DOCSLIB.ORG

“Real Me” Liner Notes Guide

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
“Real Me” Liner Notes Guide “Real“Real Me”Me” Liner Notes Notes Guide Guide Thank Yous………………………………………………p2 Album Credits…………….……………………………p3 Song Stories………………..…………………………p4-5 About Erica………………………………………………p6 Lyrics……………………………………………………p7-16 The Good Mood Song………………………………p7 Our Own Rules………………………………….……p8 Recess Royalty………………….……………………p9 Here in Between………………………………………p10 In Sync…………………………….…………………….p11 The Same Stars……………….…………………….p12 Summer Forever……………………………………p13 Home……………………………………………………p14 Real Me…………………….…………………………p15 Glory……………………………………………………p16 Thank you Th ank Yous “Real Me” was a labor of love. I’ve never written an album with the support I had and for that, I have a lot of gratitude! This album would not be possible without Pinna’s thoughtful leaders, Maggie McGuire and Amy Kraft who approached me with a vision to create music for tweens and older kids that meets them where they are. Thank you for eagerly listening and sharing your encouragement and support each step of the way. Big thanks to my perfectionist production and co-writing partner, Chris Camilleri. From our pop listening parties, to hours spent tweaking a single lyric, writing and rewriting and patiently recording and rerecording until we hit the right tone. Thank you for questioning me and pushing us to get the best out of every song, melody, and lyric. Mark Santangelo at The Mastering Palace for providing cookies and tea at my first mastering session and going back and forth with us until we were happy with every “s!” Beth Blenz-Clucas at Sugar Mountain PR for helping me navigate the kindie world and providing insight and thoughtful feedback. Pinna’s marketing team Sandra Engstrom and Brie Whalen for helping share the album with the world and Ash Beecher for being supportive, awesome, and positive. Kaitlin McGaw and Tommy Soulati Shepherd aka Alphabet Rockers for letting Chris and I peer into your thoughtful songwriting process while crafting the bridge for Glory. I could not conceive of better partners to collaborate with on such an important message. Tim Kubart for being a musical mentor, friend, and dancing while recording vocals for “In Sync.” Emily Hope Price for the free concert that elevated the emotional arc of “Here in Between.” Michelle Thaller and my HATCH community for planting the seed of inspiration that grew into Same Stars years ago. Brian Blake for being an incredible partner and collaborating with me on other proJects while I was writing this album and teaching me so much about songwriting along the way. Song Inspo 2 “Real“Real Me”Me” Album Credits Credits Performed by Erica Rabner Written by Chris Camilleri and Erica Rabner Produced, Arranged, and Mixed by Chris Camilleri Mastered by Mark Santangelo, The Mastering Palace Executive Produced by Amy Kraft and Maggie McGuire Published by Pinna Artwork by Leslie Osmont Additional Credits for “Glory” Bridge Written and Performed by Alphabet Rockers Additional Engineering by: Kevin McCann Additional Credits for “In Sync” Performed by: Tim Kubart Additional Credits for “Same Stars” Additional Vocals by: Mylie Fulwider Alina Kujawinski Nooria Retzer Additional Credits for “Here in Between” Featured Cellist: Emily Hope Price 3 Song StoriesSong Stories 1. The Good Mood Song - We wanted to write a song that gets you bopping and in a good mood. Since I hate my alarm, I wanted a song to get me up and out of bed with a smile. 2. Our Own Rules - This song questions traditional and assigned gender roles. Who made me x and you y literally refers to chromosomes. Who decided girls should dress a certain way? Why do people confine us to certain roles and behaviors? I wanted to push back on that. 3. Recess Royalty - Growing up I loved recess...who didn’t? Writing this song took me back and made me want to do the same for others whether they last had recess five years ago or five decades ago. 4. Here In Between - Being in between is a theme I’m very familiar with. Professionally I straddle multiple worlds as a singer/songwriter and kids media researcher. Within music, I write music for kids and families, and have a separate solo project writing and performing soul/pop/R&B. Being in between can be tricky. Some people don’t see you fully in either world when you sit between many. I so vividly remember the transition from elementary school to middle school. All of the sudden, I stayed the same but everything around me changed. My best friend found a new group to spend time with, I was in a new building with new rules and a new dress code. I was still a tomboy but I enjoyed getting dressed up. It was uncomfortable. Knowing now that discomfort often precedes growth, I wanted this song to be a love story for that in between time, removing pressure and expectation and finding a way to enjoy and find comfort in the in between time. 5. In Sync - I wrote “In Sync” about my relationship with my mom and sister. I had a moment where I pulled out my phone to text my mom something and saw that she just texted me the exact same thing. The chorus immediately fell out of me. We are lucky to feature my friend and GRAMMY award winner Tim Kubart on the track. Since this song is about a relationship between two people, I wanted another voice singing. In the bridge, the two singers finish each other’s sentences which happens all the time with my sister and mom. 4 6. Same Stars - I heard NASA astrophysicist Michelle Thaller give a beautiful and inspiring talk that connected us all in the universe. She said, “We are dead stars. Everything we are – the iron in our blood, every element we’ve ever heard of – is made from a star.” I felt the room pause in awe. It gave the “we are but stardust” poetry a new meaning. The sentiment of connectedness has become even more poignant through a global pandemic. While we’re not in the same boat, we’re all weathering the same storm during the day and staring at the same stars each night. 7. Summer Forever - To me one of the beautiful things about being a kid/tween was freely enjoying summer. Stress free, easy, in the moment, simple summer. There’s so much to love about summer so this is my love letter celebrating s’mores, fireflies, and everything in between. 8. Home - When I wrote “home” I certainly didn’t anticipate living in my childhood bedroom when we released the album. My dad likes to joke, “residency is a state of mind.” Naturally, I’ve always considered my parents’ house to be my home -- because of the people. Anytime we’re together, I feel that sense of home. This song takes me back home when I need a piece of that. 9. Real Me - The title track of the album is an anthem to being who you are and embracing every piece of you. There’s no good or bad, just me. Personally, I struggle with perfection. I describe myself as a very imperfect perfectionist. I’m hard on myself but working on loving and embracing my imperfections. An early version of this song was recognized as a finalist in the international John Lennon Songwriting Contest. Consider this Real Me 2.0 (or more likely: Real Me 18.0) 10. Glory - Glory was an emotional song to write. The first week I started writing, I fell into a funk. The original first line of the song was “when did bulletproof backpacks become a thing? metal detectors get more use than swings.” Was it age appropriate? Unfortunately...yes. I kept thinking about the day to day small talk we have about the weather when our planet’s battling a storm (climate change) and we hear about new shootings so often we become numb. I was on the NYC subway watching everyone around me look at the ground to avoid a man begging for help. I wrote a tortured song and needed to step back so I took a week off. A week later I decided to flip the narrative. My goal for the song changed from dumping my frustration to seeking a solution. I realized I needed to bring in new voices and perspectives. Alphabet Rockers were the perfect people to help me do that. They wrote and performed a beautiful bridge. On a planning video call, they asked me and Chris to describe role models and people who embody the kind of strength we were promoting in our song. We discussed the message of paving your own story. Then they made their own magic. 5 About Erica About Erica Erica Rabner entered the world of children’s music through kids media research. While Erica sang the theme to the Little Mermaid before she could speak, she started songwriting much later. At the time, Erica was pursuing a career as a children’s educational media researcher -- testing educational TV shows with preschoolers. Erica studied psychology and music theater at Brandeis University, and received a master’s in Technology, Innovation, and Education at the Harvard Graduate School of Education, while working at the MIT Media Lab. Immediately after school, Erica conducted research on Daniel Tiger’s Neighborhood and Sesame Street. While working at Sesame Workshop, they launched Sesame Studios and invited employees to pitch ideas. In that moment everything clicked into place. Erica returned to her desk and began writing her first two songs. They led to her debut children’s album, "PB & JAMS," which was recognized with a 2017 Parents’ Choice Recommended Award. Soon after, Sesame commissioned Erica to write “The Thanksgiving Song” and she was hooked.
Load more

Recommended publications
  • Intellectual Property and Entertainment Law Ledger
    NEW YORK UNIVERSITY INTELLECTUAL PROPERTY AND ENTERTAINMENT LAW LEDGER VOLUME 1 WINTER 2009 NUMBER 1 MIXED SIGNALS: TAKEDOWN BUT DON’T FILTER? A CASE FOR CONSTRUCTIVE AUTHORIZATION * VICTORIA ELMAN AND CINDY ABRAMSON Scribd, a social publishing website, is being sued for copyright infringement for allowing the uploading of infringing works, and also for using the works themselves to filter for copyrighted work upon receipt of a takedown notice. While Scribd has a possible fair use defense, given the transformative function of the filtering use, Victoria Elman and Cindy Abramson argue that such filtration systems ought not to constitute infringement, as long as the sole purpose is to prevent infringement. American author Elaine Scott has recently filed suit against Scribd, alleging that the social publishing website “shamelessly profits” by encouraging Internet users to illegally share copyrighted books online.1 Scribd enables users to upload a variety of written works much like YouTube enables the uploading of video * Victoria Elman received a B.A. from Columbia University and a J.D. from Benjamin N. Cardozo School of Law in 2009 where she was a Notes Editor of the Cardozo Law Review. She will be joining Goodwin Procter this January as an associate in the New York office. Cindy Abramson is an associate in the Litigation Department in the New York office of Morrison & Foerster LLP. She recieved her J.D. from the Benjamin N. Cardozo School of Law in 2009 where she completed concentrations in Intellectual Property and Litigation and was Senior Notes Editor of the Cardozo Arts & Entertainment Law Journal. The views expressed in this article are those of the authors and do not reflect the official policy or position of Morrison & Foerster, LLP.
    [Show full text]
  • Doubles and Doubling in Tarchetti, Capuana, and De Marchi By
    Uncanny Resemblances: Doubles and Doubling in Tarchetti, Capuana, and De Marchi by Christina A. Petraglia A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Italian) At the University of Wisconsin-Madison 2012 Date of oral examination: December 12, 2012 Oral examination committee: Professor Stefania Buccini, Italian Professor Ernesto Livorni (advisor), Italian Professor Grazia Menechella, Italian Professor Mario Ortiz-Robles, English Professor Patrick Rumble, Italian i Table of Contents Introduction – The (Super)natural Double in the Fantastic Fin de Siècle…………………….1 Chapter 1 – Fantastic Phantoms and Gothic Guys: Super-natural Doubles in Iginio Ugo Tarchetti’s Racconti fantastici e Fosca………………………………………………………35 Chapter 2 – Oneiric Others and Pathological (Dis)pleasures: Luigi Capuana’s Clinical Doubles in “Un caso di sonnambulismo,” “Il sogno di un musicista,” and Profumo……………………………………………………………………………………..117 Chapter 3 – “There’s someone in my head and it’s not me:” The Double Inside-out in Emilio De Marchi’s Early Novels…………………..……………………………………………...222 Conclusion – Three’s a Fantastic Crowd……………………...……………………………322 1 The (Super)natural Double in the Fantastic Fin de Siècle: The disintegration of the subject is most often underlined as a predominant trope in Italian literature of the Twentieth Century; the so-called “crisi del Novecento” surfaces in anthologies and literary histories in reference to writers such as Pascoli, D’Annunzio, Pirandello, and Svevo.1 The divided or multifarious identity stretches across the Twentieth Century from Luigi Pirandello’s unforgettable Mattia Pascal / Adriano Meis, to Ignazio Silone’s Pietro Spina / Paolo Spada, to Italo Calvino’s il visconte dimezzato; however, its precursor may be found decades before in such diverse representations of subject fissure and fusion as embodied in Iginio Ugo Tarchetti’s Giorgio, Luigi Capuana’s detective Van-Spengel, and Emilio De Marchi’s Marcello Marcelli.
    [Show full text]
  • Neglected Jazz Figures of the 1950S and Early 1960S New World NW 275
    Introspection: Neglected Jazz Figures of the 1950s and early 1960s New World NW 275 In the contemporary world of platinum albums and music stations that have adopted limited programming (such as choosing from the Top Forty), even the most acclaimed jazz geniuses—the Armstrongs, Ellingtons, and Parkers—are neglected in terms of the amount of their music that gets heard. Acknowledgment by critics and historians works against neglect, of course, but is no guarantee that a musician will be heard either, just as a few records issued under someone’s name are not truly synonymous with attention. In this album we are concerned with musicians who have found it difficult—occasionally impossible—to record and publicly perform their own music. These six men, who by no means exhaust the legion of the neglected, are linked by the individuality and high quality of their conceptions, as well as by the tenaciousness of their struggle to maintain those conceptions in a world that at best has remained indifferent. Such perseverance in a hostile environment suggests the familiar melodramatic narrative of the suffering artist, and indeed these men have endured a disproportionate share of misfortunes and horrors. That four of the six are now dead indicates the severity of the struggle; the enduring strength of their music, however, is proof that none of these artists was ultimately defeated. Selecting the fifties and sixties as the focus for our investigation is hardly mandatory, for we might look back to earlier years and consider such players as Joe Smith (1902-1937), the supremely lyrical trumpeter who contributed so much to the music of Bessie Smith and Fletcher Henderson; or Dick Wilson (1911-1941), the promising tenor saxophonist featured with Andy Kirk’s Clouds of Joy; or Frankie Newton (1906-1954), whose unique muted-trumpet sound was overlooked during the swing era and whose leftist politics contributed to further neglect.
    [Show full text]
  • Cool Trombone Lover
    NOVEMBER 2013 - ISSUE 139 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM ROSWELL RUDD COOL TROMBONE LOVER MICHEL • DAVE • GEORGE • RELATIVE • EVENT CAMILO KING FREEMAN PITCH CALENDAR “BEST JAZZ CLUBS OF THE YEAR 2012” SMOKE JAZZ & SUPPER CLUB • HARLEM, NEW YORK CITY FEATURED ARTISTS / 7:00, 9:00 & 10:30pm ONE NIGHT ONLY / 7:00, 9:00 & 10:30pm RESIDENCIES / 7:00, 9:00 & 10:30pm Fri & Sat, Nov 1 & 2 Wed, Nov 6 Sundays, Nov 3 & 17 GARY BARTZ QUARTET PLUS MICHAEL RODRIGUEZ QUINTET Michael Rodriguez (tp) ● Chris Cheek (ts) SaRon Crenshaw Band SPECIAL GUEST VINCENT HERRING Jeb Patton (p) ● Kiyoshi Kitagawa (b) Sundays, Nov 10 & 24 Gary Bartz (as) ● Vincent Herring (as) Obed Calvaire (d) Vivian Sessoms Sullivan Fortner (p) ● James King (b) ● Greg Bandy (d) Wed, Nov 13 Mondays, Nov 4 & 18 Fri & Sat, Nov 8 & 9 JACK WALRATH QUINTET Jason Marshall Big Band BILL STEWART QUARTET Jack Walrath (tp) ● Alex Foster (ts) Mondays, Nov 11 & 25 Chris Cheek (ts) ● Kevin Hays (p) George Burton (p) ● tba (b) ● Donald Edwards (d) Captain Black Big Band Doug Weiss (b) ● Bill Stewart (d) Wed, Nov 20 Tuesdays, Nov 5, 12, 19, & 26 Fri & Sat, Nov 15 & 16 BOB SANDS QUARTET Mike LeDonne’s Groover Quartet “OUT AND ABOUT” CD RELEASE LOUIS HAYES Bob Sands (ts) ● Joel Weiskopf (p) Thursdays, Nov 7, 14, 21 & 28 & THE JAZZ COMMUNICATORS Gregg August (b) ● Donald Edwards (d) Gregory Generet Abraham Burton (ts) ● Steve Nelson (vibes) Kris Bowers (p) ● Dezron Douglas (b) ● Louis Hayes (d) Wed, Nov 27 RAY MARCHICA QUARTET LATE NIGHT RESIDENCIES / 11:30 - Fri & Sat, Nov 22 & 23 FEATURING RODNEY JONES Mon The Smoke Jam Session Chase Baird (ts) ● Rodney Jones (guitar) CYRUS CHESTNUT TRIO Tue Cyrus Chestnut (p) ● Curtis Lundy (b) ● Victor Lewis (d) Mike LeDonne (organ) ● Ray Marchica (d) Milton Suggs Quartet Wed Brianna Thomas Quartet Fri & Sat, Nov 29 & 30 STEVE DAVIS SEXTET JAZZ BRUNCH / 11:30am, 1:00 & 2:30pm Thu Nickel and Dime OPS “THE MUSIC OF J.J.
    [Show full text]
  • RIAA'') Is Pleased to Provide
    Before the UNITED STATES COPYRIGHT OFFICE Washington, D.C. In the Matter of: Docket No. 2014-03 Music Licensing Study: Notice and Request for Public Comment COMMENTS OF THE RECORDING INDUSTRY ASSOCIATION OF AMERICA, INC. The Recording Industry Association of America, Inc. ("RIAA'') is pleased to provide these Comments in response to the Copyright Office's Notice oflnquiry ("NOI") in the above- captioned proceeding. See Music Licensing Study: Notice and Request for Public Comment, 79 Fed. Reg. 14,739 (Mar. 17, 2014). RIAA is the trade association that represents the music companies that create, manufacture and/or distribute approximately 85% of all legitimate recorded music produced and sold in the United States. The issues raised in the NOi are critically important to RIAA's members. The musical works they license to include in their releases are an essential part of those releases, and they are major licensees of musical works. They are also copyright owners or distributors of audio-only and audiovisual sound recording releases accounting for the vast majority of music usage. Sound recordings and the musical works incorporated therein are subject to disparate licensing systems, including three completely separate systems just for musical works (i.e., for mechanical, performance and synchronization rights). Unfortunately, while the systems for sound recordings are working reasonably well in many respects, there is an emerging consensus that the systems for licensing musical works are not. Accordingly, the question is not whether change would be desirable, but whether it will be possible to achieve consensus concerning what changes should be made to improve musical work licensing.
    [Show full text]
  • 59Th Annual Critics Poll
    Paul Maria Abbey Lincoln Rudresh Ambrose Schneider Chambers Akinmusire Hall of Fame Poll Winners Paul Motian Craig Taborn Mahanthappa 66 Album Picks £3.50 £3.50 .K. U 59th Annual Critics Poll Critics Annual 59th The Critics’ Pick Critics’ The Artist, Jazz for Album Jazz and Piano UGUST 2011 MORAN Jason DOWNBEAT.COM A DOWNBEAT 59TH ANNUAL CRITICS POLL // ABBEY LINCOLN // PAUL CHAMBERS // JASON MORAN // AMBROSE AKINMUSIRE AU G U S T 2011 AUGUST 2011 VOLUme 78 – NUMBER 8 President Kevin Maher Publisher Frank Alkyer Managing Editor Bobby Reed Associate Editor Aaron Cohen Contributing Editor Ed Enright Art Director Ara Tirado Production Associate Andy Williams Bookkeeper Margaret Stevens Circulation Manager Sue Mahal Circulation Assistant Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Advertising Sales Assistant Theresa Hill 630-941-2030 [email protected] OFFICES 102 N. Haven Road Elmhurst, IL 60126–2970 630-941-2030 Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, John McDonough Atlanta: Jon Ross; Austin: Michael Point, Kevin Whitehead; Boston: Fred Bouchard, Frank-John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Or- leans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman, Herb Boyd, Bill Douthart, Ira Gitler, Eugene Gologursky, Norm Harris, D.D.
    [Show full text]
  • Blueprint for the Arts N Music Letter from the Chancellor
    Grades PreK - 12 - PreK Grades For Teaching and Learning in Learning and Teaching For Office of Arts and Special Projects New York City Department of Education 52 Chambers Street, Room 205 New York, New York 10007 Phone: 212.374.0300 Fax: 212.374.5598 Email: [email protected] website: schools.nyc.gov/artseducation New York City Department of Education © 2005 Carmen Fariña, Chancellor Second Edition (2008) Contributors Third Edition (2015) Contributors Dorita Gibson, Senior Deputy Chancellor Phil Weinberg, Deputy Chancellor of Teaching Music Curriculum Development Co-Chairs Music Educators, Music Curriculum Development Co-Chairs New York City Department of Education and Learning Barbara Murray, Director of Music Programs Barbara Murray, Director of Music Anna Commitante, Senior Executive Director, Office of Arts and Special Projects, Donald Christiansen Robert Lamont, Music Consultant Curriculum, Instruction & Professional Learning New York City Department of Education Roberta Feldhusen Paul King, Executive Director, Office of Arts and Shellie Bransford, Music Consultant Janet Grice Special Projects Elizabeth Norman, Director of Education, Elizabeth Guglielmo Music Educators, St. Luke’s Orchestra New York City Department of Education First Edition (2004) Contributors Jaime Jacobs Gregory Pierson, Director of Education, Maria Schwab Eric Dalio Music Curriculum Development Co-Chairs Brooklyn Philharmonic Thomas Toriello Elaine Fauria Nancy Shankman, Director of Music/ George Wanat Ian Kanakaris Deputy Senior Instructional Manager for Arts Education Moishe Weidenfeld Music from the Inside Out Contributors Portia Lagares Thomas Cabaniss, Director of Education, Jerome Korman, Project Director, Music Consultant, New York Philharmonic Office of Arts and Special Projects Cultural and University Community Music Educators, Nancy Shankman, Director of Music, Deputy Senior Dr.
    [Show full text]
  • Download PDF Version
    Twitch’s Rockonomics Introduction 3 Part 1: Twitch Distinctions 8 Part 2: Twitch True Fans 18 Part 3: Twitch In Action 27 Closing Remarks 43 About The Author 46 Partners 47 Acknowledgements 48 #twitchrockonomics Live streaming won’t go away when live music returns. This inquiry into Twitch helps us understand how they may co-exist. ‘If you keep the full $100 of each true fan, then you need only 1,000 of them to earn $100,000 per year.’ Kevin Kelly, The Technium, 2008 Kevin Kelly’s 2008 1000 True Fans essay is making something of a comeback, as many artists today are feeling short-changed from their paltry music streaming royalties. In a recent Harvard Business Review article that’s rich in media theory, Li Jin argues that ‘The Creator Economy Needs a Middle Class’. Jin encourages us to rethink media, and Kelly’s essay suggests a remedy, which Twitch is strongly positioned to provide. Twitch offers a unique way for artists to reach fans and earn money. The growing criticism from music industry trade bodies about Twitch’s licensing strategy appears to be based on a misunderstanding of what Twitch is and isn’t That takes us to the threefold objective of this – which is understandable, given that live inquiry. Getting exclusive access to data (and streaming on Twitch is a new paradigm. Key to data scientists) from Twitch, MRC Data and this seachange are Twitch’s roots in the culture ChartMetric has allowed me to: of gaming. You can bring a horse to water, or you (i) establish what makes Twitch distinct; can bring water to the horse.
    [Show full text]
  • João Gilberto
    SEPTEMBER 2019 VOLUME 86 / NUMBER 9 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert.
    [Show full text]
  • Downbeat.Com July 2015 U.K. £4.00
    JULY 2015 2015 JULY U.K. £4.00 DOWNBEAT.COM DOWNBEAT ANTONIO SANCHEZ • KIRK WHALUM • JOHN PATITUCCI • HAROLD MABERN JULY 2015 JULY 2015 VOLUME 82 / NUMBER 7 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Brian Zimmerman Contributing Editor Ed Enright Art Director LoriAnne Nelson Contributing Designer ĺDQHWDÎXQWRY£ Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Bookkeeper Emeritus Margaret Stevens Editorial Assistant Stephen Hall ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman,
    [Show full text]
  • Ivors Academy of Music Creators
    Written evidence submitted by the Ivors Academy of Music Creators THE IVORS ACADEMY WRITTEN SUBMISSION TO THE DCMS SELECT COMMITTEE INQUIRY: THE ECONOMICS OF MUSIC STREAMING November 2020 This Inquiry is welcomed. It follows the joint Ivors Academy and Musicians’ Union campaign to Fix Streaming and Keep Music Alive. We thank the DCMS Committee for this important opportunity to highlight systemic flaws in the current streaming market and would welcome the opportunity to provide oral evidence. OPPORTUNITY: the UK leads the world in music and can drive future growth The success of music streaming is powered by, and reliant on, the ingenuity of the songwriters and composers who create the music. The streaming of music, whether on pure music services or video on-demand, is expected to continue growing substantially. This presents a big opportunity for the UK to build on the enormous success of our position as a net exporter of great music and business hub for the licensing and administration of these markets. Supporting the development of a strong creator community should be at the centre of the UK Government’s industrial strategy post-Brexit and post-Covid. PROBLEM: songwriters and composers are prevented from receiving appropriate streaming income The maxim that holds in digital - ‘content is king’ - is not true for the economics of music streaming where Major Music Intermediaries reign, rather than those responsible for creating the content upon which these corporations have been built. Creators face a lack of transparency, lack of trust, royalty distortions and inefficiency. A Creators’ Value Gap results from value leaking away on its path from the consumer to the creator.
    [Show full text]
  • November 2010 Parkour!
    The nittany pride Student Newspaper of Penn State New Kensington Vol. V No. 1 nittanypride.wordpress.com November 2010 Parkour! Parkour: Gymnastics Gone Wild at PSNK ------------------------------------ PSNK SGA Attends First CCSG Meeting ------------------------------------ THON Committee Optimistic for 2011 ------------------------------------ The Clarks ------------------------------------ The Green Stream Table of ConTenTs An Author Among Us....................................................................................... Page 2 Parkour: Gymnastics Gone Wild at PSNK............................................................ Page 3 PSNK SGA Attends First CCSG Meeting.............................................................. Page 5 Making the Impossible Possible......................................................................... Page 6 PSNK Fall Festival a Big Success........................................................................ Page 7 THON Committee Optimistic for 2011................................................................ Page 9 Pepsi’s Challenge............................................................................................ Page 10 Tarentum Revitalization Continues..................................................................... Pages 11-12 Alumni Host TV Football Party........................................................................... Page 12 Blue and White Ball......................................................................................... Page 13 Problems with
    [Show full text]