Archive for January, 2010
“.You Don’T Look Like One.” So How Do You Look? Shlomit Tamir Ben-Ari – Image Consultant
by admin on Jan.29, 2010, under Uncategorized
Gill Shermeister asked:
\”…You don\’t look like one…\”
So how do you look?
————————————
Shlomit Tamir Ben-Ari - Image consultant *
A communication gap is caused when others perceive us in a different way we meant them to.
The fact is, that the first impression is the strongest one. Even unconsciously, people will look for a proof to verify and justify their gut feeling.
So, since we don\’t get a second chance to make the first impression, and since different occasions demand different looks, we better be aware of the various styles, learn what they project, and put this message in action.
Before we decide on the image we want to convey, it is important to insist on three factors:
1. The outfit should be appropriate to the time and place :
For example, a mini skirt that reveals toned legs, should be saved for a social occasion.
A Polo shirt should be worn during vacation time.
2. The style should be consistent and repetitive :
You wouldn\’t want to project authority and reliability on one day, and appear dishelved
on the next.
3. The different pieces of the outfit will be of the same style :
A watch with a rubber band will clash with the suit.
A plastic pen will look out of place in a dress-shirt\’s pocket.
.
We\’re talking about four main styles. Each one of them conveys a unique and different message:
The classic style, the sporty style, the dramatic, and the romantic style.
The classic Style
The appearance.
When we watch people who are dressed in the classic style, we immediately have a scenario in our head regarding their personality.
They look mature, sincere, respectable, trust worthy, authoritative, self control, powerful, and thinkers. The might look as belonging to the high society, well educated, financially well off, and in a senior-position in the corporate.
The classic style people might also appear to be formal, conservative, keeping distance, non- adventurous.
In order to project this image, here are some suggestions:
The wardrobe.
Silhouette - should be straight and in place. Not puffed, not floaty. Covering the vast area of the body.
Fabrics - cotton, blended cotton, wool, ( cool wool for summer ), blended wool, gabardine, silk, ( a women\’s blouse ).
Texture - should be smooth.
Pattern - solid, pine stripe, herringbone, very subtle geometric design.
Colors - black, white, gray, navy blue, pine green, taupe ( gray brown ), burgundy,
dark brown, ivory, beige, icy pink, icy violet, and other icy colors.
Suites - from the above options, not too tight, not too loose.
Jacket - lightly padded shoulders, small waist line, not too high arm holes, single, double or no vent.
Trousers - should be pleated, creased, cuffed or not.
Shirt - Should be in natural colors. Long sleeves, standard collar, standard or button down collar. One pocket or none.
Blouse - avoid any see through fabrics, avoid any decolte\’, can be tucked in or out.
Dress/Skirt - should fall straight down, not shorter than the knees, not longer than the calf.
Tie - made of silk, solid, stripe, dot, paisley, foulard ( small geometrical repetitive design).
Socks - solid, or with a small ankle design.
Hosiery - winter and summer.
Belt - high quality leather, solid color, smooth texture, coordinate with shoes or pants.
Man Shoes - lace up.
Woman Shoes - flat or up to 5 centimeter heel.
Accessories:
Watch - good quality, preferably non digital.
Gloves - thin leather.
Handkerchief - cotton or linen.
Pen - metal, not plastic, designed
Jewelry - silver, gold, pearls, minimal design.
Briefcase - square lines, small combination locks, good quality leather.
Bag - firm, solid design.
Hair - neat and tidy, away from the face.
Make Up - minimal: light eyes shadow, eyeliner, soft lipstick.
* * * * *
To Be continued…
* Shlomit Tamir Ben-Ari - B.A. Social-work - Hebrew University – Israel – 1979.
Image consultant studies in the USA - 1985.
Majoring in Clothing and Manners & Etiquettes.
A member of AICI - Association of Image Consultants International.
\”…You don\’t look like one…\”
So how do you look?
————————————
Shlomit Tamir Ben-Ari - Image consultant *
A communication gap is caused when others perceive us in a different way we meant them to.
The fact is, that the first impression is the strongest one. Even unconsciously, people will look for a proof to verify and justify their gut feeling.
So, since we don\’t get a second chance to make the first impression, and since different occasions demand different looks, we better be aware of the various styles, learn what they project, and put this message in action.
Before we decide on the image we want to convey, it is important to insist on three factors:
1. The outfit should be appropriate to the time and place :
For example, a mini skirt that reveals toned legs, should be saved for a social occasion.
A Polo shirt should be worn during vacation time.
2. The style should be consistent and repetitive :
You wouldn\’t want to project authority and reliability on one day, and appear dishelved
on the next.
3. The different pieces of the outfit will be of the same style :
A watch with a rubber band will clash with the suit.
A plastic pen will look out of place in a dress-shirt\’s pocket.
.
We\’re talking about four main styles. Each one of them conveys a unique and different message:
The classic style, the sporty style, the dramatic, and the romantic style.
The classic Style
The appearance.
When we watch people who are dressed in the classic style, we immediately have a scenario in our head regarding their personality.
They look mature, sincere, respectable, trust worthy, authoritative, self control, powerful, and thinkers. The might look as belonging to the high society, well educated, financially well off, and in a senior-position in the corporate.
The classic style people might also appear to be formal, conservative, keeping distance, non- adventurous.
In order to project this image, here are some suggestions:
The wardrobe.
Silhouette - should be straight and in place. Not puffed, not floaty. Covering the vast area of the body.
Fabrics - cotton, blended cotton, wool, ( cool wool for summer ), blended wool, gabardine, silk, ( a women\’s blouse ).
Texture - should be smooth.
Pattern - solid, pine stripe, herringbone, very subtle geometric design.
Colors - black, white, gray, navy blue, pine green, taupe ( gray brown ), burgundy,
dark brown, ivory, beige, icy pink, icy violet, and other icy colors.
Suites - from the above options, not too tight, not too loose.
Jacket - lightly padded shoulders, small waist line, not too high arm holes, single, double or no vent.
Trousers - should be pleated, creased, cuffed or not.
Shirt - Should be in natural colors. Long sleeves, standard collar, standard or button down collar. One pocket or none.
Blouse - avoid any see through fabrics, avoid any decolte\’, can be tucked in or out.
Dress/Skirt - should fall straight down, not shorter than the knees, not longer than the calf.
Tie - made of silk, solid, stripe, dot, paisley, foulard ( small geometrical repetitive design).
Socks - solid, or with a small ankle design.
Hosiery - winter and summer.
Belt - high quality leather, solid color, smooth texture, coordinate with shoes or pants.
Man Shoes - lace up.
Woman Shoes - flat or up to 5 centimeter heel.
Accessories:
Watch - good quality, preferably non digital.
Gloves - thin leather.
Handkerchief - cotton or linen.
Pen - metal, not plastic, designed
Jewelry - silver, gold, pearls, minimal design.
Briefcase - square lines, small combination locks, good quality leather.
Bag - firm, solid design.
Hair - neat and tidy, away from the face.
Make Up - minimal: light eyes shadow, eyeliner, soft lipstick.
* * * * *
To Be continued…
* Shlomit Tamir Ben-Ari - B.A. Social-work - Hebrew University – Israel – 1979.
Image consultant studies in the USA - 1985.
Majoring in Clothing and Manners & Etiquettes.
A member of AICI - Association of Image Consultants International.
Tyr – Interview
by admin on Jan.25, 2010, under Music
Liam Hayman asked:
“Hey guys,
Could you give a quick biography of the band?
We started in Copenhagen in 1998, 4 guys from the Faeroes. Played a lot of music competitions in the early days. Released our first album in 2002, and released our fourth album in May 2008.
We signed to Napalm Records in January 2006, and since then we have played in every corner of Europe and the US.
So, how has fame, in all it’s ‘glory’, effected you as people? In what way has it changed your lives?
It has made it possible for me to quit my day job, and being able to concentrate 100% on the music. Apart from that there’s not much change in my home life.
How do you feel about your future as a band?
We feel that we are on the right track, and we are confident that the band will continue to grow. We expect to play bigger concerts and release more popular albums, and we hope to do so with a stable line-up for many years to come.
How widely have you toured, and is there anywhere that you’ve ‘particularly’ enjoyed playing, if so, why is this?
We have toured all over Europe, excluding a few countries, and all over the US. We have also played two shows in Canada.
The places we like most to play are Iceland, Poland and Canada, and it is because of the extremely warm welcome the people there give us.
Where does your inspirations come from?
what influences you when creating music?
Nordic folk music and traditions firstly. Ofcourse we still play Heavy Metal, so my Heavy Metal inspirations are Metallica, Iron Maiden, Dio, Judas Priest, Black Sabbath, Rainbow, Deep Purple, Dream Theater, Pantera, Savatage, System Of A Down etc (I know, I’m old).
I also have some classical influences, like Grieg and Vivaldi.
What’s the significance of the song ‘Eric the Red’, title song of your album ‘Eric the Red’?
It’s a song written from the perspective of Eric The Red. His wife was converted to christianity by his son, Leif, and she said that she would not sleep with Eric again until he was converted too. He never converted, so in the text I presume that he must have felt somewhat angry about this new religion. It’s just an anti-christian rant, really. It is not a historically accurate text, because his personal thoughts on this matter are not available.
A common question I know, but…
What do you think you would be doing if you weren’t in Týr?
I’d probably work at the post office. Lovely work that. Ok, maybe I’d be a composer or some sort of songwriter.
Thanks for your time, Liam”
For more interviews, simply visit this link;
http://www.morbidskies.com/viewforum.php?f=59
“Hey guys,
Could you give a quick biography of the band?
We started in Copenhagen in 1998, 4 guys from the Faeroes. Played a lot of music competitions in the early days. Released our first album in 2002, and released our fourth album in May 2008.
We signed to Napalm Records in January 2006, and since then we have played in every corner of Europe and the US.
So, how has fame, in all it’s ‘glory’, effected you as people? In what way has it changed your lives?
It has made it possible for me to quit my day job, and being able to concentrate 100% on the music. Apart from that there’s not much change in my home life.
How do you feel about your future as a band?
We feel that we are on the right track, and we are confident that the band will continue to grow. We expect to play bigger concerts and release more popular albums, and we hope to do so with a stable line-up for many years to come.
How widely have you toured, and is there anywhere that you’ve ‘particularly’ enjoyed playing, if so, why is this?
We have toured all over Europe, excluding a few countries, and all over the US. We have also played two shows in Canada.
The places we like most to play are Iceland, Poland and Canada, and it is because of the extremely warm welcome the people there give us.
Where does your inspirations come from?
what influences you when creating music?
Nordic folk music and traditions firstly. Ofcourse we still play Heavy Metal, so my Heavy Metal inspirations are Metallica, Iron Maiden, Dio, Judas Priest, Black Sabbath, Rainbow, Deep Purple, Dream Theater, Pantera, Savatage, System Of A Down etc (I know, I’m old).
I also have some classical influences, like Grieg and Vivaldi.
What’s the significance of the song ‘Eric the Red’, title song of your album ‘Eric the Red’?
It’s a song written from the perspective of Eric The Red. His wife was converted to christianity by his son, Leif, and she said that she would not sleep with Eric again until he was converted too. He never converted, so in the text I presume that he must have felt somewhat angry about this new religion. It’s just an anti-christian rant, really. It is not a historically accurate text, because his personal thoughts on this matter are not available.
A common question I know, but…
What do you think you would be doing if you weren’t in Týr?
I’d probably work at the post office. Lovely work that. Ok, maybe I’d be a composer or some sort of songwriter.
Thanks for your time, Liam”
For more interviews, simply visit this link;
http://www.morbidskies.com/viewforum.php?f=59
For A Sure Hit.Hire The Right Wedding Or Corporate Dance Band
by admin on Jan.24, 2010, under Art And Entertainment
Chris Murphy asked:
If you truly want to create a buzz and lasting memories on your wedding day or for your corporate party, be sure to hire the right wedding musicians or corporate event band. Forget the DJ and go with a live band. There is nothing like the sound and excitement of a band when all their instruments come together in perfect harmony.
Wedding and corporate dance bands abound, but there are only a few that will actually “bring down the house”. You want a band and its musicians to electrify your audience. Good bands can feel the level of excitement in an audience and adjust their music accordingly. A good wedding reception band or corporate dance band should also be able to play a good range of music, from the most current songs on the radio to songs encompassing the last 50 years. If a band can mix in some of their original music, you keep things interesting and your audience can enjoy the best of both worlds.
If you can find a band that has played with famous musical talents, for celebrities, Fortune 500 companies or dignitaries, you will get the added bonus of a very professional and highly respected band. This will also make your party “The Party” to attend, and your event will be talked about for years to come. Remember that a good band’s ability to entertain is only rivaled by their ability to get the audience up on the dance floor.
If you are fortunate enough to locate a 10-piece band, they will take your audience to an even higher level of entertainment. Of course a good singer will make the band “pop”, but the musicians themselves will really fascinate the audience with their instruments. The secret is to find a band whose ensemble is lively, entertaining and produces a spectacular musical performance.
The best way to interview a potential band for your wedding or corporate event is to do some of your own research ahead of time. This means visiting a few bands while they are playing a gig. Also, ask for recommendations from people who have hired a band before. If you can visit a band at several venues, you will get a real good idea of how they will sound at your event. In addition, a band that has played together for many years without a lot of turnover is a big plus. This will likely guarantee you and your guests a great experience.
In a nutshell, a wedding or corporate event band should be lively, at least 10 pieces if possible and have a good pedigree. There is no substitute for experience and when you find a band that meets your criteria, you will be glad you did your research.
If you truly want to create a buzz and lasting memories on your wedding day or for your corporate party, be sure to hire the right wedding musicians or corporate event band. Forget the DJ and go with a live band. There is nothing like the sound and excitement of a band when all their instruments come together in perfect harmony.
Wedding and corporate dance bands abound, but there are only a few that will actually “bring down the house”. You want a band and its musicians to electrify your audience. Good bands can feel the level of excitement in an audience and adjust their music accordingly. A good wedding reception band or corporate dance band should also be able to play a good range of music, from the most current songs on the radio to songs encompassing the last 50 years. If a band can mix in some of their original music, you keep things interesting and your audience can enjoy the best of both worlds.
If you can find a band that has played with famous musical talents, for celebrities, Fortune 500 companies or dignitaries, you will get the added bonus of a very professional and highly respected band. This will also make your party “The Party” to attend, and your event will be talked about for years to come. Remember that a good band’s ability to entertain is only rivaled by their ability to get the audience up on the dance floor.
If you are fortunate enough to locate a 10-piece band, they will take your audience to an even higher level of entertainment. Of course a good singer will make the band “pop”, but the musicians themselves will really fascinate the audience with their instruments. The secret is to find a band whose ensemble is lively, entertaining and produces a spectacular musical performance.
The best way to interview a potential band for your wedding or corporate event is to do some of your own research ahead of time. This means visiting a few bands while they are playing a gig. Also, ask for recommendations from people who have hired a band before. If you can visit a band at several venues, you will get a real good idea of how they will sound at your event. In addition, a band that has played together for many years without a lot of turnover is a big plus. This will likely guarantee you and your guests a great experience.
In a nutshell, a wedding or corporate event band should be lively, at least 10 pieces if possible and have a good pedigree. There is no substitute for experience and when you find a band that meets your criteria, you will be glad you did your research.
10 People to Surround Your Band With
by admin on Jan.21, 2010, under Art And Entertainment
David Hooper asked:
No man-or band-is an island. The success of any musician is the cumulative effort of many people. As you set out to become a legend, there are ten people you want to surround yourself and your band with. Whether you hire these folks, or simply find them and build a mentoring relationship with them-they have the expertise you need to get where you want to be: on top.
1. Stylist
Stylists aren’t just for corporate bands. Someone who is an expert in style and public opinion can give you an objective view about how other people see you. Talk to a stylist about your overall sound and the vision of your band and get some feedback about ways you can express that with your on-stage appearance.
2. Graphic Designer
A graphic designer is going to be able to help you design your “brand”. That can include everything from your website design, to your t-shirt graphics and your album cover. These are items that make a huge impression on people long before they have a chance to hear your music. Most graphic designers appreciate it when you bring them solid ideas and examples of things that inspire you. The more direction you can give them, the easier it will be for them to provide you with a finished product you’ll love.
3. Recording Techs
Live music and recorded music are two entirely different animals. You may have a great live sound, but if you’re going to make any money off your music, it needs to be recorded-and recorded well. Your MP3s can be placed on your website and circulated around the globe, so you want them to be the best possible representation of your band. Add to that the fact that recording time is so expensive, and mistakes can cost you time and money. It’s easy to see how important it is to find people who know their way around a mixing board.
If you can, ask other bands who they have helping them with the technical aspects of their recording. Or, you may place an ad and interview people who will help you in your session. Even if you use studio staff-don’t go in blindly and expect perfection in only a couple hours. Try to meet with the technical staff before you record and give them some idea what your expectations are. You may also want to hang out on some music industry message boards and get informed on techniques and terminology so that you can communicate what you really want when you get in to the studio.
4. Other Bands
Don’t look at other bands as competition. Each group is unique and has something different to offer. Each band has its own personality. You can co-exist peacefully with bands and find they are your best allies as you try to establish yourself. No one else knows what you are going through like another up-and-coming band. If you can find musicians who have more experience than you or who have already achieved success, try to form a mentoring relationship with them and let them help you through the landmines that take down so many young bands.
5. Groupies
No, I’m not talking about Tawny Kitaen. I’m talking about Classic Groupies-girls (and even guys) who are loyal fans. These are people who will be at every show, wear your t-shirt until it falls apart, and tell everyone they meet how great you are. These people will develop in to an entourage-they create a party wherever they go-even if it is just waiting in line to buy your tickets. They are an asset, and a time-honored tradition on the road to success.
6. Web Guru
The internet is where you’re going to be marketing yourself for the rest of the century, so you might as well get comfy there. No one expects you to be a geek, but you should definitely have an in with a geek to can help you establish yourself online. A web guru is going to be well-versed in web design and implementation, have technical skills for generating web traffic and search-engine optimization, and an eye on anything new that you can latch on to and use. Not only do you want a professional website, but you want to appear web savvy; which means using online tools and giving your fans access to those tools, too.
7. Business Advisor
Most musicians are terrible businesspeople. That makes having a business advisor all the more important. Whether you hire someone, or simply have a trusted friend with a business background give you some pointers, it is absolutely essential to have someone with a business mind help you make the most of your money. That means managing any income you have from gigs, album sales, or merchandise. It means planning a budget for the band, and knowing where and how to invest wisely.
8. Club owners
People that own clubs can give you great opportunities to perform live-but they can also give you added perspective and the experience that comes from seeing musicians perform on a regular basis. A club owner, if they befriend you, can provide you with all kinds of information including warnings of pitfalls they’ve seen bring other bands down. They know their own club or bar better than anyone else and they can tell you how to optimize your performance’s sound and appearance. They can tell you which nights are the best to book, and what kind of crowd to expect. They have their finger on the pulse of the music scene from a business perspective and can give you highly specialized information to make the most of your shows.
9. Friends and Family
Your friends and family are the people who believe in you more than anyone else. They are going to stick by you through ups and downs, successes and discouragements. They are a ready-made army of marketers who will tell the world how great you are with total conviction. Don’t alienate yourself from these folks. Let them put your name out there, and let them share in the victory when you get recognition.
10. Radio DJs and Press People
These guys have the ability to promote you in ways you cannot imagine. Most radio stations have featured staff picks on their shows, and radio DJs and music journalists also keep blogs on their company websites. If they make it to your show and like it, they’re going to tell thousands of people. Take the initiative and seek out DJs on stations that play music similar to yours and press people who cover music in your area. Send them CDs and invite them to your shows. Offer to give them an interview for their blogs and ask them to share their experience with you.
No man-or band-is an island. The success of any musician is the cumulative effort of many people. As you set out to become a legend, there are ten people you want to surround yourself and your band with. Whether you hire these folks, or simply find them and build a mentoring relationship with them-they have the expertise you need to get where you want to be: on top.
1. Stylist
Stylists aren’t just for corporate bands. Someone who is an expert in style and public opinion can give you an objective view about how other people see you. Talk to a stylist about your overall sound and the vision of your band and get some feedback about ways you can express that with your on-stage appearance.
2. Graphic Designer
A graphic designer is going to be able to help you design your “brand”. That can include everything from your website design, to your t-shirt graphics and your album cover. These are items that make a huge impression on people long before they have a chance to hear your music. Most graphic designers appreciate it when you bring them solid ideas and examples of things that inspire you. The more direction you can give them, the easier it will be for them to provide you with a finished product you’ll love.
3. Recording Techs
Live music and recorded music are two entirely different animals. You may have a great live sound, but if you’re going to make any money off your music, it needs to be recorded-and recorded well. Your MP3s can be placed on your website and circulated around the globe, so you want them to be the best possible representation of your band. Add to that the fact that recording time is so expensive, and mistakes can cost you time and money. It’s easy to see how important it is to find people who know their way around a mixing board.
If you can, ask other bands who they have helping them with the technical aspects of their recording. Or, you may place an ad and interview people who will help you in your session. Even if you use studio staff-don’t go in blindly and expect perfection in only a couple hours. Try to meet with the technical staff before you record and give them some idea what your expectations are. You may also want to hang out on some music industry message boards and get informed on techniques and terminology so that you can communicate what you really want when you get in to the studio.
4. Other Bands
Don’t look at other bands as competition. Each group is unique and has something different to offer. Each band has its own personality. You can co-exist peacefully with bands and find they are your best allies as you try to establish yourself. No one else knows what you are going through like another up-and-coming band. If you can find musicians who have more experience than you or who have already achieved success, try to form a mentoring relationship with them and let them help you through the landmines that take down so many young bands.
5. Groupies
No, I’m not talking about Tawny Kitaen. I’m talking about Classic Groupies-girls (and even guys) who are loyal fans. These are people who will be at every show, wear your t-shirt until it falls apart, and tell everyone they meet how great you are. These people will develop in to an entourage-they create a party wherever they go-even if it is just waiting in line to buy your tickets. They are an asset, and a time-honored tradition on the road to success.
6. Web Guru
The internet is where you’re going to be marketing yourself for the rest of the century, so you might as well get comfy there. No one expects you to be a geek, but you should definitely have an in with a geek to can help you establish yourself online. A web guru is going to be well-versed in web design and implementation, have technical skills for generating web traffic and search-engine optimization, and an eye on anything new that you can latch on to and use. Not only do you want a professional website, but you want to appear web savvy; which means using online tools and giving your fans access to those tools, too.
7. Business Advisor
Most musicians are terrible businesspeople. That makes having a business advisor all the more important. Whether you hire someone, or simply have a trusted friend with a business background give you some pointers, it is absolutely essential to have someone with a business mind help you make the most of your money. That means managing any income you have from gigs, album sales, or merchandise. It means planning a budget for the band, and knowing where and how to invest wisely.
8. Club owners
People that own clubs can give you great opportunities to perform live-but they can also give you added perspective and the experience that comes from seeing musicians perform on a regular basis. A club owner, if they befriend you, can provide you with all kinds of information including warnings of pitfalls they’ve seen bring other bands down. They know their own club or bar better than anyone else and they can tell you how to optimize your performance’s sound and appearance. They can tell you which nights are the best to book, and what kind of crowd to expect. They have their finger on the pulse of the music scene from a business perspective and can give you highly specialized information to make the most of your shows.
9. Friends and Family
Your friends and family are the people who believe in you more than anyone else. They are going to stick by you through ups and downs, successes and discouragements. They are a ready-made army of marketers who will tell the world how great you are with total conviction. Don’t alienate yourself from these folks. Let them put your name out there, and let them share in the victory when you get recognition.
10. Radio DJs and Press People
These guys have the ability to promote you in ways you cannot imagine. Most radio stations have featured staff picks on their shows, and radio DJs and music journalists also keep blogs on their company websites. If they make it to your show and like it, they’re going to tell thousands of people. Take the initiative and seek out DJs on stations that play music similar to yours and press people who cover music in your area. Send them CDs and invite them to your shows. Offer to give them an interview for their blogs and ask them to share their experience with you.
Progressive Rock Band Influenced by Gandhi Releases Songs Addressing World Issues
by admin on Jan.19, 2010, under Music
Eric de Fontenay asked:
Profits Go to Groups Providing Solutions
Sugar Grove, IL: Truth On Earth, a socially conscious, progressive teen rock band for the ages, recently announced the release of new original music to further their fight of world problems. Using the power of song and the universal language of music, this unique band helps raise awareness and money for worthy charities fighting world problems. By combining entertainment with philanthropy, they provide a benefit to both those in need and those who contribute.
http://www.truthonearthband.com
http://truthonearthband.com/clips/enough.mp3
The band name, lyrical messages and powerful world-changing mission are based upon the work of Mohandas (Mahatma) Gandhi, one of the greatest spiritual leaders of all time and the basis of Martin Luther King, Jr.’s Civil Rights movement. Gandhi said that Peace could best be achieved through truth and non-violent protest and he proved it for a time by causing the end of a century of British rule over India. One small man had a giant influence. So the band is named in Gandhi’s honor to carry on his work and ideals through the universal language of music to a struggling planet.
The band’s main goal is to raise consciousness, through the universal language of music, to a level where, over time, everyone can become part of the solution. The end result and vision is that problems can be fixed and the planet can be left in a condition that is free of destruction and makes it worth inheriting by future generations.
Truth on Earth’s music has been described as refreshing, highly creative, electrifying and a throwback to early 70′s rock. This unique sound blends with progressive songwriting about world issues to appeal to those with the same social conscience.
These young women have committed their lives to fixing the problems of the planet so future generations will have a, “planet worth inheriting.” Their philanthropic spirit combined with their exceptional musical talents results in a contribution of nearly three quarters of their proceeds to worldly charities.
Listeners cannot only enjoy the sound of Truth on Earth but can choose one of many worthwhile causes to donate to, at http://www.truthonearthband.com
These young women are devoting their lives to doing whatever they can to bring awareness and solutions to many world problems, in the spirit of Gandhi. They want to be pro-active, on the front lines, connecting people through the universal language of music. “We have all seen devastating pictures of abuse, starvation, homeless, effects of war….., but never have been unified with music in a way, until now, that reaches the listener’s core level, creating feelings that pictures alone can’t and that allows for the proper contribution,” states the band members.
About Truth on Earth:
Truth On Earth is a progressive rock band featuring three teenage sisters that blends the sounds of old and new, heavily influenced by ’60′s & ’70′s rock. They write, produce and sing original songs about major issues in the world that require the attention of all. Their mission is, “to unite people across the globe, with music, to take action to create a better world so future generations will have a planet worth inheriting.”
They are available for performance, interviews and charitable appearances and can be contacted through their website, www.truthonearthband.com or email, truth@truthonearthband.com. Their music is currently available for immediate download from their website. Contributions to select, related charities can be made there as well.
Profits Go to Groups Providing Solutions
Sugar Grove, IL: Truth On Earth, a socially conscious, progressive teen rock band for the ages, recently announced the release of new original music to further their fight of world problems. Using the power of song and the universal language of music, this unique band helps raise awareness and money for worthy charities fighting world problems. By combining entertainment with philanthropy, they provide a benefit to both those in need and those who contribute.
http://www.truthonearthband.com
http://truthonearthband.com/clips/enough.mp3
The band name, lyrical messages and powerful world-changing mission are based upon the work of Mohandas (Mahatma) Gandhi, one of the greatest spiritual leaders of all time and the basis of Martin Luther King, Jr.’s Civil Rights movement. Gandhi said that Peace could best be achieved through truth and non-violent protest and he proved it for a time by causing the end of a century of British rule over India. One small man had a giant influence. So the band is named in Gandhi’s honor to carry on his work and ideals through the universal language of music to a struggling planet.
The band’s main goal is to raise consciousness, through the universal language of music, to a level where, over time, everyone can become part of the solution. The end result and vision is that problems can be fixed and the planet can be left in a condition that is free of destruction and makes it worth inheriting by future generations.
Truth on Earth’s music has been described as refreshing, highly creative, electrifying and a throwback to early 70′s rock. This unique sound blends with progressive songwriting about world issues to appeal to those with the same social conscience.
These young women have committed their lives to fixing the problems of the planet so future generations will have a, “planet worth inheriting.” Their philanthropic spirit combined with their exceptional musical talents results in a contribution of nearly three quarters of their proceeds to worldly charities.
Listeners cannot only enjoy the sound of Truth on Earth but can choose one of many worthwhile causes to donate to, at http://www.truthonearthband.com
These young women are devoting their lives to doing whatever they can to bring awareness and solutions to many world problems, in the spirit of Gandhi. They want to be pro-active, on the front lines, connecting people through the universal language of music. “We have all seen devastating pictures of abuse, starvation, homeless, effects of war….., but never have been unified with music in a way, until now, that reaches the listener’s core level, creating feelings that pictures alone can’t and that allows for the proper contribution,” states the band members.
About Truth on Earth:
Truth On Earth is a progressive rock band featuring three teenage sisters that blends the sounds of old and new, heavily influenced by ’60′s & ’70′s rock. They write, produce and sing original songs about major issues in the world that require the attention of all. Their mission is, “to unite people across the globe, with music, to take action to create a better world so future generations will have a planet worth inheriting.”
They are available for performance, interviews and charitable appearances and can be contacted through their website, www.truthonearthband.com or email, truth@truthonearthband.com. Their music is currently available for immediate download from their website. Contributions to select, related charities can be made there as well.
Jazz From Goa, India
by admin on Jan.14, 2010, under Music
Jazz Goa asked:
HP- Tell us something about yourself.
CD- I’m a Mumbai goan looking forward to being a Goa goan very soon. I’ve reached two important milestones in my career. One is, after decades of playing everyone elses music i’ve development a style of my own and the biggest compliment I get these days is when someone recognizes my bassplaying on some tune they heard somewhere, they call up to confirm and..voila! The other milestone is probably every musicians dream, to produce music out of my own studio. A dream that will come true for me within this year when I setup my own state of the art studio in Sangolda. I’ve also setup an organisation called Jazz Goa with the help of fellow musicians and jazz enthusiasts in Goa.
HP- What drew you towards jazz?
CD- Jazz is a huge word, it should be spelt jjjaaaazzzzz! Seriously though, I think jazz is the most open, alive and evolving form of music that allows a musician to be him/herself. Most other forms of music demands a musician to follow trends and tradition or create stuff that’s currently hip. Whereas a jazz musician goes about his business listening, assimilating and finally innovating with yet another genre of jazz! We now have dixiland-jazz, swing-jazz, bebop-jazz, funk-jazz, rock-jazz, pop-jazz, fusion-jazz, latin-jazz, indo-jazz, mando-jazz… to cut a long story short, there’s a -jazz attached to every genre of music. And there will be a -jazz attached to every genre that comes along. I’m a musician who’s atracted to anything that looks, feels, smells, tastes and even sounds like music, so naturally I choose jazz as I get to play it ALL.
HP- What sets apart jazz music from other genres?
CD- Jazz is the only form of music that embraces all other forms and it is no longer American music. Today jazz can safely be called world music.
HP- What led you to become a jazz artiste?
CD- From amoung all the different genre’s of music I grew up listening to, for some reason it was always jazz that struck those extended chords within me. I could always hear the human and very often super human element in a jazz rendition.
HP- Your favourite jazz aristes/tracks.
CD- You’ll need to extend this interview by a few thousand pages to answer that. My all time favourite however was a bassplayer called Jaco Pastorius who revolutionised bassplaying taking bass right upfront, over, under and right through a song.
HP- To whom would you attribute your credentials as a jazz musician?
CD- To everyone i’ve worked with and everyone I would like to work with someday.
HP- Where and how did you train to be a jazz artiste?
CD- I have no formal training in music, I learnt music listening to other musicians, assimilating what I liked and using it consiously or subconsiously in performance until i developed a style of my own. Once I decided to play professionally though, I did study the technicalities through some great music books that are easily available these days.
HP- How do you prepare for a gig?
CD- I make sure there’s enough soda to go with the whisky…just kidding! It depends, if it is a concert where I would be performing my own compositions, I get the tunes composed, then get the band to rehearse and sound the way I heard it in my head. As it often turnsout, input from the rest of the band takes the tune to a dimension I would never have imagined. So you see, music is all about connecting and collaborating, don’t believe any of those fantastic one man bands. They’re faking it for monetary reasons, not that I have anything against it. All is fair in love, war and music.
HP- Talking about gigs, where and when did you first perform/how long have you been into jazz?
CD- Like most musicians I first got into music with school/college bands. I then graduated into fivestar hotel resident bands whose repertoire was made up mainly of jazz standards. I did that for ten years, playing music every night made me a musician.
HP- What is the jazz scene like in India, and Goa in particular?
CD- The jazz scene in India, Goa or anywhere in the world is the same. There’s a niche group of performers and listeners that grows all the time. Hopefully with jazz’s open armed evolution, it will grow into the global sound of music.
HP- What have been your highs and lows in your career thus far?
CD- The highs have always been the applause at the end of a track performed, the lows would be finding out that the applause was actually for the sixer Sachin hit on the big screen just besides the stage at Jazz by the Bay in Mumbai.
HP- How would you explain your role as a jazz musician in society?
CD- A jazz musician gives people a nicer high than some other interesting social highs.
HP- Define jazz.
CD- Jazz is improvised music. Sometimes structured, sometimes orchestrated, sometimes free of form and almost always, spontaneously created.
HP- Notable gigs/performances.
CD- The world reknowned Hennessey XO jazz tour has always been featuring jazz artistes signed by the American Blue Note label. Last year for the first time a jazz band outside the label, from far away India, was selected for this prestigious international tour. I was the bassplayer for that band. An unforgettable experience for sure. More recently my indo-jazz fusion band ‘The Brown Indian Band’ has been approached to open for Sting’s European tour this year. Fingers are crossed about that one.
HP- Collaborations with other musicians.
CD- I am contineously collaborating with musicians from all over the world thanks to the internet and my website http://www.hullocheck.com
HP- I understand you have been into different genres of music and worked with various ensembles. Tell us more.
CD- As I mentioned it before, when it comes to music I want it ALL. Name the genre and chances are, i’ve been there. You’ll find traces of just about every genre in my own music. There are very few musicians in the world today, who would match the number of bands and musicians I have worked with.
HP- Currently performing at…
CD- I currently perform on two resident contracts in Mumbai at the JW Marriott hotel in the afternoons and the Taj Lands End hotel in the nights. I also take timeoff from these two gigs to perform at concerts and corporate events in India and abroad. So that averages some sixty gigs a month!
HP- Your hobbies/interests…
CD- My main hobby and interest is my profession today. Everyone else works for a living, I play for mine. Someone once told me ‘All play and no work makes…makes me tick!’ Seriously though, I am very keen on improving the plight of most goan musicians in Goa. I was one sometime ago so I should know the raw deal most of them get. My plan is to set up Jazz Goa as an umbrella organisation for not just jazz but all the other immense artistic talent in Goa. To start with my studio in Sangolda will record and produce deserving artistes. Jazz Goa will then launch the best from there at a global level. Jazz Goa has already produced four audio CD’s and a DVD that is available in Goa exclusively at Vibes Music in Margao and online at http://www.jazzgoa.com
HP- Tell us something about yourself.
CD- I’m a Mumbai goan looking forward to being a Goa goan very soon. I’ve reached two important milestones in my career. One is, after decades of playing everyone elses music i’ve development a style of my own and the biggest compliment I get these days is when someone recognizes my bassplaying on some tune they heard somewhere, they call up to confirm and..voila! The other milestone is probably every musicians dream, to produce music out of my own studio. A dream that will come true for me within this year when I setup my own state of the art studio in Sangolda. I’ve also setup an organisation called Jazz Goa with the help of fellow musicians and jazz enthusiasts in Goa.
HP- What drew you towards jazz?
CD- Jazz is a huge word, it should be spelt jjjaaaazzzzz! Seriously though, I think jazz is the most open, alive and evolving form of music that allows a musician to be him/herself. Most other forms of music demands a musician to follow trends and tradition or create stuff that’s currently hip. Whereas a jazz musician goes about his business listening, assimilating and finally innovating with yet another genre of jazz! We now have dixiland-jazz, swing-jazz, bebop-jazz, funk-jazz, rock-jazz, pop-jazz, fusion-jazz, latin-jazz, indo-jazz, mando-jazz… to cut a long story short, there’s a -jazz attached to every genre of music. And there will be a -jazz attached to every genre that comes along. I’m a musician who’s atracted to anything that looks, feels, smells, tastes and even sounds like music, so naturally I choose jazz as I get to play it ALL.
HP- What sets apart jazz music from other genres?
CD- Jazz is the only form of music that embraces all other forms and it is no longer American music. Today jazz can safely be called world music.
HP- What led you to become a jazz artiste?
CD- From amoung all the different genre’s of music I grew up listening to, for some reason it was always jazz that struck those extended chords within me. I could always hear the human and very often super human element in a jazz rendition.
HP- Your favourite jazz aristes/tracks.
CD- You’ll need to extend this interview by a few thousand pages to answer that. My all time favourite however was a bassplayer called Jaco Pastorius who revolutionised bassplaying taking bass right upfront, over, under and right through a song.
HP- To whom would you attribute your credentials as a jazz musician?
CD- To everyone i’ve worked with and everyone I would like to work with someday.
HP- Where and how did you train to be a jazz artiste?
CD- I have no formal training in music, I learnt music listening to other musicians, assimilating what I liked and using it consiously or subconsiously in performance until i developed a style of my own. Once I decided to play professionally though, I did study the technicalities through some great music books that are easily available these days.
HP- How do you prepare for a gig?
CD- I make sure there’s enough soda to go with the whisky…just kidding! It depends, if it is a concert where I would be performing my own compositions, I get the tunes composed, then get the band to rehearse and sound the way I heard it in my head. As it often turnsout, input from the rest of the band takes the tune to a dimension I would never have imagined. So you see, music is all about connecting and collaborating, don’t believe any of those fantastic one man bands. They’re faking it for monetary reasons, not that I have anything against it. All is fair in love, war and music.
HP- Talking about gigs, where and when did you first perform/how long have you been into jazz?
CD- Like most musicians I first got into music with school/college bands. I then graduated into fivestar hotel resident bands whose repertoire was made up mainly of jazz standards. I did that for ten years, playing music every night made me a musician.
HP- What is the jazz scene like in India, and Goa in particular?
CD- The jazz scene in India, Goa or anywhere in the world is the same. There’s a niche group of performers and listeners that grows all the time. Hopefully with jazz’s open armed evolution, it will grow into the global sound of music.
HP- What have been your highs and lows in your career thus far?
CD- The highs have always been the applause at the end of a track performed, the lows would be finding out that the applause was actually for the sixer Sachin hit on the big screen just besides the stage at Jazz by the Bay in Mumbai.
HP- How would you explain your role as a jazz musician in society?
CD- A jazz musician gives people a nicer high than some other interesting social highs.
HP- Define jazz.
CD- Jazz is improvised music. Sometimes structured, sometimes orchestrated, sometimes free of form and almost always, spontaneously created.
HP- Notable gigs/performances.
CD- The world reknowned Hennessey XO jazz tour has always been featuring jazz artistes signed by the American Blue Note label. Last year for the first time a jazz band outside the label, from far away India, was selected for this prestigious international tour. I was the bassplayer for that band. An unforgettable experience for sure. More recently my indo-jazz fusion band ‘The Brown Indian Band’ has been approached to open for Sting’s European tour this year. Fingers are crossed about that one.
HP- Collaborations with other musicians.
CD- I am contineously collaborating with musicians from all over the world thanks to the internet and my website http://www.hullocheck.com
HP- I understand you have been into different genres of music and worked with various ensembles. Tell us more.
CD- As I mentioned it before, when it comes to music I want it ALL. Name the genre and chances are, i’ve been there. You’ll find traces of just about every genre in my own music. There are very few musicians in the world today, who would match the number of bands and musicians I have worked with.
HP- Currently performing at…
CD- I currently perform on two resident contracts in Mumbai at the JW Marriott hotel in the afternoons and the Taj Lands End hotel in the nights. I also take timeoff from these two gigs to perform at concerts and corporate events in India and abroad. So that averages some sixty gigs a month!
HP- Your hobbies/interests…
CD- My main hobby and interest is my profession today. Everyone else works for a living, I play for mine. Someone once told me ‘All play and no work makes…makes me tick!’ Seriously though, I am very keen on improving the plight of most goan musicians in Goa. I was one sometime ago so I should know the raw deal most of them get. My plan is to set up Jazz Goa as an umbrella organisation for not just jazz but all the other immense artistic talent in Goa. To start with my studio in Sangolda will record and produce deserving artistes. Jazz Goa will then launch the best from there at a global level. Jazz Goa has already produced four audio CD’s and a DVD that is available in Goa exclusively at Vibes Music in Margao and online at http://www.jazzgoa.com
Music for Meditation, Reflection or Therapy, Day or Night: an Interview With the Nightdancers
by admin on Jan.13, 2010, under Music
Mark Kirby asked:
When you ask someone why he or she likes a band, performer or style of music, the usual response is either, “they’re awesome,” “they rock” or “it’s fun stuff.” People tend to say that music is simply for entertainment. And as for musicians, the reason they play music either involves “the call” to do so or the ego-driven need to stand in front of a crowd. But why do we even have music? Is it, as Shakespeare stated, “to soothe the savage beast”? It’s not like it’s life or death. Or is it? For Gera Clark and John Sarantos, who perform on Native American flutes as the NightDancers, music is that deep. Mr. Santos started with the simple desire to express himself musically, but discovered that the Native American flute, by its nature, takes one beyond pigeonholed functions, including new-age “meditation” music. Ms. Clark’s journey to music started with desperately needing something of a life line at a critical time. She states: “After a prolonged critical illness, I began to put my life back together… While on this spiritual path, I discovered the Native American flute.” In this era of art-as-diversion, or lifestyle accessory, it is a wonderfully pleasant surprise to be reminded that, as Clark and Santos reveal in the interview below, music is a powerful and healing force.
[Mark Kirby] What kind of music was played in your home when you were growing up?
[Gera Clark] My mother played classical music on the piano as an escape from her existence as an urban housewife raising four children. When I started school, my mother went back to work and I noticed her appetite for opera increased dramatically. My father fancied himself as being Bing Crosby and I would catch him now and then trying to learn the cha cha. Meanwhile, my sister would sneak in rock and roll. We aspired to write music together in the style of Carol King. We also listened to some of my relatives’ records, one being Seamus Ennis, my grand uncle who played the Uilleann pipes (an Irish type of bagpipes).
[John Sarantos] During my early years, my mother would play classical and operatic music when I was in school, but very little music was played while I was home except at Christmas.
[Mark Kirby] What kinds of music have you studied prior to the Native American flute?
[Gera Clark] As a child, my mother would bribe me with soda to take piano lessons because she wanted me to be a child prodigy. When I was able to travel on my own, I took up the traverse flute, which I carried with me for three years.
[John Sarantos] I tried learning the drums from the junior high school music teacher, but he told me I had no rhythm and would not work with me. After attending a Jethro Tull concert and being inspired by Ian Anderson’s flute playing, I tried the transverse flute, but was told by my flute instructor that I was tone deaf and she wouldn’t work with me. I tried singing, but I was told that I was tone deaf by three major Los Angeles voice coaches and they would not work with me. I tried guitar and banjo, but it was hard to play just cords as I could not sing along with myself. Then I discovered the Native American flute.
[Mark Kirby] How did you come to start playing Native American music in general, the flute in particular?
[Gera Clark] After the death of my husband and a quick rebound marriage and divorce, followed by a prolonged critical illness, I began to put my life back together. I also began searching for beauty. While on this spiritual path, I discovered the Native American flute.
One day, I found myself about a hundred miles west of New York standing outside a Tibetan Buddhist Temple, when suddenly I heard the most beautiful sound. Following the powerful, yet haunting sound, I discovered it emanating from a Native American flute, played by Ed Callshim (Ponca Sioux). After this experience, I finally found a flute of my own at the National Museum of the American Indian in New York. Later, when traveling to Niagara Falls with my teacher, Amy Lee (Iroquois), a deep desire to connect with my earlier travels in the southwest was awakened. On one particular journey, I found myself exploring the canyons along the Rio Grande. Eventually I was led to the mountains and the Taos Pueblo, where I heard that haunting sound drifting through the air. I followed it to its source, a little adobe. Looking inside, I met a kind and talented gentleman who encouraged me to play the native flute. That gentleman, unbeknownst to me at the time, is one of the finest Native American flute players in the world, John Rainer, Jr. (Taos/Creek). Leaving New Mexico with renewed faith, I was led, via The American Indian Community House in New York, to Franc Menusan (Muskogee Creek). He became my extremely patient mentor for several years.
On my birthday, I flew out to an R. Carlos Nakai (Navajo/Ute) concert with the San Francisco Symphony, where I learned about the Renaissance of the Native American Flute workshop in Montana. I came back to New York and booked myself a flight to Montana, which was where I met John Sarantos, and our musical partnership was born.
[John Sarantos] My mother, who was 84-years-old at the time, introduced me to the music of the Peter Kater and R. Carlos Nakai duo. Mr. Kater, who is of German heritage, played piano, and Mr. Nakai the native flute. I discovered that I too like the sound of the native flute. I went to a Kater and Nakai concert in Chicago, where Nakai mentioned a week-long workshop at the Feathered Pipe Ranch in Helena, Montana. I had a choice of paying about $1,200 for the flute workshop taught by Mr. Nakai and his partner and flute-maker, Ken Light, or going to Japan for two weeks, all expenses paid by the school where I was teaching. I chose Montana.
[Mark Kirby] What lead you to play this kind of meditative music?
[John Sarantos] We don’t think of it as only meditative music. We worked hard to stay away from falling into that stereotype of musical style on our CD. Although a lot of people use our record for meditation, they also use it for healing and relaxation. Several people who have cancer told me that they find inner peace while listening to ‘Montana Crossings’.
[Gera Clark] In fact, after John had his cancer surgery last year, we decided that 10% of the gross sales from ‘Montana Crossings’ would be used to buy flutes for cancer patients. So far, we have donated flutes to cancer flute circles and individuals in New York City, Chicago, Lansing, Michigan and Jefferson City, Oregon.
[Mark Kirby] Are Native American flutes more like shakuhachi flutes or transverse flutes in terms of technique?
[John Sarantos] Neither. The shakuhachi can take three months just to get one note. The transverse requires many hours of playing to learn just the basic scale. The native flute is one of the easiest instruments to play. I have taught elementary children to play the native flute, and they have started playing songs in about five minutes or less.
[Mark Kirby] Describe the flutes that you use in terms of size, number of holes, type of wood, etc.
[Gera Clark] We use flutes ranging from four to six holes and from four inches to five feet.
[John Sarantos] Traditionally, most flutes were made from soft woods; for example, cedar and pine. However, when the Europeans came, they brought with them tools that made it easier to create flutes out of harder woods; some flutes were even made from old gun barrels.
[Gera Clark] Today, flute-makers are creating flutes from all types of woods, from cedars to walnut to iron wood, to even flutes made out of one of the hardest woods: ebony.
[John Sarantos] We also have a wide assortment of clay flutes based on the Aztec and Mayan cultures made by master flute-maker Xavier Quijas Xyotol.
[Mark Kirby] How did you arrive at the name of NightDancers for your musical duo?
[Gera Clark] One day John and I were talking and discovered that we both used to walk around our individual houses in the middle of the night without any lights on. We came up with the name Night Walkers.
[John Sarantos] However, most people we talked to thought that the name sounded too much like vampires or ladies of the evening.
[Gera Clark] After discussing a variety of names, we came up with NightDancers.
[Mark Kirby] When did you decide to record ‘Montana Crossings’?
[Gera Clark] John and I had been playing together for about two years. John would travel from Milwaukee during his vacations, and we would play for our friend Bob Hegler, who encouraged us to keep playing together. We enjoyed playing so much that we used to spend hours playing over speaker phones when John was still living in Milwaukee. When we started performing in local New York venues, people would ask if we had a CD they could purchase. After about a year of doing live performances, we felt that we had created a wide variety of songs that we wanted to share with others.
[Mark Kirby] Why did you choose to record at Avatar Studios in New York City?
[John Sarantos] I had been writing record reviews for the International Native American Flute Journal for about ten years and could tell when an artist used a home computer all the way up to a professional sound studio. If we were going to put our time, effort and money into a recording, we wanted it to sound the best it could. I asked several people if they could recommend a sound studio in New York City. Avatar Studios was one of the top three studios on several people’s lists.
[Gera Clark] We were also very fortunate that Tino Passante of Avatar recommended Jim Anderson for our sound engineer. Jim understood the sound that we were striving to obtain, and he succeeded in capturing that sound.
[Mark Kirby] How are the titles connected to the songs you are playing? Are these titles indicative of what the music is supposed to evoke?
[Gera Clark] The titles are indicative of the inspiration behind the music.
[John Sarantos] Hopefully, each person will have their own emotional response to the music depending on their own journey.
[Mark Kirby] What types of events or venues do you play?
[Gera Clark] One of our goals is to help spread the beauty of the flute to others, whether it be playing our music for others to listen [to] or sharing our knowledge on how to play the flute.
[John Sarantos] herefore, we play in a variety of venues for all types of events. You can view our schedule at: http://www.nightdancersmusic.com and http://www.myspace.com/nightdancersmusic
When you ask someone why he or she likes a band, performer or style of music, the usual response is either, “they’re awesome,” “they rock” or “it’s fun stuff.” People tend to say that music is simply for entertainment. And as for musicians, the reason they play music either involves “the call” to do so or the ego-driven need to stand in front of a crowd. But why do we even have music? Is it, as Shakespeare stated, “to soothe the savage beast”? It’s not like it’s life or death. Or is it? For Gera Clark and John Sarantos, who perform on Native American flutes as the NightDancers, music is that deep. Mr. Santos started with the simple desire to express himself musically, but discovered that the Native American flute, by its nature, takes one beyond pigeonholed functions, including new-age “meditation” music. Ms. Clark’s journey to music started with desperately needing something of a life line at a critical time. She states: “After a prolonged critical illness, I began to put my life back together… While on this spiritual path, I discovered the Native American flute.” In this era of art-as-diversion, or lifestyle accessory, it is a wonderfully pleasant surprise to be reminded that, as Clark and Santos reveal in the interview below, music is a powerful and healing force.
[Mark Kirby] What kind of music was played in your home when you were growing up?
[Gera Clark] My mother played classical music on the piano as an escape from her existence as an urban housewife raising four children. When I started school, my mother went back to work and I noticed her appetite for opera increased dramatically. My father fancied himself as being Bing Crosby and I would catch him now and then trying to learn the cha cha. Meanwhile, my sister would sneak in rock and roll. We aspired to write music together in the style of Carol King. We also listened to some of my relatives’ records, one being Seamus Ennis, my grand uncle who played the Uilleann pipes (an Irish type of bagpipes).
[John Sarantos] During my early years, my mother would play classical and operatic music when I was in school, but very little music was played while I was home except at Christmas.
[Mark Kirby] What kinds of music have you studied prior to the Native American flute?
[Gera Clark] As a child, my mother would bribe me with soda to take piano lessons because she wanted me to be a child prodigy. When I was able to travel on my own, I took up the traverse flute, which I carried with me for three years.
[John Sarantos] I tried learning the drums from the junior high school music teacher, but he told me I had no rhythm and would not work with me. After attending a Jethro Tull concert and being inspired by Ian Anderson’s flute playing, I tried the transverse flute, but was told by my flute instructor that I was tone deaf and she wouldn’t work with me. I tried singing, but I was told that I was tone deaf by three major Los Angeles voice coaches and they would not work with me. I tried guitar and banjo, but it was hard to play just cords as I could not sing along with myself. Then I discovered the Native American flute.
[Mark Kirby] How did you come to start playing Native American music in general, the flute in particular?
[Gera Clark] After the death of my husband and a quick rebound marriage and divorce, followed by a prolonged critical illness, I began to put my life back together. I also began searching for beauty. While on this spiritual path, I discovered the Native American flute.
One day, I found myself about a hundred miles west of New York standing outside a Tibetan Buddhist Temple, when suddenly I heard the most beautiful sound. Following the powerful, yet haunting sound, I discovered it emanating from a Native American flute, played by Ed Callshim (Ponca Sioux). After this experience, I finally found a flute of my own at the National Museum of the American Indian in New York. Later, when traveling to Niagara Falls with my teacher, Amy Lee (Iroquois), a deep desire to connect with my earlier travels in the southwest was awakened. On one particular journey, I found myself exploring the canyons along the Rio Grande. Eventually I was led to the mountains and the Taos Pueblo, where I heard that haunting sound drifting through the air. I followed it to its source, a little adobe. Looking inside, I met a kind and talented gentleman who encouraged me to play the native flute. That gentleman, unbeknownst to me at the time, is one of the finest Native American flute players in the world, John Rainer, Jr. (Taos/Creek). Leaving New Mexico with renewed faith, I was led, via The American Indian Community House in New York, to Franc Menusan (Muskogee Creek). He became my extremely patient mentor for several years.
On my birthday, I flew out to an R. Carlos Nakai (Navajo/Ute) concert with the San Francisco Symphony, where I learned about the Renaissance of the Native American Flute workshop in Montana. I came back to New York and booked myself a flight to Montana, which was where I met John Sarantos, and our musical partnership was born.
[John Sarantos] My mother, who was 84-years-old at the time, introduced me to the music of the Peter Kater and R. Carlos Nakai duo. Mr. Kater, who is of German heritage, played piano, and Mr. Nakai the native flute. I discovered that I too like the sound of the native flute. I went to a Kater and Nakai concert in Chicago, where Nakai mentioned a week-long workshop at the Feathered Pipe Ranch in Helena, Montana. I had a choice of paying about $1,200 for the flute workshop taught by Mr. Nakai and his partner and flute-maker, Ken Light, or going to Japan for two weeks, all expenses paid by the school where I was teaching. I chose Montana.
[Mark Kirby] What lead you to play this kind of meditative music?
[John Sarantos] We don’t think of it as only meditative music. We worked hard to stay away from falling into that stereotype of musical style on our CD. Although a lot of people use our record for meditation, they also use it for healing and relaxation. Several people who have cancer told me that they find inner peace while listening to ‘Montana Crossings’.
[Gera Clark] In fact, after John had his cancer surgery last year, we decided that 10% of the gross sales from ‘Montana Crossings’ would be used to buy flutes for cancer patients. So far, we have donated flutes to cancer flute circles and individuals in New York City, Chicago, Lansing, Michigan and Jefferson City, Oregon.
[Mark Kirby] Are Native American flutes more like shakuhachi flutes or transverse flutes in terms of technique?
[John Sarantos] Neither. The shakuhachi can take three months just to get one note. The transverse requires many hours of playing to learn just the basic scale. The native flute is one of the easiest instruments to play. I have taught elementary children to play the native flute, and they have started playing songs in about five minutes or less.
[Mark Kirby] Describe the flutes that you use in terms of size, number of holes, type of wood, etc.
[Gera Clark] We use flutes ranging from four to six holes and from four inches to five feet.
[John Sarantos] Traditionally, most flutes were made from soft woods; for example, cedar and pine. However, when the Europeans came, they brought with them tools that made it easier to create flutes out of harder woods; some flutes were even made from old gun barrels.
[Gera Clark] Today, flute-makers are creating flutes from all types of woods, from cedars to walnut to iron wood, to even flutes made out of one of the hardest woods: ebony.
[John Sarantos] We also have a wide assortment of clay flutes based on the Aztec and Mayan cultures made by master flute-maker Xavier Quijas Xyotol.
[Mark Kirby] How did you arrive at the name of NightDancers for your musical duo?
[Gera Clark] One day John and I were talking and discovered that we both used to walk around our individual houses in the middle of the night without any lights on. We came up with the name Night Walkers.
[John Sarantos] However, most people we talked to thought that the name sounded too much like vampires or ladies of the evening.
[Gera Clark] After discussing a variety of names, we came up with NightDancers.
[Mark Kirby] When did you decide to record ‘Montana Crossings’?
[Gera Clark] John and I had been playing together for about two years. John would travel from Milwaukee during his vacations, and we would play for our friend Bob Hegler, who encouraged us to keep playing together. We enjoyed playing so much that we used to spend hours playing over speaker phones when John was still living in Milwaukee. When we started performing in local New York venues, people would ask if we had a CD they could purchase. After about a year of doing live performances, we felt that we had created a wide variety of songs that we wanted to share with others.
[Mark Kirby] Why did you choose to record at Avatar Studios in New York City?
[John Sarantos] I had been writing record reviews for the International Native American Flute Journal for about ten years and could tell when an artist used a home computer all the way up to a professional sound studio. If we were going to put our time, effort and money into a recording, we wanted it to sound the best it could. I asked several people if they could recommend a sound studio in New York City. Avatar Studios was one of the top three studios on several people’s lists.
[Gera Clark] We were also very fortunate that Tino Passante of Avatar recommended Jim Anderson for our sound engineer. Jim understood the sound that we were striving to obtain, and he succeeded in capturing that sound.
[Mark Kirby] How are the titles connected to the songs you are playing? Are these titles indicative of what the music is supposed to evoke?
[Gera Clark] The titles are indicative of the inspiration behind the music.
[John Sarantos] Hopefully, each person will have their own emotional response to the music depending on their own journey.
[Mark Kirby] What types of events or venues do you play?
[Gera Clark] One of our goals is to help spread the beauty of the flute to others, whether it be playing our music for others to listen [to] or sharing our knowledge on how to play the flute.
[John Sarantos] herefore, we play in a variety of venues for all types of events. You can view our schedule at: http://www.nightdancersmusic.com and http://www.myspace.com/nightdancersmusic
Pixel Sites.everyone’s jumping on the band wagon
by admin on Jan.01, 2010, under Uncategorized
Rachel Gawith asked:
Not a day goes by when I don’t get an email or see a site pushing yet another pixel advertising site but are these really a good advertising venue or is everyone just jumping on the band wagon expecting to make a few quick bucks or even get rich.
A search on Google for pixel sites gives 22,7000 results. The rage started when a 21 year old from England launched an advertising site where you paid $1 per pixel of advertising and the page was divided into 1,000,000 pixels. The advertising sold out and the guy made a cool million dollars! And get this the last remaining 1000 pixels were sold on ebay for a staggering $38,100!
The original site – The Million Dollar Homepage was launched on 26th August 2005. The guy then emailed all his friends and told them to pass on details of his site to their friends and so on…and then he sold his first 400 pixels for $400. At this stage the site was getting around 100 hits a day so he started to contact the press. An IT news site picked it up and ran an article resulting in 2000 hits an hour, it got ranked by Google and the hits went up to 35,000 a day.
And as the ball started rolling the visitors to the site increased, more pixels were sold, the guy made more money and the press interest increased. The site was getting over 100,000 unique visitors in 2 days and the UK nationals ran stories on the site. Then the story found its way into US papers, TV appearances followed and so on….publicity generates publicity. The site was getting hundreds of thousands of unique visitors and advertisers were seeing a good click through rate for their adverts.
Further TV interviews and radio interviews followed, Reuters ran an article on the site, as did the Wall Street Journal. With the last few remaining pixels auctioned on eBay the guy made is million dollars on 11th January 2006 – less of course any costs he incurred.
And then of course, the site was hacked and money demanded (which the FBI are currently investigating) but even this led to more media interest.
By the end of October 2005 hundreds of copy cat sites had started to spring up. Now there are thousands of them if not more. Have you visited any of these – most have no adverts on them, no traffic and no one in their right mind would choose to advertise on them.
So why have thousands of others thought they could hop on the bandwagon and make a quick $1,000,000? This guy had an unprecedented level of media attention, driving thousands and thousands of visitors to the site.
Even the guy behind the Million Dollar Home Page pixel site acknowledges that it is not a lasting business idea but a novel one off idea. There is no long term business concept and it will only work once. How long it will take those jumping on the pixel bandwagon to realise this – who knows!
Not a day goes by when I don’t get an email or see a site pushing yet another pixel advertising site but are these really a good advertising venue or is everyone just jumping on the band wagon expecting to make a few quick bucks or even get rich.
A search on Google for pixel sites gives 22,7000 results. The rage started when a 21 year old from England launched an advertising site where you paid $1 per pixel of advertising and the page was divided into 1,000,000 pixels. The advertising sold out and the guy made a cool million dollars! And get this the last remaining 1000 pixels were sold on ebay for a staggering $38,100!
The original site – The Million Dollar Homepage was launched on 26th August 2005. The guy then emailed all his friends and told them to pass on details of his site to their friends and so on…and then he sold his first 400 pixels for $400. At this stage the site was getting around 100 hits a day so he started to contact the press. An IT news site picked it up and ran an article resulting in 2000 hits an hour, it got ranked by Google and the hits went up to 35,000 a day.
And as the ball started rolling the visitors to the site increased, more pixels were sold, the guy made more money and the press interest increased. The site was getting over 100,000 unique visitors in 2 days and the UK nationals ran stories on the site. Then the story found its way into US papers, TV appearances followed and so on….publicity generates publicity. The site was getting hundreds of thousands of unique visitors and advertisers were seeing a good click through rate for their adverts.
Further TV interviews and radio interviews followed, Reuters ran an article on the site, as did the Wall Street Journal. With the last few remaining pixels auctioned on eBay the guy made is million dollars on 11th January 2006 – less of course any costs he incurred.
And then of course, the site was hacked and money demanded (which the FBI are currently investigating) but even this led to more media interest.
By the end of October 2005 hundreds of copy cat sites had started to spring up. Now there are thousands of them if not more. Have you visited any of these – most have no adverts on them, no traffic and no one in their right mind would choose to advertise on them.
So why have thousands of others thought they could hop on the bandwagon and make a quick $1,000,000? This guy had an unprecedented level of media attention, driving thousands and thousands of visitors to the site.
Even the guy behind the Million Dollar Home Page pixel site acknowledges that it is not a lasting business idea but a novel one off idea. There is no long term business concept and it will only work once. How long it will take those jumping on the pixel bandwagon to realise this – who knows!
