Recording of the Military Group Space-A as a Means of Public
Reconciliation, Culture Identification, and Group Awareness
Recording Project Summary and Literature Review
By Brent C. Whitaker
6 November, 2006
Submitted in partial fulfillment of the requirements for the degree of Master of Music in
Music Technology in the College of Graduate Studies at Georgia Southern University,
2006 2
ABSTRACT
This project focuses on the use of recording technologies applied to a popular Air
Force rock band to get recordings out to a very large area of operations. The area of operations was so large as to make it impossible to be covered with the live performing group being National Guard and not active duty. Recording techniques are covered within the project, as well as equipment used within production. Forms and processes are also covered to include all the royalty procedures followed, the copyrights for original songs, the approval by the Air National Guard of Georgia, and the human dealings of getting a group together for multiple days to record. The project originated from the need to use a recording to identify the Guard rock groups with the recruitment-age public. The final phase of this project was to create a CD that would be free of charge to the public and that would showcase the talents and flexibility of the Georgia Air National Guard band program. 3
Table of Contents
Introduction………………………….……………………………………..……...... 4
Literature Review…………………………………………………………………………5
Methodology……………………………………………………………...…………...…12
Conclusion/Planned Operation Continuum……………………………………………...20
Works Cited………………………………………………………..………………...…..22
Appendix……………………………………………………………………...... ………..25 4
INTRODUCTION
This project began with a need for Air Force groups to create various group
Compact Disks (CDs). These would be released to the public and to the various wings within the area of operations for the 530th Air Force Band, which includes Georgia,
Alabama, Florida, and the Carolinas. In the past, numerous concerts have been performed by the Band of the South, which is the overall unit that houses the group
Space-A within their area of operation, but advertising happened only by word of mouth and the reputation of the groups themselves. Up until the Spring of 2006, the band had no official recording of any of the groups. This wound up being quite a problem for them when their publicists tried to get them into venues such as Disney World® in Orlando,
Florida. Disney® requires any group that is seeking to play there to submit a CD recording. At the time of the tour set up, Space-A only had a video recording. Although this recording was made with a professional camera, the sound was captured only by the camera's microphone; thus the recording quality was anything but professional. This was a significant limitation, directly related to the stage and the times scheduled at which they were to perform.
Due to this less than ideal situation, thought was given to producing some professional recordings. This was not a problem as far as money was concerned within the Band of the South. There was, however, a problem due to the fact that all the musicians involved are guardsmen, and therefore the band did not have unlimited ability to gather the various groups at a particular time to reserve a studio. This limitation was one of the main reasons the military bands have in-house publicists, arrangers, and technical staff. Looking at these different posts within the unit, consideration was given 5 to in-housing recording gear and sound technicians. At this point, I was halfway through my Master of Music degree in music technology at Georgia Southern University (GSU), and I felt obliged to offer my services. Experience in digital music seems to be a career need for the National Guard bands. (Cohen, 98). The commander, Captain Alan B.
McConnell, gave the approval to authorize recording days for the smallest group, Space-
A. This involved official orders being processed and the assignment of active duty days for the project, so pressure was on to create an ideal recording that could be used by the
Air National Guard in troup moral support, publicity, and public relations.
LITERATURE REVIEW
The art of recording can add much to any composition. “The tape part provides a musical canvas upon which all sonic elements of the work are arranged.” (Stegal, 2).
Digital recording provides the artist a chance to take the elemental values of the musical track and arrange them in time to provide the best acoustical experience possible by the listener. Effects that can be provided by digital means add a dimension to the audio file and can provide a sound of reverberation, tuning, and many others.
With the music business a viable option for employment by many musically minded students, digital audio recording has been integrated into various parts of undergraduate as well as graduate music curriculum across the country. One of these programs is the University of Miami’s MI program, but not all programs are in big name schools. There is no need for this to remain a large university distinction, as the lowered costs of setting up a digital studio are now bringing this technology within the reach of even the smallest music departments (Terrell, 7). Georgia Southern University houses a 6 medium-size Music Department, which established several years ago a Music
Technology area within the Master of Music degree.
The advantage to doing a digital recording over playing to the public in concert is the ability to adjust pitch, equalization (EQ), and even time, to a degree. Such tweaks are now standard operating procedures in recording, as seen in Krishtal’s 2005 study, where instrumental parts were composed, recorded, processed and mixed in a single compositional process. Computer software was used for fine adjustment of pitch and rhythm.
The goal of this project was to present this research in a way to show the “human” side of the military through the use of military guard bands, and ultimately distribute the recording throughout the area of operation. When observing the view of the modern military, assumptions made by the baby-boomer generation (as opposed to the current population of 18-25 years olds) is quite different. Many think only of the war in Iraq or other conflicts around the world, and see only soldiers in the heat of battle. For many young men and women in the new “comfort” generation, such a situation is not even close to a draw for them, and makes it even harder to relate to such an organization.
Enter the military bands. The military has had bands since the meager beginnings of the Drum and Bugle Corps. Today, one even sees educational groups, such as the
National Association for Music Education (MENC), working hand in hand developing educational tools to reach youth and adults with one of the premier military Bands, “The
Presidents Own” Marine band (The Presidents Own, 22). The reach of these bands even extends to other countries besides our own, and has attracted the collaboration of several big-name performers (Knopper, 18). 7
The history of military bands is a proud and prestigious point across every branch of the military. Bands have grown from a very humble beginning to worldwide status.
The 14 members of the first known "Air Force" band set foot on French soil in September
1917, carrying instruments purchased from their lieutenant's personal funds. The commander of the 36th Aeronautics Squadron, to which they were assigned, was so impressed with his musicians that he petitioned the American Red Cross in Paris to help find more instruments to increase the band’s size. Bands have come a long way since then. Throughout World War II, the bands of the Army Air Corps contributed significantly to supporting the morale of our troops. When the Air Force became a separate service in 1947, Air Corps bands also transferred to the young Air Force. Since then, bands have continued to inspire esprit de corps in U.S. airmen, patriotism in U.S. citizenry, and admiration and respect from people of all nations (Powers, 1).
To date, it would seem that the major marketing tool of the Georgia National
Guard world has been to push the issue of earning money for college through its educational programs. While such a concept has proven somewhat successful, I believe it has a significant flaw. By selling such a “money only” philosophy, one caters to the group of college or high-school students that has enough drive to go to college, but maybe not enough drive to achieve high academic or performance scholarships in their field. What does this standpoint do for the Air National Guard? While I am certainly not suggesting those with limited funds in college are lesser quality airmen or airwomen, the guard must recognize the fact that this ideology of selling the military experience based on monetary value alone is attracting a limited variety of personnel. The 4.0 high-school graduate who has a full scholarship and is still driving Mom’s and Dad’s (or their own) 8 sport utility vehicle to school while living in a half-million dollar frat house will probably not be attracted to the military for these financial reasons. This may be a huge loss to the military unit that has need of greater diversity. They may have a special social skill to fit the mold of a personnel officer, or moral officer, that their less social peers may not possess. This is one example of loss that may occur, but the list is endless, and covers many areas in which people would not consider such a radical change of lifestyle for any amount of money, but might be enticed for a specific moral, reason, or a particular type of experience.
The modern military is not everything in the eyes of its people that it used to be, and in the opinion of some it is even a detriment. Where it used to be a honor to list military experience on a resume, there have been documented cases of some blaming the disclosure of military service as a discriminating factor against them (Jacobson, 7).
There is also an increase of reports of anger towards recruiters in targeting high schools to bring in prospective new recruits (Phillips, 16).
The U.S. military must change with the times. The people we try to recruit into the reserves or guard, and the people that the guard deal with on a day-to-day basis, are your local civilians, bakers, policemen, students, parents, etc. We have to show them that we are also bakers, policemen, students, and parents ourselves, and we have a human side behind that row of ribbons or battle-dress uniform. We have to market ourselves just as
Wal-Mart® would market. Wal-Mart® finds a market or need, such as the Hispanic population that Wal-Mart® has catered to as of late. “Wal-Mart® already is the No. 1 retailer among U.S. Hispanics. And while that may seem unremarkable, given its leadership in U.S. retailing overall, it's much more of an accomplishment considering the 9 retailer has been largely shut out of the three biggest urban markets with heavy concentrations of Hispanics: New York, Los Angeles and Chicago.” (Neff, 43). This is something that did not come naturally, but was a fine blend of feeling out that specific population, and meeting their needs, desires, and most of all, image.
Therefore, the military is focusing on different strategies, some of which relate to the Georgia Air National Guard, but in most instances are Army bases. These new recruiting techniques have been moving away from the one on one, and more toward the technology-centered approach, as one would guess with the high percentage of young people spending more time with computers. For example, one of the newer tactics that the U.S. Army is using is video games. These games are geared towards young people, but have taken a lot of criticism by turning war necessities into entertainment for young people (War is fun as hell, 22).
Even after all of these recruitment efforts, military recruitment quotas are not being met. Hundreds of thousands of recruits must be recruited and retained for the military to carry on its missions. The reserves and guard have missed their goals by 19% in many of the branches. This leads to drastic measures in wartime situations such as the
“stop-loss” procedure of keeping personnel from leaving the military at the end of their enlistment, which in turn causes an even more negative view of the military in general. It is a “catch-22” situation, with $663 million spent on advertising from 2000-2006, the military can’t continue this trend (Military recruitment and retention, 201).
The band programs in the Air National Guard open up to the prospective recruit a new military world, one in which there are many more options than just flying in a plane or shooting a rifle, and they are not only band options. The band is just the catalyst to get 10 the prospective recruit to consider all the other lesser-known sections of the military.
These sections are far more extensive than the average civilian realizes. An extensive list of the over 150 careers for enlisted servicemen and women may be accessed from the main Air Force web site (http://www.airforce.com/careers/enlisted/careers.php, 2006).
This list is a much more extensive list of possibilities than the average college or high school student can imagine, but potential recruits have little inclination to research such a career if nothing catches their interest in the first place.
First, one might consider the military band as a possibility in and of itself. For many students of music, such an opportunity may provide the only available option that they will ever get to perform on their primary instrument for a living. "I think it is a viable option," says Edward J. Kvet, director of the Central Michigan University School of Music in Mount Pleasant. "It does afford a professional playing option, especially for wind and percussion players who would, other than in major symphony orchestras, have limited opportunities. While there may be ten openings for full-time trumpet players in civilian orchestras in a given year, there may be more than fifty graduates with degrees in trumpet performance from a single university”, he adds (Snyder, 28). For most musicians, that means a brass, woodwind, percussion, or classical voice. With rock and roll shifting to a more prominent place in America long ago, there are far fewer chances for the average player to get a high-paying band or orchestral gig, and even fewer chances for voice. The U.S. armed forces, as a whole, is the largest employer of musicians in the world. They provide full benefits, a steady income, and great retirement after only 20 years (Snyder, 1996). 11
These are not pushover, low-talent groups. They spend considerable money on their programs, and the result is something that any musician could be proud to be a part of. “The four service branches and the Coast Guard spend $25 million more than the entire budget for the National Endowment for the Arts” (Gannon, 18).
The Army, Navy, and Marine Corps evaluate auditioners in the same way, based on technique, articulation, rhythm, and tone.
Being able to play all the scales and arpeggios (or rudiments) on one's
instrument(s) accounts for 10 percent of the score; performance of a selected solo
at grade 4 or higher accounts for 40 percent; sight-reading of a wide variety of
first-chair quality music accounts for the rest. Qualification for Air Force bands is
equally challenging. In one 1993 survey, only 30 percent of the high school
students who took the Marine field band audition qualified for a position. Eighty-
six percent of the college students qualified. That survey, reported by Troen in
Band Directors Guide, March/April 1995, showed that those who failed were
consistently weak in scales and arpeggios, sight-reading, and rhythmic concept in
compound time. In fact, every high school student who failed to qualify had
difficulty reading anything but the simplest of music. (Snyder, 28).
Of course, there are also the premier groups in each branch, which take the auditioning processes to the extreme, and only select the “cream of the crop.”
Focusing on the value, experience, and possibility in the military band groups, one must turn to the power of music as a “view changer.” The military, surprisingly or not, does not have the appeal it may have once had and is often struggling to promote itself to the people of its own nation. Many folks don’t have a burning desire to become 12 one of the 3,768 special operations troops scattered out in remote locations across the world (Robinson, 60).
So we have the military bands, and in this case, Space-A. Long gone are the days of the average citizen sitting around listening to Sousa recordings of military marches.
The aim of Space-A is eventually to be able to play a blend of what the average listeners have on their personal audio devices or home stereos. With the mix that Space-A is currently running, they are on the way to getting there (minus rap, at this point). Seeing that music is the most common topic among strangers, the Air National Guard is now seeing their groups as “conversation starters” (Rentfrow, 236).
If one takes the average college student, who is one of the most sought after recruits in the Air National Guard, one sees a person without many worldly cares, and with no obvious burning desire to put themselves in harm’s way. This is where the effects of the modern military rock group come into play. By identifying Space-A members as people of like mind with the people we are trying to recruit or at the very least, influence their opinion we are much more likely to be successful than the recruiter down the street who simply hands out pamphlets. Here potential recruits see musicians playing music, something with which the average person can identify.
METHODOLOGY
The most difficult part of this project was the creation of an original composition to include on the disk. As I had little previous experience with composition, I had to approach this task long before the recording sessions were to take place. I decided on a military-based theme for the song, with an emphasis placed on support and gratitude for the troops. This was a logical choice, due to the fact that Space A is the only group 13 within the unit that is mobile and actually slated to go to Iraq as moral support to play live concerts for the troops there. I therefore chose these words for my song, entitled,
“When I’m in Line” (Whitaker, 2006).
When I’m in Line
Verse:
Is cold tonight, where you are?
Did you make your bed on the ground, again?
Are you feeling lonely, for the one’s that you love?
Can you even get them on the phone...at all?
Verse 2:
Sour news portrays - the low minority,
Of people caught up in themselves,
But there’s a group at home, that stretches from sea to shining sea
That just can’t wait to welcome the ones that keep up free….
Chorus:
When I’m in line, you can have my place
With admiration on my face
We can’t do much, but offer this to you a nod, and thanks, for all those things
That you give up, so we can be, free…
Verse 3:
I cannot eat tonight when I think of what you do
My worries can’t even compare 14
Sleepless I get up to see you on the news,
They talk of heroes over there.
Chorus:
Bridge:
And if you should come back home and see, that folks just are not like they should be
There’s a group of people just like me…
Waiting for the chance to give, just the honor that you earned…
While fighting day and night to keep us free.
The second step in the project was planning for the recording. The equipment used for the recording process was picked with the utmost of consideration and stressful subjectivity. It was decided against going with the standard Macintosh based system due to the fact that the majority of computer users throughout the world use the Windows® operating system. This was not a problem, even though I was using a Macintosh® system at the University to do the final mixing I simply had to mix down the PC files to a wave form audio (.wav) format and import them into Digital Performer® on the
Macintosh® at GSU.
I chose a Dell® desktop system with a dual, 3.4 GHz processor, and a 20 inch wide screen monitor. This system proved to be incredibly fast, with no crashes and perfectly smooth operation even under a very low setting of 4 milliseconds of latency, the delay between bringing the signal in, processing it, and sending it back out. Sony MDR
V600 headphones were a logical choice to use for monitoring, as I did not have the personal funds for $500 apiece monitor speakers. Although I had used other systems in times past, I transferred over to Cubase SX3®, and have been very impressed. The 15 program allows monitoring with effect, time warping, incredible interface and perfect ease of use. Quite literally, it is the most useful of all the programs I have used to date.
The audio interface used was the Presonus Firepod®, which is an eight-channel firewire based input device, with phantom power and incredibly warm preamp sound.
Other recording hardware used is listed below:
Luis (Lead Guitar Player): Ibanez® JS series guitar, POD® XT live fx(effects) pedal, POD® 265 stage hand direct box, Crate® GTX 212 amplifier, XM57® mic. to mic amplifier.
Spencer: Fender® precision bass, SWR® 2x10c amplifier, XM57® mic’d
Mike (Rhythm Guitar Player): Fender® Stratocaster/Takamine, POD® xt live fx pedal, POD® 265 stage hand direct box, Crate® GLX212 amplifier
Elisa (Keyboards): Yamaha® S08, Whirlwind® direct box, Fender® Twin
Reverb amplifier
Dan (Drums): Yamaha® Stage Custom, 14” Zildjan® High Hat, 16” Zildjian® med. Crash, 13” Zildjian® Azuka Latin crash, 20” Sabian® proride
Mics used on drums: Shure® PG58, Nady® DM70, Shure® PG52, Shure® PG81
All but snare and kick were mixed down through a Peavey® PV10 mixer.
Vocals were done on an Audio Technica® Condenser 3035 Mic.
Due to the military/civilian status of our people, my group needed to decide where we wanted this to go, and what songs to include on our album. The decision was finally made in May 2006 to include the Songs: “100 Years”, as sung by Five for Fighting
(Ondrasik, 2003), “Jump”, as sung by Van Halen (Van Halen, 1984), Here Without You, as sung by 3 Doors Down (Arnold, 2002), 1985, as sung by Bowling for Soup (Allen, 16
2004), Sunday Morning, as sung by Maroon 5 (Carmichael, 2003), Little Miss Can’t be
Wrong, as sung by Spin Doctors (The Spin Doctors, 1991), Vertigo, as sung by U2 9
(Evans, 2004), Sweet Home Alabama, as sung by Lynyrd Skynyrd (King, 1974), Where the Stars and Stripes and the Eagle Fly, as sung by Aaron Tippin (Beard, 2001), Be Like
That, as sung by 3 Doors Down (Henderson, 2000), Space-A Opener, Luis Diaz (Dian,
2006), and When I’m in Line, Brent Whitaker (Whitaker, 2006).
This list was drawn up mainly for reasons of variety and to appeal to a larger crowd base than just 18 to 22-year-olds or 28 to 32-year-olds. Since Space-A performs for a large variety of ethnic groups and age groups, and the music was mixed with as much variety as possible.
The first recording session was held in the band room, at Dobbins Air Reserve
Base, just north of Atlanta, and it was a total bust. Although the system was functioning properly, lack of experience on my part and noise in the room itself, were a recipe for disaster. Our lead guitar player did not show up for the session, and there was tension throughout the group. Our pianist had never made a recording and was continually stopping her playing and yelling “Do over!” Microphone placement on the set was less than ideal, and there was plenty of bleeding between microphones due to instrument placement in the room and lack of separation and/or baffles. Two takes were recorded of
“Sweet Home Alabama” and “100 Years” and both were promptly discarded at the next, and main, recording session.
The main recording block took place September 22nd – 24th, 2006 at Kell High
School, just north of Atlanta. This location was picked because our bass player is a teacher there, and the facility has a studio that allowed us to achieve some kind of sound 17 isolation. Equipment had to be trucked in from our headquarters at Dobbins Air Reserve
Base, and it took the entire evening of the 22nd just to get it in, set it up, and do a sound check.
There were many equipment problems as first. When trying to play back a sound file that had been recorded at the last session, it was playing back at half speed. After checking tempo markings, audio warp, and everything else that I could imagine, I finally called the software tech support for help. The support team finally tracked down the fact that the files had been recorded at 96 KHz, and were being played back at 44.1 KHz, which was our new standard for mixing. I promptly reset all settings for 44.1 KHz and
16 bit sample rate for the sake of space on the hard drive and work for the processors.
One of the main disadvantages was bleed-over between the microphones due to lack of isolation. There was only one booth available, in which I placed the computer and the monitoring headphones so I could get as much isolation as possible. The rest of the group played in one large room, spaced in separate corners, with the amplifiers turned away from the other amplifiers. One of our guitar players, Mike, decided to plug his instrument cable directly into the recording hardware due to massive bleed-over, and the keyboard also went directly in. This left us with only two instruments and the drums being mic’d. Overall, the final mix did not yield too many problems with bleeding over to the point of it standing out in the mix.
One of the greatest difficulties turned out to be personality conflicts, which were not something I had truly counted on, due to our tightness as friends within the group.
However, when the group started to record, stress levels went up, and a few players got a bit emotional. The first problems encountered were with the drummer, who insisted he 18 knew best as far as setting up microphones up for his set. Trying to convince him otherwise was causing so much personality conflict, it was decided to cut the losses and let him do it his way. Due to this, the snare sound needed was never achieved and the bass pedal “thump” that was needed was never heard. Our piano player, who happens to be a perfectionist, also had some issues about working to improve her solo on a piece or two due to playing out of time. This actually escalated to the point where she walked out of the room and had to be calmed down in order to continue the session.
The final issue to was the collection of military days. An outside military member arrived at the school, and a portion of the final day was spent filling out forms and justifying our existence that weekend at the school. Travel forms were also filled out to supply some compensation to the members of the group for lost work time, and money spent on hotels, food, and gas.
Monday the 25th of September started the final mixing stage at Georgia Southern
University, and it turned out to be a three-week long process. The files were taken from my computer as Waveform Audio (.wav) files and were then brought into the program
Digital Performer into different tracks. Levels were then set, and the equalization (EQ) process started, taking the various parts of the frequency and adjusting them by bringing them up or down in the mix. This was the hardest process, for while it would be relatively easy to get the tracks sounding great individually, they would often later disappear in the overall mix. So EQ levels had to be set with the help of Dr. Richard
Repp, and a fine balance point was finally achieved.
Effects were added in at a moderate level. A basic compressor and reverb on most instruments were added immediately and then adjusted, each to the point where it 19 sounded good in the mix. Unfortunately, after setting the effects to a nice level in the lab and then burning a CD to play on a more common system, some of the effects were not working as needed and had to be removed or taken down in the mix. Overall, the sound that was sought was achieved, and the files were sent out to Alien Beans Studios for the final mastering process. Alien Beans Studios was selected due to the sound that they achieve in mastering the kind of music that Space-A plays. Alien Beans is run by 80s style rock musicians and tends to reproduce that 80s sound very well. This was important to Space-A, due to their repertory and sound preferences.
The search for royalties for the cover band tunes for Space-A proved to be the biggest challenge of all. The majority of the songs Space-A recorded were found quickly within the “Harry Fox” web site (http://www.harryfox.com). Two songs that were originally picked to be recorded by the group had to be abandoned due to the inability to track down the publishers. The military then supplied funds to cover the royalty expenses, and licenses were promptly purchased for 500 CD’s.
Album art was created by Brent Whitaker early in 2006. The Space-A emblem was a design set for the actual Space-A uniform patch and was ultimately used for the CD label and cover art. The art was then given to Jennifer Afroozie at Southeast Bulloch
High School. Ms. Afroozie handles all art and graphic design at the high school, and graciously accepted the challenge of setting the Space-A emblem into the CD cover. Ms.
Afroozie designed the booklet idea in the insert, as well as all the integration of the emblems into the various parts of the cover, booklet, CD tray, and backing.
Recording of the parts came off better than expected. Due to the training received and the techniques learned in the music technology program at GSU, microphone 20 placement was at an optimum for the resources available. Tracks that were captured had a bit of background noise, but that was due to the noise in the room that was being used and the fact that the room did not have its own air conditioning cut-off switch. However, this proved not to be a problem, as it was inaudible in the overall mix.
Each song recorded had its own EQ mix, and thus each song had a bit of a different feel. This is the result of doing such a variety of music, unlike a group with all original tunes, whose music would probably be more consistent across the entire EQ spectrum. The overall variety of the Space-A album was received warmly by a variety of critical ears that heard it after completing the mixing.
CONCLUSION/PLANNED OPERATION CONTINUUM
Assessment of this project will continue for several years to come. As the Air
National Guard of Georgia provides additional funding and the CD is distributed to all major universities and more county high schools, the results of Space-A’s efforts will become apparent. The overall success of the project will be determined over time, when numbers are calculated through recruitment offices within the Georgia Air National
Guard and the reasons for the recruit contacting the guard are made known. As the Air
National Guard observes the progress of this project, it is the author’s hope, and overall goal, that Guard policy will shift into this line of thinking, and place the bands a bit more in league with recruiters.
By the creation of this CD, the Air National Guard Band, Space-A, is able to take their message of “Hey, we are just like you!” out on a much broader scale than can be afforded with live concerts, or even quick appearances. This is due to the fact that Space-
A members are guardsmen and work civilian jobs. However, the CD that Space-A has 21 created will not rest. It can be passed out totally free of charge to any organization that would like to hear the music. This fact can bring Space-A closer over a distance that the group might not be able to physically cover for a period of time. Ultimately, this is an ideal way to spread a group over an area of operation that is just too big to be covered in any one year. Realistically, trying to cover major cities in the standard area only is a multi-yearly task, and cannot even be achieved on most average years.
Ultimately, this project was created to be where Space-A cannot be, and do what, to this point, the Georgia Air National Guard has been somewhat unsuccessful at doing, namely, to promote a feeling of self-identification with potential Guard recruits. Space-A is approachable where the pilot in the F-16 is not. Space-A can laugh and joke with the public, where the security police just quietly nod. Space-A members are their brothers, sisters, crazy uncle, or anyone else the people want to see in them. Ultimately, so will be their CD. It has been created not only to send out to troops for moral support, but as the ultimate tool for bringing a touch of comfortable humanity to an increasingly military- alienating world. After hearing the CD, colleges can book Space-A for homecomings, celebrations, or any event free of charge. Theme parks can get to listen to Space-A on this album before they risk giving stage time. Schools can hear our music and decide that
Space-A is a positive example to show students that the military is not such a bad option.
Space-A is the face of the Georgia Air National Guard, and this CD is the traveling face of Space-A. 22
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War is fun as hell. (2005). New Internationalist, 383, 22.
Audio Recording Citations
Allen, J., Allan, M., & Reddick, J. (2004). 1985. [Recorded by Bowling for Soup]. On A Hangover You Don’t Deserve [CD]. Zombia Recording Corporation.
Arnold, B., Harrell, R., Henderson, C., & Roberts M. (2002). Here Without You. [Recorded by Three Doors Down]. On Away from the Sun [CD]. Universal Records.
Beard, K., Beathard, C., & Tippin, A., (2001). Where the Stars and Stripes and the Eagle Fly. [Recorded by Arron Tippen]. On Stars and Stripes [CD]. Lyric Street Records Inc.
Carmichael, J., Dusick, R., Levine, A., Madden, M, & Valentine, J. (2003). Sunday Morning. [Recorded by Maroon 5]. On Songs About Jane [CD]. Octjay LLC. Diaz, L. (2006). Space-A Opener. [Recorded by Space-A]. On Space-A [CD]. Dobbins, ARB.
Diaz, L. (2006). Space-A Opener. [Recorded by Space-A]. on Space-A [CD]. Dobbins, ARB.
Evans, R., Livingston, J. (2004). Vertigo. [Recorded by U2]. On How to Dismantle an Atomic Bomb [CD]. Universal Records International.
Henderson, A. (2000). Be Like That. [Recorded by Three Doors Down]. On The Better Life [CD]. Songs of Universal, INC.
King, E., Rossington, G. & Zant, R. (1974). Sweet Home Alabama. [Recorded by Lynyrd Skynyrd]. On Lynyrd Skynyrd: All Time Greatest Hits [CD]. Songs of Universal, INC. & Universal-On Backstreet Music.
Ondrasik, J. (2003). 100 Years. [Recorded by Five for Fighting]. On Single [CD]. Aware Records LLC. 24
The Spin Doctors (1991). Little Miss Can’t be Wrong. [Recorded by The Spin Doctors]. On Pocket Full of Kryptonite [CD]. Sony Music Entertainment Inc.
Van Halen, E., Van Halen, H., & Roth, D. (1984). Jump. [Recorded by Van Halen] On 1984 [CD]. Warner Brothers Records.
Whitaker, B. (2006). When I’m in Line. [Recorded by Space-A]. On Space-A [CD]. Dobbins, ARB. 25
APPENDIX A. LEGAL FORMS 26 27
From: [email protected] Sent: Friday, October 13, 2006 11:56 AM To: [email protected] Subject: Songfile - Licensing Receipt - Order #2012905
Thank you for using HFA's Songfile online licensing tool. Below is your receipt with your order number. The order number is important for any inquiries regarding this transaction. You may want to print a copy of this email for your records. You will receive a second, separate email once your license is generated, with instructions on how to download it from My Songfile. If you have any questions, contact HFA Client Relations at 212-834-0100 or email Client Relations.
NOTE: THIS IS NOT A LICENSE. You are not licensed unless and until your Songfile license is issued by HFA.
Order 2012905 Number: Transaction Fri Oct 13 11:55:46 EDT 2006 Date: Type: Physical Product Configuration: Compact Disc (CD) Number of Units: 500 Album Title/Product Space-A Name: Release Date: 01/01/2007
Song Play Royalty Song Artist(s) Code Time Rate Brent Whitaker, Mike Thomas, Luis Diaz, JUMP J57431 4:18 0.0910 Dan Knowles, Spencer Herron, Elisa Lyle
28
Royalty Fee Subtotal Brent Whitaker, Mike Thomas, LITTLE Luis MISS Diaz, L01065 4:02 0.0910 CAN'T BE Dan WRONG Knowles, Spencer Herron, Elisa Lyle
Royalty Fee Subtotal Brent Whitaker, WHERE Mike THE Thomas, STARS Luis AND Diaz, W17525 3:30 0.0910 STRIPES Dan AND THE Knowles, EAGLE Spencer FLY Herron, Elisa Lyle
Royalty Fee Subtotal Brent Whitaker, Mike Thomas, Luis Diaz, 100 YEARS O0860O 3:40 0.0910 Dan Knowles, Spencer Herron, Elisa Lyle 29
Royalty Fee Subtotal Brent Whitaker, Mike Thomas, Luis Diaz, VERTIGO V01597 3:16 0.0910 Dan Knowles, Spencer Herron, Elisa Lyle
Royalty Fee Subtotal Brent Whitaker, Mike Thomas, Luis SUNDAY Diaz, S97269 4:32 0.0910 MORNING Dan Knowles, Spencer Herron, Elisa Lyle
Royalty Fee Subtotal Brent Whitaker, Mike Thomas, Luis HERE Diaz, WITHOUT H1154B 3:58 0.0910 Dan YOU Knowles, Spencer Herron, Elisa Lyle 30
Royalty Fee Subtotal Brent Whitaker, Mike Thomas, Luis Diaz, 1985 O2532R 2:54 0.0910 Dan Knowles, Spencer Herron, Elisa Lyle Royalty Fee Subtotal Brent Whitaker, Mike Thomas, Luis BE LIKE Diaz, B32659 4:08 0.0910 THAT Dan Knowles, Spencer Herron, Elisa Lyle Royalty Fee Subtotal Brent Whitaker, Mike Thomas, Luis SWEET Diaz, HOME S88464 5:08 0.1050 Dan ALABAMA Knowles, Spencer Herron, Elisa Lyle Royalty Fee Subtotal Processing Fee
31
Total
License Information Licensee Name Georgia Air National Guard Contact First Name Brent Contact Last Name Whitaker Contact Email Address [email protected] Company/Organization Street Address 1 511 Granade Street Street Address 2 City Statesboro State GA Zip Code 30458 Phone Number (912) 489-5901 Phone Ext.
Credit Card Information Name on Card Kathleen D. Fisher Credit Card Type Visa Credit Card Number xxxxxxxxxxx20573 Security Number/CVV2 xxx Expiration Date 0909 Billing Zip Code 30069 32 33 34 DEPARTMENT OF THE AIR FORCE HEADQUARTERS, GEORGIA AIR NATIONAL GUARD 1388 FIRST STREET, BLDG 840 DOBBINS ARB, GEORGIA 30069-5007
20 OCT 2006
MEMORANDUM FOR TSGT Brent Whitaker/
FROM: 530 AFB/CC
SUBJECT: Production of Promotional Recording
TSGT Whitaker is directed to organize a promotional recording of “Space A” small group or the 530th Air Force Band to be used internally to increase awareness within the Guard community under the Area of Responsibility of the 530th AFB. He is to acquire the resources and make a final product that meets the specifications of the Air Force. The final project should show the professionalism of the group as well as the diversity of material.
ALAN B. McCONNELL, Capt, GA ANG Commander/ 530 AFBand