20
Carlton Street, Suite 1032, Toronto, ON
M5B 2H5
(416)
677-5883
langfieldent@rogers.com
www.langfieldentertainment.com
August 7, 2008
Another long weekend past ...
sigghhh. Hopefully August will cooperate and give us some sunny summer
weather.
I'm still recovering from my hip surgery ... slow but
sure. Thanks for all your inquiries, prayers and good wishes!
CALLING
SEASONED MUSICIANS:
below is a great opportunity for veteran and talented musicians who might be
interested in working for Cirque du Soleil.
Please have a look at the credentials to see if you qualify.
Scroll down and find out what interests you - take your time and take a walk into
your weekly entertainment news!
::OPPORTUNITY::
Musicians: Talents Needed For A New Show About Elvis In Las
Vegas In 2009
Source: Cirque du Soleil
Cirque du Soleil is looking
for nine musicians to perform in our new show about Elvis and his musical
heritage. It will be presented at the theatre of the City Center in Las Vegas
in 2009. The show will be directed by Vincent Paterson .
Musicians who play one of the following instruments must showcase at least
three different types of music (i.e. rockabilly, rock & roll, Latin, pop,
blues, gospel, jazz).
1.
Keyboardist (possible
bandleader)*
The following instruments are considered an asset:
Vocal beat box
Programming/sequencing**
Slide guitar
Drum line
Banjo
Harmonica
DJ/scratch
Singing
Others (hidden talents)
For the bandleader position: Experience in musical direction in a theatrical
environment; strong leadership; interest in internal band management; ability
to operate audio sequencing software during the show.
** One of the nine selected artists must have an excellent knowledge of
computers and audio sequencing software and an interest in managing audio
sequencing software and show sampling bank.
You must also possess:
Ability to work within a team in a constantly evolving context and
environment;
Working knowledge of English or French;
Strong stage presence and charisma;
Experience with in-ear amplification an asset;
Good physical condition.
Cirque is very particular about fulfilling
ALL of the above qualifications and if you do not fill all of them,
please do not apply. However, if you think that you would like to
apply for one of these positions, please write to me at langfieldent@rogers.com for further details on how to submit your
demo online.
::TOP STORIES::
Morgan
Freeman Recovering After Crash
Source: www.thestar.com - Holbrook Mohr, Associated
Press
(August 05, 2008) JACKSON, MISS.–Oscar-winning actor Morgan Freeman was hospitalized in serious condition
yesterday after the car he was driving left a rural road in the Mississippi
Delta and flipped several times.
Freeman, 71, was airlifted to the Regional Medical Center in Memphis , Tenn.
The actor "has a broken arm, broken elbow and minor shoulder damage, but
is in good spirits," according to a statement from Donna Lee, Freeman's
publicist. A hospital spokesperson would not discuss his injuries.
"He is having a little bit of surgery this afternoon or tomorrow to help
correct the damage," Lee's statement said. "He says he'll be okay and
is looking forward to a full recovery."
Freeman, who won an Oscar for his role in Million Dollar Baby, is among
the stars in The Dark Knight. His screen credits also include Driving
Miss Daisy.
Freeman and a companion were travelling on a dark, two-lane highway that cuts
through the expansive farmlands of the Mississippi Delta when the car ran off
the side of the road shortly before midnight Sunday, authorities said. The
vehicle flipped several times but landed upright in a ditch alongside
Mississippi Highway 32, not far from where Freeman owns a home with his wife.
Mississippi Highway Patrol spokesperson Sgt. Ben Williams said rescuers had to
use the jaws of life to remove Freeman from the car.
"He was lucid, conscious. He was talking, joking with some of the rescue
workers at one point," said Clay McFerrin, editor of the Sun Sentinel in
Charleston , who arrived at the scene soon after the accident.
When one bystander tried to snap a photo with a cellphone camera, Freeman
joked, "No freebies, no freebies," McFerrin said.
Williams said Freeman was driving a 1997 Nissan Maxima that belonged to Demaris
Meyer of Memphis . "There's no indication that either alcohol or drugs
were involved," Williams said. He said both Freeman and Meyer were wearing
seat belts. The woman's condition was not immediately available.
Jessie Farrell Leads Country Award Nods
Source: www.thestar.com - The Canadian Press
(July 30, 2008) Newcomer Jessie Farrell leads the nominees for Canadian Country
Music Awards this year.
The Vancouver singer raked in seven nominations, including best single, album,
songwriter and female artist.
Other leading nominees include Winnipeg's Doc Walker with six, Calgary's Paul
Brandt with five, and Gord Bamford of Lacombe, Alta., with four.
Nova Scotia's George Canyon and Deric Ruttan, from Bracebridge, Ont., each
nabbed three nominations.
The awards will be handed out at a gala in Winnipeg on Sept. 8.
Country star Terri Clark will host the bash, which will feature performances by
Farrell, Canyon, Emerson Drive and Johnny Reid.
Here is a list of the major nominations:
FANS' CHOICE AWARD: Paul Brandt, George Canyon, Doc Walker, Emerson Drive,
Jessie Farrell.
SINGLE OF THE YEAR: "Beautiful Life," Doc Walker; "Best of
Me," Jessie Farrell; "Blame It on That Red Dress," Gord Bamford;
``Risk," Paul Brandt; "You Can Let Go," Crystal Shawanda.
ALBUM OF THE YEAR: "Beautiful Life," Doc Walker; "First Time in
a Long Time," Deric Ruttan; "Kicking Stones," Johnny Reid;
``Nothing Fancy," Jessie Farrell; "Risk," Paul Brandt.
FEMALE ARTIST OF THE YEAR: Lisa Brokop, Terri Clark, Jessie Farrell, Carolyn
Dawn Johnson, Crystal Shawanda.
MALE ARTIST OF THE YEAR: Paul Brandt, George Canyon, Johnny Reid, Deric Ruttan,
Shane Yellowbird.
SONGWRITER(S) OF THE YEAR: "Beautiful Life" (written by Murray
Pulver, Chris Thorsteinson, Dave Wasyliw; recorded by Doc Walker); ``Best of
Me" (written by Jessie Farrell, Jared Kuemper, Jesse Tucker; recorded by
Jessie Farrell); "Blame It on That Red Dress" (written by Gord
Bamford, Byron Hill, Zack Turner; recorded by Gord Bamford); "First Time
in a Long Time" (written by Jimmy Rankin, Deric Ruttan; recorded by Deric
Ruttan); "Risk" (written by Paul Brandt; recorded by Paul Brandt).
GROUP OR DUO OF THE YEAR: Ambush, Doc Walker, Emerson Drive, the Higgins, the
Wilkinsons.
ROOTS ARTIST OR GROUP OF THE YEAR: Ridley Bent, the Cruzeros, Sean Hogan, Corb
Lund, Prairie Oyster.
TOP NEW TALENT OF THE YEAR - FEMALE: Jessie Farrell, Amber Nicholson, Alex J.
Robinson.
TOP NEW TALENT OF THE YEAR - MALE: Gord Bamford, Ridley Bent, Jason Blaine.
TOP NEW TALENT OF THE YEAR GROUP OR DUO: Desert Heat, Hey Romeo, Jo Hikk.
CMT VIDEO OF THE YEAR: "Beautiful Life," Doc Walker; "Best of
Me," Jessie Farrell; "Blame It on That Red Dress," Gord Bamford;
``In This Room," Ambush; "Ring of Fire," George Canyon.
TOP SELLING ALBUM: "Carnival Ride," Carrie Underwood; "Raising
Sand," Robert Plant/Alison Krauss; "Reba Duets," Reba McEntire;
``Taylor Swift," Taylor Swift; "Ultimate Hits," Garth Brooks.
TOP SELLING CANADIAN ALBUM: "Classics," George Canyon; "Horse
Soldier! Horse Soldier!" Corb Lund; "Kicking Stones," Johnny
Reid; "Nothing Fancy," Jessie Farrell; "Risk," Paul Brandt.
Mario: Mr. Do Right
Source: www.essence.com
By Porsche Slocum
(July 29, 2008) We’ve watched Mario grow from a cornrows-having tween crooner to
a debonair ballroom dancer. But there’s
more to this 21-year-old. In 2007, Mario allowed MTV cameras into his life to capture his mother’s
jarring struggle with a 20-year heroin addiction and his desperate plea for her
to seek help in the documentary “I Won’t Love You to Death: The Story of Mario
and His Mom.” Now, with a huge weight off his shoulders—his mother, Shawnita
Hardaway, has been clean for nearly a year—the Baltimore native is gearing up
for the next phase in his life. Mario gets personal with ESSENCE.com about his Do
Right Foundation (which helps kids in drug-prevalent environments cope),
fears that his mother might relapse, and what he hopes his legacy will be.
Plus, he sets the record straight on rumours about him and his “Dancing With
the Stars” partner, Karina Smirnoff.
ESSENCE.COM: Some people wouldn't be so open about a family member's battle
with drugs, especially a parent. What made you decide to do that documentary?
MARIO: I was launching my foundation, and I felt the documentary gave kids
and young adults with the same issues [as me] inspiration. I feel like it has
helped me to grow a lot, with the things that I have experienced and gone
through with my mother. I also felt like it showed who I really was as a young
man outside of the music, because sometimes you can get lost in that box of
being just a teen star—I’m more than that.
ESSENCE.COM: What made you decide to launch the Mario debonair ballroom
dancer. But there’s m Do Right Foundation?
MARIO: In terms of my faith in God, I’ve seen what He’s brought people
through, what He has brought me through, and how He still allows me to be
focused on my goals and dreams. I want these kids to realize that they have the
future ahead of them and this is just an example of how God can work.
ESSENCE.COM: What were the challenges of making this documentary with your
mom?
MARIO: My mother is a very blunt person, and more than anything she wants
to be a speaker. She wants to help change lives. But there were times when we
both were like, “Turn the cameras off.” Everything that you see in the
documentary was written, approved and signed by me, so there were a lot of
things that weren’t shown, yet everything you see is real and raw. I hope people
are inspired by it and that it will change people in a positive way.
ESSENCE.COM: Yes, the feedback has been great. Clearly, you made the right
decision.
MARIO: I have to thank God for everything he has brought me through. My mom
has almost a year clean now. I’m very proud of her. I can’t wait for her to
finish her book, which should be done soon. I’m excited about that.
ESSENCE.COM: Do you fear she will relapse, since she has tried to quit in
the past?
MARIO: I try not to think about it that way, but it’s a daily struggle for
someone who has been using drugs for over 20 years. And this is something that
she tells me. You still get this feeling inside, but as long as you don’t feed
it and you feed your mind and body and spirit with a substance that fulfills
you, then you should be good. But you have to continue to feed your mind, body
and spirit.
ESSENCE.COM: For you, that fulfillment must come from music.
MARIO: Sometimes you wake up and you feel inspired to write and do music
and sometimes you don’t. You can’t plan creativity but that has to be my
getaway—that has to be my escape.
ESSENCE.COM: How hard has it been balancing the pressure of the music
business with your personal life?
MARIO: You have to learn how to separate the two. It’s tough sometimes but
I think that’s the way it has to be. It wasn’t easy at first, and I’m still
learning how to manage both.
ESSENCE.COM: Is it true that you are doing a reality show?
MARIO: There are a lot of rumours going around. No, I’m not doing a reality
show. I’m focusing on my next record. Anything I put my mind to, I focus on it
110 percent. I know there’s a lot of competition out there, but I have yet to
show my full potential in music and I’m ready to do that.
ESSENCE.COM: When can we expect your next album?
MARIO: I would like for it to be out by the end of the year. I would like
for the first single to be out in August and just keep it going. I have a lot
of great music that shows so much growth. I’ve grown a lot in the past year;
I’ve just been so focused.
ESSENCE.COM: What’s the craziest rumour you’ve heard about yourself?
MARIO: Well, the one that was ongoing was obviously the rumour about
Karina, my partner from “Dancing With the Stars,” and me.
ESSENCE.COM: So, that was just a rumour?
MARIO: Yeah, you know, I was diggin’ her and we had a great time together
but she was in a relationship at the time. I would rather not have dealt with
the pressures of going through that whole thing—I wanted to keep it
professional. As a young man, when you’re focused on something, sometimes a
woman can be a setback a little bit (laughs). But for me to get physical with
her or get in a relationship, even though it was tempting, I wouldn’t have been
as focused. I kept it professional.
ESSENCE.COM: You were great on the show. How did it impact your career?
MARIO: It opened people’s eyes that have probably never bought a Mario
record in their life. It’s a very personal show and you get a chance to show
your personality. It allowed me to look into other things, as far as writing
books and more film projects, but most importantly, I want the people who
watched every week to know that I make good music. A lot of young artists get
stereotyped—I don’t feel like I am one of those artists but I want to show why
I’m not. I want to be an all-around entertainer and that’s my goal.
ESSENCE.COM: What do you want your legacy to be?
MARIO: At the end of the day, I want my legacy to be timeless. I want
people to look at my career and my life and say, “You know what? He was a good
man. He was a hard worker. He helped change lives and he was an inspiration and
a role model.” If they would ask a young man, “Who would you want to model your
life after?” I would love to hear my name.
Leif Pettersen, 57: CFL's Ex-Player And Broadcaster
Source: www.thestar.com
- Dave Feschuk
(August 01, 2008) When news spread yesterday
that Leif Pettersen, the ex-player and broadcaster of CFL games, had died at age 57,
friends and colleagues alike expressed head-shaking woe.
"It just doesn't seem right," said Pat Tabler, the Blue Jays TV
analyst who occasionally played golf with Pettersen. "Leif was 57, but he
looked 35. He was in great shape, not an ounce of fat on him, good-looking, not
even a hint of (ill health). And now he's gone. It's really hard to deal with
that."
Pettersen died of a heart attack in his Toronto home on Wednesday night,
leaving behind his wife, Lee, and their two daughters, Kate and Ali.
"He had what every guy wants: Great looks, great athletic skills, great
intelligence, great family," said Keith Pelley, the TV executive and
former Argos CEO who counted Pettersen among his closest friends.
Pettersen, a star high school athlete at Northern Secondary School who attended
Otterbein College, played eight seasons as a receiver in the CFL with the
Saskatchewan Roughriders and Hamilton Ticats. He was fêted with many accolades,
among them league all-star and finalist for top Canadian, and he was something
of a sporting purist. He eschewed, for instance, the wearing of gloves, even in
snowy November playoff games.
"Cold weather doesn't bother me," he once told a reporter. And true
to that statement, he caught seven passes in a Grey Cup game, the 1976 battle
of the Riders, in which his Saskatchewan squad fell to Ottawa on that famous
Tom-Clements-to-Tony-Gabriel touchdown.
He joined TSN's CFL broadcasting team in 1986 and he carved out a reputation as
a colour analyst unafraid to voice strong opinions. Pelley, who produced those
games in the early 1990s, remembered a skilled broadcaster who, though
initially resistant to a technological advance such as the telestrator, soon
became "a telestrator magician."
Rod Black, the play-by-play voice who partnered with Pettersen on so many
summer nights, laughed yesterday when he recounted how Pettersen would chuckle
and flash a smile when his analysis veered "a little over the line"
of fair comment.
"That's what I loved about him, he understood it was only a game,"
said Black. "You'd come off the air, and sometimes you were a little chaffed
at how crappy the game was or how good the game was. And he'd say, `All right,
the game's over. Let's have a beer. On to the next one.' I think that's a good
attitude to have."
TSN dedicated last night's CFL doubleheader to Pettersen's memory, but broadcasting
was far from Pettersen's only occupation. He spent years as an executive with
Service Corp., the funeral-parlour conglomerate. He was a partner in a
marketing venture. He worked in private banking, advising athletes on their
finances. "He always had three or four things on the go," said
Pelley.
Still, his life, in Pelley's estimation, was far from time-pressed and
stress-riddled. Pettersen carved out plenty of hours to play golf to a
single-digit handicap at both his home course, the Lambton Golf and Country
Club on Scarlett Road, and at Blue Mountain Golf and Country Club in
Collingwood, where he and his family often spent time.
"He was a great golfer," said Rich Stubler, the Argos coach.
"Some ex-players have a huge ego, and their exploits grow (with time). I
think Leif's didn't. ... He had his life in perspective."
Said Pelley: "He did what he wanted to do, and that was spend time with
his family, spend time in Collingwood, play golf, and work on the things he
wanted to work on. It's kind of what everybody wants to do, and he had it. He
had it all."
Pelley repeated that phrase more than once yesterday, when the news was raw and
making sense of it seemed futile. After a silence on a sombre phone line, he
sighed a long and sombre sigh: "Fifty seven ... Life is short."
::TRAVEL NEWS::
Roy Marlin, Commissioner Of Tourism, St.
Maarten
Source: By Melanie Reffes
(August 06, 2008) As one of the most visited
islands in the Caribbean, St. Maarten/St. Martin is kicking up its marketing campaign with
new tourism websites, a snappy slogan and a slew of luxury properties. Having
held various positions within the Executive Council of the Governor of St.
Maarten, Roy Marlin is now commissioner of tourism, a post he has held since 2007. We spoke
with Marlin about the St. Maarten tourism product and his vision for sustained
tourism in the region.
You are relatively new to the post of Commissioner of Tourism for St. Maarten.
What are your challenges, as you see them?
St. Maarten is facing many challenges, especially considering the state of
the airline industry in America. The high cost of fuel and operations, and the
cutbacks on flights to our island are serious. These are the issues we need to
address immediately for the sustainability of our tourism product as well as
tourism to the other destinations in the region. I don't have a magic globe in
front of me but I feel the increasing costs of fuel will continue to have a
detrimental effect on travel to the Caribbean. That is why we are strengthening
our relationships and partnerships with several airlines including American
Airlines and JetBlue.
Are you in discussions with the airlines to get additional service for St.
Maarten?
JetBlue launched service from New York in January and we are very happy with
the success of the flight so far. JetBlue's lower cost structure is providing
very competitive air fares, which is a tremendous boost for tourism as well as
for our resident population. This is good for us and good for our travel
partners. We are now in discussions with JetBlue about enhanced service
following the success of the direct flight from JFK. We have a one-year
marketing program with the airline at this time. American Airlines has
scheduled new flights out of Miami and New York for the upcoming tourism
season. The twice-weekly New York flight will start in December and will go to
five times per week in January. The second direct flight from Miami is
scheduled to start in November. We are also in discussions about enhanced
service with Delta, United and US Airways. This is our tough priority now. We
recognize the troubles within the airline industry, so strengthening
partnerships with airlines is our absolute highest priority.
What is the message behind St. Maarten's slogan "Bring Your Appetite
for Life"?
St. Maarten has everything to offer those who love life. We are targeting
upscale travelers who are looking for a vacation of the kind you can only get
here. We offer indulgence and fun, from relaxing on the beach to lively
nightlife. I tell visitors if your fun is to party, come here. If your fun is
sailing, we have that, too. If it's gambling and nightlife, we have that as
well. Our Gold Award Winning Chefs work in more than 400 restaurants. We are
selling fun and luxury in a safe, friendly and cosmopolitan environment.
How does the tourism product incorporate the Dutch and French sides?
The integration of our tourism product is high priority. We have a shared vision
of our overall product and how to market both sides of St. Maarten, but the
French side is being re-organized in terms of its governmental structure. We
are waiting for these new structures to be put in place, and at that time we
will discuss more thoroughly our shared vision and act upon it.
How does the island work with travel agents and wholesalers?
I salute the travel agents and wholesalers who sell the island. It is because
of their support and endorsement that St. Maarten remains one of the most
popular destinations in the Caribbean. Our annual SMART event -- St.
Maarten/St. Martin Annual Regional Tradeshow -- was a big success with 148
delegates attending. Our ranking by TripAdvisor.com as the #1 Caribbean
vacation destination reflects the quality of the island's overall tourism
product, and again I salute the travel agents who are loyal to St. Maarten. We
encourage agents to visit our properties; many extend reduced rates to agents
our tourism product becomes more familiar.
What is your vision for the future of the island?
Our room stock is expanding. Radisson St. Martin Resort & Spa opens
soon and will add more than 200 rooms on the French side and the high-end Coral
Beach Club opened on Dawn beach on the Dutch side. It is this expansion of room
availability that is necessary in order for us to continue our discussions with
the airlines. We cannot ask them to enhance service if we do not have the beds.
Having another high-end product to tell agents and wholesalers about is most
welcome.
On a personal note, where are your favourite spots on the island?
Although my job requires a lot of traveling, I spend as much time with my
family as possible. My teenage daughter even likes to go to the movies with me.
For my own fun, I enjoy Cheri's in Maho where I listen to good music. I've been
seen on my feet dancing up a storm although I don't advertise that too much. I
also enjoy the barbecue at the "lolo" in Colebay called Johnny Under
the Tree. In my opinion, visitors to our island will not get a worthwhile
vacation experience if they only go from hotel to the beach and back. If our
visitors do not leave their beach chairs, they can't really say they've been to
St. Maarten.
For more information on St. Maarten/St. Martin, call 800-786-2278 or visit www.st-martin.org
or www.vacationstmaarten.com.
::MUSIC NEWS::
Ember Swift Feature
Source:
CIRAA
Ember
Swift is an internationally touring artist, musician and songwriter,
and founder of the independent label Few'll Ignite Sound. She and her band have
toured extensively throughout Canada and the United States and have also toured
(on multiple occasions) in Australia, New Caledonia (French island in the
Pacific) and China. Since launching her career in 1996, she has won numerous
awards and is well known for her political activism, business acumen and her
commitment to the ideal: "independent
by identity, not default."
Q: You're nine albums deep into your career as a music artist,
from your self-titled debut release in 1996 up to 2006's The Dirty
Pulse. Over your career, what have been the most rewarding parts of
being an independent artist, and what have been the biggest challenges?
I think the most rewarding part of my journey as an artist has been the people
that I have been gifted to meet. All over the world, my music has acted as a
natural icebreaker yielding invitations into diverse cultural, ethnic, religious,
political communities that I may never have had the opportunity to access. I
have learned so much from each and every one of these people.
I'd have to say that my greatest challenge has been trying to operate in this
linear Western economic model when it constantly contradicts the cyclical,
sustainable model of success (more associated with Eastern traditions) that I
have been trying to live by since the beginning of this musical endeavor. It
comes up all the time. Even the simple community, resource-sharing
characteristics of CIRAA are in contradiction with the rigid linear model that
advocates competition and protecting or hoarding one's information (presumably
against theft by the competitor).
In the end, however, I have found enough solidarity and camaraderie with these
philosophies to make that struggle worthwhile. So, it's all surmountable.
Q: What roles have you typically taken on yourself in terms of
your career management, and in what areas have you brought in others to assist
you?
At one time, my music label did all the management, publicity and booking
in-house. I did some of the tasks myself or in tandem with employees, while
other tasks were delegated entirely. Of course, before the label was developed
enough to afford employees, I did do it all myself in the confines of my
bachelor apartment or alongside volunteers who helped me organize special
projects. It wasn't long before I never referred to the projects as my
projects; there has long been a team.
Nevertheless, in my workshops I strongly advocate gathering the expertise about
any and all the possible tasks that are required of an artist on the business
side so that, in the future, one can hire (and if need be, fire) assistance
from an informed place.
In 2003, I was signed by a U.S. booking agency and I also began to work with
publicists on certain tours, especially in other countries besides Canada. In
2004, I signed a management deal in Canada, which came to a close in January of
2007.
At this point in time, I am back to doing self-management and I'm about to
engage in a six-month writing and production sabbatical in China for my next
album, which means that I won't be working with the agency until I'm back on
the road. There are currently no publicists on the case as a new project is in
the works. My team at the moment consists of two part-time Few'll Ignite Sound
employees and myself who help me keep the label afloat in this quiet time.
Change is certainly an ever-present component to this career!
Q: You've toured extensively, and have found a home in China.
How did you go about determining which geographic markets made the most sense
for you to pursue in terms of releasing your product as well as touring to
promote it?
When I first started touring, I did small loops around Toronto. Those circles
got wider and wider as our reputation and audience grew. Eventually, we were
touring to the East Coast, which was followed by cross-Canada tours that took
us all the way to Vancouver and back. In 1998, we also started touring in the
U.S., which was easier to do at that time in history as working permits were
not as difficult to obtain as they are now. Since much of the American Eastern
seaboard is just a few hours' drive away, it simply made sense economically and
geographically.
These destinations were determined by demand coupled with our financial ability
to get there. In other words, if we could secure an invitation to an event or a
festival or a venue, but it was too far away to afford to drive there, it went
on the back burner for a future tour. Eventually, these opportunities would
pile up and warrant a tour that could afford itself.
Our international touring (at least, outside of Canada and the U.S.) began in
2001 and came about by a random invitation to play in Australia. Much research
and risk-taking later, we strung together shows over the Internet through gig
swapping, research and lots of faith and then hopped on a plane. That first
year that created enough buzz and interest that our costs were covered. We have
now toured Australia eight times. In fact, it was due to these Australian
successes that many more doors began to open for me and my band back here in
Canada. It's amazing how word travels!
We have also toured on two occasions in a small country called New Caledonia.
This is an island country in the Pacific Alliance of islands off the coast of
Australia (near Fiji) that is still governed by France. I speak French and this
language ability enabled me to land this opportunity while touring in
Australia. Of all the tours we have done, going to New Caledonia and hanging
out with the palm trees, beaches, wild mango trees when not on stage has been
one of the greatest highlights. Tough life, I know. They were unbelievable
opportunities!
China was actually originally meant as a break from my touring, as it has been
a long-intended destination in my life. (I have a degree in East Asian Studies
from UofT and speak Mandarin.) But, as it is a country in the midst of great
change and huge growth, going to China has yielded some interesting
opportunities for my performance and my recording career. As a result, I am now
both gigging and living in China in order to develop these possibilities.
When I look back across the touring chronology, it seems pretty clear that I
have been riding one wave to the next. There's some conscious choice, but
there's also simply serendipity. No complaints!
Q: What are some of the most unorthodox organizations that have
booked you for performances and what are some non-traditional ways you've
generated revenue from your music?
Well, I play a middle school in Connecticut every year. I never thought I'd see
my music being loved by a pile of sixth graders, but they love it and request
us to come back every year to the point where we are now part of the curriculum
in the English department. It becomes both a performance and a workshop about
expression, communication, the concept of voice, etc.
Well, that's hardly unorthodox. I have played for events for so many activist
organizations and been part of so many interesting events that it's hard to
list them, but I don't think I could say that any of them were unorthodox. They
all "fit" somehow, into the grand scheme of things.
In terms of non-traditional ways to generate revenue, I am always looking for
those� Let me
know if you can tell me of some that I hadn't thought of! I did recently
auction off a guitar that I hadn't been using and was shocked by the
willingness of my fans to buy it for much more than I would have been able to
sell it to a store for. I think I'm always surprised by what some fans will pay
to contribute to my musical career. They deserve all the credit, really.
Fans are my currency, after all. My whole career has been about earning fans.
They are the real revenue. Money is just a nice by-product when you have fans.
Q: Talk a bit about the challenges and/or opportunities that the
Internet and digital downloading have created for you.
Endless.
I have to see the downloading and filesharing of music as an opportunity to get
my music into more ears. That's not to say that I don't believe my music has
value, but I do hope that by spreading it around via this ready medium of
filesharing that it will generate more interest in what I'm doing and perhaps
will translate into greater attendance at shows, for instance. In general, I
hope it will encourage more support for the artist and for the intangible art
that can be made live, in real time, rather than focusing so much energy on my
spinning pieces of plastic that simply house my art. This philosophy also stops
me from holding the weight of resentment that comes from the belief that my art
has been stolen. No one can steal my art. It is in me. It is me.
Of course, it has meant that I sell less than half the numbers of CDs now than
I used to, which is a reflection of the changing industry and definitely not a
reflection of my talent or skill. My music has gotten better with time, not
worse. It's simply too bad that the sales don't indicate this truth as they
once did. (Paid downloads only offset a small percentage of those sales losses
rather than replacing them.)
What's to be done? I accept that the Internet has enabled me to promote and be
available to ears and eyes globally. Without it, I'm not sure independent
artists could be as prosperous as some of us have been. It has been an amazing
tool for publicity and visibility. This changing technology strikes me as more
exciting than debilitating. If I keep that attitude prominent, then I can
embrace the changes and be open to the other opportunities that inevitably will
come to have my music heard digitally.
I have faith that all will be well for the artist despite these trying times.
Q: How have you utilized social networking sites to promote
yourself?
I have a MySpace account and a Facebook profile, both a music group and a
personal site. It's been an amazing tool in the past couple of years and it has
grown so quickly, it's unbelievable. It gives artists an instant mailing list
without having to trek around to cities carrying a sign-up sheet and collecting
support, signature by signature.
These sites also enable the greatest marketing of all: word of mouth. As people
can type in what they love and spread the word, it's remarkably good for an
artist's profile to be the topic of conversation. The networks are so vast.
Really, it's staggering the reach these sites have had and continue to have.
Blogging, as an aside, is another incredible resource to independent artists.
Another topic unto itself!
Q: In addition to being a singer-songwriter, you are also
well-known for your workshop facilitation and artist education initiatives
through your label website, www.fewllignitesound.com.
What motivates you to engage in artist education?
I am saddened by how many artists are still manipulated by the industry simply
because of their ignorance about the music business. I started my label to
advocate the DIY approach and found that many artists in turn asked me
"what to do" and "how to do it" on dozens of topics. I
started to offer workshops and seminars to artists about five or six years ago
because I believe that if we have the knowledge, we will have the power. I
think it's simple: we are the music makers, and so the industry doesn't tick
without us. It is ludicrous that the very heartbeat of the business is often
the most vulnerable position to occupy. So, my artist education is based on
wanting to empower the artist so that we can all make informed decisions about
our career paths.
But before I teach a single class, I always make clear that all I know is my
own journey and the experience that I have gleaned therein. A beginner artist
always has something to teach me as well, simply because his or her experiences
are different and at a different stage. I want to make it clear that I have
something to share but that I'm not the authority on the issue. Together, we
create a population of authority as independent artists; alone, we are just one
path. That's why CIRAA is such an important organization. It's a unified front.
It's a collective knowledge base.
Q: Why did you join the CIRAA Board of Directors? What is your
main objective as a CIRAA Board Member?
Well, since I've been raving about CIRAA throughout this whole interview, I've
answered some of that already! But, the practical side of it is that I was
originally invited to join back when I was still foggy as to what CIRAA
actually did in this industry. Since then, I have been moved to get more
involved as a result of the personalities of the CIRAA members, the ambition
and intention that fuels the organization and, well, the fact that CIRAA is
filling a similar role to that of my music label, which is to provide
education, resources and support to independent artists. Quite simply, I
respect the organization. I want to help.
Q: Based on your day-to-day experience as an independent artist,
what are the key issues and challenges that independent and unsigned artists
should be paying attention to given the new music industry landscape?
I think the biggest issue and challenge is to keep art central, the focus, the
point. We often get so wrapped up in the business side of what we're doing as
independent artists that we can lose focus on the real driving reason for all
that business activity: music. Without a regular and intentional schedule for
music in my life, I would have been consumed by the entrepreneurial demands of
the industry. When I'm doing my workshops, I stress this constantly. After all,
the music is the reason for everything. Without doing the business, we are
still legitimate songwriters and our identities as music-makers remains
unchanged. Without the music, what is our identity as a business person about?
Nothing, really. Music is key.
Q: What are some of the key things that indie artists need to do
to successfully build and manage their careers in the music industry?
Now, getting into the heart of it, if you had to choose only one area of the
business to focus on, I'd say that a web presence is an unquestioned essential
for all independent artists today. Staying on top of web technology and
learning where those opportunities lie is key. It's both a challenge and an
issue as it's constantly changing. That requires regular vigilance.
I'd have to also tack on the need to be alert to funding opportunities for
artists. This is an amazing country that offers support to its artists
(compared to the U.S., for instance) and so learning about these programs can
be the difference between a project's existence and inexistence.
Q: How do you define professional success?
No differently than I define personal success: by how it feels. I scrap the
numbers and the stats and just ask myself if I feel, truly, as though I have
succeeded with a project. If the answer is yes, I am satisfied. If the answer
is no, I analyze where I fell short. Ultimately, I'm the only one who can
identify my successes. Everyone else is just guessing from the outside looking
in! My biggest lesson in life has been to ignore what "they" think
and just do what feels right for me. So far so good.
Thanks, Ember, for sharing so much insightful info. Scroll down
to the bottom of this issue to review Ember's "Indie Music Tips"!
Ember’s Indie Music Tips
* Believe
in your art. You are the most important believer. If you
believe in what you're doing, others will be inspired to believe in it too.
* Touring
is organic distribution. When your show is ready, hit the road.
Start small with a solo or duo or small ensemble, don't go too far away or stay
out for too long but always know that no matter where you go with your music,
you are taking it to new ears and potential fans. If they don't come to you, go
to them!
* Stay in
touch with your fans. You're a person, not a product. Fans are
people who like your music, but lasting support is really solidified when they
come to like YOU. Besides, you're likely to make many friends that way!
* Before
seeking representation, learn how to do the jobs yourself. Then
you'll know what expertise is required to do each job right. That way, once you
do have representation, you'll always know whether they are worth their fee or
you'd be better off going the DIY route.
* Having
a recording you're proud of makes a huge difference. Even if
it's just a demo or an EP, it is your audio business card and if you have to
disclaim it every time you give it someone (i.e. "we've grown a lot since
this recording, but...") then you really shouldn't be giving it out.
* Accept
the hospitality and generosity extended by fans and supporters. People
who love music but don't make music often want to help but don't know how.
Volunteers in the office, open doors on the road, friends who offer web support
(etc.) are all incredibly valuable. Kindness is a form of alternative currency
worth trading in, especially in a business where hard cash is hard to come by.
* You are
never too old to make art. Your art will only get better with
time if you're always working at it, developing it, pushing yourself to be a
better player, etc. Music is like wine. Give it time.
Check out www.fewllignitesound.com
for log sheet templates, sample contracts and lots more helpful resource info!
Sign up for FREE membership in CIRAA at www.ciraa.ca to get access to
more features like this one on Ember.
Reggae Legends Abyssinians Find Their Soul In A Far Away Land
Source: www.thestar.com -
Ashante Infantry, Pop & Jazz Critic
(July 31, 2008) The Abyssinians are roots-reggae legends with a healthy
catalogue, but noted mainly for the title track of their 1971 debut album Satta
Massagana.
The subtle repatriation tune is named for the phrase "give thanks and
praises" in Ethiopia's Amharic language and embraced as an anthem by
Rastafarians who consider the African country their spiritual home.
The Jamaican harmony trio, initially comprised of Bernard Collins and brothers
Donald and Lynford Manning, disbanded in the 1980s after the siblings moved to
the U.S. At one point Collins and Donald Manning helmed two different
Abyssinian touring acts. They reunited in 2003 and will perform with new member
David Morrison (Lynford has retired from music) at Harbourfront's free Island
Soul festival on Sunday at 9:30 p.m. with the backing of Toronto musicians.
Lead singer and father of four, Collins, 59, spoke with the Star from
his home in Jamaica.
Q: How did your career in music begin?
A: I used to sing in the Seventh Day Adventist church with my grandmother
where we lived in the country. I always had the urge to sing and when I moved
to Kingston I wanted to meet all of the big artists; so I went to Trench Town,
which was like the university for music, because all of the young talents like
Alton Ellis, Bob Marley and Ken Booth came out of there. I met all those guys
and would hang around trying to get inspiration and learn about the music
business.
Q: What do you recall about how "Satta Massagna" was composed?
A: One night back in 1969 we were sitting outside (the Manning) house.
Donald, as always, was playing his guitar, struggling on a few chords. The
melody just came inside of me and I started singing "There is a land far,
far away/ Where there's no night, there's only day," and he went inside
his house, came out with some paper and started writing down the lyrics. I
would sing one line, he would come in with a few lines, that was it.
Q: Were you a Rastafarian then?
A: I was, but maybe I never recognized it, because I grew up in the Seventh
Day Adventist Church, which is similar to the Rastafarian movement – we don't
eat pork, we don't wear jewellery to church and certain other things we don't
do, same as the Rastas. I was learning about Rastafari, meeting the elders in
Trench Town who would reason with us as youth and tell us about Africa and
Marcus Garvey. It wasn't until we released the second album Arise in
1978 that I (grew dreadlocks) and started to identify myself as a Rasta.
Q: So back in '69 what "far away land" were you referencing?
Ethiopia, heaven, paradise?
A: I don't know how the others see it; deep inside of everyone they have a
different inspiration, even though three of us sing the song. I always read the
Bible and I still do read the Bible, and I'm looking on that land as the land
of paradise. It's different from where we are. It's not this material life.
It's far beyond this life. It's pure. That's where I was looking.
Q: How come you never emigrated?
A: When I got involved in the music business I realized the value of
staying in Jamaica, even though I'm not a superstar as Bob Marley. When I
travel, I'm more appreciated by the people, because I'm coming from the roots.
Jamaica is my home and I don't see why I should run. I don't need no more
material things. Everything is here.
Cool Strummer Jack Johnson
Source: www.thestar.com - Greg Quill, Entertainment Columnist
(August 02, 2008) In the entertainment business there's no such thing as an
accidental star.
Every nameless troubadour in every neighbourhood pub, every unknown participant
in those ritzed-up karaoke contests that pass themselves off as reality shows,
comes to the game with the expectation of becoming some kind of idol.
Fame, however fleeting, drives what passes for artistic enterprise in the new
millennium, so it's with much scepticism that the jaded media have approached
reclusive, less-is-more, postmodern, surfing filmmaker-turned-pop music
phenomenon Jack Johnson.
The Hawaii-born and raised songwriter and guitarist – talents he developed, so
the story goes, in hospital after an accident ended the pro surfing career he'd
been building in the wake of his champion father, Jeff Johnson – may not be as
obsessively reluctant as the minimalist cult sensation Jandek, who performs in
semi-darkness and has rarely been photographed. But he comes close.
Johnson's songs, sparsely arranged around indefinite chord structures and
mumbled lyrics that eschew personality in favour of spiritual utterances about
the wonders of the natural world and eco-awareness, sound more like the
stream-of-consciousness doodles of an unreconstituted flower child.
He has no show to speak of. Onstage, Johnson and his rhythm section, surrounded
by video screens flashing nature imagery, look like nervous novices who'd
rather be somewhere else. Offstage, he looks like one of his own fans: quiet,
mildly curious and a bit overwhelmed.
Despite mighty yawns from critical media, Johnson was a star from the get-go.
Sales of his independently released 2001 debut album, Brushfire Fairytales,
rocketed into the high five digits on industry sales lists without so much as
an advertisement, a video, radio airplay or a mainstream media interview or a
tour to support it. Overnight, this lantern-jawed surfer gave hope to hordes of
anonymous songwriters dreaming in their basement rec rooms of glory and untold
wealth.
But that's never what he was about, Johnson said during a rare interview in
advance of his performance tomorrow at Burl's Creek Park in Oro, near Barrie.
He maintains that having grown up surfing in the daytime and singing familiar
songs – tunes by Jimmy Buffett, Neil Young and Van Morrison were favourites –
with family and friends around beach bonfires at night, his accidental
celebrity is bogus, a cumbersome distraction.
"I used to write songs all the time ... it was fun, and I never
performed," said Johnson, who lives most of the year with his wife, Kim, a
former schoolteacher, and their two young sons in a modest bungalow overlooking
the surf on Oahu's north shore. They don't have cable TV, but the 33-year-old
film school graduate admits to a healthy diet of DVDs and how-to-survive books.
When schedules allow, the family takes up residence in suburban Santa Barbara,
Calif., north of the solar-powered, denim-scrap-insulated, low-flush
toilet-equipped, DIY studio, label and eco-friendly merchandising operation
Johnson runs in L.A. with his long-time friend and business partner Emmett
Malloy, the cousin of pro surfers Chris, Keith and Dan Malloy.
"Now, all the eyes are on the stage, all these cameras are pointed my way,
and it takes a toll," Johnson says. "It becomes hard to write without
thinking about those people out there, and what they want to hear, instead of
the song and what I need to say. That's why I don't do interviews. It's a
matter of balance."
Fifteen million sales and four albums later – including 2005's In Between
Dreams (six million sold), his soundtrack to the 2006 Curious George movie,
and the recently released Sleep Through the Static – Johnson remains an
enigma, a displaced ghost in pop music's gleaming machinery. Well spoken,
self-deprecating and at a loss to explain his unexpected success and unsought
wealth, he says he started composing merely to provide a personal soundtrack
for his films about surfing. It's no surprise that surfers were his first fans,
and remain his most devoted.
"I never even thought of this as surf music," continued Johnson,
whose musical preferences run to Agent Orange, The Black-Eyed Peas, Bad
Religion, Aretha Franklin, Paul Simon and Ben Harper, an early fan and mentor.
"I was into the boarding culture, but surfing isn't the only thing I know.
The songs I write are conversations with myself. They're about things other
than the ocean and water, and I think surfers appreciate that the music isn't
about the surfing culture. It's about what we all think about when we're out
there in the water."
One Johnson preoccupation is the poor health of the planet, understandable for
an artist and athlete raised in an environment whose spectacular natural beauty
is now threatened by the excesses of a careless industrialized multitude. Those
concerns underscore every Johnson concert, which includes a Village Green
component – a collection of information and demonstration booths operated b