature Syntheses of these main points are as follows: • That the definitions of self-esteem and empowerment by a social perspective can and does differ from the social norm within a Hip-Hop culture. • To overcome learner disengagement, teacher’s methods of delivery should be informed by the actual learners’ views on music, musical learning, and desired outcomes. • Some juvenile offenders feel that rap music is more a mirror of their lives and not a reason or excuse for their behaviour. • Song-writing has enabled youth to express intimate details of their lives which they might have otherwise been too embarrassed, ashamed of, or find too painful to disclose in other ways. • Music programs in juvenile detention centres have helped participants realise that they can develop a learning identity in which they learn to learn. • Creating music under defined set conditions improves the therapeutic experience and outcomes for youth. • Trying to engage youth with music preferences in other genres that they feel is un-authentic can result in dis-engagement, however, attachments to genres are not ‘fixed’ and music making can promote other genres and cultural resources. By attending to each of these points this project intends to establish and document an effective process for collaborative song-writing which may lead to ameliorating problematic issues for youth-at-risk. What is missing? Though there are writings on the potential benefits of music and song-writing with youth-at-risk, and through my research, I have uncovered several techniques used both internationally and domestically for song-writing with youth-at-risk. What I find missing is that there is very little information available on the actual step by step processes or techniques used to write collaborative songs with youth-at-risk. How I intend to fill this gap I intend to document and probe my own process for collaborative song-writing with youth-at-risk and publish my findings that offers, in a clear step-by-step manual, a solid fundamental basis that attributes to collaborative song-writing which can be further developed by future facilitators. Potential Benefits The potential benefits of the research project have been outlined in detail Benefits of Song-writing with Youth- at-Risk on page 4. The primary benefits that song-writing can have on youth-at-risk are; personal pride: sense of worth; personal validation and achievement; self-expression; and, where appropriate, self-disclosure.

Chapter 3: Methodology In this chapter I discuss current international and domestic methodologies in the field, focusing on the work of Vanessa Camilleri, Felicity Baker and Tong Wigram, Cindy Edgerton, Don Elligan, Nazaret Roca, Janette Tamplin, Richard Gold, Katrina McFerrin, and Vicki Thorpe’s approach to song-writing with youth-at-risk. Next, I refer to discussions I have had with colleagues regarding their song-writing processes with youth-at- risk; the five stages that I used for my research, and ownership of copyright. I then present a diagram of the methodology used here and the argument for its use, and finally, I provide an explanation of the conceptual framework used. As the subject of my research can be of a sensitive nature, I have via The University of Melbourne Human Research Ethics Committee, obtained approval of a project involving human participant’s clearance. Current Methodology’s in the field Though the actual process on collaborative song-writing with youth-at-risk methodology is scarce, there are certain methods that I have found that are utilised and documented. These methods are heavily based around the notion of music therapy as the participants have all been at risk, or faced a trauma that may be ameliorated by expressing themselves with a practiced facilitator, and in a safe environment. I have documented some of the techniques used below. International In Vanessa Camilleri’s (2007) book ‘Healing the Inner-City Child’, she describes her structured song-writing process involving at-risk youth from two schools in Washington D.C. and New York City as an aid to helping self-expression, connecting with their peers and to develop coping skills. In Camilleri’s view, the most important aspect of the experience is the ‘process’. Camilleri found that through relationships within the group members and the therapists, a group dynamic emerged that facilitated the way the group worked together (Davoli 2009). Camilleri attributes this to the below process. • Developing group cohesiveness and initiating a common musical preference within the participants • Listening to, and acknowledging all thoughts and brainstorming, to uncover a theme that all participants are comfortable with to begin the song-writing process • Mining the theme further to obtain a topic for the song • Creating a chorus with the group and therefore determining the theme • Building verses with a specific message that relates back to the chorus • Developing various musical ideas over several sessions allowing the participants to experiment with the different sounds then decide on one to use • Initiating rehearsals for peers to rehearse their song(s)(Camilleri 2007) In their book ‘Songwriting: Methods, Techniques and Clinical Applications for Music Therapy’, Felicity Baker and Tony Wigram discuss that their method of song-writing is of no rigid procedure, but is adjusted to the resources and skills of the participant that will provide a natural starting point. For example, if a participant writes poems, then this will be a base to start from. Alternatively, a musical idea or theme, a rough composition or improvisation that could be developed into a song, will also provide a similar starting point. When a starting point has been established, ‘the rest is a process of adapting melody to lyrics, lyrics to melody, elaborating on different harmonies to create an atmosphere that fits the melody and lyrics, and creating a musical form that is a song’ (Baker and Wigram 2005). In Creative Group Therapy, a program for emotionally impaired adolescents conducted in Michigan, U.S.A, Cindy Edgerton found a technique ‘Creative Group Song-writing’ helped facilitate three goals: a) Increased self-expression b) Development of group cohesiveness c) Increased self esteem Edgerton found that employing this technique helps enable groups at different functioning levels and cohesiveness to achieve the above goals. Below is her six-step process that depending on the group, are carried out over two, six-to-ten-hour sessions. Within these steps are procedures and objectives.

Step 1. Lyric Analysis and Interpretation Procedures Participants begin by listening to a song designated by the facilitator and then discuss what the songwriter is trying to say. After deciding on a possible theme, the lyrics are broken down to identify the form of the song. i.e., Verse, chorus, bridge, coda etc. Then techniques used to create the lyrics are explored. These techniques can be: • Citing lyrics that validate the theme • Expression of feelings regarding the theme • Using symbolic words or phrases in describing the theme • Telling anecdotal stories relating to the theme • Asking and answering questions about the theme Students then identify rhyming cadences in the song and recite and clap the lyrics. This process is repeated with two other songs so the participants can hear a variety of techniques used in lyric writing. Objectives • Learn lyric writing techniques • Express thoughts and feelings elicited by songs Step 2. Music Analysis Procedures The song used in step 1 is played again with the focus this time on identifying the hooks in the song. The songs form is dissected and the musical changes identified and named accordingly. i.e., introduction, verse, chorus, bridge. The instrumentation, is identified, listed, and discussed as to their role within the song. Participants then analysis the harmonic, melodic and rhythmic elements to identify any characteristics of the music matching the lyrics. Objectives • Improve aural skills • Learn new compositional techniques • Identify creative techniques

Step 3. Theme and Style Selection Procedures This step involves selecting a theme and musical style which relates to the group issues. This requires brainstorming any themes and the group then discussing them and having to decide on one of them. This is repeated with music to ascertain the style and mood of the song. Objectives • Identify group issues • Expression of own thoughts and feelings • Improve group making decisions Step 4. Lyric Writing Procedures Individually or in assigned groups, the participants discuss the chosen theme and then write down all lyric ideas relating to the theme. Steps 1 and 2 along with the newly created lyrical ideas help facilitate this. First the chorus is established as the focus of the chosen theme and subsequent lyrics contributed by the participants are used to structure verses and where applicable, a bridge. Lyric rhythms are discussed throughout this step.

Objectives • Learning to compromise with other group members • Learn and use methods of self-expression • Seek productive coping techniques • Contribute individuality to a group song Step 5. Music Composition Procedures This detailed step involves composing the music for the lyrics and deciding who will play what instrument in the song. Instruments utilised can be a drum machine, open tuned electric guitar for rhythm consisting of only the 1st and 5th notes of a chosen musical key, a conventionally tuned electric or acoustic guitar and bass guitar. The groups will then decide on the vocalist(s). A drum sample with a designated tempo is played through the drum machine then the following instructions given to the group. 1. Using the barre technique, the rhythm guitarist is shown how to change chords 2. The lead guitarist is taught string and fret numbers, and a transcription sheet that shows how to play a one note major or minor 3rd against the ‘perfect 5th’ chords of the rhythm guitarist. Therefore, making either a major or a minor chord when the two guitars combine. 3. The bass guitarist is taught how to mimic the rhythm guitarist using only the 2nd string on the bass. 4. The drum machine operator plays the drums and any triggered add-ons they may access through the machine. 5. The rhythm guitarist then improvises until they find a chord pattern that suits the theme and style of the song. 6. The lead guitarist improvises until they find notes that work with the rhythm guitarists chords 7. After improvising over the music with the lyrics for the chorus the vocalists decide on what melody is the strongest. 8. The group is encouraged to improvise around the what they are playing to ascertain if any variations augment the original chorus. A final chorus is decided. 9. The group then repeats the same process with the verse and bridge. Objectives • Develop interpersonal relationships • Learn how to put personal needs aside for the benefit of the song • Challenge themselves • Develop leadership and co-operative skills Step 6. Culmination Procedures The song is played and analysed with any weak areas refined and practiced. Finally, a recording of the song is distributed to the participants who then discuss the song-writing process, the benefits gained and any issues that may have risen. Objectives • Develop a sense of group satisfaction • Achieve a sense of both personal and group competence • Receive feedback on their contribution and the song-writing process In her conclusion, Edgerton claims the “Creative Group Song-writing seems to be especially effective in developing group cohesiveness , increasing self-esteem and an outlet for self-expression” (Edgerton 1990).

11 Lost Voices (2019) is an American run music program that focuses on song-writing and performance workshops with adolescence in residential care, who have experienced severe emotional trauma for which they are receiving treatment. A typical program runs with an introductory concert followed by 5 days of song- writing with professional song-writers / facilitators, trained to help the youth articulate their ideas and views into the form of song. Though done in a group environment, facilitators also encourage individual song-writing sessions. These sessions are designed to enable youth who may not feel comfortable in a group situation to express themselves on a deeper and revealing level with the facilitator, with on occasion, their therapist there to encourage and guide them. Lost Voices claim that using Roots, Blues and Folk music is vital to their process as the ‘non-threatening’ and relative unfamiliar genre takes participants into an entirely new and introspective creative space that isn’t within their normal routine, or music that they normally listen to. In group collaborations, Lost Voices works with eight to twelve participants. Facilitators have found that less than eight “makes the session too quiet, lacking the creative conflict and tension that helps bring about the emotional breakthroughs”. Whilst more than twelve participants they believe, makes it too difficult for everyone to be heard and can result in a loss of engagement. The culmination of the project is a concert supported by the facilitators in which the newly created works are performed for peers, therapists, staff, and family. Found throughout the program’s duration, was that participants may have profound break throughs which therapists can use to promote healing. Also, the performances, and songs can have a deep effect on peers who didn’t participate in the programs as they have been moved to have ‘emotional break downs’ which has led to significant therapeutic advances (Voices 2019). Through the use of a five step process outlined below, Elligan (Elligan 2004) promoted that a lyric based rap therapy could promote positive behavioural change and improve insight into the lives of those who participated (Baker and Uhlig 2011). Step 1: Assessment – In this step a person’s interest and hip hop are identified. Step 2: Development of the relationship – The therapist asks the participant to share his or her interest in rap music and various styles of rap songs. Step 3: Challenging the person – The participant is challenged to re-evaluate his or her thoughts and behaviours by analysing the lyrics of his or her icons. Step 4: Encourage the person – The participant is encouraged to write a rap about the desired changes he or she has resolved to make. Step 5: Monitor and maintain therapeutic progress – The therapist engages the participant in continued discussion and feedback about his or her development. Nazaret Roca (2011), in her article Song-writing with Secondary School Adolescents, outlines the different techniques employed by Baker and Wigram for lyric writing and music composition for creating songs. Below are the relevant processes used in writing lyrics. • Brain storming session • Providing existing music to write lyrics for • Selecting words from a provided list • Using poems or words the participant has previously composed in another situation • A parody of popular songs • Changing the words to existing music • Identifying words and phrases from existing songs that have specific meaning to the participant Below are the relevant processes used in music composition. • Making improvisational music using instruments • Musical sound effects to support the participants poems and lyrics or words • Create music that characterises the emotion or image of particular words or phrases • Use existing melodies or parts of a song that inspire or give structure to music composition • A facilitator creating the music and the participant deciding if they like it or not

12 • Improvised melodies over 2 or 4 chords patterns thus creating an atmosphere that is appropriate to the communicated subject in the song

Jeanette Tamplin, (2006) in ‘Song Collage Technique: A new Approach to Song-writing’, interrogates Song Collage Technique (SCT), which involves the use of words or phrases from existing songs as a part of the lyric formation process in creating therapeutically oriented songs. The formation of a verbal collage that is meaningful to the participant, forms the basis of this technique and aims to stimulate the participant’s creative expression and maximise independence and ownership of the created song. Richard Gold’s ‘Pongo’ Teen Writing Project (Gold 2014), is a structured project that works with youth-at-risk to express themselves through poetry and other forms of writing, including song lyrics. Gold’s 11 Step process are outlined in the table below: STEP Writing First Poem or Song Choice of Technique 1 When you sit down with a youth, explain that you can work together in many different ways. Evaluate whether or not the youth is ready to write independently, or if they would like to dictate to you, or if they are completely at a loss where to begin. 2 If teen is ready to write on their own… Give the teen a pad and pen. Sit next to teen while they write. Read or write yourself. Answer questions. Check in. Offer support. Be ready to help with a follow up poem. 3 If teen would like to dictate a poem… Ask if teen has something on their mind. Respond quickly, starting dictation using the teen’s pre- liminary comments. Follow Taking Dictation technique, which may evolve into Improvising a Poetic Structure. 4 If teen is in a particular emotional state or Follow the technique Improvising a Poetic Structure expresses specific issues, but has difficulty (this may also be dictated to you). For example, if a beginning… teen is worried about an upcoming court appearance, you could improvise a poem about what it’s like to feel worried, or a poem that imagines what might happen in court. 5 If a teen is unemotional and unclear Follow the technique Using a Fill-in-the-Blank where to begin… Poem. Collaborate with the teen on this activity, helping him make choices, as necessary, and reading back to him his completed work. 6 For this next piece of writing in a writing session, you will want to consciously move toward more personal writing (without being intrusive) and toward a more poetic experience… 7 If the teen’s first writing was original, Continue in a similar way for the second poem. personal, poetic…

8 If the teen’s first writing was Suggest a different approach for the second poem. stereotypical, superficial, or not helpful… Encourage teen to “write from the heart about who you are as a person.” The new technique may be Taking Dictation or it may be Improvising a Poetic Structure. If you are improvising a poetic structure,

13 look for personal themes that emerged in the first piece of writing or through conversation with the teen. 9 If you improvised a poetic structure for Try doing it again and Improvising a Poetic the first poem, and it was successful… Structure for the next poem. 10 If you used a fill-in-the-blank poem for the See if the youth now would like to write on her own, first poem… or if she has something on her mind that she would like to dictate to you. 11 If now, or at any point, you are at a loss Follow the technique Using a Fill-in-the-Blank for what to do next… Poem. Collaborate with the teen on this activity, helping him make choices, as necessary, and reading back to him his completed work. Richard Gold, Founder and Executive Director of Pongo Domestic including New Zealand Though there are organisations in Australia that utilise collaborative song-writing to engage with youth-at-risk, there is little data on the processes employed by facilitators. In her book ‘Adolescents, music and music therapy: Methods and techniques for clinicians, educators and students’, Dr Katrina McFerrin, (2010) details an approach to writing an original composition with a fifteen year old at-risk adolescent. The objective was to get the youth to: • develop a trusting relationship with the music therapist • reflect on his current lifestyle and how this might be connected to his history • articulate his level of satisfaction/unhappiness with his current situation. In a quiet space, using a laptop with a D.A.W containing musical loops, a music therapist showed the youth how to operate the software then encouraged him to start building a track using the loops contained in the program. As the engagement increased, the therapist discussed the different sounds, and the youths preferred musical styles. This enabled a ‘dialogue, and set the scene for discussion during the creation, rather than the music therapist simply watching while the young man played with the computer’. As the piece began to build, the therapist suggested song form and structure, a concept which the youth understood, and within an hour of focused work, a five-minute musical composition was created. The therapist encouraged the youth to name the piece something relevant to his life which promoted discussion of the youth’s unhappiness, further building rapport and trust. All three objectives were achieved. Below, Dr McFerrin details some key points when working with at-risk adolescents: • Young people will usually say ‘no’ if asked directly to do something new. It is worth following up with more information so that they feel less vulnerable. • Young men are usually very interested in music technology, which is a useful entry point for music therapy. • Composing songs on the computer does not have to be an isolating activity. It is helpful to maintain a level of engagement from the outset. • It only takes a little time for most young people to decide whether they trust an available adult, so it is possible to ask probing questions in a single session. • Young people may refuse to discuss a topic if it is uncomfortable, and possibly withdraw or even leave the session, if the therapist persists in the face of resistance. • Teamwork is a much better approach to supporting young people with chaotic lives because it is unlikely that they will be regular participants in any one activity.

In her thesis, ‘We made this song’, Vicki Thorpe (2007) tested a ‘Theoretical Model of Collaborative Composition. The song-writing processes of three adolescent rock bands, were analysed via a three phase, ten step process, and then coded for analytical purposes.

Figure 1 Theoretical Model of Collaborative Composition

15 Stages Compositional Behaviours Explorative (EX) Experimenting, trying things out, general music doodling, looking for ideas, mucking about, jamming. Generative (GEN) Coming up with an idea that has potential or seems to work. Confirmative (CON) The idea is recognised as being valuable by the rest of the band, and is confirmed as having potential as a group composition. This may be the catalyst for the beginning of a new song or material for inclusion in an existing song. Transmission (TRANS) The composer of the new idea teaches it to (one or more of) the others, sometimes supported by one of the others who has picked it up more quickly. Work in progress (WIP) Playing through the song as it exists so far. A process of review and rehearsal. Revision and reconfirmation (R&R) Playing through material from an earlier session. A process of familiarisation, review, and critique. How did it go again? Is it as good as we thought it was? Transformation and modification (T&M) An intensely creative process of transforming an existing idea, often in order to make it playable or singable. Sometimes occurring through jamming. Organisation (O) Structural discussion, usually verbal. Who does what and when? Refinement (REF) Polishing ideas, clarifying small details. Rehearsal (RH) Rehearsal Figure 2 - Coded ten group compositional stages

Discussions with Colleagues I have had informal conversations with peers who have facilitated similar song-writing workshops with youth- at-risk in which we have discussed our process(es) that we employ when writing collaborative songs. Rob Tremlett, song-writer, Hip Hop artist and music workshop facilitator, has stressed the importance of the facility or space when creating music with youth-at-risk. Rob explains “the most important thing for me is that the space feels comfortable and safe for the young people. It should be a warm, inviting space that does not feel daunting, intimidating, exclusive or overly official. A lot of this is dependent on the energy created by the facilitator(s) but the right space definitely gets things started on the right foot”. Another Hip-Hop artist, song-writer and facilitator N’fa Jones finds that when working with youth-at-risk, the space also plays an important part in achieving a favorable outcome. N’fa said, “When working with youth-at- risk (participant’s), I prefer to work within a creative space provided by the facilitating organisation, so the youth at hand is working in guidance with either a private or government run space with adequate equipment and tools to run a workshop for an enjoyable collaborative experience”. Both facilitators agree that building a rapport early on with the youth is a very important. Rob said, “I make sure my manner is friendly, positive and welcoming. I will ask them questions about their interests and what is important to them. The stronger this rapport is to begin with, the more trust the young people can place in me as a facilitator, which means they will have more confidence to attempt the song-writing process. Coming up with, and sharing personal creative ideas can be extremely overwhelming, so it’s crucial the young people feel safe, respected, and encouraged.”

16 When asked how they start the initial song-writing process, both Rob and N’fa encourage the youth to come up with ideas that they feel comfortable with, which ideally, will address something important to the youth in a therapeutic or cathartic way. Rob proposes questions to the youth such as, “what kind of message do you think makes a good song”? or “If you thought the world would listen, what would you say”? From here a brainstorming session is undertaken with both facilitators offering guidance and direction to maintain a rapport with the youth, and to start to craft the ideas into a song. Both facilitators say that once a topic has been decided on, they will either create or provide a ‘copyright free’ musical bed to work with. The music will often shape the lyrics in terms of rhythm, diction, and the number of words and syllables that are required to make the lyric flow. On the topic of re-engaging youth if they are losing interest, they both agree that trying new ideas, both musically and lyrically often spark a new direction and enthusiasm to create a song. Other methods are to have a break from the song and continue to build a rapport, focusing on topics of interest that lay outside of music. They share similar views as to when a song is completed, saying they find it hard to define an actual completion point. However, both said in an ambiguous manner, and in similar words, that a ‘song feels finished, when it is finished’, but they encourage the youth who they are writing with, to make this decision. When asked if they had anything else to offer on collaborative song-writing with youth-at-risk, they both responded with similar views that building a rapport on honesty and respect, encouragement, being non- judgmental and having authenticity, are all important factors. Rob explained “Almost all of the most important things to me are non-music related. A sense of comfort, inclusion and respect; building a safe and inviting environment; encouraging originality and sincerity as opposed to perfection or world-class standards; erasing a fear of failure or judgement (failure is ok, in fact it’s essential), encouraging young people to write a lot (even if it’s not all amazing) as this is what will build skills and allow for practice and learning, and to try ideas out and not dismiss them prematurely”. Similarly, N’fa said “It’s important to be positive, honest, open, and not treat the youth like cute babies but as people who you offer respect and openness too. If they can tell that you’re trying to act like a hero, they usually get turned off. If you are open and honest, and share ideas with gentle direction, and help let them lead, then usually things go quite well and good music can be the result of the collaboration”. Considering these approaches The above processes often give a number of steps and I have distilled these to develop my process. However, it is important to note that the system I am developing has at its core, creating the benefits mentioned in Potential Benefits, on page 8. These are intended to be on-going benefits for the participants, and this is not always directly addressed by the nine processes discussed above. What I am doing The methodology (Figure 3) I intend to use is to: work individually with three or four participants from differing cultural, social, and geographical demographics and to use a 3 Stage - 25 Step Collaborative Song-Writing Model to complete a song (page 25). The recruitment strategy is to use Living Music Australia’s, director Andrew McSweeney to approach potential participants with a Plain Language Statement (Figure 39) and Consent Form (Figure 40), should the participant decide to participate. These are included in the appendix (page 149). Once identified, participants will be asked to complete the five phases outlined below. Phase 1: Questionnaire (Figure 41) An interview questionnaire that will gather information on the participants including: • socio demographics (personal details – optional) • cultural and musical histories • objectives and expectations prior to the commencement of collaborative song-writing This will be recorded in audio format.

Phase 2: Song Collaboration Using the 3 Stage - 25 Step Collaborative Song-Writing Model (page 25), I will produce a collaborative piece of music with the participants and have each step of the process documented in both an audio and written format. This will be analysed for evaluation purposes combined with the participant questionnaires (The recorded audio will be transcribed verbatim, and can be found in

18 Appendix, (page 62). Phase 3: Questionnaire (Figure 42) On completion of the song(s) a second interview questionnaire will focus on: • Outcomes achieved e.g.; songs completed • Retrospective analysis of processes undertaken for the completion of the song(s) regarding enjoyment, self-expression, learning, benefits and would they recommend this to friends. This will be recorded in audio format. Phase 4: Analysis A combination of participant experiences and researcher’s processes and experiences will be analysed to form the overall outcome of the project. These outcomes will then be published in the form of a thesis comprising of approximately 30,000 words and accompanying audio files. Data will be analysed by comparing completed responses to each question in the questionnaires, looking for similarities in musical backgrounds, social backgrounds, objectives and expectations and any other background information. I will also be comparing the participant’s enjoyment, self-expression, learning experience(s), any benefits and if they would recommend the project to their peers. I will also analyse my audio journal documenting each of the 3 Stage - 25 Step process. These steps will be further summarised to include: Foundational • Steps 1 – 4 Building rapport • Steps 5 – 10 Technical Development and Assessment Development • Steps 12 – 14 Lyrical Development • Steps 15 - 17 Music and recording development and assessment Refine and assessment • Steps 19 -20 Production refinement and assessment • Steps 21 – 25 Mixing, preparing for publication and assessment This is based on analysis approaches used by: • Gardstrom (1999) and Derrington (2012), who used questionnaires with incarcerated youths about the role and function of music in their lives. • Vicki Thorpe who employed a 3 phase – 10 step, Theoretical Model of Collaborative Composition (Figure 1). • Hollingsworth and Ridgway (2014) whose approach was to use one on one participant - observer case studies. • Bernstein and Bernstein (2012) who used a mentoring process with youth-at-risk. • Hollingsworth and Ridgway (2014) who played back musical works in progress to provide an audio mirror, which, on analysis, showed significant impact on the creative music process. • Allen (2005) who included the participant’s familial, social, and behavioural histories in creating a Hip-Hop Therapy (HHT) program for youth-at-risk. • O’Brien and Donelan (2005) who interviewed participants before and after the collaborative arts research and who used sound recordings of processes and product for their published outcomes.

Phase 5: Publication The main published outcome from this project will be the written thesis and accompanying audio files of the completed songs. Sections of the thesis will be offered for publication in relevant journals and conferences. Copyright Ownership

19 Regarding the copyright ownership of the songs that I collaborate on, I will give 100% of the copyright ownership to the participants who I write the songs with. This is to ensure that I have no financial incentive involved with the song-writing, and will therefore focus solely on the process of collaborative song-writing. I also feel it is a gesture of goodwill toward the participants who have agreed to participate in the project. Diagram of methodology Figure 3 Methodology, outlines the methodology I am taking. The first step is recruiting participants and gathering initial information from them regarding socio demographics, music, and cultural histories as well as their objectives and expectations (in red). This being followed by the collaborative song-writing exercises (in grey), and then evaluated via my audio Journal of the collaborative process and completion of the songs (light blue). Next participants information regarding the completion of songs and their thoughts on the project are collected (in red), and along with the facilitators processes and experiences (in dark blue), are analysed. Finally, is the Publication of Outcomes (in green). The outcome will then inform facilitators in the future.

Figure 3 Methodology

20 Argument for this Methodology The argument for using the above methodology is that it has, in the past, resulted in many collaborative songs being created. Below I will answer why. • Recruit participants from Living Music Australia Living Learning Australia operates a recording studio in North Melbourne, and though open for commercial use, it is predominantly used to facilitate youth deemed at-risk to have a place where they can make and record music. In many instances the youth will have been recently released from a correctional facility and are required to engage in a constructive learning activity that encourages assimilation back into the community via a learning environment. My familiarity with LMA’s processes, policies, and facilities, makes it ideal location that feels comfortable for both myself and participants to create music. The founder of LMA, Andrew McSweeney is a friend and past colleague, he shares a passion for collaborative work with youth-at-risk and understands and supports my research project. Andrew is therefore able to ascertain and approach the correct participant’s that I require for my research. • Gather information from the participants (Questionnaire #1) From previous collaborative song-writing experience, the gathering of participant information is to identify any processes that might be employed in the collaborative song-writing project. Having a prior understanding of the participant’s personal background including age, ethnicity, literary and numeracy levels, as well as musical and cultural histories, plus any objectives and goals, will help dictate a sensitive approach for engagement of the personal areas of each participant and help build a rapport. For example, if working with a young Indigenous participant, having a basic knowledge of their regional tribe and any elders or other participants from that region will result in an immediate rapport and therefore engagement. Another example might be understanding cultural instrumentation, and any songs or artists that are culturally significant to the participant. Having this data contributes to the foundational step in building a rapport with the participant. Recording this enables myself to have catalogued data of each participant for future reference throughout the song-writing process. • Collaborative song-writing exercises Defining a method for collaborative song-writing with youth-at-risk is the main goal of my research. In order to achieve this goal, I will need to integrate musical and lyrical ideas directed by the participants with my own 3 Stage - 25 Step Collaborative Song-writing Model. • Journals of the process documenting the completion of the songs Keeping a detailed audio journal for each individual song that myself and a participant collaborate on, will document my own thoughts and observations, as well as those of the participants. This is an important part of the research as it will help compare and analyse the data, and enable me to ascertain the value of each step in the process of my 3 Stage - 25 Step Collaborative Song-writing Model. • Gather information from the participants. Evaluation of the process (Questionnaire #2) The retrospective evaluation by the participant is a fundamental to my research. It will enable myself to collect intimate thoughts from the participant on the collaborative song-writing experience which I can interrogate to find out both positive and negative aspects of the song-writing process. This data can then be refined and stimulated to a more precise process for future collaborations. • Analysis / comparison of participant experience and facilitators process and experience This step in the methodology analyses the data collected from the participants as well as the facilitators thoughts, prior, during and after the collaborative song-writing process. The data will be interrogated to draw on any shared similarities in experiences during the research. This is important to the research as it will document any findings on undesired pit falls or obstacles related to the experience and process, and will enable suggestions that may help refine the song-writing process, for future collaborations. • Publication of outcomes The publication of the outcomes of my thesis is designed to enable others who facilitate collaborative song- writing with youth-at-risk. Via the publication, future facilitators will have a definitive step by step guide on processes for collaborative song-writing that they can implement or further interrogate.

21 Conceptual Framework An explanation of the conceptual framework to be used and/or a summary of experimental methods and equipment requirements. The ideas that inform me in this research are: that creative outlets and creative activity is beneficial to human experience (Hunter 1968, Stuckey and Nobel 2010, Chavis 2011), and that music creation can provide enormous benefit to youth-at-risk (Elligan 2004, Allen 2005, Bittman, Dickson et al. 2009, Travis Jr 2013, Petrucka, Brooks et al. 2014). This project develops Candy’s framework (Candy 2006) that outlines a practice led research approach concerned with the nature of practice, and that leads to new knowledge that has operational significance for that practice. Along with the practice led research, an approach to creating music with youth-at-risk based on my experiences in song writing, and song-writing with youth at risk will be implemented. I have over one hundred songs registered with APRA (Australian Performers Rights Association) either by myself or as a co-writer with the majority published by Albert Music. Some of these songs have been nominated for ARIA awards for best album and song of the year. I have also co-written close to one hundred songs with youth-at-risk in numerous correctional facilities and non-for-profit organisations with in house recording studios. Below is a diagram of the conceptual framework.

This outlines the approach I am taking; There are two basic assumptions (in red), which split into two themes (in grey). However, it is a problem of few writings on the actual processes of song writing with youth at risk (in light blue). This leads to the activity of testing and documenting my approach to song writing with youth at risk (in dark blue) which will be published (in green) to address the initial problem.

22 Chapter 4: Anecdotal Experience In this chapter I discuss my experiences in collaborative song-writing with youth-at-risk. I then discuss the role of a collaborator as opposed to a mentor, and some key aspects when collaborating with youth-at-risk in a correctional facility and community studios. My experience of creating a collaborative musical work with youth-at-risk. (Retrospectively) I have spent approximately six years writing collaborative songs with youth-at-risk. In this time, I have co- written close to one hundred songs of various styles, with Hip Hop being the predominant choice of genre. These songs, were written in a variety of places, Melbourne Mental Health Music Network in South Melbourne, The Jesuit Social Services, Artful Dodger’s studio in Collingwood, Melbourne, Living Music Australia in North Melbourne and Youth Support and Advocacy Service in Dandenong, Melbourne. However, most of these collaborations came from the music programs that I facilitated in Juvenile Detention Centre’s, most notably Melbourne Youth Justice Centre in Parkville, Melbourne, and Malmsbury Youth Justice Centre, an hour north of Melbourne. Though my processes for collaborative song-writing in essence are similar when facilitating in or outside a correctional facility, there are certain variables that can have bearing on the outcome. Therefore, I have placed my collaborative musical works into two categories: Collaborative works for those in correctional facilities, and for those who are not in correctional facilities. Collaborator or Mentor? Though the research is formally of a collaborative song-writing nature, one interesting incidental is that quite often the collaboration between the older party and the youth, results in a mentor / mentee relationship developing. Anecdotally I have found, pending the nature of the relationship, i.e., if a strong personal or musical bond is developed, and if the youth is willing to listen and learn from my experience as a song-writer and industry professional, that the collaborative role can turn into one of mentorship. Often, I have found myself exploring future possibilities for youth that have expressed or displayed enthusiasm for furthering their musical credibility. This is reflected by the continuation of co-writing songs, suggesting career options, or offering advice to help navigate the inroads to forge a career, exploring marketing and promotional avenues and performing live, or compiling a list of their recordings into an album or EP. It has been found that there are several elements that are required to make a successful mentorship connection. The American Journal of Community Psychology published that nonparental adults are seen as ego ideals from whom adolescents learn adult behaviour, garner information about potential careers, and develop specific skills (Darling 2002). It has also been suggested that that the relational aspects of mentoring bonds, including mutual engagement, authenticity, and empowerment, may be more important than any structural elements (Liang 2002). In my past experiences, I too have found that engagement and authenticity have proved to be as important as any structure(s) that I have employed to collaboratively write songs with youth-at-risk. As stated, my research involves identifying and developing a process to collaboratively write songs with youth-at-risk. This correctly assumes that there aren’t a any documented structural elements currently employed. Therefore, building rapport, engagement and authenticity can become one of these elements. This is an assumption that I have validated through my experience of collaboratively composing songs with youth-at-risk. Collaborating with participants in a correctional facility This research project differs from how previous collaborations were conducted, as previously collaborations were created whilst the participants were incarcerated in a Juvenile Detention Centre. This had bearing on some key aspects. These are as follows: Rapport The initial point was to build a rapport which is fundamental to collaborative song-writing. As there was quite an age discrepancy between myself and the participants, it was imperative that we established a foundation that we could build from. Building a rapport could be something simple such as listening to and or discussing musical tastes, asking a few questions about their backgrounds (trying to avoid criminal histories), general banter such as sport or movies, and discussions on what they hoped to achieve from the session. I found it very important to be ‘authentic’ as the participants can detect when someone is pretending to be someone they are not, or display knowledge they don’t have. Participants may already have a distrust for authority, and often view any adult as an authoritative figure. Therefore, I found that it helped me remain ‘authentic’ if I had

23 an acute awareness of what was current and considered interesting, both musically and socially, to the participant. Engagement Being one of the most popular programs that is on offer, there was never any shortage of participants in the music program. Anecdotally, I found that once a participant had started collaborating on a song, they were engaged until the completion of the work. Again, the fact that they were incarcerated had some bearing on this result, but there was also a sense of underlying ego involved. Participants displayed feelings of personal satisfaction and a sense of gratification in both knowing that they completed a song, and that this would be recognised by their peers and could in fact, inspire others to try and write their own song. Retention That the youth were incarcerated led to a high rate of retention. Being a ‘music program’ that I facilitated on a weekly /bi weekly basis enabled the participant to develop a sense of familiarity with collaborating with me. A combination of rapport, engagement, satisfaction of the songs, and understanding the collaborative process also led to a high participant retention for the program. Competition Working with youth aged between thirteen – eighteen naturally had an element of competition with the standard of songs that were written. I found this competition to be of a value to the programs. The competition raised the quality of the songs and inspired and encouraged others to participate in the program. It must be noted that I observed throughout working with youth-at-risk, a general comradery in the program, which created a healthy competition within the participants to create songs of quality and at a level that others aspired to. Group Collaboration Participants who partook in the programs would come to an allotted time slot designated to their unit. Each unit had a name to identify the building where the participants ate, slept, and spent their recreational time. This meant that there were often four to six participants who wanted to write and record a song. Lyrically, this would often result in a group collaboration, where a particularly strong verse a participant had written could be used as theme or style for others to develop further. Other times, topics were robustly discussed and debated as to what the song could be about. Musically, the participants would suggest well-known ‘beats’ that would fit the lyrics. From here we would select a tempo and instrumentation to create an original bed of music that emulated the chosen beat. However, on other occasions, the music / beat would be made from scratch with no song in mind for inspiration. Achievement As a song-writer, I am acutely aware of the sense of satisfaction, achievement and pride that one may feel when they have created a song. The youth-at-risk whom that I have worked with are no different. Once the participants finish their first song, it will almost immediately lead to the desire to create another one. I have had participants who had never collaborated on or written a song themselves, and now have the ambition and drive to create an EP or an album such is the sense of accomplishment that they experience. Due to time constraints, these ideals are rarely accomplished, however, I have had many participants that request to continue to work with me once released. Collaborating with participants who are not in a correctional facility Collaborating with participants who do not reside in a correctional facility differs in one main regard; they aren’t incarcerated. The song-writing process remains the same and although, participation may be court issued or contribute towards a community order, the participant still must make their way or alternatively be present when their social worker arrives to take them to a music making facility. This can often result in loss of retention as a participant now has the option of not attending the program. Though numerous songs have been completed, it has often led to several songs remaining incomplete due to the participant losing interest in the project, or in other cases having re-offended resulting in judicial implications.

24 Chapter 5: Song-writing Process Here I discuss in detail, each step of the 3 Stage - 25 Step Collaborative Song-writing Model I formalised for this project through this research. I then discuss the studio that I worked in and the equipment and software used. In general, the focus of working in song-writing with youth-at-risk is not to develop technical skills, this is indicated in the relevant literature where developing these skills is rarely mentioned. Here the focus of song- writing with youth-at-risk is to develop and encourage self-expression which is made through music. However, it is possible that once self-expression is developed it can be expressed through any art form. While participants may develop independent learning skills, it is not the main focus of this project. It is assumed that a facilitator will have fundamental D.A.W and musical / song-writing skills that will enable them to work successfully with youth-at-risk. Again, it is assumed that a facilitator hired by the program director will have the relevant skill set to accommodate the 3 Stage - 25 Step Process.

The 3 Stage - 25 Step Collaborative Song-writing Model For my research, I will test the below Collaborative Song-writing Model I have created and employed in the past for collaborative song-writing with youth-at-risk. This model is divided into 3 stages: Stage 1 – Foundational - Steps 1 - 10 Stage 2 – Development – Steps 12 - 17 Stage 3 – Refinement / Assessment – Steps 19 – 25 Stage 1 1. Build a rapport, set goals and boundaries 2. Discuss musical tastes /styles 3. Listen to music for inspiration 4. Select a style or genre 5. Create a session in a D.A.W 6. Select a tempo Stage 1 – Foundational 7. Select drum pattern 8. Select foundational instrumentation 9. Create a groove 10. Assess the project Steps in stage 2 can be 11. If deciding to continue, proceed to step 12. If deciding to discontinue implemented with the current idea, repeat the process from steps 4 to 10 in Stage 1 after step 7 Stage 2 12. Discuss lyrical ideas that the participant has come in with Ascertain verses, choruses, hooks 13. Develop lyrical content 14. Demo the lyrics / Record Vocals 15. Develop music for chorus and bridge Stage 2 – Development 16. Discuss and add secondary instrumentation 17. Assess project Step 21 can 18. If deciding to continue, proceed to step 19. If deciding to be discontinue with the current idea, repeat implemented the process from steps 4 to 10, or 12 to 17. in Stage 1 from step 9 Stage 3 and in Stage 2 19. Discuss and employ production techniques 20. Assess project 21. Mixing the song – Apply effects, signal processors and automation 22. Bounce project as an mp3 for reference Stage 3 – Refinement / Assessment 23. Make any final changes to music, vocals / lyrics, production, or mix 24. Bounce a master mp3.

25. Debrief on the collaborative process Figure 4 Collaborative Song-writing Model

The purple line represents a completed song with steps in stage 2 possibly being implemented in stage 1, and steps in stage 3 possibly being implemented in both stages 1 and 2. Therefore this is a step-by-step guide only and that on occasion some steps may change in order, or may not be required to best suit the individual client.

Below is a detailed description of each of the twenty-five steps and how I have implemented them in past collaborative song writing projects with youth-at-risk. *Anecdotally I have found that on occasion, the steps may not strictly run-in sequential order. Participant engagement, inspiration, and self-confidence are vital to a successful collaboration. As Figure 4, on page 25, suggests, a facilitator may need to change the ordering of the steps to best achieve this. Stage 1 – Foundational - Steps 1 – 10

1. Build a rapport, set goals and boundaries The first step when creating a collaborative song with youth-at-risk is to establish a rapport between the yourself and the participant. Building a rapport. Developing and maintaining an empathetic relationship with the individual in the early stages of collaboration is paramount. Building a rapport will provide a trusting and enjoyable environment in which creativity can flourish. Start with a basic introduction, your musical past, and what you hope to achieve with the participant. Encourage questions (not too personal) as having a transparency can promote the participant to behave in a reciprocal manner. Ask the participant a few simple questions such as their name, where they are from both geographically and ethnically, their likes and dislikes, and try to bring some humour into the conversation. Also ask the participant their goals, both personal and musical, and what they hope to achieve from your time together. However, as the participant is youth-at-risk, there are obviously sensitive subjects that the participant may not want to divulge, in this case let them tell me as much as they feel the need to. Collaborating on a song can be an intimate experience, and the participant, if foundational rapport has been established, will disclose more information as time passes. Setting goals As with any creative project, setting goals will help maintain focus on the outcome. It does not have to be a long list, a few basic points such as the below will suffice. • What do we want to create? • What style / genre will the song be? • What will the song be about? • What time-frame will we use? Having some basic goals will provide direction and help keep the project on track. Setting boundaries Anecdotally I have found that youth-at-risk will push limits. Therefore, it is important to set boundaries early in the collaborative process. This helps establish guidelines and focus on achieving the goals that have been set. If for example, you don’t want any reference to violence, criminal, or sexual behaviour in the lyrical content, now is the best time to iterate that to the participant. This is very often a practice in diplomacy as you don’t want the boundaries to stifle any previous rapport that you have built, nor do you want to appear as an overtly authoritative figure. The collaborative song-writing process should be respite from day to day legal or judicial problems the participant may be experiencing. I like to explain that although I am against censorship, my purpose of collaborator is to elicit the best song within the boundaries that are set and that they will need to practice metaphor if they wish to express certain. This is easier when working in a correctional facility, as there are already boundaries in place regarding lyrical content and what is allowed. Building rapport and establishing boundaries are an ongoing process, and may need to be revised and further developed as the project continues. 2. Discuss musical tastes /styles Step 2 of the song-writing process is to discuss musical tastes, and different genres or styles that the participant is interested in. This approach to commencing a collaborative musical work is important as it further strengthens the rapport. When a facilitator has previous knowledge of music and artists that the

27 participant listens to, it can create an immediate bond and give the facilitator authenticity. Though it is helpful in forming a bond if a facilitator has knowledge and can discuss and debate a participant’s musical tastes, it is equally important that the facilitator remains ‘themselves’ . Youth-at-risk will sometimes try and test a facilitators understanding of a topic against their own knowledge. This ‘test’ of authenticity is important in the early establishment of trust and understanding between a participant and facilitator. It is better if the facilitator hasn’t any prior knowledge of the participant’s musical preferences to admit it and then ask the participant to inform them on what ‘one is missing out on’. This can empower the youth, and further strengthen rapport. Anecdotally, a participant is always happy to play examples of the music that they listen to. A good way for a facilitator to display ‘authenticity’ is to be able to quote lyrics from a song(s) or to have a solid knowledge of the background of an artist or a musical genre relevant to the participant. 3. Listen to music for inspiration Step 3 is to listen to examples of the styles and genres discussed in step 2. Generally, in a recording environment there is access to the internet with YouTube being the most common platform to watch and hear almost any song. I have found that also being able to see the video clip as well as hear the song can further inspire the participant’s enthusiasm to create a song. Usually around thirty minutes listening to songs with the participant is enough time to spend before moving on to the next step. Generally, a discussion then takes place regarding the songs: • Tempo • Hooks • Instrumentation • Lyrical content • Form or structure Again, I find this process can also strengthen the rapport that we have built and add to a facilitator’s ‘authenticity’. If there is no internet access, the participant or myself may have examples of songs in their phone or computer to use. When in a correctional facility that prohibits the use of internet, the participant may have to verbally perform the song lyrically or instrumentally (usually guitar) to communicate the melody and form of a song. Being able to play a guitar or piano is advantageous as it helps to figure backing chords if the participant sings the melody. 4. Select a style or genre Selecting a style or genre is generally a straight forward process as musical tastes have been ascertained in step 3. From here the participant selects a style and a reference track. Having a reference track is important as it can be used as guide to begin with and helps to create a song frame, and a reference if the song-writing process stalls at any point. Using the reference track also helps the participant and facilitator discuss what it is they: • like about the style • what they hope to emulate • decide the form the song should be • decide which sounds /instruments to use

5. Create a session in a D.A.W

Once a style or genre has been determined, the next step is to create a new session in a D.A.W. For all of my collaborations, I use the Apple native program Logic Pro (Equipment used for this Research, page 34). I have a template that has tracks that have instruments assigned to it for a quicker work flow. Tracks that I have set up are: • Ultrabeat Drum Synth • Bass guitar • Bass synth • Piano track • A range of synth tracks • Vocal track • Strings

28 • 3 Audio tracks (for recorded instruments)

6. Select a tempo The next step is to select a tempo for the song. This can either be achieved by using a BPM (beats per minute) counter on a reference track to ascertain the tempo, or alternatively, if the participant has any lyrics written, have them recite or sing the words whilst playing a click track on the D.A.W and adjusting the tempo until the correct BPM is located. If the song is recorded completely with midi instruments, the BPM can be varied at any point. 7. Select a drum pattern Along with choosing a tempo, creating a drum pattern helps form the foundation of the song. I use the built-in drum program ‘Ultrabeat’ (Ultrabeat, page 35) to create a 2-bar pattern. Ultrabeat has pre-programmed patterns to choose from, however I prefer to create my own from scratch. Often the beat from the reference song is emulated to provide a beginning and then edited to suit the needs of the song. If the participant has a lyrical idea thought out, it can be a good time to see how it sounds over a bare drum beat. From this point it can be determined what needs editing, for example, where each drum needs to be positioned to best augment the lyrical phrasing. Once the drum pattern has been determined, it is looped for a duration of approximately five minutes to form a solid base to build the song on. I put in drum fills at a later stage. Again, because Ultrabeat is MIDI, the pattern can be edited at any stage of the song-writing’s progression. 8. Select foundational instrumentation In discussion with the participant, the next step is to select foundational instrumentation. Again, the reference track can be a good place to start, where you and the participant listened to a variety of different songs for inspiration. The template with predetermined instrumentation becomes useful at this point. To begin with, generally the foundational instruments are a bass guitar or low frequency synth to cover the low end of the frequency spectrum, and using a piano or guitar will help establish a chord progression or the melodic structure of the song. Once a groove has been created, further instrumentation can be added. 9. Create a groove Step 9, creating a groove is one of the most important steps in song-writing process. The groove is what drives the song both rhythmically and melodically. I have found it possible to employ a few different methods to establish the groove. The first method is: a) If emulating the reference song Playing the drum pattern on repeat and using a melodic instrument such as a guitar or keyboard. Work out the chord pattern of the reference song and change it enough so as to not be breach copyright but still retain the ‘framework’ so the reference song is still recognisable. A change of key and chord substitution, using relative minor chords can help achieve this. b) If there is a lyric written In the case of a pre-written lyric, play the drum pattern on repeat and use a guitar or keyboard to try and find a suitable melody that compliments the words. The tempo and drum pattern will already work so it is just a matter of experimenting with different chords and melodic ideas until an idea is agreed on. c) If there is a vocal melody written If there is an idea for a vocal melody, play the drum pattern on repeat and use a guitar or keyboard to elicit chords and musical ideas that complement the melody. Once established, it can be recorded on top of the drum pattern to form a basic groove for the song. d) If there is nothing written In the case of no music or words written, play the drum pattern on repeat and use a guitar or keyboard to play a variety of musical movements from different genres that might inspire a groove. This can be time consuming as it is a process of trial and error. Sometimes a suitable groove is written in little or next to no time and sometimes it takes quite a while to get the right groove established.

10. Assess the project This step is the first of three assessment points. By now usually an hour or more has been spent with the participant discussing and listening to songs and ideas, building rapport, and creating a collaborative relationship as well as establishing and recording a groove with foundational or primary instruments. Here is a time to have a break. When refreshed it is productive to listen to the song and ascertain if the idea is worth continuing. This helps to promote critical feedback which the facilitator should encourage the participant to lead. Usually at this stage they will be inspired by what is being produced or they will be waning on the idea. Sometimes via body language or lack of motivation, the participant will involuntary express if the idea is worth continuing with. If this is the case, the facilitator will need to generate a discussion to elicit the participant to share their views on how they think the song is progressing. 11. If decided to continue, go to step 12. If decided to discontinue with the current idea, then repeat the process from steps 4 to 10 This step is self-explanatory. If the song is deemed as worth perusing, continue with it, however, if the song hasn’t captured the enthusiasm from the participant, go back to step 4 and select a genre or style and repeat the process until satisfied. Stage 2 – Development – Steps 12 – 17 12. Discuss lyrical ideas that the participant has come in with. Ascertain verses, chorus, hooks Often the participant will bring in a strong lyrical idea that needs a backing track. In this situation it is good to go through the lyrics and discuss the content. Try to engage with the participant on a more personal level and promote self-disclosure, which can lead to more personalised lyrics. If the discussion evokes concerns for the welfare of the participant or others, it will need to be discreetly reported to the relevant authority, or at the least, the lyric and content should be steered in another direction. This, at times, may present problems as the participant might consider censorship as being authoritative and therefore become disengaged. Setting clear lyrical boundaries before commencement of work, will help the participant understand what is acceptable and what is not. In a correctional facility the lyrical content must be censored, therefore it is important that the content is appropriate and within the set guidelines. With the words written down, discuss what the verses and the choruses are. Ascertain the sentiment of the song, what the lyrics are trying to say and what the story is. Ask the below questions: • Do the verses flow evenly? • Is there correct rhyming of words? • Do the words contain a correct number of syllables and work on a phonetic level? • Does the chorus summarise the verses and contain a strong hook? Make sure that any suggestions to altering lyrics are constructive as any criticism might be perceived as dis- respect, and could result in loss of engagement and enthusiasm for the project. 13. Develop lyrical content On occasion there won’t be any lyrical content developed prior to the initial collaboration. This situation creates the opportunity to develop a lyrical topic(s) to engage in. In this situation have some blank paper and pens to jot down any ideas. Using the earlier steps of building a rapport, setting initial boundaries, and discussing musical tastes and styles will help the lyrical collaboration process. When a topic has been decided on, writing down lyrics as a stream of conscience is a great technique to get creativity flowing. Then, as per the previous step, ascertain the verses, chorus and hooks and continue to build the song around them. I have found that it is easier to craft a song by having more words than required, then collaboratively selecting the best lines and phrases. Again, the omitting and editing of a participant’s words / ideas will need to be handled with sensitivity, so with any editing, explain the reasoning for doing so. This demonstrates sympathy towards the participant’s feelings, an understanding of the content, and investment in the song-writing collaboration.

14. Record Vocals During lyrical development it is always good to record the words to see how they feel against the groove. If required, edit words or re-arrange some sentences to make the words compliment the music. Critically listening back to the recorded work promotes the participant and facilitator to discuss and amend any changes required, and will also keep enthusiasm levels up if the song is taking shape for the desired outcome. Recording vocals is one of the most rewarding aspects when creating a song. By now there should be a solid drum pattern, a groove and melody, and the lyrics ready to record. I have found that the participant has the most investment in the lyrics and vocals of the song, as they often identify themselves as an MC or front person. The recording of the vocals gives them the chance to display their abilities. Participants like to emulate their idols that they have seen on YouTube etc. Having a good quality microphone, headphones, pop filter, and a comfortable space will help them feel that they are ‘authentic’ in this regard. As a result, I often find that participant engagement increases further when positioned in front of a microphone. A major key is to encourage and credit the participant whilst ensuring the recorded performance is adequate, and that the participant has tried their best. Below is a process for preparing and recording a vocal: • An isolation booth is not required to record vocals, just a space that the participant feels comfortable in • Obtain a good quality condenser microphone for the recording as well as a pop filter and headphones • Make sure all backing instruments are at the desired level in the headphone mix • Encourage the vocalist, let them know when they have done a great performance or vocal pass • Be content with the best performance that they can give • If the participant is struggling with a performance, make sure to keep the ‘vibe’ up • Take a 5-minute break if required and come back with fresh ears • Compile a vocal track and re-record any lines that may require being done again

15. Develop music for chorus and bridge As in step 9, ‘creating a groove’, it is equally important to develop musical ideas for a strong chorus and a bridge. Now that there is a lyric for the chorus, experiment with a few ideas that have a memorable melody and complement the words. Again, this is a trial-and-error approach, it may take anywhere from five minutes to an hour. When struggling to find the right chord progression don’t give up, ascertain how many bars length the chorus is and leave the music out for that period and repeat this for all the choruses in the song. This will allow continuous work on the form of the song without having a completed chorus. This will also work with a ‘temporary chorus’ in place as well. The same process can be employed to develop a bridge for the song. 16. Discuss and add secondary instrumentation As when selecting the foundation instrumentation, the same approach can apply when choosing secondary instruments to augment the song. Often by this point a clear picture of the songs form and arrangement is beginning to appear. In this case selecting the instrumentation is a relatively straight forward process. However, if there is still room for experimentation, then now is a good time to try a few ideas out. There are two options to what file types are recorded in a D.A.W, MIDI and audio, both have their pros and cons. MIDI – The advantage of using midi and a midi controller to record instrumentation in Logic Pro is that you have access to over one hundred sampled sounds courtesy of their EX24 sampler library (The EXS24 Sampler, page 36). This will enable full orchestration, genre specific instrumentation, and the ability to raise or lower the tempo without audio degradation. Using MIDI also makes playing a variety of sampled instruments quite easy, all that is required is basic keyboard skills, therefore creating can be accessible to those with little or no formal music training. Using MIDI also means that you can change the instrument sound while only playing the part once, therefore attributing to a more productive workflow. The only real con to MIDI is the quality of the sampled instrument on a sonic level. Often a sampled instrument may sound nothing like the real thing.

31 Audio – Using audio files adds to the authenticity of the sound of the song. As previously mentioned, a MIDI sampled guitar sounds nothing like a real guitar recorded with a microphone or through an amplifier. Some of the cons are: • Being unable to manipulate the tempo without altering the pitch and timbre of the instrument. • Using a variety of instruments on a recording will require musicians who can play them, which can become expensive and unpractical. • Audio recordings take up more hard drive space than MIDI After some experimentation and once the secondary instrumentation has been decided, record them over the foundational instruments and groove. By the end of this stage, the song should be really beginning to take shape. 17. Assess project This is the second major point of assessment. At this point there should be a solid song taking shape. This should include a verse, chorus and bridge, all primary and secondary instrumentation recorded, an understanding of the form of the song, and vocals recorded. Again, use constructive criticism where required. With the participant discuss the songs strong and weak points, and how the weak ones can be amended. Even at this late stage, a participant can lose interest for the song. If this is the case, determine what is wrong and if it can be fixed, or if the participant wishes to discontinue with the current idea. If the participant is happy with the songs progression or only minor changes are required, progress to the next step. If any major alterations are needed, revisit either step 4 or 12 to start the project over. 18. If decided to continue, go to step 19. If decided to discontinue with the current idea, repeat the process from steps 12 to 17 This step is self-explanatory. If the song is still deemed as worth perusing, continue. If, however, the song hasn’t captured the enthusiasm from either the facilitator or participant, go back to steps 4 or 12. Stage 3 – Refinement / Assessment – Steps 19 – 25 19. Discuss and employ production techniques In this engaging step, colour starts to get added to the song in the way of drum fills and percussion, decorative instrumentation and backing vocals and harmonies. With the participant, critically listen to the song, and in depth, discuss anything that might enhance each section on a production level. It is worth trying out all ideas as they can be achieved quite efficiently when using a D.A.W. Below is a list of production techniques that can enhance the overall performance of a song. Drums fills and percussion In step 7 a 2-bar drum pattern was created and repeated for a duration of 5 minutes or the length of the song. Over this repeated pattern there should now be an intro, verses, chorus, and bridge. By manipulating the pattern for each section, it is possible to enhance the overall drum track. Options may be to alter the kick pattern, add cymbal hits at the beginning or end of a bar, add a ride cymbal in the chorus and or bridge, and add some fills at the end of a verse or chorus. Percussion including a tambourine, shaker or hand claps can also add an element of excitement to a section. Decorative Instrumentation Decorative instrumentation are instruments that have not been employed in the song, and though not essential, may enhance the overall sound of the song. For example, if used correctly adding orchestration to a section can create a range of emotions like excitement, melancholy, and suspense. Some decorative instrumentation could be: • Strings (Cello, Violin, Viola) • Woodwind (Clarinet, Flute, Oboe, Bassoon) • Brass Instruments (Saxophone, Trumpet, trombone) • Synthesisers

32 Backing Vocals and Harmonies Another engaging technique for the vocalist / MC participant is to use double tracking, backing vocals and harmonies to enhance the song. Go through each section of the song, discuss the stronger or more poignant lines of the song and determine if they could use one of these techniques to add overall character or enhancement. Double tracking is a favourite with MC’s and vocalists. This is when a vocalist records a second identical vocal to a vocal that has already recorded. It is physically impossible to sing the something exactly the same way twice with an identical waveform. Though it can be close to the original, there will always be minor differences. This creates a vocal ‘thickness’ and a ‘phasing’ effect which is a desirable outcome. Used sparingly on certain prominent lines or words will maximise its impact. Harmony vocals are also wonderful as a song enhancer and feature. Again, applying to certain hook lines or words will enhance the song. Not every vocalist / MC knows how to harmonise. If this is the case, try recording examples of simple 3rd and / or 5th note harmony for the participant to mimic, if the participant can achieve even one of the notes they will become engaged with the technique. Again, it is important, like all stages of collaboration, to encourage the participant to get the most out of their ability, with harmony vocals being no exception. 20. Assess project This is the final assessment point for the song. By now there is a complete song with all instrumentation, vocals, backing vocals, percussion, drum fills and production enhancers. Both the facilitator and participant are usually very satisfied at this point. However, in the past there have been participants who want to scrap the song, even at such a late stage. If this situation arises, make sure to discuss what is wrong and try to identify the point of disengagement. In the case of the participant wishing to discontinue and start a fresh idea, repeat from either step's 4 – 10 or 12 – 17. If the participant is happy with the song, then continue to the next step 21. 21. Mixing the song – Apply effects, signal processors and automation Mixing the song is another important step in the collaboration process. It is here where the final balance of the song takes shape and signal processors and effects are added to create a sonic picture. Traditionally mixing takes place after all the instruments and vocals have been recorded. However, anecdotally, I have found that when collaborating with youth-at-risk, mixing a song, or adding effects to an instrument or vocal track can occur at any stage during the recoding process. This is attributed to a few reasons, time constraint(s), experimentation, instant sonic gratification, and engagement. Time constraint. Often a facilitator will have limited time with a participant. In this situation, a facilitator will need to economise by mixing (adjusting volumes or add effects) to the recorded tracks on the fly. This will ensure that when a session has ended the participant will have an accurate representation of what the completed song could sound like. An incomplete song mixed along the way can also help the participant retain enthusiasm for the project, or may further inspire them to develop new musical or lyrical ideas. Experimentation. During the recording process a facilitator may have an idea for mixing, or production technique. This may be triggered by a lyric, performance, or a sonic idea that might just ‘pop’ up out of nowhere. Anecdotally, I have found when this occurs it is best to try the idea out at the nearest opportunity. This is important, as an idea can be forgotten, and if the idea does work, it can further inspire and engage the participant. Instant Sonic Gratification (ISG) and Engagement. This is where a mix idea is implemented during the recording process to enable the participant to hear a final outcome. Its aim is to keep participants engaged, inspired, and to promote self-confidence. Often this is used during a vocal performance if the participants skill level isn’t of a reasonable standard. There are many ways to create a mix of the song, and this differs between different genres and facilitators. Below I have detailed in point form how I go about achieving the final mix. • Set a drum level and apply some equalisation and compression. Apply some panning and reverb to create some width and depth in the mix.

33 • Bring up bass fader to a level that works with the drums and apply some equalisation to try and eliminate any frequency masking between the drums and bass guitar, or bass synth. • Bring up primary instrument faders to correct levels and pan according to where they instrument should lie within the stereo image of the song. Apply a reverb or delay to create some depth in the mix. • Bring up secondary instrument faders to correct levels and pan according to where they instrument should lie within the stereo image of the song. Apply a reverb or delay to create some depth in the mix. • Bring up vocals and apply compression and some effects, so as they sit nicely on top of the mix. • Bring up decorative instrument faders including back up or harmony vocals to correct levels and pan according to where they instrument should lie within the stereo image of the song. Apply a reverb or delay to create some depth in the mix. • Apply volume automation to tracks to bring out any sections that should be highlighted in the mix. These can include drum fills, guitar or instrument licks, and poignant vocal lines. All the above points should be discussed with the participant to maintain collaboration. 22. Bounce project as an mp3 for reference This step is to create a bounce of the mp3 where all tracks in the session consolidate to a left and right stereo file and are burnt to a CD, or exported as a file into a mp3 player such as an iPod or phone. Both participant and facilitator should critically listen to the song, play to peers and friends, and ascertain if any further sonic changes are required. 23. Make any final changes to music, vocals / lyrics, production, or mix After bouncing an mp3, book one final session to make any changes that the song requires. Usually these are just minor changes. Generally, I have found that any major changes would have been made through the previous reviews and this step is a just a formality to make sure that both participant and facilitator are happy with the song and mix. 24. Bounce a master mp3. Once the song has been completed and signed off on, bounce out a master mp3 or wave file for both the participant and facilitator. 25. Debrief on the collaborative process The final step in the collaborative process is to engage in a debriefing session. By debriefing with the participant, you can find out what did and didn’t work in the project and why? This enables a facilitator to further develop, refine and interrogate the process for future song-writing collaborations as well as developing a tailored process for each participant, therefore enabling participant ownership over the process. Generally, I employ an informal conversation to achieve this and make mental notes of any suggestions. I have often found that if the participant is happy with the outcome of the song, the feedback that they give is of positive nature and I have to elicit any negative feelings or suggestions. However, the rapport built throughout the project often has a direct bearing on how forth coming a participant can be with providing constructive feedback. Some of the questions that I ask, and we elaborate on are below. • Are you pleased with the completed result? • Did you enjoy working with me? • Do you feel that you had an equal input on the song? • Do you have any suggestions that could help improve the collaborative song-writing process? • Would you work with me again? My collaborative process with the 3 participants from Living Music The detail of the 3 Stage - 25 Step Collaborative Song-writing Model with each of the three participants that I collaborated with is discussed in appendix 1 (Appendix 1, page 62). I had recognised that I had come up with a collaborative song-writing process that was successful, and this project was a process of testing the previous approaches more rigorously and in a research context.

34 Living Music Studio The research for my project was carried out in July – November 2018 at Living Music Australia (LMA) at 53 Little Baillie Street in North Melbourne. LMA was founded in 1999 by singer/songwriter Andrew McSweeney and has developed a long-term partnership with The Victorian Department of Health and Human Services (Youth Justice) to run community music programs. The School of Living Music also offers instrumental lessons, and its facilities include practice rooms, a recording studio, instrumental rooms, and a central open plan room for group activities and workshops. I first met Andrew McSweeney in 2011 whilst I was working for the non-for-profit organisation, The Melbourne Mental Health Music Network. Through these workshops I developed a friendship with Andrew and an insight into LMA. My enthusiasm toward LMA resulted in Andrew offering me a couple of trial shifts at Melbourne Youth Justice Centre (MYJC) in Parkville which led to permanent part-time work in youth correctional facilities, and the LMA studio in North Melbourne. Equipment used for this Research For documentation purposes, I have included a list of all the equipment used during the process of the song- writing collaboration. The equipment and its manipulation is paramount to the research results. To write collaboratively with youth, who generally have a short attention span, a facilitator needs to be proficient with the equipment they are using. Anecdotally, I have found that a lack of operational knowledge can exacerbate disengagement. The participants expect things to happen ‘now’, instant sonic gratification (ISG). Sometimes a facilitator might have to even pre-empt the participants thoughts, or have an idea at the ready that will satisfy their need of instant gratification. Therefore, to obtain consistent engagement, a solid understanding of the equipment used is most important. I have compiled the list below to offer a brief description of the equipment and tools that I used throughout the process of my research. Though, I used the Digital Audio Workstation (D.A.W) Logic Pro 9 for my research It must be noted that many other D.A.W,’s are suitable to use for Collaborative Song-writing Model. Some of these are:

• Ableton Live • Audacity • Pro Tools • Garage Band • Steinberg Cubase Pro • FL Studio • Reaper

Logic Pro 9 and Logic Pro X Logic Pro is an Apple native Digital Audio Workstation (D.A.W). Logic Pro features include: recording capabilities for audio, a multitude of signal processors and effects, an extensively library of software instruments, and royalty free ‘Apple Loops’. Logic Pro has the capability to work in-conjunction with midi keyboards and controllers and has powerful midi editing and processing functions.

Figure 5 The edit window of Logic Pro 9

Figure 6 A screenshot of Logic Pro Piano Roll edit window

Ultrabeat Native to Logic Pro, Ultrabeat is a drum synth and sequencer plugin that simulates hardware drum machines. Included with the factory installation are over 800Mb of sampled sounds, along with more than 80 pre-set kits (Moores 2008). The step sequencer is a great tool to visually draw each drum hit into a pattern which can then be dragged into Logics main edit window, and in turn can be edited in the piano roll format. Ultrabeat is my preferred drum synth and was used to create the drum patterns for the songs written for my research.

Figure 7 Ultrabeat's main interface

Figure 8 Ultrabeta’s Step Sequencer in full view mode

The EXS24 Sampler The EXS24 is a native sampler for Apples Logic series and is my preferred plugin for whenever I require virtually any musical instrument. My library has over 120 different instruments to select from. The EXS24 uses audio files and organizes them in such a way that we can trigger and sequence them with our MIDI keyboards inside of Logic Pro X (Kahn). Quite a proportion of the research session tracks have the EXS24 on them. Such is my prolific use of the plugin; I have a project template in which my tracks have the EXS24 plugin preloaded. It features in all my recordings for this research project.

Figure 9 The EXS24 sampler

The Studio The studio is a simple set up. There is a main recording studio which has a drum kit, amplifiers, a piano and electric piano, as well as a selection of guitars and basses. There are through lines that lead into the control room, some headphone amplifiers, and a PA for rehearsal purposes.

Figure 10 Main studio space at Living Music

The vocal booth is off the main studio with a window facing the control room so visual communication is possible when required. The booth contains a headphone amplifier so the performer can select how loud they want the playback to be.

Figure 11 The vocal booth at Living Music

The control room at Living Music is where the collaborative song-writing was conducted. The Digital Audio Workstation (D.A.W) that was used to record, arrange and mix the songs was Logic Pro 9 (Equipment used for this Research, page 34).The control room is equipped with a 64 key midi controller that is used to trigger the instrument samples in Logic’s internal library. The pre-amp used to record any microphone or line signals is the Universal CA 410. The monitoring speakers are switchable between a set of Yamaha NS-10M Studio speakers or General Electrics.

Figure 12 The control room at Living Music

39 Chapter 6: Analysis Analysis process In this chapter I analyse the data collected from the participant questionnaires and personal observations via the audio journal that I collated throughout the research project with each participant. I used the method below to format the data into three stages. Part 1, I will be analysing the data to look for similarities in the participants musical backgrounds, social backgrounds and objectives and expectations. Within this analysis, I will include my own observations. Part 2, I will analyse the data to look for similarities during the song-writing process which includes the three stages of the song-writing process that I have employed for each participant (Foundational, Development and Refinement / Assessment). Within this analysis, I will include my own observations. Part 3, I will analyse the data to look for similarities in the participant’s enjoyment, self-expression, learning experience(s), any benefits, and if they would recommend the project to their peers. Within this analysis, I will include my own observations.

Figure 13 - Analysis Method

40 Part 1 Part 3 Pre-research Questionnaire (Figure 41 Participant Questionnaire Stage 1 page 154) What were the participants socio-demographics? The World Health Organisation (2019) defines 'Adolescents' as individuals in the ten to nineteen years age group. The three participants were aged fourteen to nineteen years of age. The participants were: Oho – Male, 14 years of age. One of fourteen children, born in New Zealand and of Maori descent. Sam – Male*, 14 years of age, only child, born in Australia to Australian parents. Brodie – Male, 19 years of age, One of two children, born in Australia to Australian parents. *Sam is transgender. His birth name is Mae, but he identifies as Sam, a male. For the research and following the wishes of both Sam and his mother, I will be referring to Mae as Sam for the project. He is currently undergoing the three-step process that enables a gender transformation. All three participants had been deemed at risk by the Victorian Department of Health and Human Services, and had spent time in a correctional facility prior to this research. As of the time of the research in 2018, Oho, was currently completing year 8, Brodie had finished his schooling with a year 11 pass, and Sam preferred not disclose this information. I was very excited about working with the youths that Andrew McSweeney identified as being potential participants for the research project. There was a mixture of age, ethnicities, and gender. That Sam is transgender, which further marginalises him, created a greater challenge in engagement and building rapport than with Oho and Brodie. My initial thoughts on each of the participants were as follows: Oho – I found Oho to be a likeable and respectful young man. I sensed that he had a nervous energy and displayed a general enthusiasm for the project. However, I noted that his attention span seemed limited. I felt comfortable in his presence and I knew that having previously collaborated with Islander boys, that I would be able to engage with him. At the conclusion of Question 1, I document my initial observation of Oho in greater detail (Friday 20th July 1:30pm, My Thoughts, page 63). Sam – My initial thoughts on Sam was that he had some deep personal problems. He dressed and looked like a boy, but he is anatomically female. He seemed to be very shy and only presented one-word answers. Initially he may have harboured some suspicion towards me. I felt dis-engagement as he avoided eye contact when answering the questions, and I felt that he wasn’t going to be too invested in this project. I knew that I would have to be careful in how I engaged with Sam. I sensed he had spent a lot of time with medical professionals and therefore wouldn’t want another person asking about his complex personal situation. Admittedly, I was interested in his sexuality as I felt that it could have bearing on the song we collaborated on. I was impressed that his mum was present as it indicated family support. His mother later confided in me, that the support her and Sam’s father provided to Sam, though difficult at times, was unwavering. At the conclusion of Question 1, I document my initial observation of Sam in greater detail (Song 2 Sam, Friday, 20th July, My Thoughts, page 101). Brodie – Brodie is five years older than both Oho and Sam and displays a maturity that confirms this. He is intelligent and exudes confidence towards me and the project that the other two did not. I immediately felt that we would be able to collaborate in making a song, and wouldn’t be surprised if we made more than one. That he had been to three different schools in five years, “They didn’t work out”, was his comment, suggests that there was a recurring problem. I suspected ADT or an anti-authority issue may be a contributing factor. He was enthusiastic for the project and was willing to answer all questions and engage in conversation. At the conclusion of Question 1 I document my initial observation of Brodie in greater detail (Song 3 Brodie, Friday, 20th July, My Thoughts, page 135). This shows that the process of obtaining basic information of each individual participant helps in the process of building a rapport. Focusing on their individual objectives and goals for collaborative song-writing and their musical and cultural histories helps ascertain specific individual strategies for each participant.

What are the similarities in musical and cultural histories? As anticipated all three participants, without hesitation, chose Hip Hop or Rap as their favourite style of music. A detailed explanation to the attraction of Hip Hop to youth-at-risk is on page 6. Oho, also offered up Reggae and music that ‘stoners listened to’, referring to laid back modern Rhythm and Blues that is popular among Islanders. None of the participants were confident when asked if they played a musical instrument. For Oho, this is reflected in ‘Project Commencement’, (page 66), when he denied that he could play an instrument, after I heard him playing piano. We even used his playing and chord progression for the first song we started on. This is detailed on page 67. He also played a passable version ‘Fur Elise’ in the control room (page 93). Oho also displayed skills on the drum kit and was recorded playing along to the programmed drumbeat on the song that we ended up completing (page 69). Both his live drums and the programmed beat is in the final mix of our collaborative song, ‘The Same’. He also has some basic guitar skills, I discovered this whilst editing vocals and he was playing the Cranberries song ‘Zombie’. Oho’s denial, I concluded is a lack of confidence in his instrumental abilities (page 64). When responding to the questionnaire, Brodie said that he played a little guitar, though he didn’t play once during the project, even though there was always a guitar present. Sam, does not play a musical instrument. This shows that Hip Hop is the most popular genre amongst the participants considered here. A facilitator will need to have skills in Hip Hop song creation to have relevance to these participants. However, having skills in a wide variety of music genres is also an asset for the facilitator. It also shows that though, advantageous for a participant and should be encouraged, it is not necessary for a collaborative song for them to be able to play an instrument if the facilitator has fundamental instrumental skills. When asked if they had any prior knowledge of a D.A.W, Sam had no prior knowledge, and Oho said he had previously used Logic Pro whilst incarcerated, (pages 63 and 95). Brodie said that he uses Ableton Live to produce music, (pages 135 and 147). Neither Sam, Oho or Brodie operated the recording software whilst writing or mixing their songs. This indicates that though, some participants are familiar with a D.A.W, they might lack the experience or confidence to use the software. Therefore, intermediate to advanced D.A.W skills are essential to a facilitator. The participants all acknowledged that they had an interest and participated in song-writing prior to our collaboration. When asked if they had made a collaborative song Brodie replied that he had but he wasn’t ‘serious’ about it as he feels that others who he was to collaborate with weren’t as invested as himself (page 135). Oho has tried but has a lack of confidence when rapping in front of others, he is concerned that others would laugh at him (page 63). Sam had only the one previous collaboration (page 101). This shows that the although participants who have an interest in song-writing, might not have participated in, or enjoyed collaborative song-writing. This may be due to lack of opportunity, a lack of confidence or control over their work. This indicates that the facilitator needs to encourage the collaboration by building a rapport with, and display sympathy to the individual participants musical apprehensions and directions. All participants stated that they listened to music daily. Oho said he “loves his music” listening to it “over half the day” (page 64). Sam claimed that he used to listen to music ‘all day, every day’, however this led to him being hospitalised, he now only listens to music “a few hours per day” (page 101). Brodie said about eight hours per day, however, some of this is music that is on in the background (page 136).

This displays that all participants listen to music daily, indicating its importance. This can also be detrimental, as in Sam’ case of being hospitalised. This indicates for a facilitator, that a passion for music and knowledge in a wide variety of music genres is essential. A facilitator should be able to identify a participant displaying any negative, or disturbing behaviour and notify the necessary authorities. When asked if music is part of their cultural histories, Oho, replied in the affirmative, Sam, without hesitation said no, and Brodie elaborated to explain that within the rap genre, it was not. However, all three participants reported their families, though not necessarily musicians, encourage the participants to be involved with music. In Oho’s case (Question 3b, page 64), in reference to music and his cultural history, I have anecdotally found that those of Islander heritage have a strong cultural focus on music and are encouraged to play an instrument or sing. Sam’s father plays guitar though not necessarily to Sam’s taste as he refers to the music as being ‘old’, (Question 3b, page 102). Sam’s mother, also present at a some of the sessions (Building rapport, page 109) displayed an active interest when she sat in on a playback of Sam’s song ‘Monsters’ at the end of our second session. She offered encouraging words about the song, showed an interest in the project, a commitment to be present with Sam, and gratitude to me for working with and engaging Sam (Strings, page 118). Brodie says that though no-one in his family is musical and aren’t into the ‘sub-genre’ of music he likes, though he feels his family encourages him to pursue his musical interests (Question 3b, page 136). The indicates that even if family members or cultural beliefs don’t have a background in music, family support and encouragement can empower a participant to engage in music. If a family member does play an instrument, or if music is of cultural significance, regardless of music genre preferences, family will most likely support and encourage any musical interests that their children might display. Conversely, it also shows that even if not musical, family members can also be active in supporting a participant’s musical ambitions by offering approval, encouragement and a general interest, therefore resulting in engagement and confidence that the participants musical interests are accepted. What are the participants objectives and expectations? When asked if they hoped to learn something from the collaborative song-writing process, only Oho replied in the affirmative, hoping that he would learn how to be a song-writer (Objectives and Expectations Question 4a page 65). Brodie, responded that he wasn’t setting out to learn anything, but if he did happen to, it would be a ‘bonus’(Question 4a, page 137) Sam didn’t want to learn anything at all (Question 4a page103). The three participants had a varying level of expectance when asked what they hoped to achieve from the project. Sam wanted to achieve some financial reward via a YouTube channel and subscribers (Question 4b page 103). Oho wanted to create something that would emulate Dr Dre (Question 4b page 65) and Brodie hope to complete a song in a day (Question 4b, page 137). All three participants reported that they all wanted to complete at least one finished song (Oho -page 65, Sam – page 103, and Brodie - page 137). This shows that though the completion of a song is the main goal of the collaborative process, each participant has different expectations for learning and achievement outcomes. Therefore, the facilitator needs to understand these goals and develop a collaborative process with outcomes, wherever possible, that incorporates the goals of each participant. To achieve this, the facilitator may need to undertake external research. Analysis of Collaborative Song-writing Model Below is an analysis of the actual collaborative song-writing process employed with each participant. This is based off the verbatim copy of my audio journal which can be found in

43 Appendix, (page 62). The actual process consists of twenty-five steps grouped into three stages, Foundational, Development, and Refinement / Assessment. However, for analytical purpose, these three stages steps have been broken down to the six steps below:

Foundational • Steps 1 – 4 Building rapport • Steps 5 – 10 Technical Development and Assessment Development • Steps 12 – 14 Lyrical Development • Steps 15 - 17 Music and recording development and assessment Refine and assessment • Steps 19 -20 Production refinement and assessment • Steps 21 – 25 Mixing, preparing for publication and assessment An explanation of the twenty-five steps is found in Collaborating with participants who do not reside in a correctional facility differs in one main regard; they aren’t incarcerated. The song-writing process remains the same and although, participation may be court issued or contribute towards a community order, the participant still must make their way or alternatively be present when their social worker arrives to take them to a music making facility. This can often result in loss of retention as a participant now has the option of not attending the program. Though numerous songs have been completed, it has often led to several songs remaining incomplete due to the participant losing interest in the project, or in other cases having re-offended resulting in judicial implications. Chapter 5: Song-writing Process, (page 24). Stage 1 – Foundational Steps 1 – 4 Building rapport • Build a rapport, set goals and boundaries • Discuss musical tastes /styles • Listen to music for inspiration • Select a style or genre Oho Due to Oho’s outgoing nature and enthusiasm for the project, building an initial rapport was relatively easy. Oho had recently been in Parkville Juvenile Correctional facility, and having previously worked there, I was able to engage and establish authenticity with him via my familiarity of the Parkville environment. References to Oho and Parkville can be found under (Appendix 1, Song 1: Oho, (Pages 62, 63, 68, 78, 81, 90, 88, 99). Oho also has basic skills on the guitar, drums and piano, though he denied any instrumental ability (Song 1: Oho, paragraph 2, page 62, Question 2b, page 63). That I also play those instruments and my encouragement toward his musical abilities further developed rapport. I convinced him to play drums along to his song which can be heard on the completed version of the song ‘The Same’ (Drums Live, page 69). As is a typical starting point for a song-writing collaboration. I asked Oho, what type of song that he wanted to write (Song 1: Oho, paragraph 5, page 66). He replied in earnest that it had to be “Gangsta”. This is a reference to a genre West Coast of American Hip Hop that was pioneered in the 1980’s known as ‘Gangsta Rap’. The chosen genre also suggests to Oho having spent time in a correctional facility and he wanted to create a song that will impress his friends by showing how ‘bad’ he is. What is interesting is that we didn’t listen to or discuss any music for reference and immediately proceeded to write the song on a single word description – ‘Gangsta’. Sam Sam was quiet when we first met and generally answered the initial questionnaire with one-word answers. I felt as though he was suspicious toward me and the project, and that it would take effort to develop rapport with him (Song 2: Sam, My Thoughts, page 101). With Sam, I used the initial questionnaire to make a foundation for building rapport. As he is undergoing counselling and therapy regarding gender reassignment, I knew this could be something that we could discuss. Being sympathetic, understanding and non-judgemental was important in the early stages of our collaboration. During the project we discussed the idea that he could

45 be a ‘Trans Rapper’, that could ‘be the voice’ for other youth in a similar predicament (Tracking Day 2, Paragraph 6, Page 111). Rapport and trust is something that Sam and I would continue to develop throughout our five sessions (Building rapport, page 109, Vocal Playback and Banter, page 114, Facebook, page 119). Sam’s mother was very supportive of his participation in the project which also helped build a trusting foundation to work from (Song 2: Sam, Bass, paragraph 9, page 106). Coincidently, Sam lives two streets away from where I grew up and my parents still reside, this revelation further increased our rapport (Song 2: Sam, Guitar, paragraph 9, page 107). At the beginning of the second session, we had an in-depth conversation of Sam’s hopes and ambitions, he really opened up to me which further increased rapport and trust (Song 2: Sam, Building rapport, page 109). Like Oho, the first step in our collaboration was to ascertain what kind of song that Sam wanted to write. Sam replied ‘XXXTentacion’, an African American who had spent time in a Youth Detention Centre and identified with mental illness. The song that Sam played, via YouTube, was called ‘Schizophrenia’ (Song, paragraph 1, page 103). Musically the song was more grunge than rap, featuring a quiet verse, and a distorted, heavy chorus favoured by bands such as Nirvana and Mudhoney. It was a style that I felt confident in emulating. Brodie Brodie is an articulate young man who is a prolific lyric writer and was focused on releasing an E.P. He is also involved in graffiti and was awaiting a court appearance. As a musician, I was also able to engage and build rapport with him by discussing my career as a professional musician and my involvement with youth-at-risk (Rapport building, paragraph 1, page 137). My involvement in graffiti, now considered ‘a pioneering time’ also contributed to my authenticity. This helped create a respect that further established a rapport between us (Rapport building, paragraph 2, page 137). Listening to and discussing Brodies past works helped build rapport and gain an understanding of his abilities as a lyricist and producer, and provided the opportunity to discuss his past methods of writing songs and the project that we were undertaking together (Rapport building, paragraphs 3 & 4, page 137). There was no discussion of what style we were to pursue, the idea was to just come up with a tempo and beat and see what happened from there (Song#1 starts, paragraph 1, page 138). This indicates that a fundamental step in the collaborative song-writing process is building a rapport with each participant. Via the use of the initial questionnaire and the first steps in the collaboration; rapport, trust, and goal setting can be established. Discussing musical styles and listening to music for inspiration can provide opportunities to further build rapport, promote a collaborative environment, and generate ideas for a song. Having a knowledge / understanding of the participants interests outside of music, displaying empathy and understanding of a participant’s health status, as well as remaining non-judgemental to any legal issues also contributes to building a solid rapport and promotes authenticity. Building rapport would be continued throughout the duration of the project. I have previously discussed methods on how I build rapport in (Stage 1 – Foundational - Steps 1 – 10, page 26). Steps 5 – 10 Technical Development and Assessment • Create a session in a D.A.W • Select a tempo • Select drum pattern • Select foundational instrumentation • Create a groove • Assess the project

Oho Collaboration was prevalent when creating the tempo and beat for the song. To begin, different tempo speeds were auditioned with 115 beats per minute (B.P.M), being selected (Project Commencement, paragraph 7, page 66). From there I developed a simple 4/4 beat (Drums, paragraphs 1 and 2, page 66) to which Oho later suggested that we needed to add hi-hats and ‘clicks’ (paragraph 5 under Bass, page 66).

46 The next step involved selecting a primary instrument to create a groove. I chose to play a simple funk bass line that worked with the beat. Oho was happy with what was created (Bass, paragraphs 1 and 5 page 66). Oho is musical but is unconvinced of his skill (Song 1: Oho, paragraph 2, page 62). At our first session, he sat at the piano and played a simple chord progression, and during the project, would often pick up the guitar and play a few simple chords (Tracking the Vocals #2, paragraph 8, page 87). I also discovered that he could play drums which we recorded in a later session (Drums Live, page 69). After the groove was created, piano was added, with myself playing single notes using an echo effect. This didn’t work for Oho, so we tried a piano progression which Oho played himself. This seems to work and after an adjustment to the bass guitar we had laid down the foundation for the song, (Piano, page 67) The first assessment of the song took place at the beginning of the second session. Upon listening back to the track Oho had decided he didn’t like the piano as it was ‘in too many songs’ (paragraph 7, page 68). To the piano, I added a delay effect that seemed to placate him. The rest of the session was spent recording and editing Oho playing the drums along to the beat we had made (Drums Live, page 69). The second assessment took place at the beginning of the third session. Listening to the play back, Oho, decided that he did not like the piano, and it was discarded. Again, I felt the need to engage Oho and tried getting him to rhyme over the beat with some pre-written lyrics. This approach didn’t work and it was decided to revisit step 4 and listen to music for inspiration (Friday 3rd August 1:30pm, paragraph 4, page 72). Oho selected a track by Billy69 to use as a reference (Friday 3rd August 1:30pm, paragraph 5, page 72). Using the existing drums as a foundation and Billy69 as inspiration, steps 8 to 10 were repeated. Strings, horns and a new bass and guitar groove created the foundational instrumentation (Song 2 Begins, Strings, page 74, Horns, page 75, Bass Groove #2, page 77, Electric Guitar, page 78). Sam Using a reference song, we decided that 110 BPM in 4/4 time would work for the tempo (Song, paragraph 4, page 104). We selected two beats from Apple loops for a verse (Figure 29 page 105) and chorus, (Figure 30 page 105), and added sampled cymbals where artistically required (Drums, paragraph 8, page 105). The next instrument we selected for foundation was the electric guitar. Rapport building continued as Sam told me a story about someone, he knew who had seven guitars (Drums, paragraph 9, page 106). The key of A minor was selected and with the electric guitar I tried a few ideas hoping that something would appeal to Sam (Drums, paragraph 12, page 106). I developed a riff (Figure 31, page 106), which Sam liked, and from that we determined that A to Eb would work as a chorus (Figure 33, page 107). The bass was recorded over the existing drums and guitar pattern. Two patterns on the bass were developed to compliment the verse and chorus guitars (Bass, paragraph 1, page 107). As the session drew to a close, I gave the song some form to enable Sam to take it home to write some lyrics to, therefore completing Stage 1 of the song-writing process (Bass, paragraph 8, page 108). Sam was pleased with the song. Brodie Brodie had come equipped with lyrics, so the first thing the we decided to do was to try different B.P.M’s that best complimented his words. We played a past beat that he had written the words for, and it was decided that 90 B.P.M was the tempo (Song#1 starts, paragraphs 1 and 2, page 138). Using a generic midi Apple drum loop, I was able to, under the guidance of Brodie, create a drum pattern that he thought best complimented his lyrical flow (Drums- Selecting a pattern, paragraph 1, page 138). The second step was to develop a music bed that also complimented the flow of his lyrics. Using a bass guitar, I played a groove in the key of D minor, which was looped to create a primary foundation to build off. Brodie suggested to drop the guitar for the intro which indicated he was happy with the groove and that the creation was of a collaborative nature (Bass, paragraph 3, page 138). The second foundation instrument was an electric piano sample. I played along to the bass in D minor and after eight bars modulated the key of the song up to G minor. This was recorded. The bass did not follow the piano, but we felt that we had something to work with. Brodie suggested playing in a lower key, again indicating we were creating collaboratively (Keys, paragraphs 1 & 2, page 138) .

47 The bass needed to be re-recorded to follow the modulation of the piano. The modulation threw Brodie as he wasn’t too sure if it signified where the chorus began. Brodie rapped over the verse and it was agreed that it worked (Bass modulation, paragraph 3, page 139). The sixteen-bar verse groove was repeated twice followed by an eight-bar drum break that could be used to develop a chorus. When asked what he thought of what we had done, Brodie responded very enthusiastically (Bass modulation, paragraphs 4, 5 &6, page 139). We constantly assessed the song as it progressed throughout each step. When Brodie came back for the second session he commented on how he had never dedicated so much time to making a beat, but enjoyed the process as it gave him something new to write to. He further commented that he found the mood of the song difficult to judge and to ascertain what style of lyric he would write. This was important as it indicated he had spent time thinking about the song, and was therefore invested and engaged in the project and its outcome (Assessment#1, paragraph 2, page 139). This shows that the steps taken for technical development and assessment is truly a collaborative process, and contributes to building the foundation of a song. Trying different B.P.M’s to obtain the correct tempo that works with previously written lyrics, or has the correct ‘feel,’ provides an anchor from which create a drum pattern, and using MIDI information as opposed to recorded audio loop will allow the facilitator to manipulate the drums to suit the song. It also indicates that primary instrumentation will help establish a melodic groove which the participant and facilitator can discuss, experiment with, and assess in a collaborative manner. A facilitator should inform the participant of their intention when trying different instrumental and melodic ideas, as this also indicates a willingness to collaborate, and promotes discussion which helps to continue to build rapport. The participant taking a copy of the song home in between sessions also provides opportunity for lyrical/song development and further assessment. Stage 2 Development Steps 12 – 14 - Lyrical Development and Recording • Discuss lyrical ideas that the participant has come in with. o Ascertain verses, choruses, hooks • Develop lyrical content • Demo the lyrics / Record Vocals Oho Oho had the intention of writing a song about being ‘different from other people’, and had previously written some words to that effect (Friday 17th August 1:30pm, paragraph 2, page 279). I encouraged him to go into the vocal both and rap the words that he had to test if the tempo and the groove would work with his lyrics, which, they did (Vocals, paragraphs 6 and 7, page 80). We spent 30 minutes recording his vocals. I would ask a meaning of a line, which we would discuss, further building rapport (Lyric Explained, page 80). Tracking vocals is a rewarding part of the recording process as the participant is generally excited and enthusiastic about expressing their words to the music. Oho requested that we record his vocals line for line. This constructive method enabled us to sign off on each line as the song progressed. It also presented the opportunity for myself and Oho to work together as a producer and artist. I was able to offer suggestions for lyrical delivery that Oho was willing to try (Tracking the Vocals, page 82), again an indication that the song- writing was collaborative. At the beginning of session five we assessed the project, deciding that there was the song was too busy and we needed to mute or drop some of the instrumentation. I employed a production technique which mutes out instruments at certain points to create a dynamic shift in the song. This was also done with some doubled tracked vocals (Refinement - Editing the track #1, page 83). Critically listening to the track, ultimately led to the re-tracking of some of Oho’s vocals that we both weren’t happy with (Re-track Vocals #1, page 83). Sam Sam had bought in some words to a poem he calls ‘Monsters’ (Sam’s words, page 111). The words represent schizophrenia, and the voices that he hears in his head. That they were very personal, about an illness that I do not suffer from, made it hard to develop any lyrical ideas with any authority. The best way of collaboration was to explain the recording process, and produce the best vocal performance that Sam could offer (Tracking Vocals, page 112). For the recording, we decided to do the verses and chorus separately. The verses being a

48 quiet whisper with a heavy echo effect, and as a dynamic shift, the chorus being shouted with a distorted effect. Due to Sam’s reservations, it took a lot of encouragement to get a performance that we were happy with (Tracking Vocals, all paragraphs, page 112). The recording of the vocals further strengthened our rapport and indicated continued collaboration. Brodie Brodie had an initial lyric that he wished to try but discovered that the melodic groove and ‘feel’ we created didn’t suit his words. He decided that the music was something ‘new’ that he could write to but was also struggling to find the correct ‘balance’ of style that he wanted (Assessment#1, paragraph 2, page 139). We listened to the groove and discussed what the feel or the sentiment of the lyric could be, with both of us offering suggestions of topical content, again indicating collaboration (Lyric Development, paragraph 1, page 139). For the remainder of the session Brodie recorded vocal ideas he had, and took home a recording to work on lyrically. As with Oho and Sam, the tracking of the vocals and assessment of these in the control room contributed to rapport building. In between the next session, Brodie had decided that he didn’t like his performance or his lyrical topic, and wanted to scrap what he had previously done and start a new vocal from scratch (Friday 21st September 4:30 pm, paragraph 1, page 140). He informed me of his new topic, about how ‘his family blame him for everything that goes wrong in his house’ which I thought appropriate to the melodic groove and relevant to his, and others lives. We spent the remainder of the session recording his new words. It should be noted that as with Oho, some production techniques including sound effects and EQ were employed to compliment his lyrics during this session (Re-tracking vocals, paragraphs 1, 2, 3 & 4, page 140). This shows that a participant usually has the lyrics written, or has an idea that they want to develop prior to the commencement of writing the song. It also shows that the style of musical bed that is written can dictate the topic of lyrics, as in Brodies case, and that lyrical topic can dictate the style of music, as was the case with Sam. It also indicates that for the participant, recording the vocals is one of the most important and enjoyable parts of the song-writing process. Often a participant will express themselves emotionally and their lyrical content may reflect a current state of mind, or views that are personal in nature. Therefore, a facilitator will need to be aware of what each participant is trying to express, and show sensitivity as to keep the participant engaged, and provide a safe creative environment. Although a facilitator may not actively co-write words, they can play a collaborative role in the production of recording the words. This can be done by encouraging the performance, suggesting alternate words, or expressing an interest in the lyrics meaning. Occasionally a participant won’t be happy with their vocal performance or the way their voice sounds, a facilitator may consider engaging Instant Sonic Gratification production techniques, such equalization and effects to enhance the vocal sound to help keep a participant engaged, indicating that the 25 steps don’t necessarily have to run in sequence. Steps 15 - 17 Music and Recording Development and Assessment • Develop music for chorus and bridge • Discuss and add secondary instrumentation • Assess project

Oho It was decided that we required an end point for the song. I had in mind, a solo piano coda that would repeat to a fade out, thus creating another dynamic shift in the song (Piano Coda, page 84). Recording this completed session five. The song was again assessed at the beginning of session six. We felt that there are still too many back-up vocal tracks, and some of the main lyric lines should be re-recorded (Refinement -Editing the track # 2, page 85). Oho had developed a call and response line that was recorded over the top of the piano coda, and upon hearing it played back, he was very excited (Tracking the Vocals #2, paragraphs 1 – 4, page 86). I then applied an EQ effect emulating a voice through a telephone which also pleased Oho (Tracking the Vocals #2, paragraph 6, 86). We critically listened to the song and selected, back-up vocals to either mute or apply the telephone effect on. To complete the session, Oho recorded ten takes on a vocal line that had proved troublesome (Re -

49 Track Vocals #2, page 88), and a further seven takes of vocal ‘shout outs* until he left satisfied with what we had achieved for the day (Shout Outs, page 89). * Shout outs are when a rapper name checks his friends. In Oho’s case, all his friends who were still incarcerated. Sam With his vocals tracked, the next step was to edit and add effects that I thought might augment his performance (Rapport and editing vocals, page 114). I applied some reverb, delay and EQ on the whispers and screams that happen throughout the song. This aided in keeping Sam engaged and also offered some I.S.G. (Rapport and editing vocals, paragraph 12 page 114). The song was presently only in verse and chorus format, and needed a change either in the middle or at the end. This was discussed with Sam, providing an opportunity to further explain song-writing and production techniques (Assessing, paragraph 1, page 116). I had an idea of a piano coda with stringed instruments to end the song (Assessing, paragraph 2 & 3, page 116). A major to minor melodic shift was also tried but deemed a bad idea and discarded (Bad Idea in F#m, page 117). The next idea was to mute the music and play a repeated piano line as a coda, an idea that was well received (Piano, paragraph 5, 118). This was followed by string lines played over the top of the piano coda. Recording the MIDI strings also provided another chance to engage in conversation and continue to build rapport (Strings, paragraph 3, page 118). Sam’s mum had arrived, so we were able to play her what we had done. She was very impressed and asked Sam if he liked it, to which he agreed (Strings, paragraph 5, page 118). I explained we now had three elements of sonic texture in the song, haunting (verses), aggression (chorus) and relief (coda), and further encouraged Sam to write some lyrics that would complement the coda before the next session (Strings, paragraph 9, page 119). The rewarding session ended with Sam’s mum thanking me, an indication that the project was proving to be beneficial on a familial level (Strings, paragraph 12, page 119). Brodie Since the last session Brodie had listen intensely to the track and came in with some suggestions. He had played the track to his friends to favorable response, but wanted to re-do some vocal lines, and add some reverb to the vocal double. He also suggested to lower the pitch of the song a tone and adjust the levels of some of the instrumentation. I was impressed with his production values (Assessment #2 & Suggestions, page 141). The song still required a chorus. I had an idea for an electric guitar funk riff that would fit in the eight bars that we had left with only drums. Brodie liked what I had played, however, I thought the sound was tinny, which I was able to fix using effects. I played the riff again, this time an octave higher (Chorus - Guitar idea, page 141), and again on the bass guitar creating a 3-octave riff to complete the chorus (Chorus – Bass, page 141). To further the sonic flavor, I also added some improvised guitar licks which we could either keep or delete, pending their position and value to the song (Guitar Improvisation, page 141). Brodie had written words for the chorus and spent the rest of the session tracking and doubling his vocals. The chorus was done quickly as we had decided to copy and paste all the choruses throughout the song (Chorus – Tracking Vocals, page142). He also recorded some vocal ad-lib lines to again add another sonic texture to the song. This concluded the end of the session (Vocal ad-libs, page 142). This shows that once the main vocals have been recorded and the participant is happy with the outcome, the song will progress toward completion. It also indicates that a facilitator may employ some mixing techniques in the recording stage to retain engagement via instant sonic gratification (I.S.G). Additionally, it is always beneficial to assess the project at the beginning of each session to gauge where the song is headed, and what is required for its completion, or what steps may need to be repeated. A facilitator may need to generate musical ideas for the completion of the song, and use a participant’s opinion to continue engagement and collaboration. It also indicates that once a song has taken a completed form, that participants will usually like to do ‘ad-libbing’ or ‘shout-outs’. This can be deemed to be just as important as the verse/chorus lyrics, and sufficient session time to should be dedicated to completing this to the participants satisfaction. It also shows a facilitator using their instrumental skills can provide sonic direction, texture and flavor, which can enhance the recording of a song.

50 Stage 3 – Refinement / Assessment Steps 19 -20 Production refinement and assessment • Discuss and employ production techniques • Assess project Oho The final session began with myself cleaning up Logic’s edit window in readiness for mixing (Figure 5, page 35). My workflow being more concise when I have all tracks and regions named and colored, unwanted tracks either muted or deleted, and cross fades applied to all regions. I explained this to Oho as a point of tuition, and to keep him engaged, during what can be a monotonous process. During ‘Stage 2 - Development’, when I had a clear idea of how I wanted a certain track to sound, I employed production techniques that would feature on the finished song. This was beneficial as it portrayed what the completed song would sound like using I.S.G, and shortened the amount of time required to mix the song, which kept Oho engaged and focused. Techniques included, volume levels, panning, equalisation and compression, as well as effects such as the telephone voice EQ setting. It was another example of not having to work in sequential steps to still achieve an outcome. During the ‘cleaning up’ process, Oho, requested that he do his ‘shout outs’ again, an indication that he was still invested in the song (Re-recording Shout Outs, page 90). Sam At the end of the last session, I had asked Sam to go away and write some words to fit over the piano coda, the ‘relief’ section. I was impressed that he had written some words reflecting how he wants to overcome the ‘monsters’ that he hears in his head. This provided another discussion on Sam’s current mental status, again reflecting the rapport and trust that we had developed (Friday the 10th August 2:00, paragraph 3, page 120). We recorded the coda vocal, and as with his main vocal, I had to coax his performance, via encouragement and discussion of his lyrics (Outro vocals, page 120). Approaching the completion of the song we started to think about the mix and any other production techniques that we could employ. We decided to use a vocal transformer on his verse vocals, this resulted in a low growl effect that imitated the sound of a ‘monster’, Sam being insistent on getting the effect to sound exactly as he wanted (Vocal effect. Page 121). The final production idea before mixing was to add some automation, reverb, delay and panning to the ‘monsters’ verse so that it created the effect of ‘swimming’ around in the listeners head (Vocal effect, paragraph 9, page 124), a sound that Sam approved. Brodie Brodie had decided that he want to re-record the front ad-lib vocals and his choruses. He also wanted to fade the intro in and add sound effects through the song to compliment poignant lyrics (Assessment #3, paragraph 2 & 3, page 143). He also commented on how he had never ‘indulged himself in a song so deep’, this was another example of how invested in the song he was (Assessment #3, paragraph 4, page 143). As with the other participants, parts of the song had been mixed along the way applying I.S.G. Brodie commented on how the beat wasn’t ‘strictly rap’, and was different from beats that he usually uses. Again, this indicated that he enjoyed the challenge of working out of his comfort zone (Mixing drums, page 143). Sound effects were added to compliment some of the lyrics, for example a storm sound, a door slamming, and a scream. This aided Brodie’s continual learning about the recording and mixing process (Sound effects, mixing and banter, paragraphs 1, 2 and 4, page 143). The mixing continued with myself showing Brodie the benefits of automation and equalization. It was enjoyable to hear the song nearing completion, and again Brodie commented on how he’d “never made a track like this” (Sound effects, mixing and banter, paragraph 6, page 143). It was also encouraging that earlier in the session Brodie expressed his desire to continue working with me after the project finished (Friday 12th October 4:30, Assessment #3, paragraph 2, page 143). This shows that a song can be mixed as it progresses and the Collaborative Song-writing Model does not have to run sequentially to achieve the desired outcome, again utilising I.S.G. A facilitator will need to determine when it is appropriate to spend time creating a sonic ‘picture’ of the final mix. Reasons to apply I.S.G may be to keep a participant engaged, inspired, promote self-confidence, or to try ideas that if implemented, could

51 change the sonic bearing of the song. The analysis also indicates that participants ad libs, shout outs and sound effects are important and should be treated with the same enthusiasm as the main vocal, and can be viewed as an indication of the participants investment in the song. It also indicates that rapport building continues throughout the duration of the project. Finally, it also shows that a though a participant might not actively set out to learn about recording, exposure to the process may either activate a desire to learn or enable learning on a subconscious level, passive learning, which a facilitator should encourage. Steps 21 – 25 – Mixing, preparing for publication and assessment • Mixing the song – Apply effects, signal processors and automation • Bounce project as an mp3 for reference • Make any final changes to music, vocals / lyrics, production, or mix • Bounce a master mp3 • Debrief on the collaborative process

Oho Mixing was relatively straight forward. As previously mentioned, I had implemented I.S.G, as the song progressed, leaving little to mix to complete the song. An important part of the recording and mixing process is what I refer to as ‘Control Room Banter’. Though mixing can be collaborative, at times Oho had nothing to. Control room banter, is conversation that keeps the participant engaged, informed and further builds rapport. During the mixing stage Oho’s friend Vin was present so we were able to enjoy an amusing conversation whilst the mixing was being done (Mixing and banter continued, page 91). Vin was supportive of Oho’s efforts and also provided some constructive criticism, which was accepted and appreciated by both Oho and myself (Mixing and banter continued, paragraphs 4, 6 and 9, pages 91 and 92). The mixing process only took an hour to complete and I provided Oho with a bounce of our collaborative song, now titled ‘The Same’ to take home to listen to, and dissect. If there was anything that he wanted to change we could do it at our final session. As there were not any changes Oho wanted to make to the mix, our final session was dedicated to completing the post research, Participant Questionnaire (Stage 3). A full analysis of this questionnaire can be found under (Chapter 6: Analysis, Part 3 Post-research Questionnaire, page 51). Oho, was very positive toward the completed song, ‘The Same’ and the project in general. Oho and I spent a total time of six hours and forty-nine minutes with each other. Sam Mixing the song was straight forward. As with Oho, we had done a lot of mixing during the recording stages implementing I.S.G, which made completing the mix a relative short process. I added some parallel compression on the drums, tweaked volumes and gave Sam a bounce to take home and critically listen to, with the view that in the final week we could fix any areas of the song that he wasn’t happy with (Mixing, page 124). In our final session, the only change that I felt the song required was to add one guitar line, and to also have the coda vocal come in 4 beats later. This was done quickly and the song ‘Monsters’ was completed (Friday the 17th August 2:00, page 125). The post research, Participant Questionnaire (Stage 3) completed the session. A full analysis of this questionnaire can be found under (Chapter 6: Analysis, Part 3 Post-research Questionnaire, page 51). Sam and I spent a total time of four hours and twenty-seven minutes with each other. Brodie What was interesting is that we had mixed the song before we had an actual definitive ending. The obvious ending was to just have the verse music loop, and automate a fade out after Brodies ad-libs had finished. I performed the fade out and it worked. I copied and pasted the chorus guitar riff over the verse loop which provided a cross reference to the chorus, and we were both pleased with the result (Ending the song, paragraph 2, page 144).

52 In our final session, we discussed graffiti, though not relevant to the song-writing process, it served to continue our rapport and my authenticity. After our final assessment, Brodies only suggestion was that we change the ‘beep’ sound effect for the exact sound that he located on YouTube. I perform some minor edits and level adjustments then played the completed song. We both knew that the song was now finished and ready to be mastered for his E.P. (Control room banter and assessment, paragraphs 2 & 4, page 144). The post research, Participant Questionnaire (Stage 3) completed the session. A full analysis of this questionnaire can be found under (Chapter 6: Analysis, Part 3 Post-research Questionnaire, page 51). Brodie and I spent a total time of six hours and nineteen minutes with each other. This indicates that applying I.S.G or mixing the song along the way will shorten the duration of the time need to mix a song at the end of the recording. It also shows that during the mixing stage, a participant may engage in passive learning, and that building rapport is continual throughout the entire recording / mixing process. The analysis indicates that a facilitator will need to have musical ideas to end a song, and the required skills to facilitate this. It also shows that constructive feedback from a peer can influence the participants view of a song, and or their performance, and a facilitator should encourage this whenever possible. Part 3 Post-research Questionnaire How much did you enjoy the project? When asked upon completion if they enjoyed the collaborative song-writing project, all three participants responded in the affirmative. Oho, who didn’t elaborate on it, just provided ‘yeah’ as a response (Enjoyment - Question 1a page 93). Anticipating a one-word answer, I asked Sam to rate his enjoyment on a scale of one to ten, with ten being the most enjoyable. Sam rated the project an eight (Enjoyment Question 1a, page 126). Brodie, claimed that he enjoyed participating in the project ‘one hundred percent’, so much as he wanted to put the collaborative song on his E.P. (Enjoyment Question 1a page 145). When asked if they enjoyed the actual song-writing process. Brodie, the most articulate of the participants, offered the most interesting response, stating that though he did enjoy the process, it was the ‘longest that he had ever spent on a song’ (Enjoyment, Question 1b, page 145). As previously mentioned, the fact that Brodie requested that we do another song (page 143), reinforced his enjoyment of the project, and the outcome we achieved. Sam (Enjoyment, Question 1b page 126) and Oho both responded with a simple ‘yes’ to the question. With Oho, I had to remind him of some of the definitive moments of our collaboration to elicit his response (Enjoyment, Question 1b, page 93). All participants stated that they were pleased with the overall song. When I asked Oho if he played the song to anyone else, he responded that he had not, as he might be embarrassed of what people think, and doesn’t want “to get negative behaviour from anyone”. I then asked if he played any of his music to anyone, and he mentioned that he didn’t even want his friend Vin to hear the playback when he was present at a session, despite Vin’s approval of the song. Furthermore, Vin, did not even know that Oho was participating in this program (Re-recording Shout Outs, page 90). However, he said that Vin offered positives (Enjoyment, Question 1b, page 93). Overall, Oho, said that he was pleased with the completed song (Enjoyment , Question 1c, page 94). I again asked Sam to respond with a score out of ten with his satisfaction with the song, with him responding that it was an eight, and that it was better than he had anticipated (Enjoyment , Question 1c page 126). Brodie responded with “In the middle, as I have said, there was something off about it. But, the end product, yeah, I love it” (Enjoyment, Question 1c, page 145). This shows that a satisfactory completion of a song influences a participant’s enjoyment in both involvement and process. The facilitator therefore needs to prioritise the completion of song as it will affect the level of enjoyment and participant experience. It also indicates that a participant doesn’t have to be aware of the actual process to enjoy the project. A facilitator should be able to engage a participant with song-writing without the participant needing an awareness of each step taken in the process. Participants look to the facilitator to ‘drive’ the process to achieve the outcome. It also shows that peer validation is important to participants, and can promote good self-esteem and self-confidence.

53 Were you able to freely self-express yourself? The three participants were all very positive when asked if they felt that they were able to express themselves freely throughout the song-writing process. I enquired further to ask if they felt comfortable around myself as a facilitator to freely self-express. Oho, felt that he was freely able to express himself ,and described me as being ‘chillin', and that I ‘weren’t over him’ (Self-Expression Question 2a, page 94). Sam also agreed that he was able to self-express. I probed further and asked him, ‘So you didn’t think I (Sam) better not say that or write about that. Or I won’t tell Pete that it sucks’? His responded that he didn’t care what people would think, and is “sick of people telling me what I can’t do, and what they don’t like about me” (Self-Expression Question 2a, page 126). Brodie felt that he was able to express himself ‘100%’ and describe me as a ‘mad cunt’, a complimentary term (Self-Expression Question 2a, page 146). This indicates that the more at ease the facilitator enables a participant to feel, the more likely they will self- express without reservation. This is another reflection of the importance of having authenticity, and building rapport and trust between facilitator and participant. It also confirms song-writing’s therapeutic qualities in allowing the freedom of non-judged self-expression for youth-at-risk, while not being assessed by medical or legal professionals, who, may present an intimidating presence. What did you learn? In the pre-research questionnaire, Stage 1, the participants were asked what they hoped to learn and achieve from the project. For the post-research questionnaire, Stage 3, I asked the participants what they did learn. For analytical purposes, and to enable comparison, I have detailed their responses for both questionnaires. Oho, who had hoped to learn more about being a song-writer and make a beat that Dr Dre would call ‘Gangsta’ (Objectives and Expectations page 65), laughed and said “nothing”, when asked what he had learnt from the participating in the project. Further probing revealed that he assumed that I was asking about using the recording software. When asked if he had learnt about the recording process, again, said he hadn’t (Learning Question 3a, page 94). He was vague, when responding to what he learnt about song-writing other than being able to identify what appealed to him on a sonic level (Question 3c, page 95). Asked again if he learnt anything about recording with Logic, Oho claimed that he already knew how to use Logic and that it was ‘all he did’ when he was locked up in Parkville (Question 3d, page 95). He did feel that he would be able to work collaboratively again with a relative stranger (Question 3b, page 95).Finally, when asked if he learnt anything about himself, he again showed a lack of confidence in his ability stating that he learnt that he “cannot rap”, and is afraid to play or perform his music to anyone as he is ‘too scared that people are going to say it’s bad, and that his feelings are too precious’ (Question 3e, page 95). *After the research project concluded, I learnt from another facilitator that Oho had performed his music in public (Chapter 7: Conclusion, Afterthought, page 57). This indicates that although he may not have recognised this at the time, he was building self-confidence, and participating in the project may have contributed to this. Sam had stated that he didn’t want to learn anything from participating in the project (Objectives and Expectations, page 103). When asked if he did learn something from participating in the project, he paused, searching for words. I prompted him; ‘that he could do it, that he could collaborate’? To which he replied, “yes” (Learning Question 3a, page 126). He humorously elaborated further, “That there are more grumpy old pricks out there like my Dad, and I thought my Dad was weird, but there’s more of you out there”. This was in reference to collaborating and discussing music with someone of his father’s age (Question 3b,page 126). When asked what he had learnt about the process of making music, he replied, that it’s “actually pretty easy, it seems complicated but it’s not that hard”. I asked if he was referring to the writing, or software manipulation. He replied, “that recording used to seem pretty hard, but all you have to do is press a button and it works”, adding that he thought he could use the software himself to make music (Question 3c, page 127). Brodie hadn’t hoped to learn anything, but viewed the project as something different to do, and was open to a learning experience (Objectives and Expectations – Question 4a, page 137). On completion, he stated that he didn’t learn anything new, and that he was not used to the amount of time that was spent on completing the song (Learning Benefits Question 3a, 146). On prior collaborations, he said that he felt that he was always the only one committed to the song (Question 2d, page 135). However, due to standard of the song that we produced, he said that collaborations are possible (Question 3b, page 146). When asked if he had learnt anything about music creation, he replied it was “challenging”, as the style of music was unfamiliar, and it took

54 multiple attempts to write lyrics (Question 3c, page 146). Brodie is familiar to Ableton Live, a D.A.W, so he understood the recording process, but added, understanding how to manipulate Logic was a challenge (Question 3d, page 147). Asked if he learnt anything about himself, Brodie responded that he felt the same as he did prior to starting the project and that he hadn’t aged in his head. Curiously, he informed me that I was not the only person to recently ask him that (Question 3e, page 147). This indicates that setting learning goals aren’t essential for a participant to enjoy the process, or to complete a song. Unless posed as an outcome, learning, about music creation, the recording process, and oneself, isn’t a priority for the participants. If any learning does occur, it is viewed as a by-product of the process and not an objective. A facilitator can passively encourage learning during the song-writing process and inform the participant when they display learning of relevance. If expressing self-doubt or a lack of confidence, a facilitator will need to be able to encourage and inspire a participant to continue, or, if a participant reveals any negative or disturbing behaviour, alert the necessary authorities. It also indicates that if substantial rapport and trust are built, a participant will creatively collaborate with a relative stranger, and, therefore build self-confidence for participating in future collaborations.

What were the benefits? All three participants stated that they all felt that the project had benefited both themselves and the community. Oho, said that the project gave him purpose and alluded to recidivism if he wasn’t engaged in his ‘art and music programs’. He further elaborated to say that he felt that if all boys who had been released from detention undertook this or a similar program, only ‘a half’ of them would re-offend (Benefits Question 4a, page 96). He also said that he thought that his family benefitted from his participation. His aunt who is his guardian, dropped off and picked up Oho for every session. She was supportive of the project and occasionally listened to a playback of the recording (Song 1: Oho, Piano, paragraph 7, page 67). He also stated that though she was annoyed that she had to provide his transport, she ‘liked’ him being at Living Music (Benefits, Question 4b, page 96). Sam thought that he had benefitted from the project in that he would be able to play his song to a youth group for kids who, like him, heard voices in their heads, as well as a magistrate who wanted to hear his song (Benefits, Question 4a, page 128). He also thought that his family, especially his mother, who was incredibly supportive of Sam’s involvement in the project, benefitted as well, even though what he was creating wasn’t her style of music (Benefits, Question 4b, page 128). Due to his passion for making music, Brodie stated that he benefitted from the project because he “had fun”, (Benefits, Question 4a, page 147), and that it kept him writing lyrics, and out of trouble (Benefits, Question 4b, page 147). He also said that although his family, except his sister ‘hate’ rap music, they are “glad that he is doing something” (Benefits, Question 4b, page 147). This indicates that overall, the project is beneficial. On a personal level, involvement in the project can offer beneficial participatory skills; in engagement in a creative practice, time management, purpose, direction and, opportunity for self-expression. These benefits can lead to; amelioration, and less reoffending and recidivism, which in turn benefits the participant, their family, and the community. These personal benefits also indicate why a participant’s family or guardians are most likely to be supportive and interested in another family members involvement in song-writing, and music projects. A facilitator needs to be aware of the possible benefits and skills to inform and encourage a participant to consider these as possible outcomes of project participation. Would you recommend the process? All three participants said that they would recommend the collaborative song-writing process. Oho said that his youth justice workers would be pleased with his involvement, and that he would suggest to them to let other youth-at-risk know about the collaborative song-writing project, as he feels that that because of their interest in music, they would enjoy participating in it. He also jokingly said that the project would be worth “deliberately getting locked up for” (Recommendation and Improvements, Question 5a, page 96). Sam said that he would recommend the project to others as a starting point for young rappers. He thought the project provided help and opportunity for rappers starting out on their own (Recommendation and Improvements, Question 5a, page 129). Previously Brodie mentioned that he was not used to the amount of time we spent on the song (Learning Benefits Question 3a, 146), and wouldn’t recommend it to his immediate ‘peers’, because, ‘they wouldn’t have the patience and attention span. However, he would suggest the project to others, who were more serious about their music (Recommendations and Improvements, Question 5a, page 148). This indicate that the participants enjoyed the project to the extent that they would recommend it to their friends, and it could be employed by the Youth Justice System. Though, due to the time spent on each song (approximately six hours each), retaining attention might become a challenge. Therefore a facilitator needs to be able to gauge attention limitations in a participant, and employ a number of measures to promote engagement if attention spans wain. It also indicates that the project and process could be used to engage any song-writers of varying abilities, and be applied as a tool, to further develop their song-writing skills.

56 Are there any improvements that you would suggest? The three participants all stated that could not think of anything that could improve the collaborative song- writing project or process (Recommendation and Improvements, Question 5b, pages97, 129 and 148). This implies that the project, and developed 3 Stage - 25 Step Collaborative Song-writing Model was acceptable for the participants. A facilitator needs to be constantly seeking feedback from participants and employ measures to address any viable concerns regarding the project and processes that are of concern. Building a solid rapport will enable the participant to have the confidence to express any improvements that could be implemented. *The researcher felt that the one-hour time limit that Living Music put on each session was restricting, and that a minimum of two hours would be more beneficial and productive for both participant and facilitator, as this would allow more song-writing time, and the finished song could be achieved in fewer sessions.

Chapter 7: Conclusion In this chapter I present my conclusion to the aims, hypothesis and key questions asked in this project. I also offer other key points ascertained during my research, and how the song-writing process can be further developed. This project aimed to describe, test, and analyse a Collaborative Song-writing Model with three participants deemed as youth-at-risk. The question asked is: • Can definable processes be documented in creating songs with youth at risk? It has been documented that song-writing is beneficial for youth-at-risk and the wider the community. This project has further confirmed that by, creating a definable, documentable, and transferable process for collaborative song-writing with youth-at-risk, the youth can be engaged and encouraged to use a creative form of self-expression to complete a collaborative song, which may also result in amelioration of their personal problems, and less recidivism. Further-more, the song-writing process outlined can be employed by other practitioners, who can apply idiosyncratic adjustments, therefore tailoring the process to individual facilitator and participant requirements. The purpose of this project is not intended for music education, instead it is to create a step-by-step song- writing process for non-qualified facilitators working with youth-at-risk from varying ethnicities or cultural backgrounds. It is important to develop a relationship with the individual regardless of their ethnicity or cultural background. While it is vital that their ethnic, cultural backgrounds, and histories are acknowledged and attended to, focusing on their individual uniqueness is vital as is the individual that is being worked with. Working with youth-at-at risk from various cultural backgrounds may require different sensitivities from the facilitator, this is best done by the individual facilitator developing rapport with the individual youth-at-risk they are working with. Other key points ascertained through the research are: 1. Youth-at-risk primarily prefer Hip Hop as their chosen genre (pages 6 and 41). 2. All participants have a passion for music, with varying experience in song-writing or familiarity with the recording process (page 41). 3. Participants do not need any D.A.W engineering skills or song-writing experience to write a song (page 41). 4. Participants family support and encouragement can empower the participant and their musical abilities (page 41). 5. The completion of at least one song is the primary objective (page 42). 6. Building rapport and trust is essential to collaborative song-writing, and will promote freedom of expression (pages 16, 22, 26 and 43). 7. The 3 Stage - 25 Step Collaborative Song-writing Model process does not necessarily have to work step for step to achieve a desired outcome (page 25 and 48). 8. The 3 Stage - 25 Step Collaborative Song-writing Model also provides an opportunity for facilitators to further interrogate and develop a collaborative song-writing process (page 56). 9. That each stage of the 3 Stage - 25 Step Collaborative Song-writing Model can work in a collaborative form (pages 43, 46 and 48). 10. A completed song to the participants satisfaction makes the project enjoyable (page 51). 11. The more at ease a participant is with a facilitator will help enable a participant to freely self-express (pages 16 and 51). 12. Setting learning goals is not an objective, however, passive learning can be an outcome of participation (pages 42 and 52). 13. That involvement in the project can offer beneficial participatory skills in engagement in a creative practice, time management, purpose, direction and, opportunity for self-expression (page 53). 14. That the Collaborative Song-Writing Model empowers a participant’s creativity and encourages self- expression in a therapeutical fashion, but doesn’t ensure improvement in their technical or musical knowledge (pages 51 and 52).

58 15. That participants enjoyed the song-writing process and would recommend it to their friends (page 53). 16. While it is important to establish frameworks for independent self-directed learning for youth-at-risk if their desire to have a career in music. This project and its’ outcomes, are to design a framework for non-qualified song-writing facilitators to engage youth-at-risk, who have an interest in music via song- writing (page 5).

Future Developments Below I outline some different areas how the research can be further developed. As indicated in the literature review, there are numerous benefits that music and song-writing can have on youth-at-risk. Anecdotally, I too have found that youth-at-risk can achieve better self-worth, lead a healthier, happier, and more productive life if they engage in self-expression through song-writing. That a new Youth Justice Facility is being built west of Melbourne indicates that youth incarceration is on the rise. This creates the need for arts-based programs to be made available for the incarcerated ‘clients’, enabling opportunities for facilitators to design and deliver these programs. This research is targeting the field of facilitators who have no music therapy qualifications or formal training, but who either are successful in the professional music industry, and / or have a love and knowledge of music and song-writing, as well as a desire to engage youth-at-risk in an artistic capacity. In Melbourne Australia, organisations such as L.M.A (Living Music Australia), YSAS (Youth Support and Advocacy Services), J.S.S (Jesuit Social Services) M.H.M.N (Mental Health Music Network) and many of the local councils provide music and song-writing programs to engage with youth-at-risk. Supplying these organisations with the 3 Stage - 25 Step Collaborative Song-writing Model as a manual, will provide facilitators with varying levels of experience working with youth-at-risk, a tested process that can be followed step by step, or used as a framework to build from and develop further for their song-writing programs. Box Hill Institute in Melbourne who delivers Vocational Education Training in correctional facilities, recently approached me, and expressed an interest in adopting the 3 Stage - 25 Step Collaborative Song-writing Model for their music programs. Therefore, the model also has the potential of being employed for formal education delivery. Furthermore, as the manager of Vocational Music and Sound Production courses, I am involved in developing content, resources, and assessments for a variety of music-based units of competency. For the song-writing based units, the 3 Stage - 25 Step Collaborative Song-writing Model has the potential as an assessment tool, that will test the model’s validity with participants who aren’t deemed ‘at-risk’. This too may further inform changes to the model which could be adjusted specifically to cater for groups based on participants age, gender, culture, learning aptitude, music genres and musical ability. In my own role as a song-writing facilitator with youth-at-risk, I intend to employ the model over a broader group, both in the number and the socio demographics of participants. With increased practice and familiarity of the model, I anticipate further refinement may reduce the steps to twenty or lower and the time it takes to complete a song will significantly decrease.

Afterthought The participants were all asked whether they felt they had benefitted from participating in the project. Below is Oho’s response: Me – Do you feel that you have benefitted from the project? Oho – Yeah. Me – Why do feel like it has been good for you? Keeping you busy? Meeting new people and being able to express yourself? Oho – Making me active to actually come, you know. Me – Yeah that’s cool. So, the reward for coming is getting to work on songs. That is cool. Oho – My art and my music programs are the only things I like, if these two weren’t here, I probably would have been locked up again. (Laughs) Me – Wow, that’s a really interesting that you say that, why do you think you’d be locked up? That is a really powerful thing to say! Oho – Because this is Gangsta! Me – It’s keeping you engaged? Oho – I swear that if all the boys were out and they got to do this, I reckon not even half of them, only a quarter of them would go back in. After I completed working with the participants in my research, I was speaking with a colleague who runs Hip Hop events for youth and youth-at-risk. The conversation was regarding the line-up and the high standard of the performers participating. Though my colleague was aware of my research, he didn’t know the names of the participants. I must admit, I smiled with a sense of pride when he told me that a sixteen year old Islander boy named Oho was the leading MC on the night.

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64 Appendix Throughout the research a second computer was used to record all the meetings, including the participants responses to the questionnaires referred to in Chapter 3: Methodology, Considering these approaches The above processes often give a number of steps and I have distilled these to develop my process. However, it is important to note that the system I am developing has at its core, creating the benefits mentioned in Potential Benefits, on page 8. These are intended to be on-going benefits for the participants, and this is not always directly addressed by the nine processes discussed above. What I am doing, page 17. These recordings are transcribed verbatim as well as a description of what happened and my thoughts in the three appendices below. The audio files can be located in the ‘Project Recording Files’ folder at the link: ‘Pete Satchell MFA Thesis’. Appendix 1 Song 1: Oho Friday 20th July 1:30pm 1. In comes Oho, a 14-year-old Maori. Good looking kid, nice smile, friendly face. Just got out from Oakview unit in Parkville. I will find out, what he did to be locked up, but that isn’t relevant to my project. Who cares what he did? The kid’s got energy that’s for sure. He came in, headed straight to the piano, and started to play what would be the only thing that he knew how. 2. A simple Fm, Fm Aug, Eb sort of progression. I complement him on his skills, he immediately stops…gets up from the piano and says “I don’t play piano” …um ok, but what you just did was cool…. Oho is one of 14 children. 14!!! I guess I should be that surprised as islanders are from big families. So perhaps and I’m obviously speculating, that he has had some attention or lack of attention issues in the past. Who knows? Fidgety kid. Eyes darting round, looking for a distraction so it seems. 3. I read him the paperwork, plain language statement, he seems disinterested. That’s cool, he just wants to make music and I just want to cover my arse! 4. I’m recording everything…. I must…. I want to be sure that if any ‘legal’ problems occur, I have gone through the correct process and documentation that Melbourne Uni ethically requires me to do… it’s all on tape. I’m confident I’m safe. Equally I’m confident that Oho knows exactly what we are doing. He answers all my questions with the obligatory Mario ‘yip’ and signs the consent form. Socio Demographics (Optional) - Question 1a Me – So, your age is? Oho – 14 Me – 14 years young! Question 1b Me – So you’re male? You don’t have to answers these if you don’t want to. Oho – That is correct. Question 1c Me - Your ethnicity? That means where are you from? Your country of birth or where are your folks from? Oho – New Zealand. Me – New Zealand and of Maori descent. Question 1d Me – Your country of birth, already answered. New Zealand. Question 1e Me – How big is your family?

65 Oho – I am one of fourteen. Me – Wow, one of fourteen! Question 1f Me – And your highest level of school. How much schooling did you do? Oho – I went to like seven schools! Me – Seven schools? Oho – I went to a different school every time we moved. Me – And what year did you get, year 9 or year 8? Oho – I’m still in year 8, cos I got locked up this year. Me – Are you going to go back to school. Oho – Yeah, I still am in school! Me – You are? That’s great. My Thoughts Oho, is a nice kid. One from a big family who are mostly based overseas. He lives with his aunt in Werribee. Respectful kid who has been bought up to respect adults. Obviously, he has had an interrupted upbringing, in how many times he has moved and how many schools he has attended. It would clearly be hard to find some grounding with such a transient childhood. It’s somewhat understanding that he has been in trouble with the law. Don’t know where his Dad is or how many siblings are in his immediate life, but even if there were, I still think he’d crave for attention. I wouldn’t be surprised if he is ADT or something along those lines. Musical History - Question 2a Me – And what’s your favourite style of music? I am going to ask you musical questions now. Oho – Hip Hop. I like that kind of style you know? Me – Hip Hop. Other styles, like Islander music. Oho – Yeah, that sort of stuff. Like Hip Hop, reggae, that gangsta shit. Like the stoners listen to. That shit is just gangsta! Me – Cool. I got it, I got it. Question 2b Me – You play an Instrument? You do, I heard you, he plays piano for the record. Oho – Nah I don’t play. Me – Yeah you do. You can play a bit. You got your fingers around it. All you fellas can play music. Question 2c Me – Do you use and musical software to make, record music? Oho – Logic. Me – You use Logic, do you? Oho – That is correct. Me - Logic I like it. A logician. Question 2d Me – Do you write songs, lyrics, or poems? Oho – Yeah. Me – And if so, have you ever written a song with anyone else?

66 Oho – Yep. Me – And how did you do it. How did you go about writing a song with other people when you did it? Oho – Just rapping. If I had a mic and a computer, I’d sit in a room by myself. That’s what I did at Parkville. Me – Ok, so you sort of write by yourself then? Oho – I can’t rap in front of someone else, that’s embarrassing. Me – Really? Oho – If I was shit all the boys start laughing. Me – Yeah that sucks. Question 2e Me – How many hours a day do you listen to music? Oho – About half the day. Me – Half the day? Oho – Yeah, I love my music. Question 2f Me – And if you could sum up music in one word, what would it be? Oho – Gangsta! Me – Gangsta. My Thoughts So, it’s Hip Hop. No real surprises there. It’s rare for a kid in who has spent time in juvee to not chose Hip Hop as their chosen genre. Oho, on the contrary to what he thinks can play a few chords on both piano and guitar. As with most Islanders, he is musical. However, I get the feeling that there might be others around him who are more proficient, probably the ones who have taught him a few chords, who would intimidate Oho. I’d imagine inside, with no other ‘musicians’ around, Oho would have no problem n playing in front of the others and lap up the attention and kudos that he would be bound to receive. Again, that he is embarrassed to rap in front of others in case they laugh, shows a lack of confidence in his own ability and a reluctance to collaborate with others. Most likely he has been put down before when he has played an instrument or rapped in front of others, so I will need to encourage him all the way. His knowledge of Logic should be an asset even if to only understand the concept of recording and not necessarily take an active part in engineering. Obviously attached to his music, spending up to half a day, listening to it, a viable notion if inside, and just like any other kid that I have met, they want their music to be ‘Gangsta’! * *Gangsta is a term for something that is cool. Cultural History - Question 3a Me – Right. I can answer this for you. Is music part of your cultural history? Oho – That is correct. Me – Of course it is. It’s a big part of your cultural history (Oho laughs). Question 3b Me - Is playing and instrument or listening to music encouraged in your family, in your culture? Oho – Yes, that is correct. Question 3c Me – Do you wish to incorporate elements of your culture into the songs you write?

67 Oho – No. Me You don’t want to refer to New Zealand, or your culture? Oho – Nah. Question 3d Is there anything else you want to add, regarding your cultural background? Oho – Nah, It’s all good. Thoughts – Music is integral with Islanders. Anecdotally I have found music to be instinctive to them. They have soul. Gospel soul. The ones I know learnt to sing in church or at family gatherings where there would also be accompanying musicians. They have rhythm and can rap as well. I’m not surprised, in fact I would be completely surprised if music wasn’t encouraged in his family. Oho is well mannered, he says ‘that is correct’ repeatedly. Perhaps he is used to saying it in court or when giving a statement! Objectives and Expectations Question 4a Me – What do hope to learn from participating in a collaborative song-writing project? You know what a collab is. Oho – Yeah. Me – What do hope to learn, or what would you like to get out of it? Oho – I’m actually hoping to learn something, if you know what I mean. Learn on the way how to be an actual song-writer. Cos, I don’t know how to write songs, I just do what comes from the top of my head. Me – Yeah. Sweet. Question 4b Me – And how about achieve. What do you want to achieve, like, super-stardom? Oho – Jack. Me – Like achieve a completed song? Oho – Yeah, complete a song. A shout out to Dr Dre. Gangsta! Me – Sweet. Question 4c (This question – How many songs do you hope to complete during this project? Was answered in the previous question) Me – So yeah, hope to complete a song. Question 4d Me – Here’s a good one. Are you nervous? Oho – Yeah, sort of. Me – Yeah sort of and why? Oho – I don’t know. Me – That we might write a shit song together? Oho – Yeah, pretty much. Me (laughing) Don’t worry we will get something good. Thoughts – That he has iterated that he wants to learn something, is a huge bonus for the project. I am worried about his attention span though as he has been fidgeting, picking up the guitar, playing the not turned-on piano and just displaying nervous energy since he walked in. I would love to cast him on the line of how to be a

68 song-writer, even if we complete the one song, ‘A shout out to Dre’. he said he’d like to our basic objective would have been met. Hopefully the project also teaches him how to build his confidence, so he feels comfortable enough to play and sing / rap in front of others. The fact that he is nervous of our collab being of a poor standard is indictive of his confidence. Project Commencement 1. I go through questionnaire 1. He answers all questions for me. No surprises that music is in his family. In the past I have loved working with Maori’s and Islanders. Loved their harmonies, the sweet sounds that come out from such big dudes is so innocently beautiful. 2. It’s well documented that music is in their soul! 3. Question: Do you play an instrument? ... “Nah”. But you played piano before for me...” I don’t play piano”! …. Ok, you don’t play, just know a few chords then, deal? “Yip, deal” 4. The formalities now over (you can refer to recordings for detail) it’s time to collab on a song. 5. What kind of song you want to write Oho? “Hip Hop…. something ‘gangsta’”! No surprises there really. Impressionable young kid. It’s all gotta be ‘gangsta’. I get it, I’m still glad that they use that word. He wants a hit! Gotta be a tough beat, gotta have hooks, gotta make YouTube and gotta impress his mates. Gangsta, yeah, I get it…. Let’s do it! 6. Ok, Oho, first we need to set a tempo, you know the speed of the song. You want fast or slow? I fire up Logic Pro 9 (Can’t believe they don’t have Logic X- gonna miss the drummer track) fortunately for me, is I have done heaps of stuff on 9, used to know it like the back of my hand… Ultrabeat’s gonna have to do. 7. So, we mess with a few tempos on a generic Hip Hop beat. How does this feel? “Too slow, needs to be quicker, needs to be gangsta”. Alright, 130 BPM, “Nah, too quick”. 115 BPM, “Yeah, G, that’s it…. that’s gangsta! Cool, we have established a foundation. A basic kick, snare, hi hat beat. I’m impressed, Oho, already has suggestions on where he wants a beat pause, which is the last beat of bar 2. I mute the drums there and receive a big grin. He’s happy. I’m happy, we are getting somewhere in good time. Drums 1. Pattern A is your basic 4/4 kick, snare, kick, kick, kick snare beat using the default Ultrabeat pre-set for sounds. This pattern plays continuously throughout the track with the regions muted in selected areas. The tempo is 115 BPM 2. In the next session, Oho, jumps on the Living Music House drum kit and plays along with this beat which I record and edit into time.

3. Figure 14 Basic Drum Pattern - Oho

4. So, Oho, what instrument are we going to try? He suggests piano, I plug in the midi controller and create a software track and dial up Logics Yamaha Grand, press play and noodle something in C minor. I reckon that a minor key is what he is after. I play some contrasting major and minor licks to explain the difference. Turns out piano ain’t what he wanted. “Nah, not that… got anything else?” Bass 1. My methods in the past have been to lay a bass down over drums, create a groove and loop it over and over. Logics ‘attitude bass’ is the next plugin to load. Kind of cool, growly bass sound. Cm again is the key, no reason, I just started there and went up a minor 3rd, Then the 5th, back to the minor 3rd then reappear the first bar finally a standard chromatic funk walk up to round the beat.

69 2. Bass Pattern over 4 bars in the Key of C minor

3. 4. Figure 15 Bass Pattern over 4 Bars - Oho

5. Ohio’s smile tells me I’m on the right track. What next? “We gotta add clicks, and hats, all that shit.” Easy, I tell him and proceed to open up Ultrabeat piano roll. These are all our instruments, this is the grid where we place them, get it? But before I can explain the purpose of the piano roll, Oho has his hands on the midi keyboard and is playing random notes and noises looking for the sound that he is after, which turns out to be a semi closed hi hat. Cool. I play the beat, press record and he add the hat, the cool thing is that he places it on the offbeat which throws the track ever so slightly. I love it….so does Oho. It’s in his smile! 6. You know what quantise is Oho? It when we put all the notes on the grid so they are in time. Shit, how do I quantize again? .... YouTube to the rescue. So now after a bit of editing, looping, and quantising we have a 3min 15 sec bass and drums foundation. Let’s play it back. Piano 1. He’s back on the piano. Man, that sounded cool Oho. We can work with that. Some wrong notes but let’s try a few things. I put some echo on the piano and play single notes over the beat. It doesn’t work for him, or me for that matter. Look Oho, what we need to do is to load up the track with instruments and then reduce them, pull them out at different points, create some dynamic shift…trust me, we’ll make a ‘gangsta’ track! 2. So, there’s this lull, what are we going to do, what are we going to use?? Hang here, I’m going to get a guitar pick. I leave the studio for a second to go get a pick. On my return he is back at the piano playing the same Fm, Fm Aug, Eb chord progression as when he first came into the studio, but the echo plugin is still on. 3. Below are the block chords that Oho played for the verse of his song.

4. 5. Figure 16 Piano chords (Verse) - Oho

6. Oho, man that sounds great! I think we can get it to work. Play it again but hold each chord for 4 beats, twice as long as you are now, before changing to the next. So, I roll the beat and he plays what I have asked but with a look of disappointment I must add. Sounds shit…the reason, the bass is in C minor and the piano in F minor…. easy fix Oho, easy! 7. I copy the bass track then open the piano roll and transpose it up a 4th to the F. Now try playing over this! Eureka moment! It works and works well, smiles all round and just in time to. Jesse has come to say that Oho’s aunt is here and the session is over. “Hey auntie, come and listen to what you son is making,” she smiles just like proud mum would. I introduce myself and explain what I am doing, hand her a copy of the plain language statement and are relieved that she gives her consent and in fact is supportive of it! Thank god. I could not be bothered with any problems on my first day. All good though, onward, and upward.

70 8. Oho. “Yip”, you got some homework, you got some ideas for words to come up with my friend. I’m going to email 2 versions of the track, one with piano and one without and you’re going to come up with some ideas for next time…” Cool, G”, I will. Oho, I can’t wait. Nice to meet you my friend and see ya next week. I hit stop on my recording and walk him and auntie to the door. Success! Not only that, but fun as well! 9. Oho and I spent 55 minutes with each other. Friday 27th July 1:30pm 1. Oho’s early. His aunt dropped him off before I get there. Jesse calls, I’m only 5 away I say. “Cool, see you soon”. 2. I arrive at LM (Living Music) a little before 1:30 and Jesse lets me in. We exchange pleasantries and walk done to the studio. Since we last met, a week ago, I have thought of a few questions that I should ask regarding last week’s participation. Some standard questions that I need to ask regarding progress, enjoyment, and expectations etc. I’ll wait until I’m recording to ask them. 3. Oho’s in the studio, ball of energy, engagement for him is the watchword. He is skittish, like a cat on a tin roof, bouncing around from one instrument to the other, the piano, the drums… picks up a guitar, puts it down then finally comes to rest in the spare chair in front of the mixing desk. I press record on my mac. We’re back … Good to see you again … “We’re back, yeah”! You’re looking well, I comment. “you too, you’re looking younger”, he flatters me. I say I feel older. I like this kid! So, Oho, how do think last week went? “It went alright”, I take this as a pass. It is easy for them to dis without caring. I have heard it before many times. If something ain’t to their liking then believe me, they’ll let you know. So, a pass is cool with me. We both agree that sufficient work was done in session 1. As I said, a pass is a pass. What we going to be writing about Oho. What do you want to get out of the song? “I wrote a song; I wrote some words…. don’t have them hear though” … That’s great man. So today we strengthen the music maybe add some vocals? “Yeah”. Is there anything that I could have done better, anything that I can improve on, anything I did wrong? “Na, you’re all good”. I’m open to any criticism but I can tell that it’s not on his radar. Though the more feedback he provides the more I have to work with for the project, I somehow, with an educated guess that Oho isn’t the academic type. Who cares, was I at his age? Um ...no. 4. Am I now? … perhaps a little more academically minded, I guess. But who cares? We are here to collab on a song. I explain that I’ll be asking these questions on a weekly basis for my research. 5. So, you mum cool with you doing this…” Man, that’s my Aunty… my mum’s back in NZ”. You get back there much? “I haven’t been back there in ages”! 6. Now readers, imagine the sound of a super charged WRX, kind of whooshing sound … Oho is making this with his mouth. I remember a dude called Taha doing the same. You making car noises? “Yeah, a V8”. I don’t correct him that it ain’t an ‘8,” I learnt it in 78”, yeah I assumed that. In the next 30 seconds I learn that he has been into Parkville 3 times and lives in “Wezza”, or Werribee. He punctuates this with a short rhyme about being behind bars. You going back in again Oho? An audible sigh, “Fuck that”! 7. I start the beat from last week. I ain’t heard it since then but I still like it. To my dismay, Oho, isn’t into the piano anymore. That piano that I thought was a break through moment in the making of the beat. How come you don’t like it, what happened? “I just don’t like the piano …it’s in too many songs… It’s jack” … Jack = get rid of it. I try some edits with it, cut it out from the 4th bar, I look at him with anticipation…. “Nah, it’s jack”. Ok I get it. Seeya piano. And just like that the piano is ditched... or muted, he might change his mind later. He probably will. 8. So, I play the beat again sans piano. Oho starts to rhyme. He’s got good flow and expression, he’s got talent. Cool timbre in his voice as well. Well, what’s your words about? “Nah that’s just an older rap”, Ok, what your words about for this one? “The same, how everything and everyone is the same, they look and dress the same, there’s no other different people, everybody’s the same”. I get it, originality? “Yip”! Great topic of lyric. At such an impressionable age, it’s refreshing that originality is acknowledged, even better if expressed as well. 9. I play the beat again and try the piano down in volume. I’m obviously attached to it, better practice what I preach and that is not to be too attached to something, to be able to let things go… I ask all the same…” Jack, I just don’t want it in there”, he replies…case closed! 10. So, you just want to lay down a rhyme or add some more instruments? I’m trying but it’s a little harder today. He isn’t as focused as last week. He’s looking around for something to take his mind off what we are doing, or at least it feels that way. I explain to him about being bored with the song and

71 how good producers can anticipate this and use a dynamic, rhythmic, or melodic shift to keep the listener engaged. If you are getting bored with your own music, imagine how another listener would be feeling is my mantra, my motto. He takes this on board. “How about some vox” he suggests. “You know what that is?” ... yeah, a guitar amp or backing vocals I say. “Yeah” and he begins beatboxing and yelling “yeah, and Uhhh” those voices that punctuate hip hop songs. Well, let’s try that, I’ll set up a mic … “The mics are in there”, he points to the room with the drum kit in it. No sooner said and he is up and off to the kit. 11. So, I haven’t recorded in here in a while. I tracked all instruments for the un released Pete Sounds 2 album so I have idea of the patching, just got to refamiliarize myself with it. LM has some good gear, Avalon and UA Pre’s being the best of the bunch, mic’s yeah, but Andrew is on tour with the Dirty Rascals so he has pilfered all the mic’s and leads, or the majority anyway. 12. I’m running around to try set up a vocal mic for Oho, you got to get kids like him instantaneously or you’ll lose them to the next thing that grabs their ever-dwindling attention. Probs a case of mild ADT as well. I could imagine he would have been very hard to engage in school, that is for sure, poor bloody teacher I think to myself. 13. Anyways whilst all this is going on, Oho is on the kit, he picks up the sticks and proceeds to play the stock 4/4 time beat that everyone seems to have the coordination to play. Rub your tummy and pat your head type stuff… Not bad I think... Oho is the type of kid who can probably play a little of a few instruments, enough to impress his peers but once he is bored then that’s it for the instrument. Again, the time he needs to dedicate to properly learning an instrument just isn’t in his make-up. A short attention span combined with the need for instant gratification equals a poor learning discipline... I see it a lot, especially with music. 14. Hey Oho, you lied to me, I thought you can’t play instruments. So far you have played the drums and piano! “I can play anything” …. Cheeky bastard. 15. Vocal mic is set up, just a guide mic that we can use in the control room to get ideas down quickly. 16. That said I do know the value of putting impressionable kids in front of a pop filter. That filter legitimises the whole thing. It’s real. Their heroes use them, they are in all the clips that show studio recordings… I get it. ‘I only wear Nike not Adidas or Reebok’… I was a teen once too you know. 17. Mic is plugged in we have some gain going through the UA pre, we are ready to do the ‘vox’ pass, one problem Oho isn’t. But, my dear reader, it’s all good, why? Why, because Oho now has discovered the headphones that reside next to the drum stool, has put them on and is now drumming another familiar pattern, the pattern of the song we are making! Makes sense, as I was dialling up gain for the vox mic, I had the track playing, Oho puts on the cans and he hears it as well. Drums Live 1. Change in plan. I’m now going to record some live drums to mix in with the Ultrabeat track. Let’s put to overhead mics on that kit, no let’s get the kick and the snare as well. So, for the next 15 mins Jesse and I are running around frantically looking for good leads and mics to put around the kit to capture Oho’s drums for the recording. We got to be as quick as we can, I have already witnessed Oho’s attention for it waning. Stay with us Oho. Engage, engage, engage! 2. Finally, I’m happy we have to condenser mics over the kit, and a 57 on the kick and another on the snare. No engineering genius but we have signal going to the four tracks I created in Logic, it’s good enough for what we need. 3. I’m on the talkback mic. Yo, Oho! “Yo”. I’m going to play the beat and you’re going to drum along to it best as you can. Sound like a deal? “Yeah, say 3, 2, 1 and then press play ok”. I love that kind of spirit. It doesn’t work like that but at least he is keen to get moving on it. 4. Just come in when you feel comfortable, I say and press record on Logic and watch the meters spring to life. I only need to 2 solid bars from him. I’ll let him play the whole track and then cut them into shape. His drumming is ok, I guess. I know I will find something that I can work with. He continually rolls himself out of time … Oh well no drum rolls then. 5. The track finishes and I call him in for the playback. Good work my man, “tight”, Jesse adds. Big smile, that islander smile for those who know it. 6. So, whilst I’m cutting the track into shape, explaining to Oho what I am doing which is basically finding the best bars and putting them into an 8-bar order I ask Oho what he is doing on the weekend considering its Friday night and all. Little bit of friendly small talk and yeah again a bit of voyeurism on my behalf. It’s only voyeuristic because I know he will respond with something that would be illegal.

72 7. “It’s 2:09 so I’d probably be at Highpoint getting me some clothes”. Racking some clothes? “Yeah, I’m always racking me some clothes” “Back in the day” … he is only 14, but we all have salad days I suppose… “I had me 7 wardrobes of clothes,” … You like style then mate? “I love my style, can’t do that anymore though, now I only have like 5 tee-shirts, 5 pairs of pants” ... Yeah, if you get caught your fucked! He smiles and I press play on the edited track. 8. “Nah, jack” he says. “take out the first part, here”, we are at the beginning of the song, in the first 4 bars. “and bring them back in”. Sweet, some direction, a collab, Oho, producing that is what I am after. Pretty straight forward request, cliché too. Basically, bass only for the first 4 bars, then the old scratch on Bar 3 beat 2 and in come the drums. Easy man. So, I mute all drums till bar 5 and press play. I have mixed the recorded drums down a little, “too loud” Oho exclaimed before to me, they weren’t, he is just shy to hear them, but still I oblige, trust is the key, if I don’t do what he asks, he won’t ask anymore. Simple as that. Drums are down… 9. So, whilst listening to the playback Oho is one the wurly, Andrews 200A, it’s not plugged in but still makes a that metallic sound. Now, anyone who knows me knows my love of the wurly. Classic mother fucking tone. I own 2 of them. First instrument I ever learnt on, way back in primary school. Mr Mike Wood had a caravan of them he used to tow around. 10. In fact, I own one of the ones that used to be in the caravan, got it off him through mum and a few nice bottles of wine. Side track note but important to me 11. Oho, surprise, surprise is playing the same chord progression he ditched earlier in the day. I kinds knew he might come around to it. Perhaps and hopefully that he played the drums on the track he might be confident to bring back the keys he played... It’s only a mute button away. Maybe the “jack” he proclaimed earlier was not the chords but his playing, maybe confidence is the thing …maybe he just thought it to be shit though…. 12. Where’s the midi controller? I want to dial up Logics wurly so that he can here it with the track. I’m taking too long, he losing interest... “You know I’m going to have a 6 pack before next year”, he announces out of the blue, “that’s fact”! He is talking about his physique… How he went from wurly to muscle is strange, maybe he is thinking of performing and with that comes girls, natural thought process really. Oho isn’t fat but he isn’t small, show me a skinny islander and I’ll buy you a steak! 13. Now the MIDI keyboard is plugged in and we are back on the piano sound with the echo playing last week’s chord progression. I let him muck around over the beat for a while, try to let him find something, hopefully something pricks his ears. Something does, he inadvertently plays the offbeat on a chord and with the echo, it creates a triplet sound. He likes it and includes in for all the chord changes. Piano w/echo 1. Originally it was straight 8 echo: 1 bar would sound like Da Na Na Na now a bar sounds Da Na Na Na Na Na, hopefully you can understand my rhythmic writing... but it does sound cool, almost double time … I have an idea… Oho, play that again best you can, ok? “Yip” here we go. So, I give him a new pass at it and chose the best 4 bars to cut and work with. Open piano roll, quantise to 16ths and play along with the track. My quantise is wrong, it’s still straight echo, he picks it straight away. 2. My editing sucks… Let’s play it again in real time… track rolls 1, 2, 3, 4 here we go, Oho plays it perfectly for the 1st round then stumbles on the 2nd round. “I did it right the first time he says”, yep that’s all I need. He is obviously grasping the concept of playing a bar and just looping that. Song building with sound bricks 101! 3. The track plays, triplet piano plays for 4 bars then drops out. It can just come in and out I say, I’m already thinking that this might be a chorus ... How about this, we do the straight for a verse and do the double time / triplet thing for a chorus? Listen to this… I play what I mean, “yeah, but turn down the Da Na Na Na Na Na”, he says, I oblige, he likes, there is our verse and chorus… Lesson, don’t throw away or delete any prior recordings or ideas… mute my darlings, you never know when a past idea becomes handy again. 4. Jesse is trying to wrap us up. I’ve still got one idea left. I pick up the guitar and mute the keyboard which Oho is playing random echo glissandos on and it’s doing in my head. So, muting him is a polite way of saying shut the fuck up! 5. I work the chords out on an old beaten-up nylon string, sounds shit, but it’s just an idea. The chord progression is: Fm, C#m, Abm, Eb 6. I play it to him “You gotta teach me that”, he says hopefully, so he probably can play a few chords too I think, like most Islander kids who I met in the slam. Yeah, in good time, but for now I want him to

73 hear my genius which is a chord substitution on the last chord of the progression from Eb to a C close to a relative minor but using a major instead. It has a cool twist as the C resolves back to the Fm perfectly. I’m pretty proud of myself actually. 7. I edit the piano roll so he can hear it in the track, however, due to the inversion that Oho played on the piano, the main leading note of the C chord is now the E, so it’s a 1st inversion that he was playing, this even more leads into the F, cos we have the Eb 5th note of the Abm chord, the E root which is the 3rd of the C chord that leads into the Fm. Perfect resolution. 8. I play it in the track… “Jack” he pronounces... Cold fob off. Whatev’s. Oho, that’s us it’s 2:40. “a bit past” he corrects me. Ok, bring your words in next week ‘alright’ in my best Bronx nigger voice, “Aright” he replies. We are getting somewhere I assure him; I don’t think he needs the reassurance though. Take care my man, handshake, “You too man”, I’ll see you next week, “yip, I see you next week” he parrots me. Behave if you want to behave don’t behave if you don’t want to behave, I say, “I’ll try…catch up”. See ya man and with that Oho is out the door. 9. Oho and I have spent 1 hour and 59 minutes with each other.

Friday 3rd August 1:30pm

I’m a spit it easy right now I’ll tell you my name I’m a frickin Rikiti I aint tell you again You can call me RKT cos I ain’t go be the same I’m different, I ain’t go be the same

See, I ain’t a killer but don’t try me (just that) Got all my homies right behind me (That’s fact) All my niggers will be flying The one, the killer won’t be crying …. Bless I don’t care about the truth cos it’s all lies Fuck the police for stuffing up my whole life That’s why we get drunk and kick it and get high And that’s why we stand together like

I don’t go with the same I ain’t go with the same Yeah, I ain’t go with same That’s right, I don’t go with the same

Listen to my rap here closely this for you and me Do it for the block and the boys in the community All the rich people who walk around in chains They don’t know the feeling to ride on Metro trains We don’t know the feeling to ride on private planes That’s why I’m different and don’t want to be the same

Alright, I don’t wanna be the same I wanna be the same I’m different, I’m not gonna be the same Yeah, I don’t wanna be the same

(Shout out) Free my niggers locked up Free my boy Tyreese

74 Free the boys in Barnett Free the girls in Cullity Free the boys over the wall I’m out! (The Same, Oho - 2018) 1. Oho arrives, dropped off by his aunty. He is in that hyper mode that I’m getting used to. A bundle of energy that needs to be released in some shape or form. I can see how he gets himself into trouble. The devil makes use of idle hands and all that. How ya Oho? “Good G” he replies as he shakes my hand. I’m ready to go, got logic opened on his song, where we left it. First Oho comments on Jesse tracksuit pants. The silky type that rappers like. I gotta feelin' that Oho might want get some the five- finger style, probs from Highpoint. 2. I play the track, the piano with the ¼ note delay on the block chords kicks over the bass and drums, this is our verse, well as it was last week, sounding ok, no reaction from Oho either way, so far so good, then we reach the proposed chorus, the triplet echo, “Shit, jack”, Oho snaps, I press stop, an audibly sigh, so what are we losing? The piano, he says is shit. Which one. The verse or the chorus? “The echoie” one he says. Ok cool as I press mute on the track, it's gone. I get it. It sounded ok last week when we got it going but I tend to agree that with fresh ears it does sound sloppy, hard to hear anything underneath all the echoes and they to bleed into themselves, like they are choking on their own blood or something like that. I try a change of tack and ask if he has any chorus lyrics? “Yeah, I got some words”, come the tentative reply. Cool, grab a chair come sit here and let’s write them down. “I remember them” he says. Cool, I press play and request that he spits them for me. Song plays, I count him in 4, 3, 2, 1 and …… fuckin nothing. “Oh, actually nah, jack, that chorus (he means verse) is gay”. Um ok, I think to myself, this ain’t great, I feel the song slipping away from us. 3. I need to elicit some words from him, I know he has them in there somewhere in the recesses of his mind after all he was on his way to the vocal booth last week when he got stuck at the drum kit. Gotta get them out of him. So, I tell him, last week you were saying the song is about being different from everyone else, being original, not copying everyone. A great topic for lyrics, after all everyone does copy everyone else. I have found that when working with these kids, they don’t really mind ripping each other off, not word for word, but more sentiment or a topic. I guess that they all share familiar stories with the cops and being locked up and the like so that is completely understandable. This ain’t a bad thing by any means, the fact that others are saying what one might be feeling can mine out thoughts that others have but are too shy, ashamed, or even afraid to let others even hear them. So, there is a lull in the session. Perhaps even a stalemate. Unfortunately, these things happen. I have a sense, a well-educated sense that the song is going off the boil, and rather quickly too. Got reengage him. Time for a new tact. 4. Hey Oho, I implore, come sit up here with me at the desk. Hew lying in the couch at the back of the studio, come and play your favourite song will ya. This is a ‘go too’ I employ when I’m either starting a song with someone new or if we need to refocus on the song we are working on, or if we need to just take a break from what we are doing and give ourselves some time out from our current stale state of progress or boredom. I think that at the moment, we have a bit of all three going on. I have a feeling that we will be ditching the song. Oho comes up to the desk and pronounces enthusiastically “Billy” as his song of choice. Billy Jean, I ask? “Nah, Billy 69”, he comes back with and then spells it out for me “B-i-l-l-y 6-i-x-9-i-n-e”. I bring it up on you tube, YouTube that hasn’t been bookmarked in Firefox. What the fuck? So I have the song up, he looks Islander I quip, “Na bro”, Oho laughs, then states, “he’s American” 5. Song starts, with words like “Bleed Nigger, bleed nigger’, Oho raps along with it. Then comes a swearing violent tirade about bitches, niggers, bleeding, and murder ‘pop, pop, pop’! a. That's my word! Get up in they face! Talk your shit! Let your nuts drag! Nigga, these niggas just runnin' out they fuckin' mouth, man Follow protocol Blood, get in the fuckin' chest! (Scum Gang!) We the fuckin' M.O.B., nigga These niggas bleed different

75 We don't bleed nigga We make niggas bleed, Blood! TR3YWAY!

These niggas say they heard of me, I ain't heard of you Get the fuck up out my fucking face, 'fore I murder you Bitch niggas always jacking Blood, but I know they fool Whole squad full of fucking killers, I'm a killer too Sending shots, shots, shots, shots, shots nigga Everybody get pop, pop, popped nigga The thing go rrrah, rrrah, rrrah, rrrah, rrrah nigga We send shots, shots, shots, shots, shots nigga

It's always 6ix9ine this and 6ix9ine that Niggas on my dick and on my yack These niggas lookin' for me you could hit my jack I done dropped my address, y'all know where 6ix9ine at I don't flock, yeah Nine to his back like Ibaka Baka, not nice, with the fuckin' choppa Pop 'em, scope on the nigga, who shot ya? Dropped him, somebody call a fucking doctor! Dick up in the pussy, bet that shit get gushy gushy She want the whole gang bussin' all in her pussy I want the drip, drip while I get my dick licked Lil' sick bitch, lickin' on my dick tip She a freak ho, fuck her, she on beast mode Arch your back, put your hands on your knees ho I'm on beast mode, shoot you through your peep-hole Said he want smoke, I don't really see it though

These niggas say they heard of me, I ain't heard of you Get the fuck up out my fucking face, 'fore I murder you Bitch niggas always jacking Blood, but I know they fu Whole squad full of fucking killers, I'm a killer too Sending shots, shots, shots, shots, shots nigga Everybody get pop, pop, popped nigga The thing go rrrah, rrrah, rrrah, rrrah, rrrah nigga We send shots, shots, shots, shots, shots nigga 6. So, to me, it’s a song about bravado, don’t mess with me and sexual conquest. The quintennial stereo typical ‘gangsta’ rap song. Doing some research into the words, it is apparently riddled with references to other rap songs and rappers. All good, just doesn’t make any sense to me. 7. Anyways, we get halfway through the first verse and Oho informs me that, “yeah, the intro the rest of the lyrics are shit”, interesting I think to myself, but continue to play the song as I’m now curious to see where it goes, what other lyrical delights he can drop. 8. So 6ixNine is a 22-year-old Brooklyn rapper, who in his short life has had his father murdered, dropped out of school in year 8, dealt drugs (to help with the family’s finances), been up on sex offences (a 13 year old girl) and has been robbed, bashed and kidnapped from where he escaped by jumping out of a moving vehicle. So, in his 22 years the dude has seen and done some full-on shit! I can see his appeal, his impression would be huge on the marginalised youth population, especially the kids who want to do time, yeah, in my experience, some actually want to do time!

76 9. I stop the song 3/4ths the way through and ask Oho what a line was, he tells me it was ‘Get the fuck up out my fucking face, 'fore I murder you” and then adds, I know it’s a dumb song but it’s Gantsa’. 10. Dumb but gangsta I quip. More a statement than question. So, at this stage I suggest we lose the bass and strip everything back to the beat. Let’s start afresh. 11. I play the song minus the bass and we listen to a mix of the Ultrabeat drums and the ones that Oho recorded over the top of them. I love your drums, I tell him, I turn to see him with that big cheeky shit eating grin. Song 2 Begins 1. Stripped back to the beat. We have our foundation to build off. A new song we need to build. Again, I use another of my go to methods when writing with kids. I play the 6ix9ine track again and see what makes up the track instrumentally. The first thing that I notice is that it has a string hook. Kind of a minor scale run. Played in a staccato fashion, think Norman Bates. We can make something similar I tell Oho, he replies with “yeah, we can use my drums and add you know, um you know, some stuff over them”, so he does like the drums after all I think to myself. That’s a win in itself! Strings 1. I dial up a new software track to put the violins legato on, as I think I need the sustain of the legato note. I again play ‘Billy’ as a reference and then mimic something similar in the key of E minor. Not my usual method to go from drums to strings but I want that engagement that instant gratification brings. I play the line, holding a root note E with my left hand and then play 3rds up the scale from E with my right hand. So, E & G, F# & A, G & B, A & C for a quaver on the offbeat each. “ Yeaahhh"! That’s gangsta”, Oho is happy. Something like that I say nonchalantly. I try the same thing but this time play the root E, the lefthanded note on the beat and the right hand on the off. So, it’s like 1 & 2 & 3 & 4 as below:

2. 3. Figure 17 Violin e.g. 1E root on each beat - Oho Song

4. “Nah, keep that on”, say Oho as he points to the low E root note. Cool, I agree, is what you mean, I say as I hold the E note for the entire bar. “Yeah”, is the reply, a reply I expected. I’m not sold on it though. A) it can’t physically be played by on violin and B) it ‘muddies’ up the low end with the constant E note drone. I decide to ditch the root note all together and just leave the 3rd harmonies played on the midi controller with the right hand. So, it’s a 4-bar motif. Bars 1 and 2 are the same but in bar 3, I play it down an octave and copy and paste another octave below it and bar 4 is the same as bar 3 however this time I bring back the original register as per Bar 1 and 2. This is purely for a dynamic shift and it also give the feeling of the line climbing. Again, I know that one violin can’t play it all and it’s also entering cello territory but, this is Logic X and I can get it to work. For the sakes of the score, I have put the violins on separate tracks as per below.

77 5. 6. Figure 18 Violin A - Oho Song

7. 8. Figure 19 Violin B - Oho Song

9. 10. Figure 20 Violin C - Oho Song

11. We now have our string parts together. They need a bit of volume balancing as Oho tells me, I agree but I am still writing and editing. Yeah, we’ll get into that I tell him. See I’m still hearing another part, a fourth violin that will come in on the 4th bar only and keep the climbing felling going. A part that won’t start on the E & G note. I again start the noodling process working off the 5th note of the scale, the B note and ascend from there. B, C, D, D#, E. The D# isn’t in the natural minor scale, it belongs in the Harmonic minor scale, the semitone reaches to the E which I let hang for 3 beats of the next bar. 12. The resulting sound of the strings is cool. Well we think it is. Combined the violins create a suspense whilst the notes ascend from bar to bar. Losing the highest register and adding the lower two octaves in bar 3, whilst in bar 4 putting the highest register back in as well as the 2 lower octaves creates the ascend adding tension and a big dynamic shift. Finally, as below, the B, C, D, D#, E and copying and pasting the same line an octave higher and lower completes the string section.

Figure 21 Violin D Harmony line starting on B note - Oho Song

Horns 1. I’m hearing another part that will complete and compliment the string section that we just put down. Something that will come in after the 4 bars of the string cycle. So, after the ascending string line reaches its peak, I’m assuming that is where the vocal verse will start and I’m hearing a sustained note

78 or notes playing underneath. A horn section is what I’m hearing. Horns as a block triad that will peter out after a bar. Something funky like a James Brown horn line. 2. The song is in E minor so I show Oho the notes of the triad beginning on the E and Root position. E, G and B. I play the song and Oho plays the chord. He likes it. It’s a pretty lame sounding sample I must say you can hear the midi, but none the less it functions. I suggest a semi tone drop on the last quaver of the bar then back up to the original for the beginning of the next bar. I suggest doing it in single notes and duplicate the horns track two more times so they are ready to go one after the other. Oho completely understands what I mean and executes the first pass on the E note perfectly.

3. 4. Figure 22 Horn E Root note - Oho Song

5. For the next pass I instruct him to do the same starting on the minor 3rd G note. Again, he plays it perfectly, but insists he can do better. He is happy with the second pass.

6. 7. Figure 23 Horn G minor 3rd note - Oho Song

9. For the final note the B, the 5th he played the same pattern as the previous two passes to complete the E minor triad.

10. 11. Figure 24 Horn B note the 5th - Oho Song

Bass Groove #2 1. Time to move on to the bass guitar again. Oho demands to use the original bass. I tell him that it is in the wrong key but an easy fix, I also know that the original chromatic walk up in the 4 bars of the bass line will be dissonant and won’t work so I ditch that there and then. I’m editing and talking. The downtime banter in between the music playing. Nothing incriminating this time, just me explaining the basic process of changing the key in the piano roll. 2. Below is the resulting bass line. D (7th) to E (Root) on the first beat of bars 1, 2 and 3 and G (m3) to E (root) on the fourth 4.

3. 4. Figure 25 Bass groove #2 - Oho Song

Varispeed Drums 1. On playback both of us like where the song is heading. I keep on a Oho about the tension that the strings create and how they demand a release of some description, some kind of pay off or something that holds the peak of the climb. Anyway, that is what I’m hearing. The instrument that I’m thinking of are horns, perhaps a 2- or 3-way harmony line that builds the E minor triad, the 1st, minor 3rd sand 5th note (E, G, and B). Back to trusty logic and the EXS24 plug in that I get all my ‘sounds’ from. So, I continue playing the track, trying to identify where I want the horns to go. The strings are down and looped over and over, a pretty full sound that not much room for the vocals to sit over the top of them, I’m fishing for ideas, for inspiration, I know it needs a different sound in there, perhaps even synths instead of horns. Oho says “I want it to sound like Hip Hop, it sounds like Jazz”. I dint rally know how to take that. One thing for sure is it definitely ain’t fuckin jazz. I ignore his ignorant observation and keep playing the track. I’m not pissed off; I just know it isn’t jazz. I continue to play the track, again Oho quips, “Can you slow the tracks, it’s too fast, I can’t rap that fast”, yeah, I can try, gonna be a bit tricky though. Tricky because of the recorded drums, anything midi as anyone knows can be sped up or slowed down without any compromise of the sound, but stretching or contorting real audio files results in a loss of sonic quality. Nevertheless, I delve into the recesses of my mind to remember the process of how to do it. I remember that I must customise the toolbar and right click on it to reveal the option of varispeed. 2. Varispeed enables the user to speed up or slow down the playback speed by increments measured by percentage. I start off with a reduction of 10% and play the track, it’s too slow. Oho rapping in the background completely confirms this. Fuck, he is rapping quicker than the original speed! Let’s try it at 5%, I play it and we listen, Oho mouthing the words as he nods his head back and forth. Just then Jesse walks in, “sounds huge” he exclaims. Yep it’s taken a whole new direction, I reply. “That your idea Oho, the strings”? Jesse inquires. “Yeah we were listening to ‘Billy’, 6ix9ine and we took the strings off that”, says Oho rather nonchalant. I play ‘Billy’ to show Jesse that we didn’t sample or copy

80 the strings but used it more as inspiration. Jesse nods in agreement, “yep I hear it he says”. We both acknowledge the tension that the strings create and how the sustained note that hangs are, in a word according to Oho, ‘Gangsta’! Oho’s digging it, let’s move on, shall we? Electric Guitar 1. Hey Oho, “yeah”, please bring in some words next week ok”? “Yeah, I got to remember to take them to school” he replies. Personally, I’m surprised that he can’t remember them, or at least some trigger points that will spark his memory. I don’t tell him this though, there is no real point. “So, what school you at Oho? Parkville”? “Hoppers”, comes the reply, “Any girls there”? “Yeah”, “you popular with them I ask, I already know what he is gonna say and wait for the response. “Of course,” he says “Well that’s good to hear”. I believe that he would be. He has charm, charisma and is a nice kid. Anyway, don’t girls like a rebel? 2. “This guitar is pretty nice hey” he states then adds, “my dad would love this place”, there is a sound of melancholy in his voice. “Well, you should bring him in, but he is in NZ isn’t he”? Nah, he is here”, “Oh yeah that’s right your mum is in NZ”, “Yeah she is”, “Well then bring your dad in” I reinstate. “He loves to play guitar” say Oho, “well then bring him in” I say a third time, my voice very upbeat …I am met with silence. I haven’t really touched on Oho and his old man’s relationship and I’m not going to start now. I remember, one out of 14 kids, must be hard to vie for attention in such a big family, I couldn’t begin to imagine it to be honest. One thing that I learn though id that the old man plays guitar. Speaking of which, I am holding an old telecaster copy and noodling around in Em pentatonic, feeling for a groove, a riff something that augments the groove we already have. I’m working on a lick in E, the lick starts on the open bottom E and then on the A string, I use D to E, hammering on back and forth between the two notes and adding in the 5th note B on the 7th fret on the bottom E to finish the first bar. I repeat the same lick however this bar finishes on the G note on the 5th fret of the D string. 3. I open Logic’s pedal board and a try a couple of distortions out. “Use that one, it looks Gangsta” Oho quips, I try out the Hi Drive pedal with ‘Who’ logo on it, but it isn’t the right sound. I settle for the ‘Fuzz Face’ and press record. The riff I play comes in after the horns build up and the guitar is the release but also keeps the song moving, kind of like it hits cruise speed with the guitar lick driving the song.

5. Figure 26 Guitar lick - Oho Song

6. “Do you like that rollicking guitar line, or is it Jack”, I ask, “JACK” is the reply…” Man that ain’t Jack, jack” I respond, a little put off because, it is really grooving. “Sounds like a movie” Oho adds. I like this as it has a car chase feel to it, yeah that’s cool, a movie. “let’s call it an alternate, just an option, it’s there if we need it” I inform him. Now Oho replies, “there’s too much stuff going on”! This is cool, he isn’t hearing what he envisioned; therefore, he has a vision still. Awesome. “Well, we can get rid of shit” I say and press play. 7. “I like it, but I just don’t know what to write to it” Oho explains. “That’s cool. We can get something. But first, I am going to double it, it’ll sound cool”, I tell him. As I am editing the double guitar and copying and pasting it to the first guitar, I tell him reassuringly, “You know Oho, this song is going to be original”. 8. To break the editing silence I tell him, nearly implore him that “we can work on your words together’. “Yes, please, cos I need some help. I don’t know what to write to this stuff”, comes his enthusiastic reply. It is great that he is willing to collaborate with me and even better that he is iterating it aloud. “Yeah of course” I say and like I have previously mentioned to him, “Just bring some ideas in, some words”.

81 9. I’ve got one more idea I want to try, it’s a minor chord using the top 3 strings on the 12th fret that is slid up from the 11th. A classic funk lick. Think Prince, or Lenny Kravitz, ‘Mamma Said’, it’s like a little bit of punctuation at the end of each bar. I spend the next few minutes editing the guitars and Oho vanishes off into the studio. Jesse comes down the stairs and enters the control room, “Where is Oho” he asks, then adds. “His mum is out the front”. “Cool” I respond then press save a close the program. That’s enough for the day I think as I exit the control room to look for the elusive Oho. 10. Oho and I have spent 2 hours and 58 minutes with each other.

Friday 17th August 1:30pm 1. “So, you been keeping busy Oho, how’s school going”? I ask upon his arrival. Oho is here for what could be our last session and immediately sits at the piano and tinkers around with some minor single note stuff. “Gangsta”, comes the reply. “Gangsta”, I exclaim a little surprised that he chose that word to describe school at Hoppers Crossing, or Hoppers as we have referred to it in the past. He is actually playing thirds on the piano, white keys with a note between them, it prompts me to ask, “Have you got instruments at home”? “Drums, guitars” is the reply. “You got an ear; you look for the right notes to play and find them” I tell him. He continues to play, this time going back to his go to Fm, Fm Aug, Eb progression, the one he came in with. A bit of confidence is all he needs to get him going. “So, where are we up to I say” then add “we changed this beat around, we really changed this beat around”, I say it again, “we really changed this beat around”, I have to emphasise it has since we first started, we have pretty much created a new song. I press play and the beat plays. “Jazz”, Oho exclaims, “Jazz?” I question back, “yeah I said that last week didn’t I”, he replies. “it’s more rock’n’roll than jazz”, I respond a little annoyed that we are at this spot again. Jesse diffuses the situation, “It’s like cop jazz”, he adds, we both laugh “Yeah”, Oho says. “Like Law and Order or something” Jesse justifies his genre comment. Me, I press a timely spacebar and the beat pumps through the Gen Elec speakers. 2. “Oho, you were originally going to write a song called ‘Original’”, “yeah”, he says, “Well I think that this beat will work as it is pretty original, there’s not too many beats like this”, I tell him, the add, “actually there’s heaps of beats that sound like this”, he laughs. “want to go in a do a vocal?” Oho interjects, “sounds like old people, 1960’s…. cruising’ in a Chevy, hydraulics pumping up and down…” “nothing wrong with that” I interrupt, Jesse who is sitting on the couch asks, “that a good thing or a bad thing? I think it’s a good thing” he adds. “I can mute the guitars” thinking that it’s the car chase riff that he wants gone. I then mute it and play the beat. “I can mute it so it only comes in after the horns” … “Oho, I reckon go in and lay down a vocal to see if it’s gonna work over the top of it”. To me he seems to be delaying getting the vocals done ...I don’t know why, a confidence thing perhaps. “You know how you used the words you wrote for this song last week, try laying them down over this beat” I tell him, don’t have it”, he says, stalling again. “I thought that you memorised it”, I try and catch him out. “ Umm ahh, err I um can you copy and paste?”, he asks. I chuckle, nah, different BPM, different tempo, unless it’s the same tempo”? “Nah different tempo” Jesse adds. So, during the week, Oho and Jesse made a beat and Oho used the words for ‘our’ song on the song he made with Jesse. 3. Jesse says,” You can do it in a different style”. “I ‘ll have to listen to it cos I forgot all the words”, Oho replies. Jesse replies, “Well we can listen to last week’s so you can hear all the words, I made a bounce of it…. mate you gotta memorise your words”! Oho says, “I don’t want it to be the same”, “We’ll we can change it around a bit”, Jesse answers him, “A collab”, I exclaim, “We got pen and paper, we can create anything here, no limits”, Jesse says. He then plays the beat the made. The song concludes and Oho can remember some of the words. He is rapping away so I say to him, “let’s just go in a use the words you remember to see if the song works? “Alright, alright he says and heads off out the door toward the vocal booth., “That’s the spirit”! I yell out to him. About bloody-time I am thinking! Vocals 1. Oho is in the vocal booth and I’ve got him coming through the UA pre-amp and into Logic. “Hey, can you hear me”? he says into the mic. It comes blaring through the studio monitors. “I got you loud and clear, in fact more than loud and clear” I respond. He begins to rap, then stops and says “Ohhh, how gangsta of a rapper am I?” It’s not a question but a statement. So much for me thinking there’s a lack of confidence. But, in the past I have witnessed that when moist kids step up to the mic, with the pop

82 filter in front of them and hear themselves through their headphones, they become the world’s greatest MC in their eyes! “So, we will just run it a few time”, I tell him “Pardon”, he is sitting next to me now, he just came back in to the studio for some reason. “You know you can just sit in hear and rap over the top to see if it works “I say. “Yeah, ok, but can I listen to the last song again”? he replies. He has to remember the words... The beat plays and there is a vocal doing a ¼ note ‘yo’ in the background. I stop the beat and ask if it is Oho doing them or if there were others here with him the other day. “Nah, that’s what I was talking about, vox”, he informs me. “Who is doing them though”? I ask, “Lil Jon”, he replies, “It’s like a rap call out”, He give a verbal example, “Like ‘what’, ‘hey’, ‘yo’, ‘wooo’. “But, it’s not you doing them though”, “Nah, it’s a sample”, Jesse says. “Ok, Oho, you know what vox is”? I ask. “Nup”, he replies. “So, vox is just another way to write vocals I tell him, B.V Vox is backing vocals and a lead vox is your main vocal”. “Cool”, he says. A little lesson for you I think and press play. 2. The song that Oho recorded previously comes through the speakers. Cool words. I play a verse or two and ascertain that the song. “So Oho, my man, let’s try and see if the words will work over the new beat”. I press play and Oho raps a couple of lines over the top. It’ 4/4 time and of similar tempos so yeah, it will work. Just gotta convince Oho that it will! Jesse affirms, “sounds good man, you can do that”! I ask him to think back to the beat we were gonna base this song off. “Billy 169”, Oho replies. I dig out the song on YouTube. The dude with the rainbow hair. I play the song. The same powerful lyric come out the speakers: 3. “These niggas say they heard of me, I ain't heard of you Get the fuck up out my fucking face, 'fore I murder you” 4. I’m now thinking of production, I got to inspire Oho. “You know we can drop stuff out, instruments” I tell him. “So, we can produce it if you got an important line, we can drop an instrument out, it doesn’t’ have to be like this the whole way”. I play the beat, “see, we can leave the guitar out, we can do all sorts of stuff. It’s just throwing stuff in there that we can take out.” Oho replies, “take out the Aww”, he is mimicking the horns, “But leave it for the start and the end, but take it out in the middle, it doesn’t suit the middle”, he tells me. “Yeah, I agree, but we need to get down so we know where it can work, we need to get something down so we can go yeah, I just want to hear my voice there”, Jesse agrees. I mute the horns out of the first verse and play the beat. Jesse grabs the headphones and Oho goes back into the booth. 5. Beat plays, Oho hears it in his phones and a I open up the mic. At first, he is doing the ‘uh, uh, uh’, thing. I encourage him over the talk back to just have a crack at it, “we can belt it into shape later, just have a rhyme over the top of it”. 6. He finally starts to rhyme over the top of the looping beat: 7. I’m a spit it easy right now I’ll tell you my name a. I’m a frickin Rikiti I ain’t tell you again 8. “Yeah this works”, I say and turn to Jesse, he nods in agreement. I jump on talkback and exclaim “It’s going to work”! Beat plays on and Oho’s keeps rhyming, struggling to remember his words. But as the song progresses, he gets his mojo back, remembering the odd line here and there. “Oh man, I got to hear the last song again to remember my words”, “Well come in and write them down”, I say, “Alright”, he replies and with that I hear the phones get put on the mic stand and seconds later Oho enters the room. “See Oho, there bits like here that sound good”, I hit play, “Sounds actually really good”. First verse comes in and yeah it does sound good. “We can do all the vox as you call them later, we just gotta get the fundamental the main lyric down first”. “I just got to listen to the other one he says, so I can write them down”. “Cool”, I reply and press play on the previous track. The next 30 minutes is taken up by listening back to previous beat and Oho dictating his own words. Occasionally I ask him the meaning behind a line. 9. It’s any interesting process to do this as it gives me chance to ask Oho what his lines or words mean. There is some really good line and I tell him so. I am jotting down the lines at the same time as Oho, so I are listening to it line for line. Lyric Explained 1. I’m a spit it easy right now I’ll tell you my name I’m a frickin Rikiti I ain’t tell you again 2. Oho explains that that’s his name. – Islander reference You can call me RKT cos I ain’t go be the same

83 3. RKT is Rikiti without the I’s I’m different, I ain’t go be the same See, I ain’t a killer but don’t try me Got all my homies right behind me (facts) All my niggers will be flying Means that they are dead, sleeping and are now flying like angels.

4. Do Maori’s call themselves Nigga’s”? I ask, “Nah, there are for blacks, I dunno”, Oho replies, “Is it exclusively for African Americans”? I ask again. Jesse, says he discourages it but lets it up to each and their own. “I met lots of Islander boys who use it, your bro’s use it, the N bomb Oho”? He asks. “Yeah”, Oho replies. “How would you feel if they were out there doing it in front of Africans, Sudanese, you would have hung out with them in Parkville, how would they feel about that?” he asks, we wait for a reply that doesn’t come. I add that I think that as it was meant to be a derogatory term, it’s great that the African Americans have embraced it, “Kind of how the gays, embraced the word Queer”, I add as to strengthen my point. “The celebrate it”. Jesse concludes that “I ain’t an authority on it”, and suggest that Oho thinks if he going to use it and if he only feels a connection to it, “You don’t want to come across as “, “Racist”, Oho chimes in. “It’s entirely up to you”. The one, the killer won’t be crying …. Bless I don’t care about the truth cos it’s all lies I complement him on what is a really good line, Jesse agrees Fuck the police for stuffing up my whole life That’s why we get drunk and kick it and get high And that’s why we stand together like To Get Her, Oho explains – Together is, To Get Her I don’t go with the same I ain’t go with the same Yeah, I ain’t go with same That’s right, I don’t go with the same Great chorus again I compliment him Listen to my rap here closely this for you and me Do it for the block and the boys in the community Another great line, I compliment him All the rich people who walk around in chains Walk around with gold chains They don’t know the feeling to go on Metro trains Too much money to ever have the need to catch a train. We don’t know the feeling to ride on private planes The opposite for us – Us versus them That’s why I’m different and don’t want to be the same 5. I really like the skip of and ‘don’t wanna be the same’ Alright, I don’t wanna be the same I wanna be the same I’m different, I’m not gonna be the same Yeah, I don’t wanna be the same (Shout out) Free my niggers locked up Free my boy Tyreese Free the boys in Barnett Free the girls in Cullity

84 Free the boys over the wall I’m out! a. The final shout is a reference to the different units in Parkville correctional which house the Youth-at-risk. Tyreese, Barnett and the girl’s unit Cullity. Tracking the Vocals 1. Oho, is back in the booth, lyrics in hand and it’s time to track. We record the first line and Oho tells me to stop. “How do you like recording I ask?” I assume that he might want to go at it line for line. He asks me to stop at the end of the first line again as he wants to do the backups or ‘vox’ as he calls it. I make a new track then roll the previous track again with him doing his ‘vox’ over the top doubling the last word on each line, a classic hip-hop vocal technique. So, he has decided that he wants to do it track by track. Cool with me. At least we will make progression that we can sign off on. Actually, not a bad way of doing this. Get the line right and then move on. 2. The process moves on to the second verse, he lays down the first track and then the second track, “Ok, time for the chorus”, I say. “Nope”, comes the response, “I want another track, please”, “Nice manners” I respond and give him a third track. We start the 2nd verse again and he does his work. “Do it again” I say, “you got better”, he agrees, does the track and asks for it again,” I can do better, I choked”. I like how he thinks. I have always maintained that a singer or MC can produce their vocals better than anyone else can. He does it and it works, but wants to do it again. “Can we copy and paste” he asks, “No, don’t be lazy”, I reply. “Get two different ones so they ain’t the same”, I tell him and play the track. 3. We are on to the chorus, ‘I don’t go with the same’ bit. He records it and I give a second chance so he can do the ‘wooohs’ etc., “Vox”, he corrects me. I give him the track and he stuffs it up, “Can I do it again please”? He asks me. “Your manners are impeccable, please and thankyous get you anywhere in this world man. “Thank you very much”, he says. “No worries, maybe, I sound old school by saying that, but trust me they do”. “How slick do I sound”? He asks, “Ya sounding good”, I tell him, “Slick”, just confirms. We have another two attempts at the chorus, ‘Don’t go with the same’ bit before we are satisfied and move on to the next verse. 4. *As a side note and if the truth be told, I have always found the Islanders to have a lot of respect when dealing with people. I am sure that they can be arrogant or insolent to those who they see as authoritarian, however, as I am not a turn key or wear a uniform, I have always found them to be very well mannered and polite. I think perhaps it’s a cultural thing as I know their parents and grandparent expect respect and woe behold those kids that don’t grant it. 5. Time for a listen back to what we have done thus far. I say to Oho, “I reckon well get something good for this song, it’s a bit ‘samey’ at the moment, the music but we can change things up, we got some good flow going on”. “Alright”, come the reply from the vocal booth. 6. We continue on and do 4 takes of the ‘Listen to the rap’ verse and ending on the word community. Well, it’s a song that is done in stages. Line for line or something similar. For the second half of the verse especially the last line ‘and I don’t wanna be the same’ Oho is struggling to find the skip of the words. It needs to be 12 syllables, ‘that’s why I’m different and don’t wanna be the same’ Ohio is adding in an ‘I’ before ‘don’t wanna be the same’, One syllable too many. I call him in so we can listen together. He rolls in and I play the track, we go through what we got and then Jesse comes down and tells us his that Oho’s Aunt is here. “More words Oho” I say as he disappears out the door. 7. After he leaves, Jesse tells me that his on his way here with his aunt, there is a car crash and the go to help, it turns out the woman in the crash is pregnant and according to Oho’s aunt, Oho takes control. I tell Jesse that this is fantastic character reference. His aunt is surprised he didn’t tell us. Modest kid that he is! 8. I stay back and do some beating in to shape of the track Jesse and I discuss further the track. Jesse seems to think that because he played the drums that he feels that it isn’t as authentic as it could be and that it doesn’t have that ‘trap’ feel. “I can mix his drums down” I suggest. Jesse tells me that, “when he gets to listen to everything back, he’ll like it”. I reply, “you know, they are still what they used to be like want instant coffee, the want doubles now, they have no patience”, Jesse agrees “Oh totally, the want to do it the fastest because yeah they have no patience”! That’s it for the day. I press stop. 9. Oho and I have spent 4 hours and 1 minute with each other.

85 Friday 31st August 1:30pm Refinement - Editing the track #1 1. “It’s the last day of winter” I exclaim! “Spring”, Oho replies! “So, you been listening to this track” I ask him? “I know there are drums on it”, he says, obviously he hasn’t played last week’s mp3 burn. “ok, let’s give it a listen”, I press play. It finishes, “So what are we gonna do”? I ask, “Well we have to quieten some of it”, he responds, “Cool, let’86s get critical with it then, he comes the intro”. “We listen and Oho suggests to get rid of the ‘woo’, minor change, not a game changer though. “You, got anymore words, you going to add to it”, I ask him, “yeah, I do”, he says, very unconvincingly. I edit out the ‘woo’ and play the track again. They are still there though, “You did them again”! I laugh, “must have done them three times”, he replies, “you were happy with it”. I press play, there is still another one. “Where is the fucker”? I say to myself, Oho laughs and says “must have done it 4 times”, “Ah, there it is”, I edit it out and play the track without the ‘woo’. “Nah that’s not it. It’s not that one, it’s the bottom one, delete the bottom one, that one’s all good”, Oho instructs me as he is pointing at the screen, “Yeah, but if I pull that out, there is a woo, in there”, I tell him then add, “I see what’s happening, we gotta keep these”, I edit the track and press play. 2. The track plays up to ‘All my niggers will be flying’, and again another ‘woo’, “Get rid of that one and the bottom one”, Oho instructs me, I oblige and play it back, sounds good and I tell him so, “I agree with that, gives the track room to breathe, you know what I mean? ”Yeah”, he says non-committal. Next line we look at is the ‘fuck the police, for stuffing up my whole life’ line. It jumps out at a higher volume. “got to turn that down”, he tells me. “You want to lose that”? “no, just turn it down” he says. “Yeah, we can do that, I can automate it, how much do you want it turned down”? I ask him, the add “how about this, we can mute it”, I press play, “and leave in the double on, my whole life”, I press play after I do the edit. I take it up to the ‘Listen to my rap’ and press stop, this reveals Oho in the chair rapping along to it, a good sign, he must be digging it and also, he has remembered the words! There are some more ‘woo’s’ “wanna lose them too”? “yeah”, he replies. I have an idea, “I want to lose the strings and everything but the drums and bass”, I tell him. Again, I press play before I do the muting and am told to stop when we hit the line ‘and I don’t wanna be the same’. Oho, interrupts with purpose, I want to do that line again, the end one”, he implores. I’m not surprised, too many syllables I already thought it last week but we ran out of time. “Can we do it again really quick”? He asks me. I do the mute edit and drop the bass out on the line ‘and I don’t wanna be the same’. I have another idea. 3. I muck around with the track and press play. I have muted everything except the shaker: No music except for shaker Listen to my rap here closely this for you and me Do it for the block and the boys in the community 4. Drums come is with a crash cymbal All the rich people who walk around in chains 5. Bass comes in They don’t know the feeling to go on Metro trains We don’t know the feeling to ride on private planes That’s why I’m different and don’t want to be the same “Yeah, that sounds alright”, Oho sounds excited after I press stop. But we got to do the last line minus the I. Re-track Vocals #1 1. So Oho, there are too many syllables in it, you got to lose the I, I give him the example “That’s why I’m different and don’t wanna be the same, Don’t wanna be the same”, I repeat it for good measure. I further explain that the way he does it, “If, you do what you are doing, “That’s why I’m different and I don’t wanna be the same, there is too much of a skip, besides you have already said I’m so you don’t have to say I”, “ Don’t wanna be the same, don’t wanna be the same”, Oho mimics me. I slap out the beat on my hand, 1,2,3,4 and rhyme over the top of it. 1 2 3 4 That’s why I’m different and don’t want to be the same

86 2. “Ok, jump into the booth and let’s record that”, I tell him and he departs for the vocal booth. “Can you hear me in there, you Oho, can you hear me”? I hear a faint “Yeah”, as a reply. “Can you talk into the mic. Can you hear me”, what channel is he on…8 yeah that’s right. Wait he ain’t even in there, not even in there. I am thinking out aloud. I yell out to him in the studio, “can you talk into the mic”, “hey”, come a strong response, “yeah I got ya, keep talking, keep talking” I order him. “Can you repeat everything you said in the last 30 secs” he asks me. “Can you hear me now”? Jesse is in there, “headphones are all good” I hear him say. “Can you hear me”? I play the track, “Can you hear the music at all Oho”, silence. I click the talk back button on and off, “Hear me”? I bugger around for a minute; I can hear him no worries. Don’t know why he can’t hear me or the track but then, “Hey, I can hear myself now”, Oho starts to sing something flat and out of tune but he or they have fixed the problem. I play the beat, “God damn that gave me a fright”, he says. “So, you can hear me”? “Yo”, he says. “Ok, so just pick it up from ‘That’s why I’m different and don’t wanna be the same, Don’t wanna be the same’” again I repeat it to try and instil it in him. “Ok, here we go”. 3. I press record and the track comes to life. The track rolls, and we get to the line and he buggers it up, sing exactly what he originally sung. He feels it, knows it especially when I press stop. I hear him practicing ‘I don’t wanna be the same, I don’t wanna be the same’, he knows what to do, just got to do it! I roll the track again. He has a false take, forgets where to come in. I roll it again and this time…” I don’t wanna be the same” comes out over the speakers. Me on talk balk “Ha ha, lets double that”! I go to another vocal track arm it and give him the verse again. He doubles it, good attitude, correct phrasing, “let’s listen” I say and play it back. “Nah, I need the double again”, I say, “alright”, is the reply. He tracks its and puts a twang on the word ‘saaame’. “Give me one more”, I tell him. He does and when I play it back, he asks me to “get rid of that saaame”. I knew that was coming. Didn’t work, but at least he is trying! I solo his 3 takes and locate the ‘saaame and make sure it’s the one he wants to ditch.” yep, saaame” he relies as to concur. I perform the edit.” how’s that”? His silence signals that it’s ok with him. 4. “You got anymore words to add while you are in there”? I ask him, thinking that it’d be cool to doing something else whilst we are set up. Silence. “Come in and have a listen to where we are at, oh you’re already in here”, Oho has appeared in the control room spitting the rhyme, “I actually killed it didn’t I”? “Yeah, it’s cool, really cool”, I reply. “So, you are a digging the project anyway”? It’s not a bad time to ask, to reflect with him. “Yeah, where is this project going again”? “What I am doing is working out how we write a song together, how we bounce ideas off each other, I’m making like a book on how to write songs, so that someone can go ‘maybe start off with a bpm’ and then discuss what music we are doing, so that’s why I’m recording this and go back through it a write it down”, “So you go back through 5 hours and 22 minutes’ worth of stuff”, he asks, “yeah” I laugh, “FFFUUUUCCCKKK”, Oho replies in astonishment. “But, remember it started differently”? “Yeah” he says, “well there is all this cool production stuff we can do after we have everything recorded.” I discuss with him. I then play his original piano line, “Remember this”? No response. Whatever, I play the current track from the top with some volume. It’s sounds cool. Oho noddles on the piano while it’s playing. “Hey you were doing something there in the 2nd verse, I kind of like what you were doing”, I think I have an idea that Oho prompted. Piano Coda 1. “I like what you were doing”, I tell him. He keeps playing but it is just dis-jointed. It’s not what he was playing but the sound of the piano, the actual sound. He keeps noodling and goes back to his go progression… Mental note, piano sounds good. “You got anymore words”? Silence. “We got to work out an end point for this song”, I tell him. “Use this”, he says and continues to play the progression, “It would be cool if bring it in to something that, you know…” I trail off, and play the end of track. Oho continues to play and one of the chords works musically over the top. “What chords did you just play”? I ask him. “This one, this one, this one and this one” he replies and plays them, “I’m just thinking that we could bring it into a …” again I trail off. I’m deep in thought, I know what want but can’t put my finger on it, yet. “How bout we start it with this”, Oho says as he does a Jerry Lee Lewis down the piano. I ignore him and play the track again. “It would be cool if we finished it with a delicate piano ending” I tell him. 2. By now I am at the piano, I sing the last chorus and then go into an arpeggiated piano thing with a chromatic moving bass note, repeating the words ‘I don’t wanna be the same’ over the top. “I want to get this down, but I just can’t get this bloody thing working, where is Jess when you need him”? I am referring to the midi keyboard. Then the doorbell rings. It must be that time already. “We still got a

87 few minutes and what I am trying to do is at the end of the song, change the flavour around”, “yeah, I know what you are trying to do”, Oho says. Jesse is in the control room now, I play him an example again, “yeah”, that’s alright”, Oho says. Jesse agrees. “We kind of have enough, a song can be 2 minutes”, I say try to convince them. Oho and Jesse discuss the actual time, Oho claims Jesse’s watch is fast, “Ok you got two more minutes”, Jesse says then helps me work out why the midi isn’t working. It turns out it’s the MIDI ports. Oho is in the background playing Fur Elise, or trying at least trying to play it and talking about his exploits on the rugby field, and, by all his accounts, he is pretty good. 3. Well, we are back online with the MIDI track working and I press play and take it to the point I want to drop the piano in after the after the 2nd chorus, “There is where I wanna come in”, I announce. “I got to go but you can keep going, I bring some words with me hey” Oho says, “yeah, no worries, we gotta finish this next week, laters”, I reply totally preoccupied as Jesse adds, “Don’t get knocked out on the field”. Oho departs and I press play and do the arpeggiated coda. I fool around with a few passes but eventually decide on a descending Arpeggiated pattern with the chords being, Em, D/ Em, A7 1st Inversion, C. Bar 52 to 56 repeated twice before finishing on an Em.

4. Figure 27 - Piano Coda, last 5 bars.

5. On playback I decided to mute the drums and only leave the bass and hi hats playing to give it space, however bring in the horns back in on bar 8 of the piano so the buildup to the final Em chord and hang over the top playing 3 octaves of E themselves. I really like the result. I hope but think that Oho will as well. 6. Jesse enters the room, “How’s it going”? He asks. “What do reckon of this ending” I ask then add, “I like it”, not trying to convince him but merely stating that I do indeed like it. “How was Oho today”? Jesse asks. “All over the joint “I reply. “Was he going to bring in some lyrics next week”? “Yeah”, for this or something new”, Jesse asks, “hopefully for this, I got to finish this”! I play the song and Jesse approves. 7. Oho and I have spent 4 hours and 44 minutes with each other.

Friday 5th September 1:30 Refinement -Editing the track # 2 1. Oho has rolled in and is full of energy. I’m editing the track or listening to it. “Woooh yooo, You really have to listen to 5 and 44 minutes”, eyeing my mac and the Logic session on it. “Nah, probably not”, I reply dismissively... Little do I know…” So, what I reckon”, I say, getting us back on track. “Here is where we are at, I’m hearing”, Oho interjects “There’s too much double ups, clouding up my voice”. “Yeah, that’s easy, there are a couple things that I want to do or try: I tell him. The track is running in the background. “I want to put a big fuck off snare in there”, I replay the track and make a snare sound on the last beat of the bar where we drop out the drums and before the beat kicks in again, so it sounds like ‘Do it for the block and the boys in the community’ SNARE! Just then a bug comes flying by, “What is that” I ask before smack, I swat it dead. Funnily Oho then exclaims, “thanks, did you know that I am scared of bugs? Little bugs, like bees”, “Really you’re a big boy man, I reply” and add, “I can believe you are scared of bugs”! Makes me wonder what else he is scared of. He just a boy after all! “I don’t understand it either”, he laments. “What I am going to do is find a snare drum, snare hit, I will make it sound good”, I say reassuring myself just as much as Oho. I place the snare and talk to myself about what I am doing for Oho’s benefit. Sort of commentating my editing. In the end I have put the snare where it needs to be, added some echo, and changed the velocity on it. Play back and it’s doing its thing. It takes us up to the ‘That’s why I’m different and don’t want to be the same’ line and Oho stops me. I know he still isn’t happy and wants to do it again. I agree, there is something NQR about it. “So, you want me to get rid of one of those”? I ask referring to one of the doubles. There is no need to answer, I know he does.

88 Tracking the Vocals #2 1. As the song approaches the end of the 2nd chorus, just before it hits the piano coda (that Oho hasn’t heard in its entirety as yet), I start to repeat the line ‘I don’t wanna be the same’ over and over. I’m on to something, I think. “I don’t want to do that”, Oho tells me, “Ok, what do you want to do then”? I reply, the piano coda playing in the background. “Just leave it like this” he tells me. “Oh, alright what I want you to do then, is go into the booth and give a vocal all the way out to the end”, I say. “I want to do that last line again”, “cool, jump in and do it” I say. As he leaves the control room, he is rapping to himself,” I don’t want to be the same, I don’t want to be the same”, then, “I’m not gonna be the same”. Awesome moment, “Yeah, change it up” I exclaim, “I don’t wanna, ain’t gonna, don’t wanna – that’s good because it makes people listen, you’re not always repeating yourself, which is a good thing man”! Oho is back in the booth. “Can you, hear me”, I ask, “yep”, comes the reply from the speakers, “Ok, I’m going to run you track, just sing along with it and Ill drop you in at the last line” I tell him. “Alright”, comes the reply,” Alright” I confirm and press record. 2. Oho, takes the song in his stride and changes up the ‘wanna be the same’ and ‘gonna be the same’ lines over the piano coda and throws in a few ‘yeahs’ as well. “That’s cool” I say over the talk back, “I’m going to get that again, I got a better level now”, “That was very nice”, he replies, “I did what you said, that was very cool, Gangsta” he says,” yeah it was”, I confirm…. VALIDATION!!! 3. “I want to double that maybe triple it”, Oho says excitedly, “Not yet, not yet, patience”, I reply. “I don’t know what that is cuz”, he tells me. I spend the next minute cleaning up the track, “I’m not neglecting you”, I reassure him. As I’m cleaning it the track is playing and he has an open mic so he is practicing his call and response lines. Call - I’m don’t want to be the same, Response - That’s right Call - I’m not going to be the same Response - That’s right Call - I don’t want to be the same Response – Yeah 4. “Just doing some edits so it’s all nice and neat”, I let him know. It’ Call -s much easier for me to edit on the fly and have the track in shape to get ready to mix. Almost mixing on the fly. Keeps the ‘clients’ engaged when they can hear progression. I’m ready to track again. “Ok, just give me that bit again from ‘I don’t wanna be the same’ ok”? I ask, “Alright”, he replies. It’s the extra syllable problem line. He has the correct phrasing on it but the delivery is a lil’ wack. 5. I press record and wait for his delivery, he doesn’t meet the mark, I stop it he asks, “I can say that again, please”? “Of course,”, I reply. He knows what he needs to do. He goes again and this time thinks too much about it, kind of over delivers it, I don’t stop the track so he keeps on going over the piano coda just giving variations of ‘I don’t want to be the same’. “Alright, you want to do another version of that” I ask “Yeah’, he says, “I’ve got an idea of what to do, but can we get one more then come in and I’ll show you”, “Ok”, he responds. Again, I press record, he fluffs the line, “Let’s get it again”, I press record and he takes it through to the end of the song. My phone rings, I answer then tell who it is I’m busy and won’t be back on board at work 'til Monday – It was Steve Lambert enquiring about his son Sean, always calling me! I reassure him that we will get his boy through his diploma and hang up. 6. By now Oho is back in the control room and I am asking him what he thinks of this idea. I press play at 2 bars before the piano coda kicks in, his voice comes out as if he is talking through a telephone. It’s an EQ favourite of mine and all the kids seem to dig it. “Yeah”! He exclaims. “Turn it up a little bit”. That’s a good sign, he digs it! To achieve the sound, you open an EQ and roll off every frequency from below 1Khz and everything above 2.5Khz and boost the frequencies between them by around 5 db. The result is a tinny, telephone sounding effect, I use it a lot.

89 7. Figure 28 - Telephone EQ setting

8. “Now we are going to go through and get rid of the doubles that you don’t like, clean some of this shit up, because at the moment we got tracks all over the place” I inform him. Oho is on the guitar mucking around with the song by the Cranberries, “you know this song”? he asks me, “Zombie, yeah” I reply, “You know how to play it”? “Yeah”, I take the guitar off him and start to play the chorus, ‘what’s in your head, in your head, Zombie’ etc., I always hated that thing the singer did with her voice on the ‘e’ of Zombie, if you know the song, you’d know what I mean. Refinement – Editing #1 1. We listen, critically listening to the track from the top. The plan is to get rid of any doubles or triples of his ‘vox’ that aren’t doing anything for the song. Time to be ruthless. Play the first verse, it’s all good, we’ve looked at this before, he’s happy, well he doesn’t stop the track until we get up to the first chorus, and he singles out a ‘that’s right’ line. “Hear how it sounds like there is 50 of me”, he asks, ‘yeah”, I respond, well I want it to only sound like there is one person doing it’. He tells me. “Cool”, I say and mute them all except one. “I really want to ask to take this guitar home he says”, “They won’t let you”, I reply to him. “Now tell me what you think when you hear this verse”? I try to get him to focus. I play the verse; he singles out a line and says “one person”. That’s cool, we got some lingo that we can use to make this more economical. I do the edit or should I say muting. We get to the line, “I’m different’, he stops me, “I want something on that, some echo maybe”. This is cool, he knows what he wants to hear I dig that, I love getting direction from these guys, makes my life easier! I drag the ‘I’m different line down to the telephone EQ track and press play. “Yeah that’s cool”, he says, and adds, “I want the that’s right’ line on the telephone too”! I oblige. Telephone EQ is doing its thing. 2. “This is what we go so far”, I play the verse. I add echo to the last ‘same’ where I drop the beat out for the last bar before the 2nd verse kicks in. Another mix trick that kids seem to love. It is cool if I can say so myself! 3. By this stage we are getting close, I can feel it. We are refining and cleaning up the edit window and well, neatening up the whole session. I start to name all the tracks with their respective instruments and bring all little snippets or regions as they are correctly known into tracks that are similar, kind of consolidating them. Oho sits patiently and raps along with the song when I am playing it. He is the first to point out when I actually move a region, the first line of the 2nd verse, ‘I ain’t” a killer but don’t try me’ and place it ahead of the beat. “That’s too early”, he says on playback and yeah, he’s onto it. I move it accordingly to the correct beat. 4. We take it from the start of the 2nd verse again ‘I ain’t” a killer but don’t try me (just that)’ is the double. “Go back” he says, I do and play it again. “Telephone”, Oho instructs, “on just that”? I ask, “Just that” he replies and I drag the region down into the ‘telephone’ track. We go again, ‘Got all my homies right behind me (That’s fact)’, “Telephone” he says. I again oblige. We got a good system going now. Basically, we are just focusing on the doubles and either deleting them or putting them in the ‘telephone’ track. Play on. 5. “Fuck the police for stuffing up my whole life’. “Stop, there is a double somewhere there”, Oho says, “you want to lose the double”, I reply as I locate the area in the song, “yeah”’ again comes the reply,

90 “you wanna lose all of them, cos there is like 3 of them” I again ask knowing the answer. I mute the 2 doubles and move on. “That’s why we kick it and get high’ “Stop, there’s a ‘get high’ there” Oho points out. “Yeah, you don’t want it”, I ask, “I don’t want double ups”, he answers. Interesting we spent awhile doing the doubles and now he seems to want to get rid of them all. That’s cool, I get it, after all, I am big believer of throwing everything in there and getting rid or culling the excess or the fat, so to speak. I do what he requests of me. Play on. 6. Chorus ‘I don’t go with the same’, “telephone, the first line”, he instructs, cocksure. “I’m not sure about that”, I reply, “I’d have that”, I trail off and start to edit. Personally, I don’t think it a good idea to have the 1st line of the chorus as a vocal, in fact I know it’s not a good idea, gut feeling and experience! “this is what I would do”, I say and keep on editing. “What’s that”? Oho asks, then lets out a couple of loud “woos”, I don’t know why, he must be getting restless. “You’ll see”, I tell him. I play what I have done, and that’s putting the response on the telephone track:

Call – I don’t go with the same Response (telephone voice) - That’s right Call – I ain’t go with the same Response (telephone voice – I’m different Call - I don’t go with the same Response - That’s right I don’t go with the same

7. We head into the last verse, “This song’s liiittt” Oho sings. ‘Lit’, means when something’s happening or popping, a good thing for Oho to be saying about the song! Oho back on the guitar strumming a few chords. He definitely is getting restless. I get it. I can understand that he would be a handful in class, at home and in juvee, as I though earlier, when we first met, he’d probably have a mild form of ADT. “How’s this sound”, I play him the verse: Listen to my rap here closely this for you and me Do it for the block and the boys in the community All the rich people who walk around in chains They don’t know the feeling to ride on Metro trains We don’t know the feeling to ride on private planes That’s why I’m different and don’t want to be the same

8. “Nah, nah, there’s double ups in there”, he states the obvious. “I want to chill out on the double ups”, he again tells me and continues on with, “In fact, the only reason I did double ups, is cos when I finish it, I know, it’s going to sound better if I have more tracks to listen to so I can choose which one sounds best”. I do agree with him, it is better to have the option, BUT he definitely set out to do doubles, he iterated it weeks ago when he said he wanted to do ‘vox’ as I have previously mentioned. The good thing is that he is thinking like a producer. Man, I wish I had access to recording equipment when I was a kid, if only, I muse to myself. 9. He stops me after the last line, the bloody troubling last line. The syllable line I will refer to it as being. “Nah, that’s a shit one, is there another one”? Oho asks me, “yeah, this is the one that’s not shit”, I reply and do the edit, press play and we listen again. After the line plays Oho asks, implores “can I rap that whole thing again, cos it doesn’t sound flow”? Then adds, “keep one bit so I can remember what to say, I’ll be in there”, and with that he is on his way back to the booth. Re -Track Vocals #2 1. Take 1 - “Alright, here you go”, I speak to Oho over the talkback mic. I press record and when it hits the drop-in point there is silence, “I thought you were doing the whole verse again”? I ask him. “Yep”. 2. Take 2 - I press record and again, silence, “Oops, sorry”, he says apologetically. 3. Take 3 - Well take 3 of this session, record is pressed and he gets it. “That was good, wanna listen to it? I ask over the talkback. I press play and after the line ‘do it for the block and the boys in the community’ he tells me to stop. “Nah, nah” he says. I agree he got tangled on the ‘do it for the block’, mumbled through it. 4. Take 4 - “Here it goes” I say again and press record. “Nah, do it again” I tell him, a sense of disappointment in my voice. “Man, cuz, what’s up”? He asks, “You got a better one in you” I respond. 5. Take 5…. “Nah, I did it again”, after he stumbles on the ‘community’ line.

91 6. Take 6 – He completes and we listen to play back, Oho doesn’t like the first line. 7. Take 7 - He delivers it well, bit more passion and enthusiasm than the others, we listen to play back, “Start’s good I just want to cut out the middle part”, he says, “Ok” I reply. It’s the last line again. “Let’s just do the whole lot again” I say and before he gets a chance to reply, I have pressed record. 8. Take 8 – Again he completes the verse. “I reckon that’s it, let’s have a listen to it”, I say, “Pardon, wait hold on”, he says and adds, “Can I have a listen”? “Yep stay out there a have a listen” I reply. We listen and he say “one more time please”. At least he knows what he is after!!! 9. Jesse has come in to tell us the next client is here and we need to start to wind it up. “yeah cool, ready Oho”? 10. Take 9 – Oho stalls on the ‘community line again” 11. Take 10 – He completes it and I tell him “yeah that’s better, better than the last two as well”. Play back, “nah, nah, nah”, Oho is not happy. “Ok. I’ll put the two together”, I respond. I will edit the front half of take 7 and the back of take 10. Impatience is kicking in, “can’t we just do it again, I’m mumbling” he sounds tired. “Just wait to see what I do first” I try and keep the vibe up. “Listen to this”, I play the ‘comp’ track. “That’s a combination of two takes”, I say, “is it”? Oho sounds surprised, “yeah, it’s the combination of the first half that you liked and the last half of the last take, listen again” I then press play and we go through to the end with Oho add in a ‘shout out over the piano coda’. “Sounds cool”, Jesse quips. Yeah, we finally got it I think to myself, we finally nailed it. Shout Outs 1. “Hey Oho, do you want to do that dedication thing you were just doing”? “Jesse adds “you want to do those shout outs”? “Yeah, Oho replies, “well then just go in and do them really quick, we are about finish”, Jesse say impatiently then if to soften or tame down his tone he adds, “it sounding good”. 2. Oho goes back into the both and lays down his shout out. “Easy”, he says upon completion and struts back into the studio. Jesse compliments him on his looking like Easy E with his backward cap and jerry curls, Oho doesn’t seem to mind the comparison. “Do want that on telephone voice, or how do you want that”? I ask him. “yeah, but can I do it again? Riko is a girl and it just came out of my mouth”. “Yeah, do it again, but you got about 4 minutes, and you’ll hear it as a telephone voice… You ready”? I ask him, “Yeah”, he replies. 3. We do another 7 takes before he is satisfied and comes into the control room. I play it back and he asks to no one super enthusiastically, “yeah, how gangsta does that sound”? “Yeah, it’s great, gansta man”, I respond equally as enthusiastic. Oho goes on, “I mean how great does that sound”, he is taking the piss. I laugh, “well it’s not mixed as yet, I can still get it sounding better” and add, “let’s have a listen from the top and next week when you come in, we can finish it”. Oho responds with, “I got to go, but let’s have a listen, really quick”. I press play and the song comes to life. 4. The song plays and ends, “So you cool with it”? I ask, “yeah, it’s actually gangsta, wooh”, he replies. “Actually gangsta”, I repeat satisfied and add, “so, we’ll finish it, mix it get it all sounding right and that’s it for this song”. “Yeah right, wooh, catch ya laters” he says, high fives me and with that he heads out the door a happy kid. So am I it has been a good session, one in which he and I learnt the value of persistence. 5. Oho and I have spent 5 hours and 33 minutes with each other.

Friday 12th September 1:30 Mixing 1. “So, we are mixing” I announce. “How do you mix it”? Oho asks, genuinely intrigued. This is a good moment. A culmination of 6 weeks work, 6 and ½ hours of work. False starts, scrapped ideas, lots of takes both good and bad and I can honestly say a real collaboration. “Mixing is when, balance volumes, panning, make things sound cool, dynamic and make things sound…”, “Lit”! Oho cuts me off. Oho has bought a mate in with him this week, another Islander bout his age, to protect his anonymity, I’m going to refer to him as Vin. Mixing Drums 1. I start off with the drums, Oho’s live drums. Pretty straight forward. 2 overheads a kick and a snare. First thing is to pan the over heads and bring up the faders. The overheads should have the necessary information of the whole drum kick in them. From here I should just add some kick track and snare

92 tracks reinforcement. “Mixing is a bit like making a cake”, I start to say, sounding a bit like Forest Gump and his mama’s chocolates metaphor, “Ingredients”? Oho asks. “Ingredients, you just need to add the right amount of everything”, I conclude. I don’t really have to do too much with the drums, just some EQ and compression on the kick and snare, reason being is that I have the original Ultrabeat drum track to add to the mix, which again reinforces the drums and gives it an extra sonic ‘je ne sais quois’. As we approach the end of the song over the piano coda and the shout outs, Oho stops me. “Can I do the shout outs again, want to shout out to different people, they are all out, by the time I shouted them out they already got out”, he laments. Vin agrees, “yeah they all locked up, except Vin”. 2. “So are you enjoying the process, been enjoying what we are doing and how we have been going about it. Do you like the song”? I ask “Yeah”! he replies, I go on, “liking the sounds we got”? “Yeah, it’s all good” he adds. “Cos, I’ve got to do a little interview with you next week”, I inform him. “What about “? He asks me. “Just about how we wrote the song, and all that stuff” I reply. “Where is this going again”, Oho buts in. I reply, “It’s going into a journal, a book on how to write songs with you guys, you know say if anyone came in and said where do I start, I’ve never done this before, what do I do? This is a start. You know you might sit down and say what song do you want to write? What music are you into? What kind of sounds do you want? You know, all that kind of shit”, “Yeah”, Oho says, a one-word reply! Re-recording Shout Outs 1. “Ok, if you want to redo the shout outs, I just need to clean these tracks up”, I tell him as I start the familiar process of deleting regions. I completely understand that he wants to get the shouts done right. It’s a code to get them right and a badge of honor to have your name mentioned in a shout out on a track in the juvee world. It’s respect, pure and simple. 2. I’m just getting everything right, balancing volumes etc. Oho has a moment where he doesn’t want anyone to hear his work. A moment of doubt. “Turn it off, I don’t want anyone to hear it”, he says in reference to Vin sitting in the control room. “Yeah, people should hear it I tell him”, Vin chimes in “You’re going to be famous”! “Famous”! I join in. “You’re going to be one of those one hit wonder”, Vin continues “like that guy with the colored hair, um 69”. “He a one hit wonder”, I ask, ‘yeah’, they both reply in unison. “Alright, jump in there and let’s do these shout outs then”, I order. 3. “Is that where he does it in the booth there”, Vin asks. “Yeah”, I reply and add, “so did you guys meet in Parkville”? “No, I met him way before Parkville, I grew up with him”, he says. “You done Parkville stints”? I probe him, yeah, I know, voyeuristic me. There is a pause then Vin replies, “umm nah”, “Good on ya”, I finish the conversation. If he has, he doesn’t want me to know. “You hear me in there”? “Yeah”, come the reply through the Gen Elec monitors in the telephone voice, “cool, I’m going to play it from the piano bit”, I then hit record. 4. He starts the shout outs then on the last line he says ‘to my girls in Barnett’, I immediately stop the session and say “your girlfriends in Barnett”? Barnett is a boy’s unit. “Oh, shit”, Oho says laughing, we are all laughing, “Cullity” I meant sir he says, “You’d get bashed if you said my girls in Barnett”, I say laughing along with him and Vin. More laughter. “Ok hear you go again” I say and press record. Five takes later, Oho say, “that’s it, I’m coming in” and strolls back into the control room. “What you reckon Vin, you like it” I ask. “Yeah, it’s good, it’s Gangsta”, he enthuses and as Oho enters he says “man, you didn’t tell me you were doing this”! Genuinely surprised Vin is. I wonder why Oho has kept it from him. Control Room Banter 1. “Yeah this is what I do when I leave school cuz”, Oho announces, “What as soon as you leave school you come here”? “Yep, every Wednesday”, Oho say, “Every Wednesday”, I confirm. Jesse enters the room and asks to use the computer for sec to copy files to a USB. “So, you will work with Oho next week Jess, but I got to come in and ask a few questions, a debrief”, say, “Cool, cool”, Jesse replies. We are coming towards the end of our time together, Oho asks “what are you doing next week”? “Me, I will come in and we can do any tweaks you want to do, we can do another song, but maybe you want to work with Jess again, whatever, there are a few questions that I have to ask you”, I answer, “Alright then”, Oho responds. 2. Jesse is mucking around with a track of Andrews ‘Dangerously Comfortable’, I played on the track I announce, just then Andrew walks in and I introduce him to Oho and Vin. For the next few minutes Andrew, Jesse and I discuss the AFL, Andrew being a mad Bomber and me a Hawk, oh the rivalry,

93 meanwhile Oho and Vin are discussing their own thing on the couch. Andrew and Jesse leave and I am back on the controls, or at the computer. Mixing and banter continued 1. “I just want to clean everything up”, I must have said this 100 times! I guess I like neatness when I mix, especially in the edit window, makes my work flow more concise and easier to work with. “What’s that”? Oho, who is the computer with me asks. “Cleaning shit up means that I am just putting a cross fade on everything”, I tell him. “I don’t know what a cross fade is’, Oho replies. I explain that it is a way of the volume slowly coming in or out on the start and end of a region, to make it smooth and not just jump in. “So, you don’t just get put on the spot”? Oho asks. I have no idea what he means, but reply, “Nah, so it just sounds more professional, that’s what we want at the end of the day isn’t it”? “Are you a masters”? Oho asks me. “No, I am an audio engineer but not a mastering engineer”, I reply to him, he continues “but I thought you were a masters”? He seems a bit confused until I respond to him by explain that I am doing my masters research project and explain to him because of the work that I have done in prison with you guys that I thought that it would be a valid project to do. “You ever been in”? Oho asks me. “What in prison”? I ask back. “Nah, nah have you been back in lately”? he sets the question straight. I don’t know if I would have told him that I was locked up all those years ago for drunk and disorderly, actually I probably would have, he wouldn’t care and though I’m not proud of it, it did happen! “No, the last time I was in was at the M.A.P (Melbourne Assessment Prison), fuck going in there” I add. ‘Parkville”? Oho asks, and then explains who his shout outs are for and for which units they are in. 2. “What’s the food like in there nowadays, everyone still eating noodles”? I ask, Oho laughs and says, “yeah Mi Goering’s” the prison delicacy. All kids love them, there are like a currency in juvee. He continues, “you dis Mi Goering’s and you’ll be bashed” he says laughing, he’s probably right when I think about it. If you stole someone’s noodles, you’d definitely have to answer for it. 3. The next conversation focuses in on the girls in Cullity and I mention that they used to flash their boobs to the boys from other units, ‘Still do”, Oho say laughing and goes on to tell a story of some girls lifting their tops up for the lads. “Are there any gay dudes” I ask, “Oh man, jack!” Oho replies and adds, “I wouldn’t dis them but oh man”, “I’m sure there would be a couple but couldn’t come out” I say. “Hey I am gay”, Oho announces as if impersonating someone coming out. We have a similar conversation on lesbians but Oho and Vin are too you to have a serious discussion about it and instead giggle and laugh their way through a story involving two girls and the music room. I will leave it up to your imagination. “So, it’s cool for two girls to get into girls but not for dudes to get into dudes”? I ask. “I ain’t touching no guy” Oho exclaims, “I’m not saying you” I tell him and add “I mean any dude touching any dude”? Oho tells a story / rumor about some guys in a unit to which Oho thinks is all bullshit. Time to change the topic. 4. “What I will do is make a bounce and you take it home and tell me what you want changed, things louder or quieter”, I tell Oho as I am still cleaning up the edit window. “I’ll just listen to it now”, he turns to Vin, “you listen up”, “me”! Vin answers with a strong note of surprise in his voice, “yeah, you’re a person who has never heard this before”, “True”, I interject, and Oho continues to Vin, “so you just tell me anything that needs fixing up”. Hey Vin, pressure is on! “Just don’t act up when you hear this, relax”, Oho says. 5. I press play and 1 bar in Oho stops me and tells me that it needs a “head-start”, Vin nods in confirmation. What Oho means is a 4-beat count in, he uses his mouth like an open hi-hat to explain this. “Cos, I don’t want to be listening to this on my headphones and then like”, Oho says and Vin laughs, he continues, “like, I’ll get a fright”. Within a minute, I have 4-beat count in using open hi-hats and press play. The song comes to life. 6. The song ends and Vin says, “It’s good, good vibe but it’s too short”, “yeah”, Oho agrees, and adds “so my rap finishes and the beat goes on for like 10 or 5 more minutes”, he trails off. I am confused, 10 or 5 more minutes, I was hard enough to get 2 and 1.2 minutes out of him. “What do you want to do”? I ask him, “A freestyle”, he responds then Vin adds, “It need like 5 more lines and a freestyle”. Vin clearly doesn’t know how music is measured. You don’t talk in lines or freestyles, it’s bars, beats or at the very basic, verses and choruses.” It’s gonna be hard, because”, I say and hit play to take the attention away from their unrealistic request. “I hate my voice” Oho announces and then starts rapping along with himself. That was short lived hatred. He needs some reassurance, “It’s cool”, I tell him. I believe that as well. “Yeah, stuff that, it’s all good, I probably couldn’t do it better anyway”, Oho says, Vin laughs. It is all good I think and hit play again. “Let’s listen to volume levels” I say. “Stop, go

94 back”, Oho says after the 4th bar”, “Yep ok”, I reply and restart the song, again it plays and Oho tells me to stop, “you hear that, there’s something there that sound like a double or something”, “A drum”? I ask, “yeah”, he replies. What he means is there is an out of place kick that needs moving. I line up the drums against the edit window grid and tell him that “it’s an easy fix”. I bring the drums into line and announce that there are “no more off, slightly out of time drums”, “you like perfectly cleaned it” Oho says in a grateful manner. “I did” I exclaim. 7. ” A very, very good job”, Oho compliments me. Vin asks, “how long have you been doing this studio work”? “Years and years” I reply and add, “but anyone can do it, you just got to want to do it, like learning an instrument, people say to me that I wish I could play guitar, well, you can you just want to want to do it”. I go on further, “it’s like playing a video game, do you play video games”? “Yeah fortnight” Vin says, “so how did you get good at it” I ask, “I practice”, he replies, I laugh, “exactly”! I respond. I then discuss the merit of practicing of wanting to be good, so you practice, how things don’t just happen. They both agree. Well, it’s fact, it’s true! “I was though”, Oho says and continues, “I was great straight away”, I say, “yeah, but you’re Oho”! 8. Oho is at the piano, he is playing the stock classic ‘Fur Elise’. “You’re a classical musician” I tell him. “Vin, you know how to play”, Oho says, “yeah, but I ain’t played in a long time”. He ain’t getting on the piano for us. “So how long have you been out for Oho”? “This will be my 3rd month, since June” he replies, “That’ great, much better than being in”! He nods in agreement. “How long you do this for?” Vin asks, “‘til 2:30” Oho says over the playback. Their conversation turns to a mate’s mum and how she is nice to their faces but is a bitch behind their backs. Hey, we’ve all had one of those mums in our lives I assure them. I press play again. 9. “Is this good, straight up right now, tell me”, Oho says out of nowhere. “Do I think it’s good” I ask, “yeah”, he replies. “I think it’s great, it’s original. You don’t want to be like everyone else”, I tell him, “Yeah, it’s pretty good” Vin says. I continue, “I love the sentiment of the lyric, it’s really cool, you don’t want to be the same as everyone else” More reassurance for Oho. He is distracted by Vin pick pocketing him and going through his wallet. Again, giggling. Good friends I think and press play. 10. The song plays all the way through. “My voice sound shit”, Oho cries out, “It’s sounds good when I rap it but when I hear it back….” Ha-ha. “No one like the sound of their own voice I tell him, even great singers don’t like the sound of their own voice or some fucked up reason”, they laugh. “My voice sounds shit” Oho says again. This time I ignore him. “So, it’s neat now, drums are all aligned and we have a neat session”, I say, “Is that us”? Oho asks, “That’s us it’s a quarter to three” I reply. “Next week, I’ll see you at 1:30”, I add. Ok “laters”, Oho says. “Nice to meet you” I say to Vin, he replies in the same vein. Oho gives me his complicated handshake he taught me. Which I’m getting better at. He smiles, “I’m learning” I say proudly and with that they are out of the door and up the stairs. 11. Oho and I have spent 6 hours and 17 minutes with each other.

Friday 19th September 1:30 Final day! 1. “Alrighty, so, what is the song called”? I ask. “I don’t know”, Oho replies. It’s our final session with each other and it’s time to proof everything and sign off on the song. Exciting time! “Shall we call it, ‘Wanna Be the Same’”? “’Or just The Same’” Oho replies. “Because you’re saying in it you want to be original and you’re not the same”, I tell him. I need to proof the lyrics first. So, we run through the lyrics, line for line as I jot them down. On completion I announce that we are calling it, ‘Not the Same’. “Not the same”, repeats Oho and adds “yeah, that sound awesome”. “Ok cool”, I reply. We have our title. 2. “What’s that”? Oho asks. I have Logic X score page open with all the notation, “That’s everything in music”, I tell him, and add, “That’s what I’d give to musicians so they can play it, that’s all of it in music, I got to document all that shit”. Indeed, I do. Questions and debrief “Ok, I need to ask you a few questions”, I inform Oho. I have with me the final questionnaire sheet that is stage 3 of the process. This will be invaluable for my research as I will ascertain how much Oho: 1) enjoyed the song, 2) document how he felt about his self-expression,

95 3) what he learnt from the project, 4) the benefits, if any he thinks he got from the project and 5) if he would recommend it to anyone else to undertake. I start the questions: Enjoyment - Question 1a Me- So did you enjoy participating in the song with me, be honest, cos I am not going to be offended if you say I suck or anything, we did have a couple of goes at getting it? Oho – Nah all sweet. Thoughts – I guess that one word or very short answers is what I would expect. He wasn’t the most forth coming of people with elaborate reflection. I think that it was a confidence thing. He is only 14 after all and throughout our time with each other he often expressed his lack of ability as a rapper and musician. However, I honestly think that we were able to build a solid rapport throughout the time we spent with each other. I was able to engage Oho in conversation regarding music and his tastes and ideas, his life experiences, his interests, family and friends as well as his experiences in detention. The fact that he felt comfortable enough to suggest musical and lyrical ideas and critiqued what we were doing provides me with the evidence that he did feel comfortable in my presence. Question 1b Me – Did you like the process that we undertook to create the song? Oho – Yeah. Me – Like did you like the way we listened, what did we do? We got the BPM first, we got a beat. We started off with something different. Oho – We started off with something gay…. Me – Gay? It was gay? But we ditched it, I am glad we ditched it. Oho – Yeah it wasn’t lit enough Me – There is nothing worse than to keep on struggling with something that you don’t like, fuck that! Me – Did you like the way we listened to Billy; I think it was 69? Oho – Yeah Me- He’s a bad dude, I was reading up on him Oho – He’s a faggot… Me – Is he? But we listened to him and said ok, he’s using some violin, so we got some violins and shit. Not that we ripped him off, but we used him for inspiration, that work for you? Oho – Yeah Me – Have you played the song to anyone? Oho – Which song? Me – This one Oho – No Me – Why not? You haven’t got a copy? Oho – I don’t want to show anyone Me – Why not? Oho – I dunno, I might be embarrassed, they might think its shit. I don’t know. Me – Really?

96 Oho – It’s the people I like and their opinions about it. Me – Do you play anyone your music? I remember when your mate (Vin) came in and you didn’t want him to hear anything either. Oho – Nah, he is different. He gives positives. Me – Ok, who gives you the negatives? Oho – I don’t want to get negative behavior from anyone you know? Me – Who is prone to give you negatives Oho – I don’t know Me – I understand, I hate it when you show someone a song and they are like, oh yeah, that’s alright because they feel like they have to. Thoughts – So we did spend some time creating a song that was deemed to be gay by Oho. To tell you the truth, it wasn’t the greatest of ideas, it worked, but overall, it was pretty stock. Mind you we only got through the bass and drums. Still, it was identified as being non-useable early on and scrapped. That was all Oho’s doing. If he had of liked it, I would have persisted with it. It was his call. My compromise results in a collaborative engagement. Especially when working with youth-at-risk. I acknowledge that persistence is futile if investment is non-existing. We undertook my usual process to complete the song, we pretty much adhered to my 27 step 3 stage process. Stage 1 – Creating a foundation of which to build the song. We built a rapport, by discussing the music he likes, listening to and watching Billy 69 and then discussing the songs construction, instrumentation and direction. Question 1c Me - But were you pleased with it? Oho – Pleased with what? Me – The song! What we came up with. Oho – I reckon it’s alright (more upbeat) Me – You like the piano bit at the end? Oho- Yeah, that’s lit! Self-Expression Question 2a Me – Do you feel that you were able to express yourself? Do you think that I listened to you and that you were able to have an input and express yourself freely? Oho – Yeah. I didn’t feel like that you were over me. Me – Yeah, ok yeah that’s sweet, that’s good. Oho – You were just chillin. Learning Question 3a Me - What did you learn from participating in the project? Oho – (Laughing) Nothing. Me – Nothing? What about that you can work with other people? Oho – Oh yeah, that stuff. Me – That you can play drums, a bit of piano. Oho – I though you meant like did I learn anything, you know? (He means software) Me – Did you learn anything about the recording process? Did you learn anything about yourself? Oho – Nah, everything was the same.

97 Question 3b Me – Ok, what did you learn about a collaborative process? Oho – What’s that? Me – That’s like writing with someone. Basically, I am getting at did you learn that you were able to sit and work with someone and have your ideas heard? It was you who went ‘that’s gay man, jack’ so we got rid of it and started again. Did you learn that you are able to write songs with someone who you just met? Oho – Yeah, I reckon I could do that again. Me – Great! Question 3c Me – Did you learn anything about song-writing and music? Was there anything that you went, shit, that’s how you do it? Is there anything that we did, like when I was playing that guitar line at first (meaning the chorus – police chase guitar). Oho – (Humming the bass line) Yeah, I really like that. Me – The bass line, that line just creates room for the vocals. Oho – Yeah, sounds all sweet. Question 3d Me – Did you learn anything about recording with Logic? Or did you care, did you want to even want to learn? Oho – I already knew how to use Logic. I mean I learnt this on first (meaning Ableton) and now I know how to use Logic. Me – I didn’t know you had a background with computer music software. Oho – Yeah, when I was locked up, this is what we had in the studios. Oho – Oh, it is Logic. I installed in on the computer many years ago. Question 3e Me – Did you learn anything about yourself? Oho – Yeah, that I cannot rap? Me – Yes you can rap. Why don’t you think you can’t rap? Oho – Cos I am shit? Me – Why do you think you are shit? I think that you can rap. If you want some constructive criticism, and you said this before, that sometimes there are a few works that are mumbled, a bit muffled that need to be clearer. You saw what I wrote down, I was pretty close. There were just a couple lines when you said, I mumbled that. Even you said it. Me – It’s interesting that you said that you can’t rap. Have you always thought that? Oho – Nah, I used to think I could rap. Me – But you said you can’t rap, you did, and that’s why you don’t want to show… Oho -It to anyone, because I’m too scared that people are going to say its shit. My feelings are too precious. Me – Your feelings are too precious. I understand, that’s fair enough after-all how old are you, 14 or 15? Oho – I turned 15 on Wednesday. Me – Happy birthday man! Oho – Thanks

98 Benefits Question 4a Me – Just a few more. Do you feel that you have benefitted from the project? Oho – Yeah. Me – Why do feel like it has been good for you? Keeping you busy? Meeting new people and being able to express yourself? Oho – Making me active to actually come, you know. Me – Yeah that’s cool. So, the reward for coming is getting to work on songs. That is cool. Oho – My art and my music programs are the only things I like, if these two weren’t here, I probably would have been locked up again. (Laughs) Me – Wow, that’s a really interesting that you say that, why do you think you’d be locked up? That is a really powerful thing to say! Oho – Because this is Gangsta! Me – It’s keeping you engaged? Oho – I swear that if all the boys were out and they got to do this. I reckon not even ½ of them only ¼ of them would go back in. Me – Wow. You know, I don’t think that you’ll go back in. Is that a bold statement of mine? Oho -Yeah, I thought I was going to go back in. I thought I was going to go back in yesterday? Me – Why, did you have court? Oho – Yeah. I got arrested last Wednesday. Me – What 2 days ago? What you do? Stealing, fighting? *Oho goes on to explain what caused his arrest, none of which is relevant to this project. Question 4b Me – Do you think anyone from your family or do you think that anyone else has benefitted from you doing this project? Like your family, the community? Well I you think that it has been keeping you out of trouble then community and family have benefitted. Like your aunty, has she benefitted from you doing this? Except from driving you. Oho – Yeah, she is pretty annoyed at that. But she likes me being down here. She’s not a musician but she is, I mean she plays with guitars and all that but she’s not on the technology and all that, yet. Recommendation and Improvements Question 5a Me – Would you recommend doing this sort of thing to your mates, a collaborative project? Oho – Yes! Some of my workers will be please from YJ. I tell them to hook others up. Me – Cool. Oho – Get locked up deliberately. Me – (Laughing) Ha, yeah, get locked up so you can go to Living Music. A pretty backward way of going about things. And why do you think that they’d enjoy it? Oho – Because there like me, they into music. Me – Did it give you a sense of pride, you know finishing the song? Because not everybody can write songs and see them through to completion. I know that you said before that you can’t rap. Well you can and I’ll tell you something, anyone who is hanging shit on you is jealous because you are doing it and they aren’t.

99 Me – Everybody’s fantasised about playing music at some stage, and I tell this to my other music students, there are people that are watching who wish they could get up and do it. Have the balls to do it. You’re doing it. So never be embarrassed to get up and do it. Question 5b Me – Could you think of anything that I could do to make this (project) better? Could you think of anything that could improve the collaborative song-writing project? Oho – No Me – The thing that I would change is the time limitation, it would be better if we could have 3 hours together, get more of a chunk done. One Word Response to each Instrument Me – A few more. Now, about the songs. You played the drums. Oho – Yes Me - You said you couldn’t play drums. You, you played the drums, you played some piano, you came up with the idea for the horn line that we did on it. So, what did you think of the drums, your drums? Oho – Sweet. Me – Drums are sweet? Oho – Nah, I think the drums are gay, I don’t know how to drum. Me – But, Oho, you do! They aren’t gay. You just got to practice a bit more. If you practice you get better, like anything. The bass line? You said before that you liked it. Oho – (Humming the bass line). Me – No that was the first walkup and we took that out because it was clashing. What about the use electric guitar? You know in the chorus? Oho – was that an electric guitar? I can’t tell the difference. Me – Yeah, I recorded it on the white guitar. Oho – Yeah, AC/DC shit. Me what else did we use, the violins, did you like the violins we used? Oho – Yeah. Me – Because traditionally violins aren’t in Hip Hop. We kind of lifted that idea from Billy 69. I think they came out alright, they created tension and there was some release on them. One Word Answers Me – Ok, one-word answer for each instrument. Drums? Oho – Beat. Me – No a one-word response for each instrument, if you were happy or not. Oho – Ok. Me – Drums? Oho – Gay. Me – Because you played them, right? (Laughing) Oho - Cos I played them; they were gay. Me – Don’t beat yourself up mate. Me – Bass? Oho – Bass was alright.

100 Me – Electric guitars? Oho – All sweet. Me – Violins? Oho – Gangsta Me – Trumpets? Oho – Trumpets? Me – Yeah, you played the line. (I hum it and he finish it by humming it too). Oho – Yeah, that was gangsta. Me – And the piano at the end? Oho, That was gangsta, that was the best part. Me – The best part? Why was it the best part? Oho – Gangsta. Me – It took the song somewhere? Oho – Yeah, it lifted the mood. Um, technically it ‘brang’ it down cos there is some depressing stuff, but it still lifted the mood. Me – Yeah, I know what you mean. Me – Ok, cool, your lyrics? Why did you choose to write about those lyrics? Oho – Because they are meaningful and I’m trying to tell people what I mean. Me – And what were you trying to get across? Oho – That you got to switch of at some time. Or everyone could be the same forever! Me – So the whole sentiment, the whole meaning and correct me if I am wrong, is that your different, you don’t want to be copying them, or doing the same shit that they are doing? Or the same shit in five years’ time? Oho – Yeah, I definitely don’t want that. They can do their life and I can do mine. I’m talking about everyone in my area, in my community. Me – And what are the things that they do that you don’t want to do? What do they do in the community that you want to be different from? Oho – I don’t know. But I am telling you right now that there is zero to minis 500,000,000 chance that anyone will be a cop from my area. Me – Wow, that’s pretty left field. Me – Why did you want to write a song? Oho – Why not? Me – Is because you want to express, is it because you have something you really want to tell everyone? Or you have music in the blood and you just have to do it? Oho – I write songs cos it’s lit. It’s something to do. Me – Yeah, it’s something to do. Oho – It keeps my blood flowing. Me – Keeps you blood flowing! Awesomeness! Final Words 1. “Oho”, I announce, “That’s me and you. I’d love to write another song with you but I know that you and Jesse have work to do. It has been a pleasure. Would you write another son with me? I ask him.

101 This is our good by time. It has been 8 sessions all up. “Yeah I wouldn’t mid” he replies. “I’m not a grumpy old bastard, like someone else once called me”? He just laughs. 2. “So, man, some thoughts. All G, but some thoughts all the same. Oho, there have been times when and I’m sure Jesse would know this, that we are losing him, he’s drifting off, he wants to play drums, then he’s at the piano, now he’s looking at the guitar or something else up over there” It comes out rapid fire as if to accentuate my description of ADT Oho. “Yeah, I do do that” he sheepishly replies. “Yeah”, I continue, “got to keep you engaged”. 3. “What I really loved is that you got on the drums and you played some piano and another beat you made them. So, it’s in you, please continue on. I did enjoy doing with you. You’re a really nice kid and I really hope you don’t keep getting fucking locked up”! “Thanks man”, Oho genuinely says. “No, I’m serious man, you’re young and it would be a waste you sitting in Barnett or something”. “I mean look at the day, fuck being in there today, hopefully getting Mi Goering noodles or something”, I say. “No KFC”, adds Jesse. 4. I then tell them how when I was first going to Parkville the used to buy the kids Maccas on a Monday night. “They don’t do it anymore”, Oho says, then explains, “Kids used to get bashed for their meals”. Doesn’t makes sense to me. By the time the food reached the kids it was cold and stale anyway. 5. I also tell him that when I first went in there, o which he thought I did time. Nah Oho, close but never went that final yard. When I first went in there writing songs. Anyways the staff weren’t in uniform, they wore what they wanted and the rapport between them and clients was way better, Yu see a uniform equates to authority and the kids hate that. In my humble opinion, uniforming the workers was a big mistake. Many others also agree with that too. “Everyone was casual” Howlong ago was this” Oho says astonished. “Bout 8 years “I reply. 6. I lament further changes that have been implemented, like eye scanners and how much of a hassle it is just to get in there to see the kids. Truth be told, although I miss the kids, I hated the place in the end. The last few minutes is spent with Oho telling us stories that he has heard, legends if you will about kids hooning around on quad-bikes, bashed clients and other juvee tales. 7. It’s now time to wrap it. Oho’s aunt is here, “I gotta go”, he says. I stand up and anticipate his hand shake. I nail it and he laugh, “see you Oho, take care man”, I say to him, he just turns to face me and with a huge smile, that, huge smile says “Thanks cuz, I think I will” and with that, he is up the stairs and out the door. 8. Oho and I spent a total time of 6 hours and 49 minutes with each other.

102 Appendix 2 Song 2: Sam Friday 20th July 2:30pm 1. So, in comes Sam…real name May, 16 years of age, middle class. Year 10 student. Jesse had briefed me on Sam. He seemed concerned when he told me that Sam was really a girl but identified as a male. Don’t know why, I have worked with trans youth in the past and when I told him so, he did relax... 2. I get it… I get that it may still be a sensitive subject for many people that I know, usually older folk whose prejudiced ways are somewhat set in stone, never to be changed or swayed by the ever- evolving modern world. Whatevs’, I’m secretly rapped that I have a youth so marginalised in present day society to work with. This, will be cool. I am and will be referring to what he, Sam is, a guy. 3. Anyway, Sam looks more like a boy than a girl. Has some serious mental health issues. Doesn’t play and instruments, he mentions that his dad plays guitar,” old music, Southern Culture on the Skids” music is encouraged. Dad still calls him Mae, shits him but you can tell the is love there, there’s a slight laugh when he mentions his dad, kind of cute, he knows it must be hard for his old man, probably very fucking hard. Anyways, Sam writes poems and songs. Music, “Fucks with my head” he says, when asked how much time he spends listening to music, “Used to be all day every day, but now only a few hours…it’s landed me in hospital”. Been hospitalised, mis-diagnosed, given the wrong meds, open about being “schizo”, just did some time for a knife related offence, “a stupid mistake”, and was locked up in ‘Cullity’ the girl’s unit in Parkville for 2 months…” A big mistake…annoying”. 4. I sympathise. “Not the only trans kid on the unit, so they had some experience …still got into a few fights though” he tells me. But let’s put that aside for the moment, we’re here to write a song hopefully, ameliorate these fucked up experiences of recent times. Asked what he wants to achieve for this project, “100,000 subs on YouTube, my first goal is 1k. You don’t actually need that many to make money”. So, there it is, we have some ambition. Socio Demographics (optional) Question 1a Me – Sam what is your age? Sam – 16 Question 1b Me – Sex? Sam – (pauses) Female. (As explained above, Sam is Trans) Question 1c Me – Ethnicity Sam - Australia Question 1d Me – Country of Birth? Sam - Australia Question 1e Me - Family size? Sam – 3. Dad, Mum, and me Question 1f Me – Highest level of education Sam – Year, doesn’t matter.

103 My Thoughts An interesting kid is Sam. Hates the body that he is in and openly dresses and acts like a boy. He is quite reserved and speaks in one-word answers. Comes across as nervous which is understandable and I get the sense that he holds an element of suspicion towards me. I’d imagine that he has spoken to all sorts of councillors and phycologists over the last few years and I could just be another of the many. He has spent some time in the Cullity unit at Parkville which for someone who wants to be a boy would be traumatic. He is present with his mum, so he definitely has support. (I will speak to his mum when I get the chance). I’m glad mum is here to meet me and see what Sam is doing for the research project. His level of schooling isn’t important and won’t have any bearing on this project. I will need to be very sensitive and understanding whilst working with Sam. Building a rapport and mutual respect will help the collaboration immensely, as it always does, but with Sam and his fragility, it will be paramount. Musical History - Question 2a Me – What’s your favourite style of music? Sam – Rap Me – I was thinking that you might say that. Question 2b Me – Do you play a musical instrument? Sam – Nope. Question 2c Do you know how to operate Pro Tools, Logic or Garage Band, or anything? Sam – Nope. Me – Cool. They are called a D.A.W Digital Audio Station. Question 2d Me - Do you write songs, lyrics, or poems? Sam – Yeah, songs. Me – Cool Sam. Me - Have you ever written with anyone? Sam – No Jesse – But it’s what Sam and I have been doing here right? Me – Yeah that is a collaboration, so some collabs. Sam – Yep one, we did one. Me – Ok. One collab. (laugh) Question 2e Me – How many hours a day do you listen to music do you reckon? Sam – It used to be all day, every day. Me – Alright Sam - but I don’t anymore cos it fucks with my head. When it’s in my ears it fucks with my head. Me – Good fuck with your head or bad fuck with your head? Sam – Bad. It’s landed me in hospital. Me – Yeah right. Because when I hear music it fucks with my head too. When I was driving the other day, I heard the John Lennon song ‘Mother’ and the effort that he was putting into his vocals, maybe it was a weak

104 moment, but tears started to roll down my cheeks. But it was a good thing. Like a thing of beauty if you know what I mean. Jesse – Yeah, I do. Me – Like when your hair stands on end, do you get that? Sam – Sometimes. Me – It’s a fascinating thing when you get shivers from it. Me – So what do you reckon now, a few hours a day? Sam - Probably. Question 2f Me – If you could sum up music in one word, what would it be? Sam - Dunno My Thoughts – Sam is a boy of few words. He gives a lot of one-word answers, like, yeah, no and dunno. However, he seems to be very open to time discussing time spent in hospital. When he said that music ‘fucks with his head and put him in hospital’, he said it with conviction, as if he was waiting or wanting to tell me that. Interesting. I think that if I am able to get him to feel comfortable enough to express himself, we will have some interesting lyrical content. He favours the rap genre, again no surprises and doesn’t play an instrument. However, he writes songs, not poems, perhaps one of which we will work on. If he has pre-written material, that will be a positive as he won’t feel pressured to write on the spot. If this is the case it will be good, with his guidance to write music that will complement the lyric. The only collaboration he has done, which he needed to be reminded of, is the song he has started with Jesse. I have not heard it yet. Overall, again if I build a rapport and are open to his ideas, I think that a collaboration is entirely possible. I look forward to it! Cultural History - Question 3a Me – So Sam, is music a part of your cultural history? Sam - Nup Question 3b Me – Are you encouraged to play music in your family? Sam – Yeah, my dad plays guitar and he listens to all that old music. Me - Old? I’m old what’s old? Sam – Southern Culture on the Skids Jesse – I saw them play live once, they were wild, kind of like rockabilly music… Sam – Yeah but fucking annoying when you’ve had it played to you your whole life. My dad is like, but this is your jam and I’m like no it isn’t dad. Me – I got two daughters and they go Dad, that sucks you know? Jesse – Ha-ha, yes! Question 3c Me – Do you wish to incorporate any elements of your culture into your songs? Basically, are you going to put any Southern Culture into any of the songs that we write? Sam – (laughing) Nope! Question 3d Me – Is there anything else that you want to add regarding your background being an Aussie? Sam – Nope.

105 My Thoughts – I can play on Sam’s ageist sentiments by being self-deprecating. In that, I mean that the reference to his dad playing guitar and listening to ‘old music’ is me. I can play on his sympathies. The way he spoke of his dad was of endearment and there is obvious musical encouragement and communication between them, which is a positive considering Sam’s current identity status. As stated earlier, the success of this project will rely heavily, as do most, on how I can engage Sam so he feels comfortable to express himself in my presence. At present I clearly note that he sees all adults as ‘old’, who have limited knowledge of youth’s taste, especially someone so complex as himself, or, know nothing. Kind of like how I felt when I was a kid. Objectives and Expectations Question 4a Me - What do you hope to learn from participating and writing a song, is there anything you want to learn? Sam - Nope Question 4b Me – What do hop to achieve? Sam – Dunno. I want to achieve 100,000 subs. Me – Subs, that’s cool. Jesse – Subscribers to your YouTube channel? Sam- Yep, It’s going to take a while. Me – Cool, it’s kind of achievable. Sam – I worked out that you actually don t need that many subscribers to make money out of it. All you need is a few thousand and I don’t know how may views, but you can make money from it. Jesse – Yeah, you definitely can make money from it! Question 4c Me – How many songs do you hope to write during this project? Sam – I dunno, a song. Me – I hope we at least do that! And finally... Question 4d Are you nervous about participating in this project, and if so, why? Sam - Nope My Thoughts – I think that Sam wants to be rich and famous. He doesn’t seem to want to learn or further develop his song-writing, he just seems interested in being known. I get the feeling that even if he didn’t write the song, so long as it got him YouTube subscribers, he’d be happy – then probably take the credit for it. Who knows? He has obvious ambition, 100,000 ‘subs’, (he is up with the lingo) is no light task. Though compared with superstars, it’s a mere drop in the ocean! Achievable? I don’t know, will have to wait, and see. Apart from his one-word answers, on a topic that he is passionate about, or schooled in, he can show confidence. I think that this confidence is on display, ironically, in his one-word answer ‘nope’ when asked if he is nervous about participating in this project. I do believe he isn’t nervous. I mean compared to what he is subjected to, and what he has gone and is going through by identifying as trans, participating in a song-writing project, one would think, would be a breeze. That said, the only pressure could be the quality of the song we write. He has obvious pride, you would need it in spades to openly want to be a transsexual, so any lack of quality in the work, I feel, will result in dis-engagement. I need to engage Sam!

Song 1. Sam, what kind of song do you want to write? “A rap song” Ok, fast, angry, what you thinking? “A bit like XXXTentacion” is the reply. For those that don’t know, XXXTentacion was an African

106 American rapper who had wrote low-fi sounding songs identifying with mental illness and youth and whose sonic palate included the use of distorted heavy guitars and drums as opposed to more conventional rap instrumentation. Think Emo meeting “killing in the Name Of’ and making early Birthday Party as babies. The kid also serve time in Juvee for a robberies and assaults. Incidentally, it was in Juvee that he began writing songs. XXXTentacion, was shot in the neck in an armed holed up… Jahseh Dwayne Ricardo Onfroy, his real name, was only 20 when he was killed. …Sweet, what song? Sam leans over to the keyboard and opens up YouTube and plays the song ‘Schizophrenia”.

a. Voices in your, voices in your, voices in your head Those who tryna drive you mad And make it all, make it all wild (Wild) Voices in your, voices in your, voices in your head Those who tryna drive you mad And make it all, make it all wild

[Verse] There's another mind deep in me Don't know what's gotten into me I've seen the other side plentifully ‘til the end I'll, 'til the end I'll fight There's another mind deep in me Don't know what's gotten into me I've seen the other side plentifully ‘til the end I'll, 'til the end I'll fight

[Chorus] Don't give up, don't give up Don't give up, don't give up Don't give up, don't give up Don't give up, don't give up Don't give up, don't give up Don't give up, don't give up Don't give up, don't give up Don't give up, don't give up b. (schizophrenia, XXXTENTACION - 2018)

2. The song’s form is kind of like the quiet verse, distorted chorus thing that Mud Honey / Nirvana / Seattle thing had going on. Far more rock than rap, something I feel confident that I can emulate. In next to no time. 3. As is my usual procedure, I suggest that the first thing that we do is get the BPM, gives us a foundation to work with. All right Sam, I’m going to play the song and you’re going tap the BPM. I load the app on my iPhone and start the song. Sam started tapping away, problem is that the bloody song is actually recorded live, something which I generally like, especially with Hip Hop, takes it away from being so robotic, on the grid, gives it a human feel. Don’t get me wrong, I understand the purpose of metronomic recordings for both performance and production values…but, it’s also refreshing to hear a tempo shift with the emotion of a song. The problem is that it’s kind of awkward watching the BPM ever changing on the app while Sam is tapping, I don’t want him to feel that he is doing something wrong when he is doing just fine…I don’t think he even notices to tell the truth, it’s me whose awkward… 4. I decide that the initial beat should be bout 110 BPM and in 4/4 time, Sam’s cool with that, I feel that there is a little trepidation about me still, but that said, I also feel that we are becoming comfortable in each other’s presence… got to remember, that Sam has to open up emotionally to

107 strangers all the time, be it medical professionals, case workers, screws, parents and friends, perhaps on a daily basis. Maybe to Sam I’m just another person who is analysing his thought process, his mindset, a voyeur into someone’s misfortune of being born a girl but really is a boy and mentally unstable to boot…. the thing is there is a bit of truth to that. BUT I know my integrity, that I do and that is to make Sam feel better about himself, through making music with me. As a side note, I have always found that when I have ever mentioned that I have worked in prisons, psych wards or with wayward kids, everybody who is unfamiliar, or unprivileged in some cases, always ask ...’Oh, what’s it really like in there? Does this and that happen? Are you scared? They are just curious I suppose, want an inside into the recesses of what they probably deem to be a dark world…it can be… but so can the sordid tales of Sally Housewives days while dad is at work and kids are at school, same goes for Harry Fixit, if you get my drift… I’m side tracking, though fell I need to get this down, it’s in my head. 'Express yourself’ as Nick Cave would scream in his early years. 5. At 110BPM, I open the loops and ask for Sam to choose a beat that he likes…I miss drummer track in Logix X big time... After playing some pretty generic rock loops, we decide on 2 beats, a verse and a chorus beat, the difference being that chorus has extra kick drums, one on each beat. It’s a cool foundation to start with. The thing that I’m digging also is that it’s going to be real time guitar and bass playing not just MIDI emulation, even the drums are an audio loop, hard to edit, but at least real drums non the less. This kind of inspires me just that little bit extra…. I’m a musician first and foremost, I ‘play’ instruments.

Drums 1. I took the drums from apple loops. Why? Because I wanted to get something going ASAP and sometimes the recorded sounds on the audio loops are pretty good. I used Bar Band Basic Drums for the sound. A real sounding drum kit. Would have still loved Logic X and the drummer track but at least these drums are recorded well, the only thing that I can’t do is edit them, but there are a couple of patterns for I decided to use. One for verse and one for chorus.

2. Pattern A (Bar Band Basic Drums #2) for the verse that classic kick - Kick -snare -kick - snare as the 2 e.g. below.

4. Figure 29 Drum Pattern A (Verse) – Sam

5. Pattern B (Bar Band Basic Drums #9) is the chorus, the same as A but with a kick on every beat with open hats as below, played louder So the extra kick and the open hat, compliments the heavy chorus.

6. 7. Figure 30 Drum Pattern B (Chorus) - Sam

108

8. So, this is the beat, rather simple actually, solid, and dynamic suits the music. For cymbals I again used a sampled loop this one being Crash Cymbal # 4. Gets the job done and for measure as I usually do, I add a second cymbal as well and then pan them left and right. In this case it is Crash Cymbal # 1. I have used the crash cymbal sparingly. There is a lot of brass or sizzle in the hi hats especially when they are open. I have also always liked the Lennon song Cold Turkey in which there no cymbals at all. Really cool warm drums in that song. 9. Ok, Sam, let’s make some music…. I start to tune up the Japanese SG that Andrew has on the wall, one of many guitars on the studio wall, some good, some crap, this errs on the side of crap, but it looks cool. So as I’m tuning up, Sam tells a story about a kid he knew that had 7 guitars, looked like he was 12 when he was 16, skipped a grade cos he was so smart and whose dad was a dickhead so Sam don’t see him anymore … Sam is articulate, a smart kid, his mum Meryl, later confirms this with me…by the way his mum is cool, supportive and concerned, who wouldn’t be, it wouldn’t be that easy if your kid one day said the wanted to be a boy, it would be an interesting study, the lives of Trans parents. Very interesting. I’m digressing a little. We are here to make music! 10. Guitar is in tune. I feel minor is the flavour and surprise, I’m in A minor, go to key for me. Enables the open A note to ring, fills out the sound with some bottom end. I’m in tune, I have used the pedal board to dial up some grit top the track. 11. I need to refer back to the XXXTentacion song, get the vibe from that again… The verse has a palm muted, arpeggiated feel, bit of effects on it. So that’s the way I head. I explain the use of reverb to Sam, he nods his head, he gets it, but does he care for sonic descriptions? I think not. I tell him I’m more than happy for him to say that what I’m doing sucks, he smiles, I’m sure he will if he feels the need. It’s all about expression isn’t it? Sam, then tells a story about how he was encouraged whilst in hospital to write some words, as a coping strategy to express himself, but when he mentioned that his lyric contained the rhyming of ‘too much strain and under a train’ in the same line the alarm bells went off in a major way. “They just took it the wrong way”, I can understand why though and deep down, so can he. 12. I noodle, hoping to find something that’ll pick at Sam’s ears, semi tonal stuff, A to Bb, E to F, C to B, A to Bb, etc., I like it, and when asked, Sam’s nod suggests that he does too. We got ourselves a verse riff, now for the distorted chorus. I have a plan already, stay in A, use the Eb dim chord I love. I dial up a new track so the verse and chorus are separated and enable me to work on them independently… makes things neater and easier. Oh, better mention that I got some flange on the verse guitar, don’t worry …. it works. Thinks ‘Teen Spirit’... There, ‘enough said

Guitar 1. So, I have created 2 patterns or riffs for the guitar. 2. Below is the verse riff it’s in Phrygian mode, a minor scale with a flat 2 note. It runs over 2 Bars. Then semi tones that are employed in the mode A and Bb, B and C, E and F give it that eastern feel, which in turn gives the riff a melancholic feel that compliments the whispered word ‘Monsters’ on the first beat of each cycle.

3. Figure 31 Verse Guitar - Sam

4. It’s played on a cheap SG copy and I have added some chorus to give it that shimmering effect the smooths a sound out ala Smells Like Teen Spirit.

109 5. Figure 32 Verse Chorus Effect - Sam

6. The chorus pattern below is a 4-bar power chord-based line. 7. The first 2 bars are A (1st) and the E (5th) to for the root chord, that employs the C (m3rd) as a passing 1/8th note into bar 3 where the D# in unison with the octave A creates the diminished flavour for the bar. The 4th bar contains the E note in unison again with the octave A to make a 2nd inversion of the A power chord, then back to the diminished and again I play the minor 3rd C note for the last two 1/8th notes as passing notes to get back to the root position A.

8. Figure 33 - Chorus Guitar - Sam

9. So, whilst I’m doing my thing in Logic, I happen to ask Sam where he lives? Ashburton”, is the reply. No way!!! What street? “Meaden St.” Sam, I grew up in Ashburton, folks still live there, I was there last night... Coincidence or not, it gives our relationship some more strength and another angle, even some more trust. We start to discuss the sky rocketing process of commission housing or what Sam calls ‘War homes’. It’s a bonding moment, listing street names we both know and I think we can tell by our enthusiasm that it’s genuine, well for me it is… You can take the boy out of Ashy but you can’t take Ashy out of the boy…... 10. Back to it then. I get the chorus down, yep, the distorted Am, Eb dim to E back to Eb dim thing I had in mind all along... Well, it works. Gives the song the quiet minor verse and heavy ‘angular’ chorus thing. Dark, was the word I used a few minutes before to describe what we could be after. 11. Time for bass. New track, grab Andrews Maton bass, an old hollow body 60’s thing, cool looking, plays ok too. I plug it into the UA pre-amp, set the gain, and in 2 takes I got a bass line. The verse a root to octave on the ¼ beat, the chorus a running bass line in 8th notes that changes with the Eb to E in unison with the guitar. The song is sounding like a song now. Sonically pleasing. That was quick and easy… I know it would be. Bass lines can be. Bass 1. Pattern A is the verse pattern. Below is the entire verse of 8 b. 2. The A note is held for 4 beats in bar 1 and three in bar to with a 1/8th G note to lead back to the A of the next bar. This continues until the last beat of the 8th bar where an A the E note leads into the chorus.

3. Figure 34 Bass Pattern A - Verse

4. Patten B is the chorus pattern which cycles in 4 Bar fashion.

110 5. Basically, a pulsing 1/8th note on A that changes in unison with what the guitar is doing. Which is moving to the Eb in bar 3 and the E back to Eb and C in bar 4. A simple but effectively bass line that is minimalist in the verse and the 1/8th note ‘running’ line creates a sense of urgency as it joins in unison in the chorus.

6. Figure 35 Bass Pattern B - Chorus

7. I can now give the song some form, something for Sam to take home or have emailed to him so that he can write some words to it. I tell him to write whatever comes to mind, stream of conscience writing and explain that concept. Just give me anything you got going on in your head and we can edit later. Cool? 8. I use my logic skills, well Command C & V skills and beat the song into some shape… As it stands the form is: a. 2 Bar drums b. 8 Bar Verse c. 8 Bar Chorus d. 8 Bar Verse e. 16 Bar Chorus f. Repeat from the beginning including the drum intro

9. The song is bounced out and saved to my folder. Jesse will email the song to Sam during the week. Hey Sam, we are done for the day, hour is up, mum’s waiting outside. Any questions? “Nup” … I hit spacebar on my mac and stop the recording. We are off the record but nothing untoward is spoken, just the formality of goodbye, nice to meet you, make sure you write some words, have fun with it…. Handshake ...goodbyes. I must mention that I had a word with his mum. Told her about the project, gave her a plain language statement and asked for her consent, which she grants without hesitation, perhaps the Ashy connection helps or maybe the fact that the project has merit, has value and maybe of use for others in the future. I certainly hope it is. Mum looks tired, must be a long week for her. It’s now Friday 5pm, she must be buggered, looks it “Come along she says to Sam, time to get home and eat”. I have a feeling that eating is one of life’s delights for her. Not that I care or does it matter. I’m just saying it for more descriptive purposes than judgemental … I guess I’m trying to say that life for her would be bloody hard at times, and we all need an indulgence, be it food, sex, drugs, knitting, sport or church… really who the fuck cares? See you next week guys…. 10. So, concludes my first day of research, a day that in the end I felt was triumphant. As I explained before, I did have trepidation towards working with these kids again. I was nervous that they might think I was uncool, too old, too ‘rock’, but from my experience it went well, I engaged the kids and some good ideas are on the go. Jesse agrees. It would have been interesting for him to see my ‘chops’. See how someone else goes about achieving the same outcome, which is writing songs with marginalised youth. I’m sure we’ll compare more notes at some stage. Should have I been nervous? Yes and no. Yes, It’s been awhile since I last wrote a song in a similar environment, but no as well …after all, I worked with these kids inside and outside the prison walls for years, I have written well over 100 songs with them and I think overall, I can relate to being a messed-up teen…. another story, another time. I start the drive back to Rye and if I could use one word to describe how I feel, it would be …. drum roll…… relieved! 11. I have spent 58 minutes with Sam.

111 Friday 27th July 1:30pm

Monsters Monsters Monsters Monsters I want this to stop I want to take this to the top These monsters are going to end me I’ve got all these problems I can’t shake it I can’t take it I’ve got all these problems I can’t shake it I can’t fucking take it I can’t fucking take it (Monsters, Sam - 2018) Building rapport 1. Sam is here. He arrives with his mum. His is wearing the tee-shirt, hoodie, and jeans, still looking more boy than girl. Sam looks like he ain’t slept in a while, he enters the studio and slumps in a chair. His mum heads out the back to the kitchen area where she sits on her laptop working. I’m later to find out that she is a banker, ANZ. I follow her out to make my myself a cup of tea and ask how she is going? She is fine, another week you know… She tells me Sam is a little off today... not very communicative and that the session might be tougher than last week when he was a little more animated and alert. I wonder if he is over medicated today but I don’t go there, none of my business anyway, though the educated voyeur in me thinks he is. Armed with what I have just been told I head on in to the control room to start the session. 2. Hey Sam how you doing? “Ok” one-word reply. So, mate I need to ask you a few questions for my research on how last week went. Be honest if something was shit or you didn’t like it please let me know, tell me if something sucked, I need to hear it. Be critical. 3. “Better than the last cunt who tried to help me song-writing. It was at school and he didn’t know what the fuck he was doing, he was hot but that was about it. He didn’t deliver”. Well I’m hot and I deliver I joke. Sam don’t laugh. I’m interested in why it didn’t work, what was wrong with the ‘hot’ music guy. What school Sam, thinking that it might have been Parkville College, the school within the prison. “Ashwood” he replies. Again, my youth, I explain that I went to De La Salle and Christian Brothers, corporal punishment straps etc.,” Really? The boys who go to that school are fuckin up themselves” Sam tells me. I think he would have this view of all private school kids. He goes on to explain that sending your kids to a same sex school, especially boys, that they all come out ‘mummies boys, whipped and shit, not real men” and are “either pussies or gay” I don’t agree particularly agree, I know many 4. Men’ that have come from same sex schools, I do agree that I wouldn’t send my kids there for the lack of interaction with the opposite sex. She explains that by going to Korowa an all-girls school, again my childhood springs to mind, she observed that “just like what you’re saying, that the girls are intimidated by boys”. It’s pretty obvious that sexuality plays a major part in his persona, lot of skeletons, man she wants to be a he, proofs right there... I like Sam a lot, refreshing honesty. I got a feeling that although she would understand the fundamentals of being polite, she can’t be bothered with it, probably been fucked over too many times and mixed with all that’s going on in her head, adolescence and hormones, she just doesn’t give a fuck how people perceive her… Fuck this could be a good song! 5. Back to my reconnaissance questions. 6. So, what do you want to get out of this song? What are we trying to achieve? I tell him that I have had a listen to Tentacion... she corrects my pronunciation …. And that I through listening to him the word amelioration comes to mind. You know what that word means I ask? Ameliorate. “Nup” she replies. Ok, we can use songs to ameliorate our problems, kind of opposite to exacerbate. So, if you’re feeling shit exacerbating will make you feel even shittier, but ameliorate will make you feel better about

112 something that you have done or that makes you feel shit. So, what we are doing is trying to make yourself feel better about something through expression. Let people know how you are feeling Is that what you are after? “Yep”, single word answer but that’s ok, she gets what I mean. 7. Tentacion was very vocal on youth and mental health issues, which is really, cool. I tell her that when I was growing up mental illness wasn’t recognised and peeps were told to toughen up, or called pussies and now that mental illness is out in the open. Are you feeling you are getting more support and all that sort of shit? “Yes, but, it’s fucked, a broken system” A contradiction if ever there was. 8. Sam proceeds to explain being diagnosed with a borderline personality disorder is just an excuse for practitioners not to treat patients. Interesting…. There is an element of doubt in my mind, perhaps he is a too hard basket? 9. “I have frontal lobe syndrome and psychosis “, he announces as more of a self-diagnosis than of medical fact, but who knows? Often people know themselves better than any Dr, often though they self-diagnose to what they want to be. I’m not getting involved in this. It’s fascinating that is for sure but best to leave it. Though I can’t resist to ask if he hears voices, he has alluded to it before, “Not all the time but sometimes”, he replies. I feel like I am probing too much, we are here to write songs not have another shrink session, hopefully the song itself is enough to help ameliorate, that word again some of his problems. One final question Sam if and you please … What do reckon you need? “Well we are looking at DBT, which is Dialectical Behavioural Therapy, (Dialectical behaviour therapy is an evidence- based psychotherapy designed to help people suffering from borderline personality disorder) and a private admission to Wyndham a private clinic in Werribee”. He bemoans the lack of beds for under 18’s in the private sector, “Only 30”, he says, perhaps he means public sector, after all in private there is $$$ to be made, I guess like ages care, someone has to profit from others misfortune … schadenfreude! 10. Oh, and another one, Are you on hormonal replacement therapy? “Not yet, still waiting”. I tell him about Tim now Kim, from my childhood and his experience turning from a man to a girl including surgery and hormonal treatment, I mention he lives a happy live. Though what I heard is that he is a meth fiend and whores himself to get it. Violent girl as well, with the strength of a man I too assume. I don’t mention this to Sam. Why would I??? 11. So, Sam what are we going to do today? A change of topic is overdue. Time to focus on what we are here for, though again I admit I am fascinated by his mental and physical predicament and his openness in discussing it with me. He’s a cool kid! 12. I ask if he is above average intelligence, he nods, do you wanna craft some words? Do you have any words? “yeah a few, not much though”, cool that’s a start I say. I tell him that I have lots of experience in working with people in the mental health and correction system and that I too have felt the pangs of mental illness and that I think that everybody experiences mental illness at some point in their live, the ones who are diagnosed just suffer it on a more regular basis. What I am trying to do is to make Sam feel relaxed enough to enable a lyrical co-write. Only if he needs to. How might be prolific when it comes to writing words and hopefully, he is. I just want him to feel comfortable in my presence so if he was stuck, I could help him find some ideas. Ok, let’s have a listen, let’s bring out what we did. 13. So, while we wait for the song to load our conversation again turns to prison. Perhaps it is ameliorating in itself for him to discuss his life and how fucked up he perceives it to be with someone who is authoritarian. It must suck after a while telling Dr’s with a pen and a pad your deepest intimacies. Maybe that’d why they can get along with certain workers/screws when they are incarcerated. I have witnessed friendship between kids and workers before, it can be almost of parental value for some of these kids to have an older person to talk and interact with, got to remember that a lot of these kids have come from broken homes and have no parents or older siblings to confide in. That’d be pretty fucked! 14. Some of the workers are fucked as well. We trade stories of our experienced with workers. Some of mine predate the blue uniforms they now wear. Disbelief! Yeah, to me it’s when it became us versus them, I tell him, Authority, authority, authority. He chuckles and tells me that a worker said that they’d get ‘more money at Coles’ than looking after Sam. Then fuckin do it, I suggest. Another smile breaks across Sam face. Cool. Song is loaded! Tracking Day 2 1. The song plays, it’s cool, it’s definitely got a vibe, something that I’d entertain in bringing into Dallas Crane even. The song quits and I have to re boot. “Fuckin Mac’s! I’m going through the process of getting my new mac as the one I bought just before Iraq is fucked…long story…In this time Sam tells

113 me about the video clips he has been making for his skater mates at Box Hill skate park. Cool, we may even get a video for the song too. Doesn’t use mac though… “too fuckin expensive for what you get”, he laments. “I can’t skate anymore, cos the meds I’m” on he adds, “fucks with my balance’. I’m curious. What’s the positive I ask. “You don’t hear shit all the time, you don’t see shit” he machines out, like a flow … lyric perhaps I think to myself. “You ever see any cool shit I ask; I also tell her to tell me to shut up if he wants. I’m pushing but also know my boundaries as well. 2. “I wanna see like cool shit, like fireworks, but all I see is a big scary cunt standing in front of me …. looks a bit like the joker…” he pauses, I add hopefully as encouragement, wow that’s full on and then, you seem pretty solid though, pretty switched on…. No response. I press play and to break the silence, I hope it don’t quit this time, I say … Do I over step boundaries? I don’t know, sometimes I think that I might, but until I see real discomfort or am told to shut the fuck up, then my curiosity will always get the best of me. Song is back on, plays all the way through this time, it ends and I tell him that there’s heaps of shit we can do to it, I then add, do I swear too much, I know the answer, just making chat while I dial up a new track that I know will contain my ‘signature’ single piano note with echo on it, been using it forever I have. “No", came the predictable response then followed by a story of her social worker who once when driving Sam got cut off by a “cunt” and then proceeded to use every swear word known to man …. We both smile at that little anecdote. 3. So, what I’m doing is adding a little flavour to the song, some colour I tell him as I press play and roll the track this time playing single notes from the A minor scale, the key of the song. 4. There like icing, sweeteners I explain to him, not really needed but add something haunting to it, you can send left and right, speaker to speaker, add some flavour, yeah flavour. Ok Sam, wanna get some paper, a pen and pad, get some words down? 5. Mute look. Well if not feeling the vibe, not into it, couldn’t be fucked with it? That’s cool, I’m just glad that you turned up I tell him. Hey what do you want to do when you older I also ask him. 6. “I wanna be a rapper, it’s so hard to get there though” ... Yeah, but I reckon you got a good twist, are there any trans rappers I ask? “No none that I know of”, there you bang I say with enthusiasm… You might be the only one now who is rapping trans but wouldn’t be the only feels it… You could be like the who Tentacion is for you! “yep” head nods in thought, you could be the voice for other people... “yerrp” again nodding. Pretty cool I say. 7. I have since researched Trans rappers. There is a genre LGBT Hip Hop, aka Homo Hop or Queer Hip Hop with prominent artists such as Big Freedia, Katastrophe, D’Lo and Sasha Sathya to name a few, but none in Australia that I can find, there is queer rappers, but no trans. I’ve made a memo to myself to tell Sam of the above artists but also that he is the only one in …. Melbourne at least. A niche, a fuckin positive niche at that! Man is that food for thought or what? Sam’s words 1. Sam pulls out his phone opens a screen and shows me... Oh you got some words! Awesome! This is great! Can I write them down too? The stock standard “yep” follows. 2. Alright what you got... ‘Monsters’, is the first word that I see. I begin reading the lyrics, they are dark, honest, perhaps shocking but in all honesty, I have read more devastatingly brutal words from youth in my days, the seasoned old man that I am, what a wank thing to say… BUT, I’m not intending to take away anything from Sam’s words at all, they are heart felt and have a poignant meaning that is simple and yet confronting. Yep they are dark and paint a horrible picture of what goes on in his head on a regular basis. Schizophrenic for sure, an imagery of hell in the brain. Fuck, I have written some dark words in my time but they pale in comparison to these. More on that later. 3. I am impressed that he has bothered to work on the words, that he has listened to the music and has put himself in the song, has created and actually gives a fuck about the work that we are doing together. That is what I find impressive. Well immediately impressive that is. 4. As I have found out over my years working with the kids in and out of juvee, engagement is that key baby. Get them involved and you get results. Keep it real for them, give them the experience. AUTHENTICITY. It’s like a mic without a pop filter... all young rappers/singers want to emulate what they perceive as the only way to record vocals. They see it on videos clips, in pictures of studios they want to be like their heroes… who doesn’t when they’re young? I know that I did, I know we all have. The hairbrush mic, the tennis racquet guitar the homemade clothes...the overall influence of our heroes when we are young is huge. I see it with my own two daughters, 8 and 5… It’s awesome, cos

114 it’s real. Sam ain’t no different, we gotta get you a mic a tell him, a smile crosses his face. Yep and our mic has a pop filter too! Let’s set you up in the booth. “Yerrp”! 5. I take this chance to tell him but what I am writing, the diary I am keeping, I need his consent, well I don’t really need it, this is my diary, however, I want his consent. I want trust, I need trust not just with Sam but with all the youth I’m working with. Transparency. If I flip the coin and put myself in their shoes, I’d want to know what the mid 40’s dude from Melbourne Uni who all of a sudden, I’m writing a song with is writing about, what his motive is, what the fuck he is doing it for, what does he gain from it? Personal Reflections 1. What do I gain from it? What are my motives? 2. Well I hopefully gain my MFA, secures employment – a necessity. I guess to I enjoy working with youth at risk, it keeps me younger, a cliché yes, but true. I enjoy understanding what kids go through in the modern world and believe me, it’s very similar to what I did when I was their age. Shaw no mobile phones or internet, two of the biggest changes since my days… old man that I am. But the pressure to conform, the feeling of isolation that haunts a teen the desire to fit in, be popular, the things that seem so unimportant now, but when you are young, they dominate your entire world and there ain’t nothing that the most loving parent / family or concerned teacher / doctor can fucking do to alleviate the pressure. That’s just pure hormonal, brain wiring like a third world light pole…. That is a by-product of growing up, puberty with a capital P! I lived it and I look back on it now and think what a shit I was, I KNOW I caused my parent untold anguish…there’s a novel in that alone. 3. Why am I doing this? Because I can relate to the kids and I want to help them but, perhaps, it’s my way of apologising to my own parents. Kind of like, if I can help troubled youth now, it lessens the heartache I caused my own folks. Mr Freud… a penny for your thoughts! 4. Therefore, I want to be transparent. No secrets here. 5. So, Sam, here are my thoughts. 6. You’re Year 10 yeah? “Yep” 7. You identify and look more like a boy than a girl, you got mental health issues, don’t play any instruments, your dad plays guitar, he still loves you but calls you Mae which shits you... 8. I pause, kind of sounds like a police statement. You cool with all this I ask? “Yep”. I quickly add that he’ll get to read all this and if there is anything that he doesn’t like he can tell me that Pete it sucks, I’m not having it and I’ll delete it … “yep”, the standard reply. 9. I reflect, Sam, I’m not trying to make you do anything to make you uncomfortable, what we are trying to do is, um, us by doing this is trying to help other people in similar situations in the future. “Yep”, It’s not in the one-word reply, it’s in his eyes. There is trust. Bewdiful, in my best Brooklyn accent! 10. Topic change, so what number Meaden St are you? “14”, I dunno it, but I probably ran past it this morning… Pete, me to myself, it’s time to set up the mic… Tracking Vocals 1. The vocal booth is on the other side of the main studio room. The control room looks on to the main recording room where the amps and drums are and off to the left is the booth. The beauty is that it’s constantly in use, so therefore it’s all plugged in and ready to go, and as a bonus, headphones as well! I dial up a track, set the input and jump on talk back … Do you hear me in there? A faint ‘yeah’ comes out from the monitors. Aright I got you in there, I tell him. I ask him to say the obligatory few things so I can get a decent level in to the Avalon pre-amp and dial up a new track, make the input #8 and begin to explain how I’m going to run the track and do a few passes or takes as we call it. He’s in agreeance and also to my suggestion of using echo on his voice while I record. “Only on the whispering bit” he replies, in reference to the spoken word verse that is made up of the single word, ‘Monsters’. I like that he is authoritative over what he wants. I like being directed as well as directing in such a situation, shows confidence in his ability and that means one less production hurdle I have to jump. Giddy up, lets run the track! 2. So, we will do the whisper verses first because the chorus is gonna be screaming and therefore louder in level I tell him. “Yep, yep, yep, yep, yep, yep”, the monitors echo back at me. 3. My only suggestion at this stage is to make the word ‘Monsters’ very whispery, very breathy. So, you’ll hear 2 bars of drums I begin, then re-rephrase it to 8 beats I count and tap them out 1,2,3,4,5,6,7,8 before the music kicks in, but let’s see how we will go! “Yep, yep, yep, yep, yep, yep”, is the response.

115 4. Track rolls, drums start, music kicks in and after two rounds of the riff, the word ‘Monsters’ comes through loud and clear. So musically the word ‘Monsters’ is whispered on the first beat of every second bar. This is repeated 4 times. A pretty easy vocal lyrically but it’s all in the emotion of it. I want to be fuckin scared; I want to feel the monsters that Sam is talking about, that he has in his head, telepathically transport them into mine will ya Sam! 5. Chorus kicks in and I stop the track. I am liking it already I tell him over the talkback, but let’s do it again. I have a comp track in mind. “Yep, yep, yep, yep, yep, yep”, I play the track again, Sam does his part, he knows what he wants and it what I want so I’m happy, this thing is moving quite well. It’s got the vibe that the song requires. Let’s listen back to that I tell him as I press play. At the end I ask the obligatory, what do you reckon? “Pretty good” with echo on it, I can’t be bothered from now on changing font to mimic the echo on Sam’s voice, takes too long. 6. I understand the need for instant gratification when working with youth. They want to hear something now, keep the vibe happening, Verruca Salt springs to mind. ‘I want it now’. 7. Let’s move on to the chorus I suggest. “yep”, Umm I think I lose the echo on the chorus I tell him, “yep” and finally ask, you want some distortion on the vocal for the chorus, could be good, bring out the anger that the lyrics suggest. Yerrrp” comes the echoless reply. I get the required dirt on the vocal and instruct Sam where the drop point is. You’ll hear the last ‘Monsters’ of the verse then the chorus will kick in and it’s yours, go for it, I enthusiastically tell him, express yourself and have fun with it! I kind of feel like a coach, but know that I’m just doing what any producer wants, and that is to get the best out of the performance. Track rolls again… 8. Sam starts his vocal: a. I want this to stop b. I want to take this to the top c. These monsters are going to end me d. I’ve got all these problems I can’t shake it e. I can’t take it f. I’ve got all these problems I can’t shake it g. I can’t fucking take it h. I can’t fucking take it 9. In a monotonic fashion, I don’t feel any passion in what he is saying, he isn’t selling it to me, I want to nearly hear tears of frustration when he says it, I want him to make me want to rush to the vocal booth to save him from the voices in his head, I want him to be fuckin desperate! (I soon will find out that I gotta be careful what I wish for, but more on that later). 10. Ok, I tell him as I hold down the talkback button, I love the phrasing it fits beautifully rhythmically, diplomacy always works in this situation…. But I feel like you are just reading it, are you up for, um, fuckin screaming it? I can’t take it, I gotta all these problems I can’t shake it, I give him my shouting example of how I think he should scream it. “Yeah alright”, is the enthusiastic reply. Good I think, he gets it! 11. I roll the track again, it’s a better pass, it’s more down the line I inform him, but fuckin really scream it! 12. I press record and again a better pass but not the one I am after, I love it, I love it, but you reckon you have more scream in you I enquire? “Maybe” good let’s do it, and then add, want the track from the last ‘Monsters’ or all of it? “All of it” he demands. A good sin, I like that he wants to hear the whole track, means he gives a shit about it! Fantastic! 13. So, we do pass #4 and it’s pretty much the same as #3, I can sense some frustration happening in the both, time for some tactic… Cool, cool, cool, I tell him but I want a big favour from you, I hear a big scream, big blood curdling scream at the end of the chorus so I’m gonna get a few of these from you and choose the best one ok? “Yep”, the usual reply... 14. Go for it!! Scream #1, and again I instruct, scream #2 again scream #3 last one, scream #4… ok come in and listen. He needs a break, the screams got progressively weaker as he attempted each one. I’m not hearing what I want, but have the thought of double or triple tracking them with reverb and distortion to make it work ... there is always a way…. Especially with the software at my command.

116 Vocal Playback and Banter He enters the control room with the track blaring and he has somewhat of a smile, a Sam smile, which is just the slightest of smirks, on his face. Me, I’m in edit mode and are working on the scream of the chorus… instant gratification for me as well! I explain exactly what I cutting up, and where I am putting it. It happens to be the last “I can’t fucking take it” I want to syncopate it a little more on an offbeat so it comes in early and makes room for the scream. He nods, he obviously needs to hear it. Let’s play it from the top! Banter for a brief pause moves onto weekend topics, after all its Friday. First of all, though, I ask if he is enjoying recording with me, I need to know, I want to feel that our efforts aren’t all in vain, that something positive is happening between us and the song we are working on, that somehow, we are connecting which I certainly feel that we are …. You enjoying recording Sam? I ask him confidently as can be. “Yep” comes the stock standard reply, better than a know I suppose, but some more enthusiasm wouldn’t go astray. But, what do I know, perhaps the fact that he is even here is a testimony to the project that we are doing? I know that he comes and enjoys being at Living Music, but that doesn’t ensure that he enjoys working with a 40 something, self-confessed old rocker who has appeared with an MFA research project and hopes for participation to the fullest from them. Again, for the record, my reasons for this project, just to clear them up is in no particular order: • Document my years of work with marginalised youth and song-writing • Hopefully help ameliorate some of their problems through the songs that we are writing • As a challenge to myself • To ensure my validity for employment reasons Just want to get that across again. I have my reasons for undertaking this project and I think that they are noble and valid, admittedly there is a little bit of ego involved though, I think that there is with anything that we do on a creative level. It’s my song too…. stamped foot follows… Music stops and Sam and I have brief chat about his mums work at the ANZ bank, turns out that she wields some power over there and Sam admittedly enjoys the fact that she has the power to make people redundant if they so deserve to be. These workers he explains are often “contractors from India, who fuckin can’t speak the language” …. Hmmmm, no prizes for guessing what I ask Sam next? “yeah mostly tolerant”, he replies to my question of his views on racism, “except occasionally for Asians,” they can’t fuckin drive” ... I chuckle, after all I work in Box Hill and have witnessed some notoriously bad driving there. I don’t think that Sam is racist by any means, I think that he is indeed tolerant, he knows what it is like to be a minority and I’m not going to say any more on the topic. Ok, I’m really going to fuck up those screams that you just did, almost to the point that you scare yourself. “Might scare the old people I am related to”, like your grandparents? “Yeah, well not my Pop but my great aunt might get a bit scared”. I chuckle. Rapport and editing vocals 1. See when you are dialling up effects etc, you look for idle chatter, well at least I do. It gives a chance to establish and develop a bond, understanding of the song, project and each other, It’s a chance to build trust between yourself and your ‘client’, a chance for me to show that I’m not a 40+ dickhead and that I do have an understanding of youth, this is a really important part of the project. When you aren’t reserved you will express yourself! I think it is one of my great attributes when working with youth at risk, I think it is essential. All the other peeps who do similar things to what I do share this hallmark, it’s a prerequisite in this game, that said you also have to implement boundaries as well. When working in prisons there are responsibilities that go with the gig as well. These are the fundamentals; I go by the ethos of and in no specific order: 2. No racism 3. No sexism 4. No homophobia 5. General consideration for others well being 6. No glorifying of crimes committed and sexual exploits 7. However, working outside of prisons, I really have no control over what they write about, what they want to say is up to them, it’s a democracy after all and with that comes freedom of speech. Not that I encourage any of the bullet points above, in fact if they do come up in lyrically, I tend to question the motive, or meaning behind them and therefore open the topic up for debate and try through

117 another light or meaning behind what they are saying. See it from another point of view… call me the Devil’s advocate if and you will. 8. Back to the dialogue that we have got going on… So, um how are they with your um…. Before I get the word out, Sam exclaims “Oh, I’m not the only one who is” then I get the word out in, whose trans? Sam hears it as who is trans and interjects, “my cousin who is 18 who goes by Oscar now, but I’ll probably transition before he does”. 9. Interesting, not a bomb shell by any means, I’m happy that Sam would have a confident, someone to talk to, someone who is fighting the same cause so to speak. Oscar lives in butt fuck rural Qld, not the most cosmopolitan place in the world, lives in a town of 1500. Probably some closets out there but in Mt Mary, which is near the border of S.A, N.T and Qld, you probably stay in the closet. Man, that is one remote place!! 10. So, Sam there wouldn’t be many trans out there would there? “It be rare”, so, I pause looking for the right words to explain my intent, which again is that his music could help others in the same situation. I sound like a footy coach giving that inspirational talk to his team, ‘get out there and do it, you got so much potential, so much to offer’ etc, etc 11. But that’s not exactly what I say, more along the lines of ‘through your music you’re able to let them know that they aren’t the only ones who feel the way they do, that they aren’t alone, you could be the person who inspires’, “He’s also an artist, drawings and paintings, he’s quite good” Sam tells me. So, does is he able to express his emotion and feelings through his art? But I’m cut off, “he makes a bit of money from it, people tell him what they want and he does it for them”. Commissioned is the word you are after Sam, “yerrp” he replies. End of conversation. 12. Back to the effected screams complete with distortion – for grit, echo – for depth and EQ- so it bites your fuckin ear off, I chuckle and add, if that makes sense to you. More banter about his dad and his guitars. Acoustic or electric I ask? “Acoustic, he’s not very good at it but... I tell him he is shit but he just says “you do better”, I laugh, Sam then tells me, in response to my prompting that his Dad is a sign writer by trade, but he paints and restores old fashioned motor cycles. What a cool thing to do I tell him, “yep, but expensive” is the reply. 13. ‘Ahhhh, Ahhhh, Ahhhh’ …. Screams are getting there. Jesse walks in, “Intense, what part of the song is that?’ he asks. End of the chorus, I reply. So, here is where we are at, I say as I press play from the top of the song. 14. Kick, kick snare, kick, snare comes through the speakers and then the first whispered ‘Monsters’. I look across at Sam, he is listening intently, nodding, perhaps even smiling! 15. “Pretty cool, fuckin loud” says Jesse. We smile and chuckle, yeah it is. But I have an idea. How about if in between the whispered ‘monsters’ you add in a line? The classic call and respond thing, I’m thinking of the second verse. I give a demo of what I mean…. Not too sure if he is into what I am doing. I quickly add that this is just an idea a guide to what we can do to get out ideas. You can take it home I add, you can say, well I can do this bit better etc, see what you come up with. “Yerrp” a muted reply. It’s a work in progress I exclaim, full stop. 16. See Sam has a face that’s hard to read. It’s a classic poker face, so gauging his enthusiasm for an idea, or just his general vibe on the track can be hard sometimes. Now Jesse, who is on the couch at the back of the room, can’t even see his face and has worked with Sam, written songs with Sam asks what he thinks of the track. “Pretty good”, is all that Sam says. It’s not a dis, well in my eyes it isn’t, Sam can either talk or he doesn’t. Sometimes he loves to talk, for example, he loves to talk about the ‘shit’ state of the public mental health sector. 17. I think that because Jess couldn’t see his face and perhaps not hear our conversation that he had concern that Sam just wasn’t into what we are doing. I love that Jesse is concerned; shows he cares. 18. What do you think Jess, I hit a forehand back? I’m not being an asshole I generally want to know what he thinks of the song. It’s far different than what he usually does. “The distorted voice in the chorus”? Yeah. “It’s dope”. Say no more. 19. Back to editing, I’m on the grid so I can play with the form of the song, manipulate it any way I want. I explain to him what I am doing and start with a 2 and 2, that is 2 verses and 2 choruses, I want to give him something that he can take home with him to work on, leave some blank canvas so to say. I also add at this point not to let me railroad the song as it’s both our collaboration, admittedly my music and his words, but as Jesse would know I say, as a writer when you get on a roll and start hearing shit that’s not there yet, you kind of get taken over by it. It’s pure inspiration. So, if you hear anything that you don’t like, just say ‘Hey Pete, fuckin stop….” Jess adds in, “Yeah Sam, you’re the director”. Just like for the video clip you’ll do I add.

118 20. Song starts, song ends. At this stage it’s really samey, musically that is. I have some ideas but time is winding up so perhaps some homework is in order. I want Sam to be invested in the song, to not just come here to record it and then fuck off without thinking about it until next week. Nothing will get done if that is the case and the song will be mine and Sam (under duress), not what I want. But my friends the fact that he went away and came back with the lyrics he produced goes to show that he is invested in the project. I explain the concept of stream of conscience to Sam and to just write whatever comes into his head and we can edit the lines he likes and hates later, it’s a great exercise for spewing out all your thoughts I tell him, give it a go and see what you come up with. Truth is though, as well as more words the music had to do something, otherwise me, Sam and whoever listens to it will be fuckin bored in no time. 21. As it stands, the form at this point is: Intro – drums x 4 Intro music – x 4 Verse 1 Chorus Verse 2 Chorus 22. Song is just meandering along at this stage. Something needs to happen. It’s got dynamics and all but is just still in A. Still the classic grunge, quiet verse, heavy chorus vibe, not that there is anything wrong with that. It needs a lift, a change of direction, something left field something that put a smile on Sam’s face. Not that I knew it then, but that something is just around the corner… Assessing 1. So, do you envision the music changing at all Sam? I ask. I ‘m playing my hand. “Maybe” comes the usual one-word reply. I go on to explain that when making music that and especially with hip hop the whole secret is to keep the listener interested, entertained, and invested in the song. At no cost can the listener be or become bored by what is happening on a sonic and aural level. You need twists, things to grab people’s ears and maintain their attention. Like someone will say ‘oh fuck I didn’t hear that coming’, Sam, this is a good thing and what we are after. “Yep”. He says. So, we have dynamics, loudness to softness and all in between, the verses and chorus are doing this for us, we can drop the drums and the bass out at times, which we have also done, so how about a change in the actual music, or instrumentation? Guess the reply? …….”Yerrp”, you got it! I quickly add, not that I am getting bored by the song by any means, but golden rule is that if you are getting conscious that the song is dragging then believe me, more than likely every other fucker listening will be a lot quicker than what you are cos they aren’t attached to the song as much as you might be…... if that makes sense. So maybe after it does this bit, I play the 4 screams after the 2nd chorus, maybe we could do something else? 2. Jesse chimes in, “maybe it could go somewhere prettier”. Exactly what I had in mind…. I already know what I want to try, I have the idea of a piano coda with strings. 3. Let me tell you that in my experience in writing with the kids, they love the sound of the strings, who doesn’t? My take on it, is that strings are associated with ‘pure’ music, the intertwining sound of two lines working with or against each other, like the tendrils on a vine plant wrapping around each other as the climb or descend to a new emotion is so appealing. It’s the ancient form of weaving between two guitars as Keith Richards so elegantly puts it! 4. It’s the melancholy feel of a minor movement that I have in mind. I explain to Sam that the music shift can be the relief from the monsters in the verses, ‘It’s almost schizophrenic in itself, you’ve got this shit going on in your head and then all of a sudden’ …. hang on I want to try this out…. I know he knows where I am coming from, I don’t need to finish the sentence, I’m too excited about what I want to do, what I want to hear…. 5. So, I tell Sam, I’m just gonna try a couple of things, mute those tracks, create a new track and bring my piano on to it. I play a chord and hear the sound of the piano. 6. So, what I am doing or have done is a cut of all the tracks after the second chorus, so like the song ends abruptly and that’s it. I then intend to create a new flavour as a coda in the same key, song- writing 101 but it still must work though, I don’t want a shit song man. Wouldn’t be the right thing to do!

119 Bad Idea in F#m 1. So, I’m in A the key of A that is and my natural instinct tells me that I should look at going to the natural minor which of course is F#m. Truthfully, I feel a bit of pressure to come up with something instantaneously. This is a concern that I have come across in the past. Kids especially marginalised youth want to hear something now! There ain’t no crafting a song with these guys, their attention spans are usually short to begin with, lots of ADD shit going on. To be fair and honest, I reckon 85% of the kids I have worked with in the past are ADD or have some kind of attention deficit disorder …big time. I got to get them now, keep em' engaged or lose them for a while, perhaps forever. Losing them results in them looking for any distraction that is around, then getting them back on board is a whole new beast. Sometimes they can turn on the whole fuckin song, just like that, snap my fingers. It’s fucked when that happens, really shit. Suddenly, they can turn and say, ‘I don’t like this song anyway’ and it’s over. It pisses me off but it does happen. I can’t afford that at the moment, taking time of work to do this, it’s already taking longer than I anticipated and I’m not even a ¼ way through for fuck sakes! Come on Pete you can do it. 2. Look between you and I, I know I can. It’s all in the music and yeah, my go to, or one thereof, is the strings or piano. Perhaps it’s struck the sentiment of being ‘pure’ music and stirs emotions that are programmed into us from birth, there would have been dozens of studies toward it, I can vouch for it. It works! 3. Song /beat plays. Fingers poised over the keys. Sam and Jesse looking on in anticipation. The playhead in logic approaches the cut after the screams in the second chorus, drums play on ….4, 3, 2, 1 4. I hit the chord and ewwwwww, shit that stinks, I said and they laugh, I laugh. Sounds shit. Perhaps changing key isn’t the answer I muse. I don’t know about that, I say still half laughing, I ain’t precious. If there is one thing that I have learnt over the years, is that you can’t be precious, ‘my precious’? Fuck that. Ok refocus, I’ll only get a couple of chances to come up with something plausible. Shit where to now. Well we can stay in the same key I say and with that comment, drag the playhead back to the 3rd bar of the 2nd half of the chorus, press play and await the screams, the screams that may lead to glory, failure, or humiliation. Again, 4, 3, 2, 1, I hit the piano, this time as single notes that make up the A major chord. It ain’t right, but I know why, the bloody 3rd, too happy, too twee! I mutter ‘I know, I’ve got it and keep playing whilst the drums keep their metronomic time underneath. Piano 1. I rip off one of my own grooves from a song ‘Cheyenne’ by Dallas and most importantly replace the major 3rd with the minor 3rd , so still in A minor, starting on the offbeat on the ‘and’ after the 1 and arpeggiating the triad notes from the 1st inversion of the triad 3rd, Root, 5th and loop this twice creating a triplet feel, almost hypnotic kind of groove. Over two bars in 4/4 time at 110 BPM– Bar 1 (3, 1, 5, 3, 1, 5, 3) Bar 2(3, 1, 5, 3, 1, 5, 1).

3. I stop the track, turn, and say rather non-committal and nonchalantly, ‘I think something like that may work, I’m just going to try it as an idea’. I know that that’s our guy, or the start of our guy. It works, its musical, it breaks up there whole grunge thing prior to this section and most importantly it’s taking the song somewhere, somewhere cool. 4. I have just put the water in the cup holding the teaspoon of granulated coffee, now I just need to add sugar and then milk. Instantaneous gratification!

120 5. So again I press record and start the playing the aforementioned groove over and over until I feel the need to change chord, the obvious choice being the 5th, the dominant, the E but the octave down starting on the 5th and arpeggiating from the 5th, 3rd , 1st for a bar and then I am naturally or instinctively pulled to do the same thing in F, feels so natural to go there, completes the 4 bar cycle and it resolves so nicely back to the Am. A cool groove if ever there was one! Sam is nodding his head in time with the music he is hearing, a sign that it is working!

7. Mind if I try a couple more ideas Sam? “Yep”, is the reply. Yep you do mind? I ask half laughing. “Yep. I don’t mind”, says Sam. I know what comes next, I’m already across what I want to hear, the winding strings, starting with a cello to fill out the bottom end. 8. So, the edit or dead air starts again, for the sakes of giving it a name I’m going to refer to it as banter time. I’m creating another string this time legato violins and during the last play back it was noticed that a happy accident had occurred with the drums. The chorus drums with the 8th note kick comes in halfway through the cello part. Jesse, thinks it’s super cool and says so! Strings 1. “Sometimes when you’re doing string parts, it’s great to have a descending line over the top of an ascending line”, I announce to Sam and to make my point, I hum an ascending part along followed by a descending part. “We’ll see how that sounds anyway”, I say to no-one as I dial up a new violin track on logic and play a few notes on the midi keyboard. 2. I play the part a minor line that I had in mind and when the track stops, I turn to Sam, and say, “like that, we can just keep on building and building”, then “I’m not hogging the session am I”? I think that I feel like I am, “Nup”, Sam reassures me. 3. Time to engage, “You write poems don’t you”? I ask. “Song lyrics”, comes the reply. Because you could put some song lyrics over the end bit as well” I say excitedly. “Yerp”, come the one-word reply. 4. We have only a few minutes left and Sam’s mum is here. “Want to get your mum in and see if she wants to have a listen”? I ask Sam with some trepidation, Jesse enthuses “Sam want to”? “Yep”, Sam says and leaves the studio to go and get her. I think it really awesome that he is going to get his mum. He must have a sense of pride of what he is doing. Awesome alright. Meantime I’m going to do some editing! 5. Sam’s mum enters the control room behind Sam. We say our hello’s and I cut to the chase, “OK, I play what we got, see if it’s something you can work with” I say and press play. 6. The song ends not with the strings but I have edited the front intro ‘Monsters’ on the end, kind of like the classic old bookends trick. 7. Song ends I ask, “something like that”? “Yep”, comes the reply from Sam. “Sounds alright” says mum, “you happy with that”? she asks with trepidation, I feel. “Yep”, the one-word reply. “Music’s good, is that your voice”? she probes further. “I think it’s cool, I reckon it’s working”! I say triumphantly. “So, what do you need to do now”? mum enquires. 8. I start to explain the three elements to the song, there’s the quiet, haunting – I press play and the whispered ‘monsters’ comes on. Then there’s the aggression, again I press play and the yelled chorus blasts out. “Really venting”. I say about the chorus. Then we head back down to the- I press play again on the whispered ‘monsters’, back to the aggression, which I play and then finally – I press play on the piano / strings coda. “The relief” I say and add “It’s kind of like a wave crashing down, then it’s calm”. “you can express yourself with words, how you feel when those monsters aren’t around, you can even say it if you want”, I say to Sam, kind of plead with him as I know that it will work! I tell him I can cut the song wherever he wants to end it, “That’s easy” I tell him.

121 9. Jesse gets it and implores Sam to write some words to express what is like when the monsters have gone from his head. It’s therapy in a sense. “A stream of consciousness”, I tell him “write everything down” I add! “Even if it is wack”, Jesse adds, “we can use a word here and there. 30% will be useable but will help create the rest as well”! “Yep” Sam says. I continue to explain that learning to edit, being able to let things go is a great trait to implore for lyric writing. “You can always use them somewhere else” I say. “Yep” Sam says. 10. I bounce the song and because last week’s email didn’t reach Sam, he gives Jesse his two personal emails. I give him my number in case he doesn’t get the mails and I will send him a version. Again, Jesse apologises for the bounce not reaching him and assures him they will this week. Mum even offers to buy a USB to bring next week. 11. “The most important thing Sam, is it is meant to be fun, music is” I say to Sam. I continue “some days when its laboured, pull back a bit and then other days, you are chomping at the bit, and just have something that you have to say”. I continue, :And remember that you have the power who are in a similar thought pattern to you and situation, that ‘hey, you aren’t alone’. There would be hundreds of thousands of people out there who feel the same as you do and maybe you’re the voice than can reach you, someone’s got to do it, why not it be you?”, Mum and Sam both nod in agreement and murmur a thoughtful ‘mmm’. That’s my spiel. I lighten the mood a little be adding that if they all subscribe to Sam’s YouTube channel; he’ll make some cash. Now we can all have a bit of light relief! 12. It’s time to go and we say our goodbyes. To be honest mums smile speaks in volumes, ”Thanks very much”, she says genuinely grateful. I walk them both up the stairs and say “if you wake up early, go outside and check out the blood moon”. They both look at me and smile. It has been a good, productive day! 13. I have spent 2 hours and 15 minutes with Sam. Friday the 3rd August 2:00 Facebook 1. “Hey Sam, How you going”, “Good”, is the reply, Sam has entered the control room. “Hey, I can’t stay, but I am loving that track I tell him, and add enthusiastically, and add enthusiastically, “you still cool if we finish it off”? “Yep” is the standard one-word answer. “It’s actually really cool, I’ve been listening to it and I really like it. You liking it”? I ask him. “yeah, it’s alright”, Sam responds. Not the most enthusiastic response but then he adds, ”I put it on Facebook”. Now to me you don’t put something on your Facebook page if you don’t think it’s any good. This is super cool! He then goes on to explain that he is in contact with a guy who commented on the song and who Sam is now offering recording advice on the use of pop filters and vocal recording techniques as “I’m more experienced at it than him”. Awesome! I love that he said to the guy, “If you want clearer vocals, record in a bathroom”. Fantastic! Sam is in a good mood, talkative big time today. 2. I again reiterate my enthusiasm for the track and that it isn’t finished as yet, “It’ll sound great, better than it does now when it is finished” I tell him, he smiles. Again, I apologise, I have people coming down that night and need to be back by 4pm. That’s ok he muses. I also tell him that it’s not a bad thing to work on something different for the day with Jesse, but most importantly I want him back next week so we can finish it! 3. “I could be in hospital next week, but I’m not sure”, Sam announces. He goes on to explain that there might be a bed in Box Hill for HDU and if there is it’s such a rarity that he will take it. I tell him that it’s cool, there’s no rush to finish the song and we do it “whenever he is ready”. Sam’s health is paramount. “No pressure, I’m really loving the track that’s all”. 4. I decide to tell him about Blood on the Tracks by Dylan, who, by the way, Sam has heard of. See the album is a break up album about his break up from Sara mother of three of his kids, and he just put it out there and that his art took priority over his and his kids’ embarrassment, that there are others out there who would directly relate to this album and therefore it will help them to think that they aren’t alone. “Kind of like what Tentacion does, and what you have the opportunity to do is really cool, is being real, and others can say ‘hey, I feel like that too’. That’s were honesty and art are really cool”! I advise him. “Yeah”, Sam replies then adds excitedly, “I had my second gender clinic appointment today”. “Fantastic” I reply. I now know why he is in a talkative mood! He goes on to say that everything is moving forward with his play to officially become a man. Testosterone trial and ‘top surgery’ are in the conversation but that hasn’t really got anything to do with this project. I am glad that he trusts me enough to confide in me. The one funny thing he says is that girls with anorexia is

122 “the want to lose weight but they all want bigger tits”! He laughs as he says this. “Yep we are all fucked up in some way I add”. “Yep” he is still laughing. “Seeya next week I say”. 5. I have spent 2 hours and 28 minutes with Sam. Friday the 10th August 2:00 1. Sam enters and is not happy. Last week didn’t go well at Box Hill. Again, he laments the Psychiatric Health System. I listen intently as he explains the difficulties of being able to get bed. It seems like it’s a zoning system. “I was complaining about voices in my head for two years”, he says referring to the public system and then he adds ‘and it took a private Psychiatrist to diagnose me with psychosis. It’s pretty easy to diagnose psychosis”, he laments. 2. On to the song. Jesse leaves the room. “So, it’d be pretty good to finish this off and move onto something else”, I say, “Yeah”, Sam replies. He says he’s digging the song. “Let’s have a listen then”, I say and press play. 3. Song ends, “Where do you reckon we are up to, here”? I ask as I press play on the piano / string coda. “Yeah” he replies. “Have you got any poems”? I ask, “Nah”, “Because, something spoken word over this bit would, you know” I say and press play, “Something like a prayer even. It’s hard for me to say what you’re thinking” I tell him and add “if you had something in mind that you want to express, even what you were just saying about how fucked the public mental health sector is”, “and the private is pretty fucked too, even though you have to pay for it” Sam replies . “You know what adlibbing is” I ask “Nope” nope he says. I press play and then ad lib over the top if I was thinking what Sam would do. Then Sam pulls out a piece of paper, “You got something”? I say, he does, it’s perfect, I read it over the coda and it works. He has thought about what he wants to say and brought it in, almost like homework. Awesome Sam. Time for the vocal booth. As he leaves, he says that “All the girls I met in juvee are all back in there”, “How did you know”, I ask, “Facebook”, he replies. He then goes onto explain the intricate details of their crimes and reoffending. “I wanted to end up in juvee”, Sam says, “because I wanted help, and I wasn’t getting any fucking help”. Now there’s a statement! We spend the next 5miunutes discussing the system, crimes, the reason Sam was locked up, his issue with being a girl, how much he hates it and the surgery and problems that can occur during it. Again, I feel privileged that he can confide in me to disclose all this. It is a privilege. Outro vocals I wish I could be normal but I can’t aye, never will aye Yeah you see me but I see you aye, but I am different aye I have these monsters that I can’t take, I can’t shake I want to take a chance aye but I won’t ‘cos it’s too hard You think you understand me but don’t You think you could try but wont I’m going to beat these cunts if it’s the last thing I fucking do 1. “I really like how you end on the positive, fuck you I’m going to beat you fucks”, I say to Sam, he agrees, I add, “I think the spoken word thing will be really powerful’, he nods in agreement. I press play on the track and tell Sam where he should come in which is after 4 bars of piano. We dry rehearse it a couple of times with me taking the lead. “Just go in there and say it a few times and we can choose the best lines, when I say the best lines, I mean how you say the lines”, I assure him and add “It’s how you get your message across. I then go onto to give examples of different voices and diction to emphasise my point. It’s cool. He understands. 2. Again I iterate that what he is doing is really good, because the lyrics in the coda refers back to the lyrics in the chorus – ‘I can’t take it, I can’t shake it’ “Your using elements of your chorus, and it’s almost like an outro and it ties itself back in”, I continue and the most poignant line , the best line, well, all the lines are good, is I’m going to beat these cunts if it’s the last thing I fucking do. I love it”. “They are little cunts” Sam replies, and adds, “they come along, and they don’t leave”. He then explains to me that it is usually when he is tired or has had too much sugar. He mentions that changing his diet when he got out has improved it. Fascinating. I wonder to him “if they have done any studies on it”? The conversation to a special school “a good school”, at Box Hill and Sam’s time there. He is happy to open up about his times at school, he did go to a private school, and then on to

123 the school in Box Hill, highly opinioned he is o race issues to drug dealers, “you can pick them a mile away” he says. 3. The song is coming along rather quickly and a lot of our time is spent just chatting and listening. This is more than cool as a trust has been well and truly established. Perhaps I am a non-threatening figure that isn’t psychoanalysing his every word. Who knows but we work well together and that is a most important thing? 4. “Can you hear me in there”? “Yeah”, comes the reply through the Gen Elec’s. Sam is in the vocal booth ready to do the vocal outro. I play the track, “Alright, here is where you come in” I say and proceed to count back from 4, 3, 2, 1 now. On cue Sam starts his outro. “Cool, I wasn’t recording, just getting a level, but I am recording now, go for it”, I say as I press record. 5. His first pass goes ok, levels are good, however he stalls on a word or two. He also needs the count in as he came in too early. I inform him and encourage him that is working. “Yep” he says , I press play and count him in from 4, 3, 2, 1. The take goes better. “I love it I tell. Let’s get a couple more”, I press play and we go again. Four takes later I jump on the talkback “come on in I tell him”. Comping the vocal outro 1. “Great work”, I tell him as he enters the both and he smiles as he hears the playback going. “I love this take”, I say and what I am going to do is listen to all the lines and choose the best one of each, it’s called comping”. 3 minutes later I have pulled the track together. “You want to listen to any others”? I ask. “Bo”, one-word reply. Sam has gone to another place for the time being. Perhaps the monsters are in his head. Poor kid. I continue to edit, do a flat and merge so have it as the one file. I then move the whole region back have a bar so it comes in on the 2 beat. I rather like this aesthetic. 2. 1, 2, 3, 4, 1, 2, 3, 4, 1, 2, 3, 4, I wish I could be normal but I can’t aye, never will aye 3. I have a few ideas and take the liberty of doing the first which is a fade out on the end of the song. So, the coda keeps looping and after the outro vocal finishes, I fade the master output track out. “You like the fade out”? I ask Sam. “Yep”, standard reply. Vocal effect 1. “So, what can we do with this voice. Is there anything that you want your voice to sound like in the spoken word bit”? ‘Um” he says, “This is the sort of things we can do to fuck with things” I say as I open the vocal transformer plug-in. I play the track and mess with the dials that changes the pitch of his voice ranging from satanic, to chipmunk. I stop it, “I’m not saying it’s the answer, but it’s the sort of thing we can do to fuck with your voice. Do you want to fuck with your voice”? I ask. “ I want to make it sound a bit deeper”, he replies. Interesting, makes sense as he wants to be a guy, does he mean the satanic ‘monster’ voice or in real life? ”Yep, that’s easy, real easy”, I say. He is probably thinking ‘yeah, not in real life’. Again I press play and the first effect I pull is too low in pitch. “Not that one, sounds like a shit scary movie”, I say. Sam then perks up again, “I went to one horror movie, never again”! He goes on to explain how the movie IT, the one with the clown scared the shit out of him and he hated it. I tell him how Sadie my 8 year old was and is petrified of the same thing and is currently having nightmares because the boys in her class tell the girls that he lives at the school. The imagination of the young. I mean we all know he lives in the circus, right?

2. 3. Figure 36 Vocal Transformer Plug In

124 4. I play the track again and mess with the dials on the transformer. “Too deep, not deep enough”? I ask. No reply. I begin again and mess with the dials. What happens is you can mix the effected sound with the original. I press stop and tell Sam, “You know what I think is really cool about it is, it sounds like two people talking”. I press play and solo the track so he can hear the effect. He listens so I guess it’s working. “Too low”? I ask. “Yeah”, he replies “ I tweak it higher, he interjects “I don’t want to sound like one of those pre-pubescent cunts”, I laugh. “Cos, they go from high to low in a split second”, he says with disgust., “voice breaking”, I reply laughing. 5. “The cool thing about it sounding like two voice is that we can”… I trail off and start to edit. With the use of automation the ‘wet and dry’ automation lane on the Vocal Transformer plug in, I have the idea that the deep voice starts the vocals and by the end Sam’s own voice gradually takes over as is clear for the line ‘I’m going to beat these little…….’ “It’s like you taking over at the end”, I tell him, “like the two voices” , I press play and give him the example. “What do you reckon, does that sound shit”? “No, that sounds good”, he replies in a positive manner, Cool. I spend the next 2 minutes getting the automation right then I have the idea of putting some echo on the last word do. So it would go ‘if it’s the last thing I ever do, do , do , do , do , do’ “Maybe it’ll work, maybe it’ll suck, but there’s only one way of finding. See a certain percentage things I try to do suck but you got to try them to know if the suck or not”, I say. We continue talking about things that suck, “take an overdose that’s going to suck”, says Sam is laughing. I laugh to. It’s good to hear him laugh. He is after all just a kid, who finds the repeated use of the word ‘suck’ and myself degradation funny. I’m cool with that! “You know you are going to throw up, you could fuck up your liver and die” he adds, “but you hope that doesn’t happen”, still chuckling.

6. Figure 37- Automation on vocal outro

7. “You nowhere I got the idea for this song”? Sam says, “yeah tell me”, I reply, “Demons in my head by BMike”, Sam answers. “Cool, can I bring him up?”. I do a search for him on google and we discover that he is English, born in LA and has South Korean parents. “He might be adopted, he says in some songs he has siblings in 3rd world countries” Sam informs me. He continues “They put makeup on his face and make him look like half monster half human”. “Cool, so that’s where you got the idea for it. Awesome”, I reply. 8. I bring up the song and B Mike’s ‘Demons in My Head’ comes to life. The first lines are spoken word, ‘Hello there BMike’ “Oh man, it’s got that effect” I exclaim. Coincidently it has the same vocal ‘monster’ sound effect that we just used. I play the song out.

Hello there BMike I'd say this won't hurt but Then I'd be lying

Can somebody just help me out (Help me out) With these demons inside my head Cuz it feels like they just won't let me go Can somebody just help me out (Help me out) With these demons inside my head Cuz it feels like they just won't let me go Can somebody just help me out

125 Am I going crazy? Well then, just let me know, just let me know, just let me know Can somebody just help me out

Minds missing Just picture a scientific experiment And Einstein couldn't figure where it's goin' Well if E=MC square then I'm E and you're an MC Well then what does that make me? (whoa) Imagine waking up in a wreck Have the thought of your own thoughts Talking under your breathe (ha, ha, ha) Shivering with sweat on your chest The sleep paralysis alone is as dark as it gets I'm try'n to tell you that it's Oh very, so scary, oh baby, you're getting up on my last nerves This coffin so dark Heading to the end of the road And I'm ready for your conscience It's haunting is taking its toll So I held on the cards I was dealt Try'n to buckle seat belts Cuz my brains always trapped in a cell Cuz it's all too unbearable to face on my own I'm so alone Can somebody just...

Somebody just help me out (Help me out) With these demons inside my head Cuz it feels like they just won't let me go Can somebody just help me out Am I going crazy? Well then, just let me know, just let me know, just let me know Can somebody just help me out

Every time that I give it control (Did it hurt) Every time that it's killing my soul (Did it hurt) All those years and the tears in the cold (Did it hurt) It's like a black hole that's eating me whole Set in stone It's like everywhere and place that I go They're all like (wow) Maybe that's the only reason of why you wrote this (down) Probably cuz I got a bigger than the Eiffel (Tower)

Hello, is this the monster?

It's your conscience, of course I'm a monster You bonkers? Your screw's just a little bit loose? Are ya yonkas?

126 It's me everyone wants to meet It's your conscience

Well maybe I should just try to leave you up there Cuz in my head you're not real I'm not even aware That my surroundings eating me up And it makes the hairs on my neck stand up

Can somebody just help me out (Help me out) With these demons inside my head Cuz it feels like they just won't let me go Can somebody just help me out Am I going crazy? Well then, just let me know, just let me know, just let me know Can somebody just help me out (Help me out) With these demons inside my head Cuz it feels like they just won't let me go Can somebody just help me out Am I going crazy? Well then, just let me know, just let me know, just let me know Can somebody just help me out

9. “Cool, I can see the similarities, but don’t you think it’s coincidental that the last thing we did was that same sort of voice thing”, I ask, “yeah”, Sam says. I continue, “which makes me think, we could also do it on the ‘monsters’ in the verses”. “Hang on a second, this is just me being a sound nerd”, I say “better than being a junkie”, Sam tells me. Again we laugh. I have the idea of a delayed effected ‘monsters’ after an original ‘monsters’ panned left with the delayed being right, so it swims around your head. Kind of like the below. 10. Monsters (Original panned left) Monsters (Original panned left) Monsters (Effected panned right) Monsters (Effected panned right) 11. It takes a good few minutes to edit it all together and into shape but I am liking it. There is a bit of sound 'nerding' going on but Sam gets where I am going. He is being patient with me, but he can hear what I am trying to do. Jesse walks in, “How’s it going”? he asks. I press play on our work that has been beaten into shape. It plays through and it gets to the end. I still have a problem though, it’s with Sam’s last line in his original voice. Perhaps it should have the monster voice all the way through. ‘It’s the last thing I fuckin do do do do’. I ask Sam what he thinks. He doesn’t answer so I play both versions. One dry and one effected. I still can’t decide, so I make the compromise of the effected fading slightly so Sam’s own voice is slightly louder in the end. I think it works. Jesse asks Sam what he thinks, “How does it sound to you Sam, you like them”? “Yep”, Sam responds. He gives Jesse one word answers as well. Mixing 1. The next few minutes is me sound ‘nerding’ again. I tweak the mix, parallel compress the drums, adjust the panning on the guitars. For this song I have been mixing as I go along. A lot of the time you need to, to keep the engagement up, so they hear results straight away, the ‘instant coffee’ coffee effect if you will. 2. I play the song through and say ‘Yeah, Nah? It’s a question. “Yeah, it sounds good”, Sam replies. I think that we are a bit fatigued by now. We have packed in heaps of listening and banter into the session, a productive session I might add. We are getting closer to the end of the song. As I said, mixing on the way helps massively. “Are you coming next week”? I ask, “Yeah probably”, he replies. “Cool, because I want you to take this home, listen to it and tell me if you want any changes, if

127 something is too loud, or quiet, make little notes for me” Yes”, Sam says, I continue “I then want to do a post interview of what you thought, what you liked, what you got out of it. I like the song, what do you think Jesse”? I press play on it for the last time for the day. “Sounds awesome, like punk”, Jesse say excitedly. I watch all the automation, there is heaps and explain to Sam that I have programmed the computer to do this. “It used to be hands on faders” I tell him. I don’t think he cares though. Again I drift into sound nerd mode and add a couple of cymbals in some poignant places adjust automation an just tighten the track up a little more. It’s really getting there now. I am conscious of losing engagement so I call it quits. I can stay back and do these little tweaks. 3. “You got a USB stick Sam my man”? I ask, “Nah, Jesse usually emails them to me” he replies and adds “who uses USB sticks these days”. Jesse and I laugh. “Old cunt am I”? I say. Jesse say more maturely, “sometime the song is too big to email”, we are all having a laugh. Again I remind Sam to make some notes for next week. 4. “It was really cool that you came up with some words for today” I tell him. “I came up with them weeks ago”, he said, “The are written for the verses and choruses”, I say and again express my love of the positive ending’…I’m going to beat these cunts if it’s the last thing I ever do’….. “Yeah, right” Jesse says. 5. “They have a music therapist that works at the LCH that works on the Psyche ward” Sam announces. He goes on to explain to Jesse and I that they listen to the music that the patients like with them and advise if it is suitable or not for the clients ears. I ask if he has be told not to listen to certain music, “yeah, I ignored him though”, Sam answers and continues “he seemed like a bit of a dick, he was balding and had glasses”, Jesse interjects, “but I have glasses”, Sam responds with “yeah, but you’re not balding and you aren’t a dick”! “Don’t try and be cool, there is nothing cool about being a music therapist” Sam says. Jesse and I stifle our laughs. “Yeah no one can tell you what you can and can’t listen to I reckon” I say concluding that piece of conversation. I do believe that. 6. “Chuck it up on Facebook again, we can aim for 2,000,000 views by next Tuesday”, “More like 200”, Sam replies. We wrap up the last minute talking about Facebook, Sam has 400 friends he says, it is obviously important to him, just as it is any other kid his age. I respond by saying, “I don’t think anyone gives a shit about what I have to say, the ones who care already know”. “Alright Sam, good seeing you again” I say, “You going to email that to me”? He replies “Yeah, did you get the last one”? Jess asks, “Yeah”, Sam says turns and walks up the stairs. He reaches the top and waves goodbye. 7. I have spent 3 hours and 30 minutes with Sam. Friday the 17th August 2:00 1. “Alright Sam the man, so you been listening to where we are at, how you feeling about it”, I say, “I think it’s done”, he replies. “I think it’s done to”, I say and add “let’s have a listen a hear if anything is too loud, and then I just have to ask you a few questions, then we are done and you can work on a new song with Jess for a bit or maybe do another song with me”, “Yep”, he says. I press play to hear what we have done. 2. “I’m liking heaps, but I just got a suggestion” I say. My suggestion is for the double chorus to have some guitar in the second half. It needs a life otherwise it’s like a copy and paste. Lazy. The only other suggestion I have is to have the outro words to come exactly 4 beats later which, I tell Sam will “let that area breathe a little, before the vocals kick in”. I am doing as I speak. It’s just a matter of grabbing some regions and pulling them back 4 beats and changing the outro fades. Easy. “so, you doing anything for the Holidays I ask”, Sam replies “yep I am going to the show tomorrow”, “Cool” I reply. We proceed to discuss the merit of show bags and which ones are good or not”, Cadbury being Sam’s preferred choice. Meanwhile I am pulling a guitar sound. When I solo the guitar in the track, I comment it sounds like Nirvana, “yeah it does” Sam agrees. “You like Nirvana”? Sam replies in one- word , “yeah”. 3. As there is a tri-tone in the chorus, I decide to give Jesse and Sam a theory lesson on intervals, explain Jaws a minor 2nd and the tri-tone being the Devils intervals which in the middle ages, wasn’t allowed to be used in any compositions because it was considered EVIL! Theory with Pete 101. 4. So, I have pulled the sound and made a track and input the guitar ready to make a pass. I press record during the double chorus and proceed to play some slurs on the E and B string bending the 7th note up to meet the octave, the classic slur! I make my way up the minor scale doing this, run a couple of takes. “Yeah”? I ask Sam. He nods as a reply. 5. “You played the song to anyone” I ask Sam. “yeah”, he says. “What’s the feedback been like, you put it on Facies”? I ask again. “Yeah, my dad calls it Bogan Book”, he replies. We then have another

128 discussion about Facebook, my disliking for it and Sam continues with how he hates how people put up “posts that cry for attention”, like his cousin. “If they have it so bad, go over to Cambodia and see how they live”, classic Sam! 6. “Alright, I have a few questions for you, honestly, honest answers”, I announce. Enjoyment Question 1a Me – How much did you enjoy participating in it? On a scale from 1 to 10? Sam – about an 8 Me – 8, I can live with that! Question 1b Me – So did you like the process we used in creating the song, did you think your ideas were heard and that we collaborated well together? Sam – yep. Me – That’s cool, so you felt that you were able to express yourself? Sam – yep Question 1c Me – Main thing, on a scale of 1 – 10, how pleased are you with the outcome of this song? Sam – About an 8. Me – Bout 8 out of 10, that’s not too bad, is better than what you thought it would come out? Sam – Yep. Self-Expression Question 2a Me – Do you feel that you able to freely self -express yourself throughout the song? Sam – Yep Me – So you didn’t think I better not say that or write about that. Or I won’t tell Pete that it sucks Sam – If people don’t like it they can go get fucked! Me – I love that answer. But you’re right. Sam I’m sick of people telling what I can’t do and what they don’t like about me, they can go and … Me - Get fucked. Sam – Yeah. Learning Question 3a Me – So an important thing is learning, what do you think that you learnt from the project? Sam – (pauses) Me That you can do it, that you can collaborate? Sam – Yep Question 3b Me – And what did learn from the process of us collaborating together , anything that comes to mind from working with me, I don’t know how old am I? How old are you? Sam – That there are more grumpy old pricks out there like my Dad. Me – (Laughing) More grumpy than me or I’m like grumpy too? Sam – Yeah, grumpy old musicians. Me – Grumpy old musicians, I love it!

129 Sam – I thought my Dad was weird but there’s more of you out there. Me – So you thought your old man was weird but I’m a bit weirder? Sam – Yep Me – Is that a good thing? Sam – Yep, cos he’s a fuckwit. Me – But yeah, he’s you’re dad. You can’t choose your family. Sam – Unless your parents get divorced and you mum gets a new man, or several of them. Me – Several of them, sounds like the middle east! Jesse – But what did you learn about music though Sam? Me – Yeah, what did you learn about the music creation, this whole process? I mean we started with ‘Hey Sam, I’m Pete, how you doing, do you mind participating in this project. Nah Its all cool and now we’ve got to this point. We listened to Tentacion to get ideas, we discussed instrumentation that we would use. Question 3c Me - So what did you learn about creating music? Sam – That’s it’s actually pretty easy, it seems complicated but it’s not that hard. Me – I love it! But what makes you think it’s not that hard? Is it the equipment, software? Sam – Probably, that recording used to seem pretty hard but all you have to do is press a button and it works. Me – True , but perhaps, and I’m not trying to put thoughts in your mind, but working with someone who is able to operate it helps, if you had a copy of this software all you need is YouTube, Jesse and I were talking about it before and I was YouTubing how to do something earlier as well. So, you are right it is pretty easy. So you reckon you can do it again? Sam – Yeah Me – Can do it yourself, though it’s fun making beats with other peeps Question 3d Me – And you just answered the next question, what did you learn about the recording process, software manipulation? It’s easy you just press a button! Dial up some tracks? Sam – It all looks pretty complicated but, not really, I know someone who has a mini one of these (referring to the midi controller. Me – How much do you reckon it would cost you, with a computer, to have a set up with a keyboard, speakers, software and a mic? Sam – Well I looked into it, you could get a pretty good one for $500. Me Yeah, I reckon you could for $500. Jesse – Yeah. Me – There are people who have million dollar studios and those that have a set up like this who get a better sound. It comes down to how well you know your shit! Sam – You know people are pretty rich when they have different outfits in their videos Me- Yeah but they have stylists, it doesn’t mean they are wealthy , they have just borrowed clothes from the wardrobe. Jesse – Or sent clothes from sponsors and labels. We have a conversation about rappers and bling and the image they want to project. Tim Dog, Kanye etc. Sam is pretty money obsessed.

130 Question 3e Me – And what do you think you learnt about yourself in this? Sam – That I’m not as crazy as I thought. Me – I like that. Sam – It’s like a boy band in here. Me – A sausage party? Did you learn that you can do it. Like I gave you some music to go away and write to and you did it? Sam – Yep Me – I was really impressed with that. Benefits Question 4a Me – So do you think you benefitted from this? Sam – Yeah maybe. Me – Yeah? Like why yeah and why maybe not? Sam – Well, I can probably get my music out there because my OT is going to take me to this youth group of kids that hear voices, so, I’ll ask if I can play it to them. Me – For sure Sam – Because the only reason they would say no is because the ‘C’ word is in it and fuck is in it. Me – I can make you a version where we get rid of that. Jesse – That might be nice. Me – I can put a scratch over those words or cut that word out or something like that. If you want me to. Sam – They should be alright cos a lot of the kids that hear voices are a bit older, the youngest you’d get are probably 14. Me – Just don’t tell them. Sam – Yeah they probably won’t hear it. And even if they pick it up it won’t hurt them. Me – True Sam – It’s only a word it’s not like I’m going to punch them in the face. Me – Yeah, that’s exactly right. And you said that you were going to play it to someone else, a magistrate or something? Sam – Well I’ve got a USB stick to put it on cos she wants to play it to herself in her own time. Her son’s a musician. Me – Cool. That’s getting it out there. Question 4b Me – And do you think anyone else, your family or the community will benefit from your participation in the song? Sam – Maybe. Me – Maybe why? Do you think that your mum is cool with you coming in and doing it? Being creative? Sam – Yeah. I shaved my head on Wednesday and she hated it, said I looked like a criminal. She doesn’t mind it now. Me – Yeah, What does she think of this song?

131 Sam – She thinks it’s pretty good. Me – It’s probably not her style. Sam – Yeah, it’s not her style she listens to Gold 104.3. Sam then shows a picture of a therapy dog that he wants to get. “$3000 worth of cuteness” he says then adds. “If we get NDIS, then they can pay for him”! Me – Why not. Recommendation and Improvements Question 5a Me – A couple more. Would you recommend doing this song-writing process to anyone else. Your friends? Sam – Yeah. Me – Yeah, why is that? Sam - Because it’s hard for young rappers to get started on your own, you need a bit of help. Me – A bit of guidance? Sam - Yep Question 5b Me – Cool, and can you think of anything that I could do or could be done to improve what we did? Sam – No, I don’t think so. Me – So it was done in a quick enough time? Did you feel like you were heard? I guess that’s what I am getting at, did you feel comfortable enough to express yourself? Well I think that you did. One Word Response Me – Did you kike the sounds we used. Do you think they captured what the lyric was about, or what the vibe was doing. Do you think the music complemented your words? Sam – Yeah Me – I want you to say the first few words that come to mind when I say a word. Me – Drums? Sam – Tentacion. Me – Distorted electric guitars? Sam – Tentacion. Me – The heaviness of the song we listened to for inspiration? Sam – ‘Schizophrenia’. Me - Violins? Sam – Tentacion. Cos he uses everything. Me - Did he use everything that we used? Yeah he did. Me -Piano? Sam – Kerser. Me – So these are all artists that you are relating them too. That’s cool. Me – And when you hear distorted electric guitars, how do you feel? Sam – Good. Me – Why does it make you feel good.

132 Sam – Cos everything in my head is distorted. Me – So it works for you? Sam – Yeah. Me – How about heavy drums? Sam – In control Me – That’s interesting. Why in control? Sam – (Long pause) Cos it give me something to focus on. Me – Ok cool. Maybe hypnotic or something. Cool. Me – How about the violins and piano, how do they make you feel? Sam – Don’t know. Me – So if I play this to you, what are the first words that come to your mind? (I press play on the piano coda). Sam – (Long Pause) Tentacion. Me – And you wrote some fucking cool lyrics. I’ve got a feeling why you wrote them but can you please tell me why you did write the words you did. Sam – Not many people know the effects of schizophrenia and that there a several different forms of schizophrenia. Me – So you wrote them to create an awareness? So people who hear it have a kind of insight to what it would be like living with schizophrenia? Sam – Yep. Me – That’s really noble of you. As I was saying recently, I takes people like you to put your soul and art on the line so other people can benefit from it. Me – Sam, it’s been a pleasure working with you on this song. I very much appreciate you taking part in this project, I just need a couple of signatures. I’ve really enjoyed it and personally I have learnt a lot from you. I’ve learnt what it would be like to be a young kid with schizophrenia, who want to be in different body, it’s fascinating and I think that you will get there. Sam – Thanks Me – You’ll ending being what you want to be, you’ve always wanted to be a boy and you will be. I hope you stay well and healthy until that moment comes. I consider you as a boy and whenever I have writing I refer to you as ‘he’, so it’s working! Me – Do you want me to get rid of the fucks and cunts? Sam – No! Jesse – Has you dad heard any of these tunes? Sam – A little bit, but I don’t want to show as he gets weird about it. Jesse – Well yeah you want to play it to people when you are comfortable with it It’s totally fine to play it to as many people as you want but to also keep it to yourself. It’s your choice on that, and maybe that is a part of what being a musician is. Sam – Yeah. Jesse – Well I’m glad that you enjoyed working with Pete, that was good to hear. Jesse and Sam are heading out of the control to leave the studio. Me- Alright Sam, have a good couple of weeks and I’ll see you when you get back…… I have never seen Sam since. I spent 4 hours and 27 minutes with Sam.

133

134 Appendix 3 Song 3: Brodie This description of the song-writing prosses with Brodie is less detailed than that of Sam and Oho because the process was less complex and took less time. However, audio files of the recording are available.

Friday 24th August 4:30 pm

You blame me, you blame me, you blame me, you blame me, every fuckin time You blame me, you blame me, you blame me, it’s my fault? Fuck you it’s your fault

Here we go again it’s gonna be a long night. Put my key in the door to a wonderful sight There’s a vase being thrown and a knife in the wall, I sigh and I walk “stop slamming the door” Relax on my bed it’s surprising that I’ve lasted, Minding my own, yet I’m the little bastard? Two years ago, I spilled wine on the carpet and you bought it back up are you fuckin retarded? You got a couple of issues but I got more If you just let me be you wouldn’t have to re-plaster walls Past 5 it’s kind of like the Vietnam War, You get the go ahead and rise above me like a hail storm I won’t conform, so you can give up the act What are you doing? “hard rubbish” Nah you are looking for a stash I’m fanging’ and I’m nocturnal, call me zoo bat I’ve had enough, I’m outie, where are my shoes at?

Can you quit the blame, with you blame me? Devasting my brain Can you strain me? Your urges to angulate the sane The day your coming, I’m faded, I’m buzzing I’m running to the safest place To make you wait in luggage

There is a clear lack of evidence but oh well Brodie did it Ya little shithead were going to have you all committed You only hear it lucky mother fuckers I live it Quite vivid try to piece together why I’m now a pisshead In Phys ED, you remember the beep test? Envision doing that for 6 hours with no rest Fuck me, no fuck me dead Go grab a cricket bat and smash me in the head I haven’t said but assumptions were made

135 What was that I haven’t said nothing You scream anyway Even writing this my mind is in a different state I gotta finish this and go spit cos I’m running late A tidal wave as I surf the top The neighbours watch, I rot until I get got Some noise blocking headphones, beside god Or scorchin’ down under, either way the screams stop I don’t even know why I’m doing this I ain’t sensitive like ice on a clitoris I don’t give a shit, I’m humble to admit it kid I don’t really want to be in the thick of it

I’ve been asleep all day so I must sleep walk If I’ve done anything I mean anything at all I’m getting blamed for petty shit, well maybe some I’ve done No, I didn’t fill the bath tub with concrete mum I’m portrayed as the runt of the bunch I’m portrayed as malicious and the shiftiest cunt But a betrayal ain’t sufficient enough, catch me calling their bluff It’s Leasam 1 and he’s all out of fucks It’s like a water fight without the balloons, instead, there’ll be ashtrays thrown at you But I’m up for a game of ashtray dodgeball What you want more with ash smeared on your lower jaw? You start the war but undermine the mediator, Bit hard to mediate with G in the equation Zero point zero is the number of my patience Staying isn’t doing me any favours, laters.

Brodie, fucking come hear… you breathed in this room didn’t ya? Well I’m gonna have to fuck you up for that … I’m blaming you ….. I’m blaming fucking you (You Blame Me, Brodie - 2018)

Brodie (Leasam 1) is a nineteen-year born and raised Australian kid old kid from Cranborne, finished year 11 who has both parents and an older sister. My first impressions of him are that of curiosity. He has a slight frame, skinny kid, wears glasses that give him a nerdish look. Dressed in tee-shirt and tracky pants with the obligatory Nike runners. Youth-at-Risk don’t ‘have a look’ per se and the title is not discriminative, or exclusive anyone social demographic. In a 2009 study it was found that Affluent youth are a “newly identified at-risk group”. (Koplewicz HS 2009) Youth-at-risk come in all shapes and forms, but there is something about Brodie

136 that doesn’t fit the mould. I’ll be interested to know why he is deemed at risk, information that I’m sure he will volunteer as all kids do. Anecdotally, the way kids let you know of their past ‘criminal’ history will vary from person to person. Some will tell you straight out what they have done as if almost bragging, others will be more reserved and wait until they trust you before they disclose their private lives, while others will need the information subtly elicited from them which may take a few sessions until they open up. What I have found is that they all ‘fess’ up eventually. Not that it is a necessity for me to know why they are deemed at risk, though it actually does help for me to engage with them if I know a bit about their history, especially on a ‘at risk’ front. Why? Well as I have said before, I am not here to judge, I couldn’t give a fuck what they have done. That is for the courts or authorities to decide. In the past I have found that being an ear and having a ‘whatever’ approach to their misdemeanours builds repour. I like to think that I have an understanding of most of the crimes that the kids commit. According to the Crime Statistic Agency, in Victoria in between 2015 and 2016 (Sutherland 2016) the most common criminal offences in order from most to least common were: • Property and deception offences • Offences against the person • Public order and security offences • Drug offences • Justice procedure offences This information is of no surprise. The above offences are pretty much the status quo for the youth that I have collaborated with in the past. Having knowledge of these offences, like court procedures, the duration of sentences and anecdotes from others that have committed similar offences help to build a foundation of what I call authenticity. A foundation that is not a complete necessity but if established, can be very useful for productivity when engaging with youth-at-risk. Back to Brodie. I let him know that I look after the VET music and sound production courses at BHI, I think he’d be a good candidate for the hip hop course, very premature yes, but I immediately think of how he could benefit from being engaged and also gain a ‘qual’ whilst he is at it. I want to inspire this kid. HE is intelligent and articulate and could really slip through the cracks, which would be a huge waste. Questions Socio Demographics (Optional) - Question 1a Me – How old are you? Brodie - 19 Question 1b Me – Are you male? Brodie - Yes Question 1c Me – What is your ethnicity? Brodie – As in my background? Me – Yes Brodie – I was born and raised here. Question 1d Me - Counrty of birth? Brodie – ‘Strayla’ Question 1e Me – Do you mind if I ask how many peeps in your family? Brodie – Um, two parents, a sister, that’s four.

137 Me – Family of four. Younger sister or older? Brodie – Older, 26. Question 1f Me – What’s your highest year of schooling? Brodie – Year 11 Me – Year 11. Where did you go to school? I kind of bounced around a little bit, I went to Mount Ridley College in Cragieburn, that didn’t work out. Me – Fair enough Brodie – Hume Central, then finally ended up in Sydney Rd. I just wasn’t working out. I got year 11 and if I really need year 12 then I will go and do it. Me – Mate, I never got year 12. It’s not that important. My Thoughts I like Brodie. He comes across as being intelligent and has a look that would suggest this, glasses short hair, kind of nerd. He answered the questions with confidence and had an assurance about himself that both Sam and Oho didn’t. He seemed comfortable both mine and the studios presence. Being 19 years of age, he is the oldest out of the participants and seems to be as mature as someone his age should be. I have no doubt that if he applied himself, he’d be able to get his year 12 or do further academic study. That he has been to a few different schools in the space of 5 years ‘they didn’t work out’ suggests he might have behavioural issues, ADT, or a problem with authority or perhaps other students. I don’t get the feeling he would be bullied if anything, it could be the other way around. Why is he at risk? Well he has spent a little time incarcerated and has an upcoming court case which Andrew informed me about which obviously suggests that he has or keeps reoffending. It’s very speculative but an educated guess suggests drugs or burglaries. I’ll probably find out in due course. He has both parents and a sister, not too sure if he lives with them or not, there was nothing to indicate estrangement when he mentioned them. I have a feeling that we will get something quite good together. I feel that I will be able to engage with Brodie where I wouldn’t be surprised if we complete more than one song. Musical History - Question 2a Me: So, Brodie, what’s your favourite type of music? Brodie: “You mean genre? Hip Hop! Question 2b Me: Do you play an instrument? Brodie: “I used to play guitar, but the pressure to lessons and what I was asked to do by next week, I just couldn’t do it anymore and I started to hate it!” I tell him to learn via YouTube. Personally, I hate giving lessons always have. YouTube allows one to study at 3:00am if they wish, everything covered from beginner to advanced. There’s a tip. I encourage Brodie to have a think and perhaps revisit the guitar. Why not? He smiles, I don’t know why. Perhaps he had a run in with his teacher. Brodie: “Look the good thing about it I suppose” Brodie says “is that I use Ableton, and if I want to use an instrument to produce with I can”. Yep that’s cool I reply. Question 2c Do you use any digital audio workstations and you said you use Ableton to produce, so yep you do us a DAW? Question 2d Me: Do you write songs or poems? You said you done heaps. Prolific. Me: Have you done any collabs?

138 Brodie: “Only a couple… I’m not actually serious about doing a collab … when I ask someone to do it and I come back with my verse and their like ‘oh I totally forgot about it’, it like shits me. I then proceed to ensure that our collaboration would be more of a him the lyricist and me the music maker kind of thing. We would direct each other, tell each other if things were good or if they sucked. He seemed cool with that. Question 2e Me: How many hours a day do you listen to music do you reckon? Brodie: “Man, that’s a tough one. If I am out and about by myself, I hate the dead silence so I have to put something on. If I am at home playing video games, music is on in the background. Probably bout 8, not just fully sitting there listening to it though, more in the background”… Question 2f Me: If you could sum up music in one word, what would it be? Brodie: Music as a whole or music to me? Me: Music to you. Brodie: I think that it is more complicated than it needs to be, like creating it. Me: So, your one word would be complication. Brodie: Complication isn’t a bad thing, it means that you got a lot more to work with. Me: I like your spirit! Cultural History - Question 3a Me: Do you think that music is a part of your cultural history? Brodie: Depends, if you are talking rap, then no. You don’t have no rappers here, like any big-time ones. Question 3b Me: Is playing an instrument encouraged in your culture or family? Brodie: No not really cos one is that musical in my family, no one is into the sub-genre that I am into. Me: So, they are not always saying, “Hey Brodie, keep going, sounds good etc” Brodie: I think I mis-understood ya, Encouraging? Well yeah, they are! Me: Supportive, that’s great. Question 3c Me: Do you wish to incorporate elements of your culture into your music? Brodie: Well I have been thinking lately that there is something that I could do that is extremely different, but it could be a big hit or a miss. Me: Yeah, but what could it be? Brodie: Well if I was going to make a beat, digeridoo would be the last thing on my mind, but if it popped onto my head then yeah, I would work at it and try it. Me: You’d embrace it if the opportunity arose? Brodie: Yeah. Question 3d Jesse then mentions that in the past that Brodie has referred to his graff days in his lyrics. Cool, I can relate to this. Been there done that! Jess mentions that this is a sub culture of a culture. I agree but it is not really an Australian thing, as he said more of a sub-culture.

139 I’m glad that I found this info out. As I have mentioned earlier, I loved my graff when I was young. Graffiti was the only true sub-cultural movement that I have been involved in from the birth or close to the birth. I Objectives and Expectations – Question 4a Me – What do hope to learn from participating in a collaborative project? Brodie – I wasn’t actually thinking about learning, more something different something new to do. Me – Something different and new, that’s cool? Brodie – And if I happen to learn something then bonus. Question 4b Me – And what do you hope to achieve, what do you want to get out of the song? By the way you own all the copyright so if it is a hit it’s all yours. But what do you hope to get out of the song? Radio play, comp album, YouTube hit? Brodie - I don’t hype up a song that far with songs. I’ll write it and get it all in my head and finish the same day. Question 4c Me – How many songs would you like to get done, well if you write everyday, how many would you like to get done over the next couple of weeks, few weeks? Brodie - See my problem is 100’s and 100’s and 100’s written, well give or take a couple of hundred and every time I say I’ll bring that in, something in my head tells me to write another song. So, they always get lost into each other. It’s a recent thing. Me – It’s a recent thing? So, you’d be happy if we just got one song together then? Brodie – Yeah, fine. Question 4d Me - And are you nervous about participating in this project? Brodie – Nah, I’m all sweet. Me – cool no need to be nervous. Rapport building 1. So, Brodie and I start our session together. I tell him about myself and what I have done in the past and how I came to be there. This is basically talking about Jimmy Barnes, Dallas Crane and my community work and working with youth at risk. This creates a conversation that leads to me asking ‘why he is here’? Brodie tells me he was We spend the next few minutes discussing his predicament and what outcomes await him if he is found guilty. 2. Brodie talks about his interest in graffiti and we are able to engage in conversation about my prior life being involved in graffiti. I was lucky enough to be a part of the initial graff movement in Melbourne and I tell Brodie some of the stories from back in the day. I also have some photos to show him of my pieces that I have in my computer. Hey looks at the photos and revels in my tales. I am authentic in his eyes. This is a good start. 3. We listen to some of Brodies past work. This is so I can engage with him about his song-writing past and to also hear what his chops are like. The songs he plays are cool. Great diction and phrasing, pretty accomplished stuff. Enough to inspire me to ask if he is interested in the Hip Hop course that BHI runs. Not a hard sell, but just throwing it out there! 4. How do you go about writing a song Brodie? How did that beat come about? Brodie answers that his mate made the bet, using samples and that he wrote the words. So, how we going to write a song? Usually I choose a BPM to begin with, or I ask you is your lyrics happy or sad, the tempo fast or slow? Brodie replies that he would that he just comes up with words and gives a little rhyme about Christian Bale. We discuss metaphoric writing and its uses. “So, what I want us to do is to write a song together, with me throwing out ideas and you directing me”. “Cool”, he replies.

140 Song#1 starts 1. Brodie has come equipped with words. He is prolific in his writing, so that isn’t surprised. 120 BPM is selected. “Too quick”? I ask. “Yeah”, he replies. I try 115 BPM. Brodies starts to rap, sounds good, but I sense that it is still too quick. At the moment it’s just the metronome, so I decide to bring up a drum loop, as that can often help with the flow of delivery. I select a generic 4/4 drum pattern and play it through. Brodie again raps, but the beat is still too quick. 110 BPM, still too quick. 105 BPM Staring to get in the ball park, but alas, still quick. We go down to 100BPM, he spits the verse, it’s cool, but we still try it down to 95 BPM. 95 BPM is our guy! I again thank Brodie for his participation and reinforce that both he and I will craft a song together, select the beat, instruments and how it’s mixed as a team. He is doing his E.P and we hope that we have another contribution to it. 2. We decide to bring up a beat, originally written for the words he’s is currently using. I got to admit that they work already with the beat he has made and there doesn’t seem to be any point in changing the beat for what already works. The thing that I established though was that 90BPM is the actual tempo, so we decide to work off that. Drums- Selecting a pattern 1. The drum loop that I am using is ‘so generic’ and I suggest that it would be good to change them up. I try a few different patterns and ask Brodie to tell me if anything jumps out that he likes. “I want something a bit more toppy” he says. The beat that I have currently got on loop is filled with percussion of bongo and conga drums. It’s the wrong pattern. I try something that is more simple. Kick, hi-hat and snare, simple but effective. “I like this, it’s cool and simple”, Brodie tells me. I drag the loop into the arrange window, “Let’s see how your words fit over this”, I reply. As I am doing this I tell him the difference of midi information (green loops) and recorded audio (blue loops), which is basically the edit capabilities. You can edit midi as much as you want but audio you are very limited. A pattern is decided on. 4/4 time and in 95 BPM. Bass 2. “Since you are on the producing side, is there anything that you can do to add to songs that you can do to, I’ll come up with the concept, but something that you can like cut down the middle….?” Brodie asks me. He is asking to trying to enquire about production techniques. “Yeah”, I respond. “That’s what we are here for, to try stuff, there’s no rule book, we try things”, I add. 3. I start mucking around with a rollicking bass line in D minor playing over the beat. Brodie is thinking like a producer, “let’s have the bass in the intro and drop it out in the verse”, he says. That’s cool, but I need the bass line first my friend. We talk about releasing songs and how to generate press etc. Brodie is most interested in getting his music out and the questions he asks reflect this. – He should do the BHI Hip Hop course. 4. I have recorded a solid bass line idea, a really loungey type of smooth sound. Next step is to see what other instrumentation that can work with it. What is the primary foundation? Keys 1. Brodie is cool with the way we are headed. I dial up the trusty wurly sound and start something chordal using minor 7ths over the beat and bass. I stay on that groove for a while and via mucking around I modulate up a 4th but as the bass line doesn’t follow, it’s still in E, It doesn’t work. But, I am on to something, that’s for sure!. I press stop and say ‘well, that’s starting to come together”. “Yeah that’s sounding pretty good”, Brodie says and adds “Can we try it in a lower octave?” Great he thinking and not just nodding! I try it in the lower octave and it is agreed that this is the register to use. Nice work Brodie! 2. I re-track the keys in the lower register and after 8 bars, I modulate again up a fourth, again the bass line doesn’t follow, so again I stop. Bass modulation 1. It’s time to add the bass line to the modulated keys. I dial up a track for the bass and play the line incorporating the modulation. Well, I think it’s great! Brodie is a little confused, “Is it still the verse”? He asks, “we can make it happen wherever”, I reply. “Try spit over it and see how you go” I add. 2. I press play and Brodie rhymes over the top. It does sound pretty good. He has great flow and diction. Very impressive actually.

141 3. I ask brodie to rap again and he does, very fluidly. The modulation comes and he continues to rap. “I really like that change , really carries the words well”, Jesse says. I must admit I agree. I have another idea and that is to return back to the key the song starts in which is D minor. To achieve this I just edit the front section in after 4 bars of the G change. So we have 8 bars in D minor, 4 in G minor and back to 4 in D minor. 4. I play it and Brodie again raps over the complete verse beat. I hit stop after the last 4 bars and explain my idea to mute the music there and just let the drums breathe – yep, I am thinking chorus! Brodie agrees. 5. So what we have for Brodie to take a way and write to is a beat with a 4 bar intro, a verse consisting of 8 bars in D minor, 4 in G minor and back to 4 bats in D minor. This is followed by a 4 bar chorus of just drums that we will do extra music over at a later date. I make a bounce of this repeating over and over for Brodie to take home on a USB and write to. 6. “It’s sort of got a soul vibe to it”, I exclaim. “Do you like it”? I ask “yeah”! Brodie replies enthusiastically. With that the session our first session ends 7. I have spent 1hour and 1 minute with Brodie Friday 14th September 4:30 pm Assessment#1 1. “So Brodie how you going”? I ask him as he walks in and takes a seat in the control room. “Not too bad, yourself”? he replies. It’s been two weeks since he has last been in and he offers an apology for not coming in the week before. “I tried to make it, cos I like coming here”, he offers as an excuse. 2. “So how did you think the collab went, like what did you think of the beat. You have a fair bit of collaborating. What we came up with, was it enjoyable, or is there anything that I did that pissed you off”? “No”! He replies. “Well not piss you off, do you think we got something good out of it? I correct my enquiry. “Well I have never done a session completely dedicated to a beat, that was new, but, it was strange but good because it was something new to write to. I was like a mixture of sarcastic and um a hint of seriousness. Like you know when you hear a beat and you pick what the mood gonna be for it”? He asks me. “Yeah of course”, I reply. “Well, I couldn’t”, he tells me. “I was thinking of something that Eminem would say being full blown sarcastic, but nah, that doesn’t work. So, I’ll be more, like aggressive with it , but nah, that doesn’t work. I’ve been trying to get a balance to it”, he exasperates to me. “I like it, it means that you have been putting a fair bit of thought into it”. I say. “Yeah”, he replies. “where were we”, I say and hit play. Lyric Development 1. As the song plays, we discuss the feel or sentiment of the lyric. “I don’t really hear aggression”, I comment.” I hear sarcasm and room for a little but not a lot of aggression”, Brodie replies confidently. I respond, “I can also here sex and sass, you know”? “Not like you fucking bitches , let me put in your ….” I tell him. Brodie responds “like a romantic rap, perhaps a shy arse kid trying to pick up a chick and it’s just not working”? “Yeah”, that’s cool, I like it”, I reply than add, “Have you got a dedicated chorus for it”? “Well, it’s a pretty simple beat that works, I was able to write to it”, he replies. He suggests some instrumentation for the chorus being bass chord or synth, personally I hear guitar. “We can mute and add things later on, it’s just getting the bones down”, I tell him and then press play. He has a few lyric ideas from his archive and also some freestyling as well. It’s time to set up the vocal mic. Tracking vocals 1. Brodie enters the vocal booth. “Ok, I am just going to roll the song “, I say. I have set his levels and then I press record. We spend the next 40 minutes trying different raps and lyrics, doubling parts, doing things again, just experimenting. He really has a great flow and diction and knows what he wants out of his performance. His expression is fantastic as well. His words are of humour and about his life, I can hear the appeal that his lyrics would have to his peers. He leaves the chorus out for when he has something solid to put in there. Control room banter 1. He enters the control room as the session has ended. He likes what he has done, and wants a bounce and the stems, “Since’ I am learning to produce, I want to muck around with it, he says. “Cool, I’d be interested to hear what you do to it, we can always cut it up and repeat what you did in here”, I tell

142 him. “You got talent” I tell him. Whilst bouncing out the song, and with the control room banter that we have , I find out that he is of German descent and lives in Craigieburn. He also tells me he has had sinusitis that messes with his nose, eyes and teeth and that he has learnt to live with. “I’ve got a fuckin dry mouth all the time now”, he laments. That would suck! His flow is great and I tell him so. We discuss a couple of his lines, like a ‘bowling ball of opium, or is it bowl full of opium”? “I like bowling ball” I tell him. We laugh about that. 2. I play him the beat I am doing with Oho, he likes it. We discuss dis tracks by artists over the years and he raps some of his words. Really misogynistic against his old girlfriend. He tells me Jesse wouldn’t record it. I tell him I can see why, we discuss the merit of censorship, I’m not into it but we both agree that in the Living Music environment censorship is applicable. With that I give Brodie his bounce and what has been a really productive session is now over. 3. I have now spent 2 hours and 11 minutes with Brodie. Friday 21st September 4:30 pm 1. “Well I have been doing some thinking “, Brodie says, I reply with, “Hey Brodie, so you been doing some thinking, what you been thinking? “There’s a two things”, he says “I wasn’t happy with my last performance, the topic and stuff, and though I have been struggling to find a topic for this beat, I think I have found one that work, and, two, I stopped coming in after long nights, the last couple of sessions I’ve been coming in and it’s a lot easier, one or two takes”. “Cool, I reply and add, “so we are scrapping these vocal takes and starting again”? “Pretty much”, Brodie says, “Cool then, let’s do it” I reply. 2. “So, what are your words about”? I ask him. Brodie tells me it’s about how his family blame him for everything that goes wrong in his house. A topic that lots of people could relate to. I press play and he preview his new words. “I love it”, I tell him. “I reckon this vibe fits it”, he replies and adds “it’s been the hardest beat to write to”. “Brodie, I love it”! He has 3 verses written and ready to record. He heads into the booth. Re-tracking vocals 1. Brodie enters the vocal booth and spends the next 1 hour and 10 mins in there perfecting his vocal take. The thing with Brodie is that he knows how to produce his own vocals. He knows what he wants to hear and doesn’t settle for anything but what he wants. This makes my production role easier. Although I am still concentrating on his delivery and putting in suggestions, I am also able to think about the song and mix as a whole. I have an idea for a door slamming sound effect after the line ‘stop slamming the door’. I put it in the recording and it works well. Brodie and Jess think it’s cool. We spend the whole session recording hi 3 verses, perfecting his 3 verses. We go through doing the doubles to see how they sound, which in parts they do sound great. We will take a closer look at them after all the main vocals have been laid down. 2. There are points in the song where I can already hear production techniques happening. Like dropping the music out and let a potent line have the lime light. A basic production trick that I use in most of my works. The ‘slamming the door’ line is a great example of this. I dropped the music out and put the telephone voice EQ that Oho used on the line and then the door sound effect with reverb on it comes in. Sounds great, gives the song a lift and also adds a hint of humour. We spent some time on it though. Brodie wanted to hear all the door slamming samples before signing off on the one we used. We also painfully made sure that it was in the correct position in the track. All worth it though! 3. The session flies by today as the whole day was spent recording the vocals. The song is coming along quite well. Brodie has an idea, “The next time someone at home is yelling at me, I’ll turn the mic and sample it for the chorus”, he says. I laugh and reply, “provoke them”. I like the idea. 4. I bounce Brodie out a copy of the days work. “It’s coming along”, I announce. I have now spent 3 hours and 20 minutes with Brodie.

Friday 28th September 4:30 pm 1. Brodie celebrated his birthday during the week. He tells me about what he did that night and that he has police enforced curfew that means he has to be home by a certain time at night. He told me that his mate was being a dick, it was past his curfew and they drew the attention of the police and he spent a few hours hiding from them. We chat awhile longer about his legal predicaments and what his future holds. “So, where we up to”? I press play and we hear the track.

143 Assessment #2 & Suggestions 1. Brodie has been listening to the track during the week and has some suggestions of where the double up vocals don’t work. “Lately the songs that I have been doing aren’t up to par”, he says. “Yeah, why is that”? I ask. “I dunno, it’s been the last couple of months, my mates are saying everything sounds good. Though I feel the older the better”. I ask if he has played our track to anyone, which he has. “My mates think I’m tripping”, he exclaims. Tripping because there is nothing wrong “? I ask. “Yeah”, he responds. I ask what his suggestions for the track are. 1) A bit of echo or reverb on the double ups 2) There are lines he wants to do again as it is like he is ‘running out of breath’ he tells me. “I never used to think about this kind of stuff, n ow I’m getting more indulged in it”, he says. “It’s great that you are “, I tell him. He is thinking like a producer. It is a good thing! 2. I add a 1/8th note delay to his vocal and we have a listen. It’s a keeper. “What’s your next note, number 3? I ask him. He turns a couple of pages in his note book and says, “the beat itself, (meaning the back-up track) transpose, do you know what that is”? In a nut shell he wants to transpose the music done a tone so it will be in C. Easily done for the midi keys and the bass which I played, I need to use a pitch shift plugin and have the mix fader 100% so we only hear the transposed bass. We listen to the track with the transposed vocal. It works, in fact probably better than being in D. Good call Brodie! 3. “Velocity”! Brodie exclaims. He has gotten some confidence behind him I know the feeling. It’s when you are hearing ideas in your head, working out how to achieve them, on a sonic level, then, finally executing them and getting excited over what you are hearing. All song-writer and producers know exactly what I am talking about. That feeling of creativity, it’s what we strive for. And at the moment, I think that Brodie has a taste of it! He instructs me to turn down the vocal double ups. “Hey Brodie, that’s funny, I seriously just did that” I respond and press play to so he can hear it. It plays up to the ‘empty’ 4 bars where there are only drums, the gap we left for the chorus. “We need something for this bit” I say to Brodie. We do, we need to get a hook for the chorus. “I did have a hook, but it didn’t fit”, Brodie laments to me then adds, “So I was thinking, simple and slow. There’s a Peace Webby song that does something similar and just drops out”. “Yeah cool, I was also thinking that….I might just quickly grab a guitar and chuck something down”. Chorus - Guitar idea 1. I grab the cheap Gibson SG copy from the wall and bring it back into the control room. I have a c couple of ideas that might or might not work. Got to get them out though. As I leave to get the guitar, I hear Brodie tell Jesse that the little tweaks that we have just done, have fixed what “was off” about the song. This is good to know. Nothing worse than a song not coming out the way you are hearing it in your head. I’m glad we put his mind at rest. “I like that you’re taking notes, it means you give a shit” I tell him. 2. I dial up a track, plug the guitar into the preamp and set up an amp simulator in logic for the sound. I Like this part, just trying ideas until something jumps out at us as a solid idea. So, I just noodle away looking for something that fits in the drum gap. It doesn’t take to long for a descending kind of funk line to rear its head. I like it and ask Brodie what he thinks. “It’s a good idea, but sounds to tinny”, he tells me. “I can fix that”, I tell him. 3. We then discuss the value of mixing and the 3 steps of recording. Pre-production, recording and mixing then mastering. I’m starting to play the line well and decide to do a take. We have the feeling that it will work. I do a couple more takes and decide the third one is the best. I record another track doing the octave in a higher register. Sounds good! While I am cleaning up the tracks so I can copy and paste them into the other choruses Brodie asks me to write down my details so as he can credit me on the EP he is making. That’s cool. He thinks the song is good enough for his EP and it isn’t finished yet. We then discuss the best way to get music out there. Social media being the most important. Chorus – Bass 1. It’s time to add the bass. I am just going to play the same line as the guitar so it will be 3 octaves all up. While I am setting up the bass, we talk about the weekend’s plans. Brodie tells me that he is planning on heading to St Kilda for the night to go to the beach. A conversation about schooling comes next. Brodie finished year 11 and tells me that ‘school wasn’t for him’, I understand, I was the same. I tell him that he is bright, “Well thanks” he says, “wouldn’t say it if I didn’t think it”, I reply and

144 add how impressed I am regarding the notes that he is taking for the song we are making. It is impressive! 2. I do a couple of tracks with the bass and nail it on the 2nd time. It’s a simple cut and paste for all the other chorus gaps and within a few minutes we have our chorus music bed complete. It works, Brodie seems happy, and that makes me happy. Guitar Improvisation 1. The next thing I try is some guitar noodling through the verse, just some licks here and there to give the listener something that might prick their ears. My philosophy is, when it comes to music and writing, if the writer is bored, then the listener will be really bored. That’s why we need to employ these little sonic production techniques, to give the listener something man! 2. I run through the song adding in little punctuative bursts of guitar here and there which we will edit out at a later stage. Put more in so we have more options. It’s easy to edit them out when they don’t work or when they get in the way of the vocal or something that has a higher priority on a sonic level. The art of editing my friends! Chorus – Tracking Vocals 1. Brodie has a chorus idea that he thinks might walk. Great! He heads to the booth. I open up a track for him and press record. Chorus comes up and he spits out some rapid-fire words: Can you quit the blame, with you blame me? Devasting my brain Can you strain me? Your urges to angulate the sane The day your coming, I’m faded, I’m buzzing I’m running to the safest place To make you wait in luggage 2. It works, it’s interesting and original. After a couple of takes he decides to double up. Actually, it sounds great. His double is spot on and I tell him so. “What do you reckon”? I ask. “I like it” he replies. We decide to copy and paste the chorus into the other chorus areas. I give him the option of recording them live, but he wants to copy and paste. Easy and done. 3. “Want to come in and have a listen”? I ask. “No can you give me another track from the top”? he asks me. He wants to do some ad-libs. Vocal ad-libs 1. An open track Brodie puts his ad-libs in. Basically, he pretends to be his mum / dad and invents a scene where Brodie is getting blamed for everything that goes wrong in his house. ‘Brodie, are you breathing’ is one of the lines. It is quite humorous. I call him in to hear what he has done. 2. It’s time for me to go. I got the footy that night and have to see mum and dad before I go. Brodie is interested in getting some recording gear. I encourage that and tell him how inexpensive it is to get set up. Under $1000 bucks I tell. “Sorry I got to fly”, I say. “That’s cool, it’s like right there”, he says, “yeah, it’s close” I reply. Control room banter 1. The session ends with Brodie telling me about his family and how his sister and brother in law got remanded recently for a burg that Brodie was also involved in. He feels comfortable in telling me all this because he knows that I’m not going to judge him let alone snitch. I listen to him and remain impartial to what he tells me. I feel sorry for the parents, sounds like their kids spend a bit of time incarcerated. For all I know the parents have to. But that’s not important. What is important that Brodie feels comfortable in confiding this to me. Me, I am happy to listen. Again, all we are doing is building a rapport. 2. I have now spent 4 hours and 32 minutes with Brodie.

145 Friday 12th October 4:30 Assessment #3 1. Brodie arrives on time. I have a feeling that we might finish the session today with a completed song. Either today or next week. Not long to go now! The song is coming along well and we press play on the song to see where we are at with it. 2. “I want to redo the front again and the chorus as well” Brodie says and adds, “Because when I listened back to it at home, it sounded extremely distorted”. “That maybe me, a mix thing, let’s have a look at it”, I reply. I start to have a look at the track to see what is happening, while I am doing this, Brodie asks if we can do another song with each other. “If you got spare time and are here for a little while….” , “Yeah, I’d love to do a couple of songs with you”, I reply. It’s true, Brodie is really easy to work with and as I have said before, he takes it seriously, which is enjoyable to work with. Not pulling teeth with Brodie! “Hey, I told me mum that you used to be guitarist for Jimmy Barnes and not Bod Dylan, she was very impressed “ Brodie tells me. I laugh “Bod Dylan”, I repeat, as if! “I’m not really into that music”, Brodie says. All good man, I think….hahaha, Bob Dylan! 3. “I want the intro to fade in”, he tells me “With the music as well”? I ask him. “In your honest opinion, what do you think would sound best”? Brodie asks me in reply. “Let’s try them both and see”, I respond. I press play and we listen to the song in its entirety. “So, while you are in here, are there any sound effects that you want in there”? I ask him. There are several places where a sound effect would work. For example, in the line ‘In Phys ED, you remember the beep test’, a ‘beep’ sound would work well. There are plenty of samples in logics loop library so we shouldn’t have a problem in finding them. We can always make them as well. I then explain the art of foley recording to Brodie. He suggests ‘wine on the carpet’ we could have a splashing sound, “won’t work, no-one would hear it”, I tell him. 4. Interestingly, he admits that he is new to ad-libs and when he writes his lyrics, he puts his ‘rehearsed ‘ad-libs’ in brackets next to the line. Again, I think to myself, Brodie is a serious rapper who knows what he wants, rehearsed ad-libs confirm it! “I’ve never indulged this deep in a song before” Brodie states. “Cool, means you’re learning”, I tell him and press play. Mixing drums 1. I’m listening to the drums and feel that I need to get more out of the sound of them. Parallel compression is a technique that I use to give the drums more presence and involves bussing the drums to a compressor and rolling the compressed signal in with original track. I explain to Brodie how this done and show him other options that you could do, i.e. delay, and reverb. I set up the compression and give Brodie the A/B test. The drums have more presence and we both like what has happened. The drums now drive the song along with purpose. Cool! 2. “You know how I said there’s something about the beat that I couldn’t put my finger on, it’s because it wasn’t strictly a rap instrumental, you can do anything with it. What I grab is strictly for the rap genre”, Brodie informs me. This indicate the challenge that he has faced and told me about when he wrote the lyrics. Again, he is still thinking about the song. Sound effects, mixing and banter 1. We continue with the sound effects, this time focusing on the ‘hail storm’ line. I search around for a thunder clap and some rain sounds. Easily found and I create the tracks to place the samples in, add a little reverb to the thunder and press play. “Is it too loud”? I ask and I turn it down, cos, it is far too loud. Brodie nods in agreement. I must admit, that our banter and rapport building has been fantastic for the duration of the song. We have along really well and his interest in producing has meant that our conversations have also been educational as well. He is very keen on becoming a good producer and I am equally as keen to give him pointers on recording and mixing, which I have throughout the project. He tells me that it took 6 months to complete his first beat and that he always makes a beat before he writes the words, “cool, mate, you’re learning”, I tell him. 2. We continue with the sound effects and production techniques. Every suggestion I make we talk through the possible benefits, if it will work or if it’s a bad idea. Unless I hear something that needs to be changed, I will ask Brodie “what do you think of this”, or “Is this bit too….”, it is a genuine collaboration between us.

146 3. Banter continues with me talking about my position at work and our studios will all the cool gear we have. He expresses an interest in BHI, but we’ll see. Let’s finish this song first shall we. 4. Next up is inserting a scream after the line ‘you scream anyway’. We trial a few screams from the sample bank and have laugh in the process until we find the effect and I put that in the mix. It’s ok. We got to be careful as to not overdo it too much with the effects. A fine line! 5. I find a place where I can use the drums to bring out the rhythm of the lyric, ‘rot until you get dropped’, and I put 1/8th note kick drum that emphasises the phrasing of the line. It sounds great! Another cool lift, especially with all the music dropped out underneath the song. 6. The rest of the session is dedicated to mixing, I introduce automation to Brodie who is impressed with what you can do with the function. It’s always enjoyable watching fader and knobs turn following the automation that you write. Jesse enters and hears the chorus for the first time. “is that the chorus? It’s dope” he says. Jesse’s seal of approval! I hear tambourine underneath the chorus guitars and find a loop and put it in the mix. Yep, it works, gives the chorus a lift! “I’ve never made a track like this, even before I wanted to even be a rapper, I never thought that I’d be doing something like this, I think that’s why it’s hard to wrap my head around” Brodie suddenly says. He has hinted at that a few times as if he might want reassurance from me. “It’s cool, it’s interesting and different”, I reply. Not that that will pacify him, but, it’s the truth. It isn’t a normal rap beat and it’s working! 7. Editing and mixing continue, just fine tuning the sounds. Meanwhile Brodie and continue conversing about the recording and mixing process. He has a solid interest in what I am doing and what he doesn’t understand he will ask questions. Time flies when the mix is working and it has today. We have 10 minutes of the session left to go. Ending the song 1. At the moment, the song has no definitive ending. It just sort of peters out with Brodies outro ad-libs. “How we going to end this”? I wonder aloud. An interesting conversation about the length of time that we have spent on it pops up between Jesse and Brodie. As Brodie previously said, he has never worked so long on a song before. Jesse and he usually get something done in a day, but Jesse says that’s more of time restriction and that spending more time on a song isn’t a bad thing and that you can develop ideas more and live with them over a period of time. Brodie who has learnt about crafting the song, says “I will keep it in mind for next time, I think about those nooks and crannies, think about how to finish a song”. Jesse agrees, “It’s good practice to come in with a clear idea, especially if you a paying for studio time”, he says. 2. To fade out or not to fade out is the question. Fade out is the answer. I just automate the stereo output and fade out over a couple of bars whilst the ad-lib outro is happening. It works, and is neat. Brodie and Jess are both cool with it. Also, I add the chorus guitar riff looping over the C minor chord as the fade out happens. It’s a nice little cross reference that keeps the vibe of the song going. It is actually really cool. 3. It’s time to end the session and I bounce out the song for Brodie. I think next week we will be finished. As I am bouncing out Jesse and Brodie continue a song-writing conversation about freestyling, or tracking line for line. Brodie wants to do a 64 Bar non-stop rap. Pretty cool notion, have to be on your game, but again, these little debriefs are invaluable for Brodie in becoming an artist. He enjoys them as well. 4. I have now spent 5 hours and 38 minutes with Brodie. Friday 19th October 4:30 Control room banter and assessment 1. It’s our last day together. It has been totally productive in my eyes. The session begins with Graffiti talk. I am happy to tell my stories of yore. It actually has helped me build rapport with youth-at-risk over the years. Basically, we are talking about vandalism. It’s a funny conversation but not really relevant to the song-writing process, however, we are building rapport and in a sense respect for them. Also, it shows that I am authentic. Brodie loves my tales of keeping the level crossing down with a 20-cent coin and the explosives in the guard’s van, Blue and red trains without power. Awesome! 2. I play the track. It’s pretty much done. “So, what do you reckon”? I ask. “Well there are only a couple of things I want to change”, Brodie replies. He has been listening to the track at home and has come in with his notes. “There is a scream that I want to get rid of, it sounds better without it”, he says. I

147 locate and lose the scream. “The beep test, I actually found the sound on YouTube from an actual beep test, just swap that out and that’s honestly it”, he says. “Cool, I just want hear a bit without the bass”, I respond. I have an idea to mute the bass and keys after the second chorus. It doesn’t take long to do this; it gives the song some breathing room and dynamics. I mute it for 2 bars, then try it for 4 bars. 4 bars is the one that works! 3. A guy named ‘Dave’ enters the room. I haven’t seen him for ages. He is a producer himself. “Did you make that beat Pete”? he asks. “Yeah”, I reply. “Nice, sounds great”, he replies to me. We have a little chat about our respective projects. Dave is still out there doing his stuff, predominately hip hop. He is a cool dude. 4. So, I locate the beep test on YouTube and try to work out the best way to rip it from the net. Dave leaves and we say our goodbyes. Brodie a court case pending, and an assessment for youth justice. “Are you going to go inside”? I ask “No”, he replies then tells me the sort of questions he will be asked. I put the beep test sample in where it should go. It’s ok, not blow away, but it works. The last thing I do is get the 8th note kicks that we did last week and put them on the last bar of the muted passage I did earlier in the day. “So, we hear it twice in the song”, I tell Brodie. He likes it. I play the song through and we look at each other. We are done! 5. The time spent with Brodie was 6 hours and 6 minutes. Debrief and questions “I got some questions for you”, I say to Brodie. “Shoot”, he replies. “Did you like the sounds of the song”? I ask. “The final product, about halfway through, I’m not sure what it was but it wasn’t sitting with me, so we dropped it down”, he says. “Yeah, we did, we dropped it from D to C, but what about the sounds that we used, I know it is instrumentation that you don’t use, are you happy with it”? I ask. “Yes, very happy”, Brodie replies

Enjoyment Question 1a Me – How did you enjoy participating in the project? Brodie – 100% Me – 100%? Awesome. So, you just had a good time? Brodie, well I am going to put it on my E.P. so that got to say something. 100%. Me – Excellent! Question 1b Me – Did you enjoy the process, in creating the song. We did spend some time on it, was it fun? Brodie – That was the longest time that I have ever spent on a song. Me- That’s good and bad. Maybe if we had of had 2 hours sessions, we could have knocked it off quicker. But anyways, it was good because you cared about it. You came back with ideas, ’I want to turn this up, want to re- record this”. That’s a good thing. Question 1c Me – And how pleased are you with the completed song? Brodie – The finished product? M- Yep. Brodie – In the middle as I have said there was something off about it, but, the end product, yeah, I love it. Me – In the end, we got there. Thoughts – I genuinely believe that Brodie as he said, enjoyed both the project and my company. He was very attentive throughout our time spent with each other. Obviously, he was pleased with the outcome. The fact that he is planning for the song to go on his E.P is testimony towards this. Interesting that he said it was the most time he had spent on a song. 5 or so hours isn’t that long to write, record and mix a song. Brodie was particularly assertive that he wanted to get his parts as best as he could and would re-do take after take until he was happy with his performance. This also contributed to the duration of the project and also suggests that

148 he invested in the song. If he wasn’t hot on its chances are that he wouldn’t have been so anal about his performance. It was a new style for him to write to and would have challenged him being out of his comfort zone. This would also contribute to the time spent on the track. As our sessions were limited to an hour a week, this would also make the process feel a lot longer than it was. If we spent the same time spread over a day or maybe 2, then would it feel as long? I doubt it. Self-Expression Question 2a Me - Do you feel that you were able to free self-express yourself while working with me? Brodie – Yeah again 100%. You’re a mad cunt! Me – (Laughs) Thanks, I don’t mind that. Jesse – Put that down. Me – It’s all verbatim, I’ll write that down. Brodie – Put it on your resume. Me – Well I was going to ask , why, why not? Because you’re a mad cunt. Brodie – Laughs Me – Cos I get it. I know that you had court coming up. I’m not here to judge you, I am here to write songs. Out of the 3 participants, Brodie was the most focused and had the clearest vision of what he wanted out of the song. Mad cunt is a term of endearment towards his thoughts on me as his collaborator as well. Learning Benefits Question 3a Me - What did you learn about participating in a collaborative project? Brodie – I’m really stumped on that one , because it’s more of the same. Doing the same I normally do but I just spent more time on it. Me – Ok, so you spent more time on it. Is that a good thing? Brodie – Yeah. It’s different, I’m not used to it. Me- We tried shit until the end!

Question 3b Me- What did you learn about collaborating? Cos earlier on, you said, that when you collabed, you did all the work, that people forgot to do lyrics or something and that it was easier to do it yourself. Brodie – Yeah Me – So have you got a bit more faith in collaboration? Brodie – With age comes wisdom I guess. Cos when I was collabing with Liam, I had all the weight on my shoulders, I really wanted to get the track done, and he’ll fuck it up somehow. But when we ( meaning Brodie and I ) finished the track and it was a decent product, I thought that yeah, maybe it is possible. Me – And you have also collaborated with Jesse. I suppose it’s being with a stranger. Cos you got to get to know each other, there’s a bit that goes with it. If you thought that I was a fuck-head then it would be more difficult to get a song out of it. Brodie – (laughing) Yeah! Question 3c Me – What did you learn about the music creation? Did you learn that it’s possible to make new genres work? Brodie – Straight up this is the hardest song I have ever had to make. I’d be sitting at the laptop with the beat on repeat and I’m like what am I going to write to this? It’s not angry, I can’t say I’m going to stab ya, but it’s not sad to have a meaningful deep down track, like what the fuck am I going to write to this?

149 Me – But at the end of it, the music creation, you were able to write to it, you found the answer, something to write to it. Brodie – It took 3 versions but yeah. Me – Cool, that’s all about crafting. Question 3d Me – What did you learn about the studio and recording software manipulation. Like did you learn anything from what I was doing? In the way that I produce or anything like that? Brodie – No because I use Abelton, I had no idea what you were doing. The layout is sort of the same, kind of looks like arrangement view. Me – Yeah, they call this edit view, but yeah. Brodie – Like when I was trying to move this (points to the playhead) I couldn’t get it .. Me – It’s a logic fault, it shits me! Question 3e Me - What did you learn about yourself, anything? Brodie - Myself? That’s a real blank slate, that’s my answer. Me – So you are a real blank slate? Did you learn anything about yourself? Brodie – I feel pretty much the same as I did last year, the complete same person, I haven’t aged at all in my head. You’re not the only person who has asked me this you know. I’m trying to think of where and why. Me – Well you either did or you didn’t. Brodie – Yeah. Benefits Question 4a Me – Do you feel that you have benefitted from participating in the project. Why , why not? Brodie – I had fun, that’s a benefit. Me – Fucking oath it is! Why did you have fun? Or why was it fun? Brodie – Making music is one of my passions. Question 4b Me – Do you think anyone in the community has benefitted from this project. Like you family, has it kept you out of trouble? Brodie – My parents hate rap music. So, when I show them something they are like, ‘I’m glad you are doing something, but it sounds like shit’, but, that’s how they are. My sister likes what I’m doing but she’s into mumble rap and I can’t stand that shit. Me – Mumble rap? Brodie – You can’t understand what they are saying. Me – Oh god. I’m going to have to listen to it. Brodie – I envy you that you haven’t heard it. Me – But it has kept you busy, and kept you writing. Brodie – Yeah. Me – So it has been of benefit, maybe not your family, but definitely to you.

150 Recommendations and Improvements Question 5a Me – Ok, so would you recommend this process of song-writing to anyone, your peers or anything? Brodie – I don’t think that any of my peers have the patience. Me – So, yeah there is a fair bit of patience involved. So you wouldn’t recommend it to your friends? Brodie – My particular friends? No, because they are the type of people who pick something up and then 2 minutes later put it down. Me – Attention span. Brodie – Yeah. Me- But maybe for someone who is a bit more serious you might? Brodie – Yeah. Question 5b Me – Can you think of anything that I could improve? Brodie – You? Me – Yeah for the collaborative song-writing, like could I listen more or try different things? Bring it on, say what you want? Brodie – I’m trying to think of something that you fucked up on, but …. Nah. You’re an awesome producer. You are too (he says to Jesse) Me – Thanks Jesse – Thanks Me - Finally, have you played the song to anyone? Brodie – I haven’t uploaded yet cos it wasn’t finished. Me – So know work in progress. I’m interested to know what other people think of it. Do you mind if I play it to people? Brodie – Go for it. Me – You also own the copyright. That’s my gift for your spending time with me. Now you’re going to make a million dollars and I will track you down… Brodie – When I upload it, I always give my producer credit. What’s you producers name. Me –Pete Sounds! Brodie and I spent a total time of 6 hours and 19 minutes with each other.

151 Submitted forms: Figure 38 Participant recruitment form Figure 39 Plain language statement Figure 40 Participant consent form Figure 41 Participant Questionnaire Stage 1 Figure 42 Participant Questionnaire Stage 3

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Figure 39 Plain language statement

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Minerva Access is the Institutional Repository of The University of Melbourne

Author/s: Satchell, Peter Anthony

Title: Unlocking the Song Within: Applied process for writing collaborative songs with youth-at-risk

Date: 2020

Persistent Link: http://hdl.handle.net/11343/277014

File Description: Final thesis file

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