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(2442, 6, '2016-07-28 11:16:15', '2016-07-28 18:16:15', '[vc_row][vc_column][vc_column_text]I love movies. My friends think I’m totally insane because I can watch the same film over and over and over again. That is, if its soul truly touches me. And if the music is really good.\r\n\r\nA film is a helluva lot more than a plot, some dialog and a shoot-out at the end. The musical score is something that most people don’t focus on when viewing a film, especially the first time. But it has a tremendous impact on how a movie feels artistically and deeply affects how it translates emotionally.\r\n\r\nFor me, Ennio Morricone lives at the top of the film composer pyramid.\r\n\r\nWhen I mention his name to non-musicians, they invariably say, “Didn’t he invent the radio?”\r\n\r\nNo. That’s Marconi.\r\n\r\nBut they’re both Italian. And both sound wave pioneers.\r\n\r\nMorricone’s work has a large wingspan––from the rich history of European orchestral music to the contemporary sounds of modern grooves, electronics and the avant-garde. His compositions can be achingly beautiful, his orchestrations masterful. I’ve broken down in tears more than once while listening to his sonic raptures.\r\n\r\nMorricone often collaborated with a fellow Italian, the equally legendary film director Sergio Leone. Leone redefined a genre with his groundbreaking “spaghetti western,” A Fistful Of Dollars (1964), starring Clint Eastwood. This film featured Morricone’s first iconic score.\r\n\r\nIt set the stage for all that was to come.\r\n<h3><img class=\"wp-image-1937 aligncenter\" src=\"https://paulchiten.com/wp-content/uploads/2016/06/Whats-The-Score_Ennio-Morricone-2.jpg\" alt=\"What\'s-The-Score_Ennio-Morricone-2\" width=\"531\" height=\"298\" /></h3>\r\n<h2>YOU DON\'T RECOGNIZE THE NAME?</h2>\r\nChances are you’ve been exposed to Morricone’s music even if you weren’t aware of it. Of the over 500 scores he\'s composed for film and television projects, here\'s a few you’ve probably heard of:\r\n<ul>\r\n 	<li><strong>The Hateful Eight</strong> (2015) – starring Samuel L. Jackson, Kurt Russell, Tim Roth – directed by Quentin Tarantino</li>\r\n 	<li><strong>The Best Offer</strong> (2013) – starring Geoffrey Rusch – directed by Guiseppe Tornatore</li>\r\n 	<li><strong>The Untouchables</strong> (1987) – starring Kevin Costner, Robert De Niro – directed by Brian De Palma</li>\r\n 	<li><strong>The Godfather</strong> (1972 – collaboration w/Nino Rota) – starring Marlon Brando, Al Pacino – directed by Francis Ford Coppola</li>\r\n</ul>\r\n<h2>TAKE IT FROM THE TOP</h2>\r\nEnnio was born in Rome in 1928. His father Mario was a professional trumpet player. So it was natural that he taught his son trumpet (and piano).\r\n\r\nWhen the lad was a mere 12, he entered the National Academy of Santa Cecilla, enrolling in the conservatory’s 4-year harmony program. He completed it in 6 months (I wonder how many envious students this precocious young prodigy pissed off).\r\n\r\nEnnio continue to study there for 11 more years, earning three diplomas: trumpet, orchestration and composition.\r\n\r\nIn the 1950s Morricone broke into the business by writing pop songs, doing a lot of arranging, and composing as a ghost writer. In the 1960s, his passion for film scoring became center stage. And this is where he would leave his indelible mark.\r\n<h2>GOOD, BAD, UGLY</h2>\r\nMorricone’s score for The Good, the Bad and the Ugly (1966) is considered one of the most influential soundtracks in history. It was inducted into the Grammy Hall of Fame in 2009. The soundtrack album was on the charts for over a year. The Main Theme was a #2 pop hit in 1968. Pretty damn good for a score to a western flick from a country better known at that time for its pizza, pasta, sports cars and business suits.\r\n<blockquote><em>\"I use realistic sounds in a psychological way. With The Good, the Bad and the Ugly, I used animal sounds - the coyote - and this sound of the animal became the main theme of the movie.\" -Ennio Morricone</em></blockquote>\r\n<h4>The Good, the Bad and the Ugly – Main Theme (1:25)</h4>\r\nhttps://youtu.be/h1PfrmCGFnk?t=1m16s\r\n<h3></h3>\r\n&nbsp;\r\n<h2>ONCE UPON A TIME IN AMERICA</h2>\r\nIf you asked me to pick ONE movie that epitomizes a brilliantly effective approach to orchestral film music scoring, the first words out of my mouth would probably be “<strong>Once Upon A Time In America</strong>” (1984).\r\n\r\nBased on a true story from the book, “The Hoods,” Once Upon A Time In America is a complex and graphic tale exposing the underbelly of the American Dream; viewed through the successes and failures of a gang of 4 small time Jewish hoods over 5 decades, as they scale the ladder from poverty to power.\r\n\r\nFilled with grit, style, intrigue, romance, violence, sex, guilt and betrayal, it’s a fascinating portrayal of early 20th century America. Morricone’s score takes a great film and turns it into a classic.\r\n\r\n[caption id=\"attachment_1939\" align=\"aligncenter\" width=\"472\"]<img class=\"wp-image-1939\" src=\"https://paulchiten.com/wp-content/uploads/2016/06/Whats-The-Score_Ennio-Morricone-4-655x1024.jpg\" alt=\"“I like the stink of the streets. It cleans out my lungs. And it gives me a hard-on.” ––David “Noodles” Aaronson (played by Robert De Niro)\" width=\"472\" height=\"737\" /> <strong><em>“I like the stink of the streets. It cleans out my lungs.<br />And it gives me a hard-on.”</em></strong><br /> <em>–David “Noodles” Aaronson (played by Robert De Niro)</em>[/caption]\r\n\r\nIn order to fully appreciate what this masterpiece means to me, I need to give you a little background on director Sergio Leone\'s epic struggle to make this film, and the zeitgeist that enveloped his final crusade.\r\n\r\nLeone was among the first to be approached to direct The Godfather, but turned it down because he wanted to make a different kind of American gangster film. Though when he passed on that project, he had no idea of what an exhausting, protracted, uphill battle it would be to bring his ambitious Once Upon A Time In America to life.\r\n\r\nAs funding became more elusive with each passing year, Leone became more and more depressed. Ennio felt his friend\'s despondency. So he would try to cheer Sergio up by playing various themes he had composed for the film over the phone. This usually helped lift Sergio’s spirits (for a while, anyway).\r\n\r\nUltimately it took Leone 12 years to find a producer willing to put up the money, and take the chance on this visionary gem.\r\n\r\nFilm scores are generally done after the shooting is finished, when there’s footage for the composer to write to. But because it took so long for the film to get into production––in an unusual reversal––Once Upon A Time In America was shot to the finished score.\r\n<blockquote><em>“Actors like De Niro, for whom live sound is very important, having the music played on set helps them to get into the mood.” -Sergio Leone</em></blockquote>\r\nThe director and actors loved being able to do scenes with the actual recorded score to inspire their performances. Robert De Niro said that this was a rare and incomparable experience.\r\n\r\nActor James Woods believes Once Upon A Time In America is one of the greatest movies ever made––resoundingly qualifying his statement with: <em>“and it’s not just because I’m in it.”</em>\r\n<h5 style=\"text-align: center;\"><img class=\"size-full wp-image-1940 aligncenter\" src=\"https://paulchiten.com/wp-content/uploads/2016/06/Whats-The-Score_Ennio-Morricone-5.jpg\" alt=\"The Jewish Gang William Forsythe – James Hayden – James Woods – Robert De Niro\" width=\"607\" height=\"404\" /> <strong>Jewish Gangsters</strong>\r\nWilliam Forsythe – James Hayden – James Woods – Robert De Niro</h5>\r\nLeone’s theatrical edit came in at a whopping 6 hours. He intended to split it into two 3-hour films. But the studio had other plans. For the American release, they took editing rights away from him and chopped his masterwork to bits, concocting an incoherent, jumbled 2-hour version. Predictably, this butchered abomination met a quick demise at the box office.\r\n\r\nThis was Leone’s last film. He passed away in 1989 at age 60. The cause of death may have been listed as “heart attack,” but many of those close to him felt that he really died of a broken heart.\r\n\r\nLeone did make a 251-minute version, but it wasn’t until 2007 that this extended Director’s Cut became available. His film may have gotten massacred upon initial release, but it’s finally getting it’s moment in the sun.\r\n\r\nMorricone’s music has never fit a film more evocatively or more powerfully.\r\n<h4></h4>\r\n&nbsp;\r\n<h4>Once Upon A Time In America – \"Main Theme\" (1:58)</h4>\r\nAfter a mere 30 seconds, it’s apparent this is a memorable movie motif and a very emotional, even sentimental, tome to 1930s gangster America.\r\n\r\nThe slow, dreamlike tempo undulates with longing while the melody does some serious caressing of one’s core––immersing the listener in a tale of love, sadness, glory, and the deep loss of dreams dashed. Sometimes the pain of missing the brass ring can engender the most beautiful music of all.\r\n\r\nIn this scene, our small gang of young wannabe gangsters are fleeing from a menacing older rival with a gun. The featured instrument is the Romanian-style pan flute, is played by the extraordinary Gheorghe Zamfir.\r\n\r\nThe ethereal sound of pan flute is extremely effective at conveying a wide array of feelings, from the innocence of youth to imminent danger. The flowing string accompaniment underscores the struggles of a Depression-era New York Jewish ghetto. Sometimes it takes the hand of an outsider to show us aspects of ourselves that we cannot see.\r\n\r\nMorricone’s feel for melody, harmony and orchestration is masterful, coaxing sumptuously gorgeous, richly layered timbral palettes out of the symphonic fabric in a way that can rip your heart open. If you aren’t deeply moved by at least some passages of this score, then you’ve left your soul in the passenger seat of your last Uber ride.\r\n\r\nhttps://www.youtube.com/watch?v=WlqavRs6ffw&feature=youtu.be&t=2m21s\r\n<h4></h4>\r\n&nbsp;\r\n<h4>Once Upon A Time In America – \"Debora\'s Theme\" (4:22)</h4>\r\nThis cue has some of the most exquisitely touching and profoundly compelling cinematic music I’ve ever heard. The sound is rich, deep and spacious––built on a simmering low pedal tone while the simple, yet majestic melodies, arch over the top. This transports the listener into a higher realm, a different era, another life.\r\n\r\nThe music sublimely captures the magical sweetness of youth––as it buttresses up against the impending seriousness of adulthood. Morricone makes melancholy sound so achingly gorgeous.\r\n\r\nWhen you listen to this, you might want to have a box of Kleenex nearby.\r\n\r\nDon’t be surprised if you well up with tears.\r\n\r\nI usually do.\r\n\r\nhttps://www.youtube.com/watch?v=PuyYc0gINbU\r\n<h4></h4>\r\n&nbsp;\r\n<h4>Once Upon A Time In America – “Childhood / Poverty\" (2:46)</h4>\r\nA comic and charming scene of innocence. Young Patsy is attempting to buy his manhood from Peggy, a 16-year-old Jewish girl from the ‘hood, having procured her preferred currency: a <em>“5-cent Charlotte Russe…with lots of cream.”</em>\r\n\r\nAs Patsy waits on the stairs for her to emerge from the family’s tenement apartment, he can’t resist tasting just one finger full of whipped cream––then another––and then another. Tired of waiting for his virginity to be addressed, he gives in and, with unbridled joy, unwraps the whole deal, lustily consuming his entire payment for Peggy.\r\n\r\nWhen she finally appears and asks what he wants, his reaction is priceless.\r\n\r\nA scene with virtually no dialog, the score has plenty of space to weave a gentle, deeply moving tapestry filled with exquisitely crafted melodies that flow around a rich, evocative sound canvas.\r\n\r\nhttps://youtu.be/xfo31KV3W7k?t=1m\r\n<h3></h3>\r\n<h3></h3>\r\n&nbsp;\r\n<h2>SIMPLE THEMES, DEEP FEELINGS</h2>\r\nMorricone’s musical output over his long career is staggering. His work runs the gamut from classic orchestral film music to scores embodying funk, R&amp;B and avant-gard electronics. His music also has a high rate of reuse. Staying power is a mark of great art.\r\n\r\nIf you have ambitions about being a film composer or just like listening to breathtaking film music, then you\'ve found a treasure trove in this music and in Ennio Morricone. From the moment I first heard it, this score has haunted me in the best way.\r\n\r\nAs a piano player myself, I’ve been inspired to learn various Morricone compositions. Every time I explore a new piece, I discover  additional layers of his gorgeous and wondrous musical designs.\r\n\r\nMorricone is prideful that he never considered moving to Hollywood, and that he never learned English. This was his way of ensuring that his Italian essence remained uncontaminated––staying strictly his own.\r\n<h4>Morricone Talks Music (1:48)</h4>\r\nhttps://youtu.be/9KeSV-yVTRY?t=5m55s\r\n<h2></h2>\r\n&nbsp;\r\n<h2>NO OSCARS?</h2>\r\nEnnio Morricone is considered by many to be the greatest living film composer. The audience clearly agrees. His music has sold over 70 million records.\r\n\r\nBut as unbelievable as it seems, he has never won as Oscar, despite being nominated 5 times for Best Original Score. It seems that the Motion Picture Academy realized this horrible oversight; he was finally honored with a Lifetime Achievement Award in 2007 ––\r\n\r\n<img class=\"size-full wp-image-1945 aligncenter\" src=\"https://paulchiten.com/wp-content/uploads/2016/06/Whats-The-Score_Ennio-Morricone-10.jpg\" alt=\"What\'s-The-Score_Ennio-Morricone-10\" width=\"300\" height=\"403\" />\r\n<p style=\"text-align: center;\">–– and a star on the Hollywood Walk of Fame in 2016.</p>\r\n\r\n<h3><img class=\"wp-image-1946 aligncenter\" src=\"https://paulchiten.com/wp-content/uploads/2016/06/Whats-The-Score_Ennio-Morricone-11.jpg\" alt=\"What\'s-The-Score_Ennio-Morricone-11\" width=\"243\" height=\"182\" /></h3>\r\n<h2></h2>\r\n<h2></h2>\r\n&nbsp;\r\n<h2>. . . AND HE’S STILL GOING</h2>\r\nAt 88, Morricone continues to compose and perform, conducting orchestras in live concerts of his popular film scores. His entire body of work is finally being recognized for how truly astounding it is.\r\n\r\nFor instance, his 1970 album “<a href=\"https://www.youtube.com/watch?v=9jlpOqg6zsI\" target=\"_blank\">The Feed~Back</a>” combines free jazz along with avant-gard, classical and funk. The recording is frequently sampled by today’s hip-hop DJs. It’s considered to be one of the most collectible records in existence, selling for over $1000 at auction. Yeah...this guy definitely qualifies as a <em>living legend. </em>\r\n<h5 style=\"text-align: center;\">If God decided to go into the picture business, and needed a composer ––</h5>\r\n<h5 style=\"text-align: center;\">Ennio Morricone just might be the first call.</h5>\r\n<h4><img class=\"wp-image-1944 aligncenter\" src=\"https://paulchiten.com/wp-content/uploads/2016/06/Whats-The-Score_Ennio-Morricone-9-246x300.jpg\" alt=\"What\'s-The-Score_Ennio-Morricone-9\" width=\"248\" height=\"303\" /></h4>\r\n<h4></h4>\r\n<h4></h4>\r\n&nbsp;\r\n<h4>ACKNOWLEDGEMENTS:</h4>\r\nSource material compiled from: Front Row Reviews UK, BBC Ennio Morricone Documentary, Maestro Ennio Morricone Facebook, enniomorricone.org, YouTube, IMDb, Wikipedia, Expression of Emotion in the Film Music of Ennio Morricone by Juan Vega, The Quietus.com, and Internet Music Archive.\r\n<h3></h3>\r\n<h3></h3>\r\n&nbsp;\r\n<h3>WANT SOME LIVE ENNIO?</h3>\r\n<strong>Morricone Conducts Morricone</strong> - Once Upon A Time In America Suite (7:05)\r\n\r\nhttps://www.youtube.com/watch?v=D4W17gTumi8\r\n\r\nLINKS:\r\n<ul>\r\n 	<li><a href=\"https://www.facebook.com/maestroenniomorricone\" target=\"_blank\">Facebook</a></li>\r\n 	<li><a href=\"http://www.enniomorricone.org/\" target=\"_blank\">Website</a></li>\r\n 	<li>CD (Amazon)\r\n<ul>\r\n 	<li><a href=\"https://www.amazon.com/Once-Upon-America-Ennio-Morricone/dp/B00008MJ8H/189-1532000-0900924?ie=UTF8&amp;*Version*=1&amp;*entries*=0\" target=\"_blank\">Once Upon A Time In America Soundtrack</a></li>\r\n 	<li><a href=\"https://www.amazon.com/Very-Best-Ennio-Morricone/dp/B00004YTXH?ie=UTF8&amp;*Version*=1&amp;*entries*=0\" target=\"_blank\">Best of Ennio Morricone</a></li>\r\n</ul>\r\n</li>\r\n 	<li><a href=\"https://archive.org/search.php?query=subject%3A%22Ennio%20Morricone%22\" target=\"_blank\">Internet Music Archive</a></li>\r\n</ul>\r\n<strong><a href=\"mailto:pchiten424@gmail.com\" target=\"_blank\">Contact</a> <a style=\"line-height: 1.5;\" href=\"mailto:pchiten424@gmail.com\" target=\"_blank\">Paul Chiten</a></strong>\r\n\r\n<img class=\"alignleft size-thumbnail wp-image-601\" src=\"https://paulchiten.com/wp-content/uploads/2015/05/Paul-Chiten-150x150.jpg\" alt=\"Paul-Chiten\" width=\"150\" height=\"150\" /><strong>Paul Chiten</strong> is a Los Angeles-based songwriter, film composer, producer, musician, singer and artist. His songs have earned him multi-platinum and gold records. His compositions and productions have won Telly, Aurora and Emmy Awards. He’s worked with Michael Jackson, Anita Baker, Tina Turner, Donna Summer, Cyndi Lauper and countless others.\r\n\r\nChiten has written and produced the music for numerous television shows and feature films. He co-composed the score for the gritty Sony/Showtime cult series, “Street Time” starring Rob Morrow and Scott Cohen.\r\n\r\nRecent credits include a 2015 music publishing deal and Music Director/Orchestrator/Arranger/Performer for the 2015 and 2016 EMC World events in Las Vegas and Austin.\r\n\r\nChiten has made a significant portion of his music library available on the Internet in the major online stores: iTunes, Amazon, Spotify, Apple Music, Deezer, Microsoft Groove, Tidal, YouTube &amp; Google Play––with lyrics published on Musixmatch, the world’s largest online lyric database.\r\n\r\n<a href=\"http://sweethartproductions.com/PaulChiten.aspx\" target=\"_blank\">Sweethart Productions</a>\r\n\r\n<a href=\"https://afm424.org/featured-artist-paul-chiten/\" target=\"_blank\">bio</a>[/vc_column_text][/vc_column][/vc_row]', 'WHAT\'S THE SCORE?<br />Ennio Morricone - The Composer’s Composer', '', 'inherit', 'closed', 'closed', '', '1934-revision-v1', '', '', '2016-07-28 11:16:15', '2016-07-28 18:16:15', '', 1934, 'https://afm424.org/1934-revision-v1/', 0, 'revision', '', 0),
(2443, 6, '2016-07-28 12:06:07', '2016-07-28 19:06:07', 'Downloading our favorite music was, and still is to some degree, an activity that ensures the music we love will always be available. But download sites like iTunes are slowly disappearing. iTunes is not as popular as it once was. Today, 13 years after its launch in 2003, it\'s increasingly becoming an outmoded model for music distribution.\r\n\r\nIn 2000, there was a seismic shift in the music industry––when music went from being physical to being digital. Now, downloads are being replaced by massive audio streaming services, which offer monthly subscription plans to their customers. Soon we might not be able to download music anymore. There are predictions that the whole concept of music downloading will last only 4 more years, at most.\r\n\r\nWhat\'s causing this change? Since 2012, music streaming revenue has grown consistently with every passing year. In 2012 and 2013 revenue from streaming was below downloading. But in 2014, streams exceeded downloads for the first time, setting a new trend in the music industry. This year the download decline is continuing, resulting in an even larger gap between downloading and streaming.\r\n\r\nIf iTunes goes down, Apple Music (Apple\'s streaming service) could still thrive in its wake, taking over where iTunes left off. Current predictions state that Apple Music will become 10 times bigger than iTunes. If you\'d like more info from Apple on how their streaming service will evolve, <a href=\"http://qz.com/679071/music-downloads-may-only-have-about-four-years-left/\">read this</a>.\r\n\r\nNew technology always brings about new trends. Why download and store music when you can listen whenever you want, and whatever you want, by using streaming services?\r\n\r\nHowever, transitioning from iTunes to Apple Music is not the smoothest of operations. iTunes users are complaining that it\'s a hassle to move from iTunes to Apple Music––that it\'s difficult and time consuming, And there seems to be a risk of losing some of your personal files in the process. This can be frustrating, considering that you\'re not changing the service provider, just the service.\r\n\r\nIf you\'re a longtime iTunes user, keep your eyes (and ears) open to what transpires in the near future. There will be change, that much is for certain. If you already prefer Apple Music, then you are part of the population that is ahead of the curve.', 'The Era of Music Downloads May End Soon', '', 'inherit', 'closed', 'closed', '', '2316-revision-v1', '', '', '2016-07-28 12:06:07', '2016-07-28 19:06:07', '', 2316, 'https://afm424.org/2316-revision-v1/', 0, 'revision', '', 0),
(2444, 6, '2016-07-28 12:09:00', '2016-07-28 19:09:00', 'Just about everybody likes some kind of music. We all have our preferences. We appreciate an artist\'s work, and do our best to participate to support them via live events and concerts.\r\n\r\nBut all of this could change in the near future.\r\n\r\nA large portion of today\'s popular music recordings require the intensive use of technology––computers, synthesizers, virtual instruments, amplifiers, and so on.\r\n\r\nHow could this profoundly affect live performance?\r\n\r\nWell, how about going to a concert where an anime-like character is dancing and singing? This is already happening in Japan, where a holographic creation has become a bonafide star.\r\n\r\nYou might be stunned to see how many people buy tickets to see pop sensation Hatsune Miku perform. But \"she\" is not a real person at all. She is a <em>vocaloid</em>.\r\n\r\nWhat\'s a vocaloid?\r\n\r\nThe technology is similar to what Siri is in Apple products. Miku\'s \"voice\" is created through sophisticated computer programming. But if Miku is a computer-generated character, how can Miku perform in a live?\r\n\r\nIn a concert setting, the backing band onstage is comprised of real flesh &amp; blood musicians. Miku is brought to life via a hologram, which is projected onto large glass panes positioned on the front of the stage. This gives the image depth and dimension, making \"her\" look \"real.\"\r\n\r\nIs Miku the perfect lead singer for a band? She never makes mistakes. She never stops to catch her breath. She flawlessly executes both singing and dancing routines. Every performance may be the same, but it is, uh, \"perfect.\"\r\n\r\nBelieve it or not, it is her audience that creates Miku’s repertoire. With the help of the \"Yamaha Voicaloid Program,\" anyone who takes the time to learn the software can have fun with Miku, making her sing whatever they want. Her songs are garnered from the many amateur musicians around the world who have contributed to her growing library of material.\r\n\r\nOnstage, Miku is made to look as realistic as possible (well, for a cartoon), giving the impression that she actually does exist. Her performance outfits are carefully designed and her presentation is complemented by a headset and a wireless microphone. She can even rest one of her holographic legs on one of the real amps on the stage––just like human singers do.\r\n\r\nOccasionally she disappears, allowing other guest vocaloids to take her place––as if she got tired by then endless singing and dancing. It is amazing how detailed these concerts are. If you want to find out more about Hatsune Miku phenomenon, and how she is taking the music world by storm, go <a href=\"http://www.laweekly.com/music/the-future-of-music-might-be-a-crowdsourced-holographic-j-pop-star-6908201\">here</a>.\r\n\r\nWould we really rather see these kind of fabricated characters on the stage? Or do we prefer real people performing in real time? For now, it seems the answer is \"both.\"\r\n\r\nIt\'s difficult to gauge how far singing holograms will evolve. Audiences in Japan are mesmerized by these performances. It is not unusual to have people cheering and screaming at Miku’s concerts, just like they do for flesh-and-bones artists.\r\n\r\nIs it really possible to forget that what they see (and hear) does not actually exist?', 'Music Concerts May Change Dramatically in the Future', '', 'inherit', 'closed', 'closed', '', '2301-revision-v1', '', '', '2016-07-28 12:09:00', '2016-07-28 19:09:00', '', 2301, 'https://afm424.org/2301-revision-v1/', 0, 'revision', '', 0),
(2445, 6, '2016-07-28 15:40:59', '2016-07-28 22:40:59', 'Just about everybody likes some kind of music. We all have our preferences. We appreciate an artist\'s work, and do our best to participate to support them via live events and concerts.\r\n\r\nBut all of this could change in the near future.\r\n\r\nA large portion of today\'s popular music recordings require the intensive use of technology––computers, synthesizers, virtual instruments, amplifiers, and so on.\r\n\r\nHow could this profoundly affect live performance?\r\n\r\nWell, how about going to a concert where an anime-like character is dancing and singing? This is already happening in Japan, where a holographic creation has become a bonafide star.\r\n\r\nYou might be stunned to see how many people buy tickets to see pop sensation Hatsune Miku perform. But \"she\" is not a real person at all. She is a <em>vocaloid</em>.\r\n\r\nWhat\'s a vocaloid?\r\n\r\nThe technology is similar to what Siri is in Apple products. Miku\'s \"voice\" is created through sophisticated computer programming. But if Miku is a computer-generated character, how can Miku perform in a live?\r\n\r\nIn a concert setting, the backing band onstage is comprised of real flesh &amp; blood musicians. Miku is brought to life via a hologram, which is projected onto large glass panes positioned on the front of the stage. This gives the image depth and dimension, making \"her\" look \"real.\"\r\n\r\nIs Miku the perfect lead singer for a band? She never makes mistakes. She never stops to catch her breath. She flawlessly executes both singing and dancing routines. Every performance may be the same, but it is, uh, \"perfect.\"\r\n\r\nBelieve it or not, it is her audience that creates Miku’s repertoire. With the help of the \"Yamaha Voicaloid Program,\" anyone who takes the time to learn the software can have fun with Miku, making her sing whatever they want. Her songs are garnered from the many amateur musicians around the world who have contributed to her growing library of material.\r\n\r\nOnstage, Miku is made to look as realistic as possible (well, for a cartoon), giving the impression that she actually does exist. Her performance outfits are carefully designed and her presentation is complemented by a headset and a wireless microphone. She can even rest one of her holographic legs on one of the real amps on the stage––just like human singers do.\r\n\r\nOccasionally she disappears, allowing other guest vocaloids to take her place––as if she got tired by then endless singing and dancing. It is amazing how detailed these concerts are. If you want to find out more about Hatsune Miku phenomenon, and how she is taking the music world by storm, go <a href=\"http://www.laweekly.com/music/the-future-of-music-might-be-a-crowdsourced-holographic-j-pop-star-6908201\">here</a>.\r\n\r\nWould we really rather see these kind of fabricated characters on the stage? Or do we prefer real people performing in real time? For now, it seems the answer is \"both.\"\r\n\r\nIt\'s difficult to gauge how far singing holograms will evolve. Currently, audiences in Japan are mesmerized by these performances. It\'s not unusual to have people cheering and screaming at Miku’s concerts, just like they do for flesh-and-bones artists.\r\n\r\nIs it really possible to forget that what they see (and hear) does not actually exist?', 'Music Concerts May Change Dramatically in the Future', '', 'inherit', 'closed', 'closed', '', '2301-revision-v1', '', '', '2016-07-28 15:40:59', '2016-07-28 22:40:59', '', 2301, 'https://afm424.org/2301-revision-v1/', 0, 'revision', '', 0),
(2446, 6, '2016-07-28 16:34:28', '2016-07-28 23:34:28', 'R. Taylor is a hybrid artist - a mix of R&amp;B, pop, blues, and a bit of jazz around the edges. She\'s got a soulful, sexy voice and an attitude self-assured enough to sing about sensitive, raw emotions. Her music has been featured on The Carrie Diaries on The CW network and her EP is a hit in the major online stores.\r\n\r\nDownload the “R Taylor” EP on iTunes and Amazon. Stream on Spotify, Apple Music, Tidal, Deezer, Beats/Media Net, Muzoic, Microsoft Groove and Google Play.\r\n\r\nAmazon (<a href=\"https://www.amazon.com/gp/product/B01HND4PIE/190-3378306-0591636?ie=UTF8&amp;redirect=true\" target=\"_blank\">download</a>)\r\niTunes (<a href=\"https://itunes.apple.com/us/album/r.-taylor-single/id1128537542?ign-mpt=uo%3D4\" target=\"_blank\">download</a>)\r\nGoogle Play (<a href=\"https://play.google.com/store/music/album/Naked_Prey_Music_R_Taylor?id=Bhjqgxpevl5wpn2xbdajbwkbqpi\" target=\"_blank\">stream</a>)\r\n\r\n[playlist ids=\"2097,2098,2096\"]\r\n\r\n&nbsp;', 'Featured Artist - R. Taylor', 'R. Taylor is a hybrid - a mix of R&B, pop, blues, and a some jazz. With a soulful, sexy voice and an attitude assured enough to sing about sensitive emotions.', 'inherit', 'closed', 'closed', '', '2093-revision-v1', '', '', '2016-07-28 16:34:28', '2016-07-28 23:34:28', '', 2093, 'https://afm424.org/2093-revision-v1/', 0, 'revision', '', 0),
(2447, 6, '2016-07-28 19:40:14', '2016-07-29 02:40:14', '<b>Paul Chiten </b>is a Los Angeles-based songwriter, composer, producer, musician, singer and artist. His songs have gone platinum and gold. His compositions and productions have won Telly, Aurora and Emmy Awards.\r\n\r\nHe has worked with Michael Jackson, Anita Baker, Tina Turner, Donna Summer, Cyndi Lauper and countless others.\r\n\r\nPaul’s latest project is Music Director/Arranger/Performer for the 2015 EMC World event in Las Vegas.\r\n<ul>\r\n 	<li><a href=\"http://sweethartproductions.com/PaulChiten.aspx\">http://sweethartproductions.com/PaulChiten.aspx</a></li>\r\n 	<li>bio: <a href=\"https://afm424.org/featured-artist-paul-chiten/\">https://afm424.org/featured-artist-paul-chiten/</a></li>\r\n 	<li>contact:<a href=\"mailto:pchiten424@gmail.com\">pchiten424@gmail.com</a></li>\r\n</ul>\r\n<em>Michael Sasaki:</em>\r\n<em> I noticed in your bio that you’ve been on the road with the Diva of Dance, Donna </em><em>Summer! You performed in fashionable Monte Carlo. It must of been a very glamorous tour. I really like hearing “road stories.” Would you repeat that moment of ingenuity that </em><em>you told me about on the phone?</em>\r\n\r\n<strong>Paul Chiten:</strong>\r\n<strong>Ah yes. The glamour of show business.</strong>\r\n\r\nMonte Carlo was the last stop on a European tour. We played a great venue, The Sporting Club, for a week.\r\n\r\nThe band stayed at the elegant Hotel Hermitage. Quite an amazing place. First-rate accommodations. Sumptuously appointed. And where a tiny bottle of Perrier from the mini-bar is $18, and the cost to launder and iron a shirt can be $20.\r\n\r\nI had a suitcase full of dirty laundry by this time. I needed to have it cleaned, and cleaned quickly. I’d been saving my per diems for a trip to Paris right after the tour ended. In such a luxurious environment, I just couldn’t see spending a bunch of money on something as pedestrian as laundry.\r\n\r\nSo I washed a load in the bathtub of my gilded hotel room––and hung it out the window to dry.\r\n\r\nThe hotel is perched on a hill. One can get a glorious view of the structure from the road below. I was coming up that road later in the day and realized that my laundry line was clearly visible.\r\n\r\nHere was this opulent, dignified, classic European hotel––with a string of t-shirts, socks and underwear hanging out one of the windows.\r\n\r\nIt was really rather funny. Almost like a piece of Dada art. I was surprised that I wasn\'t busted for disturbing the visual peace.\r\n\r\n<em>MS:</em>\r\n<em>I\'d say, this must have added “color\" to this 5-star hotel. Like a welcoming string of </em><em>international flags for the rest of the hotel’s guests!</em>\r\n\r\n<strong>PC:</strong>\r\n<strong>Now there’s a positive spin.</strong>\r\n\r\n<em>MS:</em>\r\n<em>What kind of</em> <em>keyboard set-up were you using?</em>\r\n\r\n<strong>PC:</strong>\r\n<strong>In those days I performed with two keyboards and a series of rack </strong><strong>mounts.</strong>\r\n\r\nWith Donna, I recreated much of the orchestrations from the records––horns, strings, woodwinds––so I needed a large sound palette.\r\n\r\n[caption id=\"attachment_604\" align=\"alignright\" width=\"300\"]<a href=\"https://paulchiten.com/wp-content/uploads/2015/05/PC_Axis-PS1.jpg\"><img class=\"size-medium wp-image-604\" src=\"https://paulchiten.com/wp-content/uploads/2015/05/PC_Axis-PS1-300x199.jpg\" alt=\"Paul Chiten –– sound check w/Roland keytar\" width=\"300\" height=\"199\" /></a> Paul Chiten –– at sound check w/Roland keytar[/caption]\r\n\r\nMy main keyboard/controller was a modified Kurzweil K1000. The racks included a customized Kurzweil K2000R, modified Akai S900 sampler, Korg M1 and OSCar. I was on the Artist Endorsement program with Kurzweil, so they customized instruments and made custom samples for me. Great stuff. I have a library of sounds that are not available commercially.\r\n\r\nI also played a keytar by Roland. It’s a portable MIDI keyboard you strap on like a guitar. This allowed me to be mobile.\r\n\r\nThere was a spot in the show where I jumped down from my keyboard riser to the front of the stage, with this silver instrument around my neck.\r\n\r\nI launched into a keyboardist’s version of the “blistering” solo––complete with grimacing, head shaking and darting from one end of the stage to the other. It was a lot of fun.\r\n\r\nSometimes by the end of the solo I was dizzy from all the gymnastics. But that’s part of what putting on a show is about.\r\n\r\nMS:\r\n<em>Were you using MIDI and/or samples?</em>\r\n<p align=\"LEFT\"><strong>PC:</strong>\r\n<strong>Both.</strong></p>\r\n<p align=\"LEFT\">Via MIDI, my main keyboard triggered all the modules and other keyboard(s). I often combined synth patches with samples. This layered the sound, giving it more depth, and created interesting blends.</p>\r\n<em>MS:</em>\r\n<em>When a click track is used onstage, tell me what it feels like when you take a solo.</em>\r\n\r\n<strong>PC:</strong>\r\n<strong>It’s not all that weird.</strong>\r\n\r\nFor the iconic Donna Summer songs with that disco \"dug-a-dug-a-dug-a-dug-a” ostinato synth-bass pattern (like “I Feel Love”), the drummer was fed a click through headphones, and the band followed his groove. It\'s usually more musical for a band to follow a person than a machine. I should note that one of the skills in the drummer’s job description for this gig was “must be able to make the click your friend.”\r\n\r\nI grew up doing piano exercises to a metronome––and I hated that uncompromising little clicker. But regularly playing to a tick-tock served me well down the road. I got used to knowing where the time was. Also, I’m constantly working with music sequencers, so one gets used to dealing with that inflexible, time-keeping Nazi.\r\n\r\nRegarding a solo, the adrenaline that comes with live performance can really amp up the energy, creating a tendency to rush. When there is a click, there is no way the band can respond by moving the tempo around.\r\n\r\nSo having a click can become a good exercise in learning to relax––even when taking a \"blistering\" solo.\r\n\r\n[caption id=\"attachment_602\" align=\"alignleft\" width=\"245\"]<a href=\"https://paulchiten.com/wp-content/uploads/2015/05/PC-Donna-PS1.jpg\"><img class=\"size-medium wp-image-602\" src=\"https://paulchiten.com/wp-content/uploads/2015/05/PC-Donna-PS1-245x300.jpg\" alt=\"Donna Summer &amp; Paul Chiten –– backstage\" width=\"245\" height=\"300\" /></a> Donna Summer &amp; Paul Chiten –– backstage[/caption]\r\n\r\nMS:\r\n<em>On the subject of being a lifelong professional musician; do you have advice for the older </em><em>musician that is active. but isn\'t 25 years old anymore?</em>\r\n\r\n<strong>PC:</strong>\r\n<strong>Advice? That’s always a tricky one.</strong>\r\n\r\nI\'ll defer to my doctor here: eat good, get enough sleep––and chill on the late-night partying.\r\n\r\n<em>MS:</em>\r\n<em>Do you have a different schedule from when you were younger?</em>\r\n\r\n<strong>PC:</strong>\r\n<strong>Oh yeah.</strong>\r\n\r\nAfter a night session or gig, I can’t stay out till the sun comes up and expect to keep a lunch meeting the following day.\r\n\r\n<em>MS:</em>\r\n<em>Since your background is disciplined in addition to being a performing musician, how do </em><em>you stay in touch with being a composer, musician, songwriter and producer?</em>\r\n\r\n<strong>PC:</strong>\r\n<strong>Well, the main thing is that you have to still love to do it.</strong>\r\n\r\nIf the thrill is gone, the ability to make music that truly moves people tends to dim without the enthusiasm. Popular music has undergone some dramatic changes in the past few decades. Much of that change has been driven not by politics, social movements or cultural shifts, but by technology.\r\n\r\nNot only has the art of recording been through a seismic shift, but the marketing paradigm has undergone a radical redefinition as well. The one constant is that people still respond to the emotional element of music, words and sounds.\r\n\r\nIt’s been a challenge for large, longstanding music organizations to react to the changing climate, but they have indeed thrust themselves into the 21st century, offering many ways to keep up on trends.\r\n\r\nFor instance, the ASCAP Daily Brief is an bulletin I receive via email every day. It\'s loaded with 13 or more links to websites and blogs on the latest developments in music, from marketing to legal issues, to how to best sell music in our current online environment.\r\n\r\nThe Harry Fox Agency hosts online Town Hall Meetings with guest speakers on many topics that the modern music person should know. The Screen Actors Guild has regular events addressing where the entertainment biz is now, and where it is going.\r\n\r\nThe Internet has opened up avenues for exposure, marketing, promotion, sales and usage that has turned the traditional music business model on its ear.\r\n\r\nRadio is no longer the only big kid on the block.\r\n\r\nToday, when marketing a new song, you must have an Internet presence. Being available on sites like YouTube, iTunes, Spotify, Deezer, Amazon and Google Play has really become a requirement if you want your music to be heard. And companies like DistroKid and TuneCore specialize in placing your songs on the most popular streaming and downloading websites.\r\n\r\nA serious game-changer has been, of course, YouTube. When was the last time you wanted to hear a song, and didn’t find it on YouTube? Besides all the professional productions, there’s a tremendous amount of home-grown musical content; from tutorials on how to play “Hey Jude” on piano to videos teaching “It’s All About That Bass” on guitar. And that’s just for starters.\r\n\r\nAccording to YouTube’s current stats, there are 300 hours of new videos uploaded to the site every minute. There are 800 million users a month. Figures like that were unimaginable prior to the Internet age. YouTube has become so ubiquitous that it could actually qualify as a new life species.\r\n\r\nBut getting back to pre-Net planet Earth, from the 60s through the 80s, music acts toured to promote record sales, which was where the real money was. Touring was often an expensive, unprofitable venture. Now, Internet exposure has fueled interest in live shows. You can make money touring, if you are popular enough, and know how to keep your expenses from running away with the show.\r\n\r\nThe Internet has substantially widened the stylistic genre. There are many niche groups popping up all over the Internet that devote themselves to one aspect or one style of music. It’s like the wild west in cyberspace.\r\n\r\nEven less glamorous things, like talking with the young sales staff at music retailers like Sam Ash, Guitar Center or West LA Music, can yield new info. Most all of them are musicians themselves, and they are in touch with all the latest technology.\r\n\r\nThings are happening so fast now, keeping up with it all can be challenging, to say the least.\r\n\r\n<em>MS:</em>\r\n<em>I can tell by your enthusiasm that you are inspired, and by your knowledge, that you are </em><em>sharp in many areas. How do you keep your edge?</em>\r\n\r\n<strong>PC:</strong>\r\n<strong>I continually reinforce the belief that I have something worth saying.</strong>\r\n\r\nWhether it be a new song, recent score or latest production. If I start to feel irrelevant, then I am jeopardy of imparting that vibe into the things I create.\r\n\r\n<em>MS:</em>\r\n<em>I have a question for you as a songwriter. I have a library of music and songs that I wrote </em><em>in the 70s and 80s. Is there anything I can do to generate income with it?</em>\r\n\r\n<strong>PC:</strong>\r\n<strong>Absolutely.</strong>\r\n\r\nOne of the great things about today\'s television, movies, commercials and Internet, is that music from all eras is being licensed.\r\n\r\nHere’s just a few current television shows that regularly license songs in multiple genres:\r\n\r\nThe Comedians (FX), Modern Family (ABC), The Black List (NBC), Bones (Fox), The Good Wife (CBS), Grey’s Anatomy (ABC), CSI (CBS).\r\n\r\nIf you have good sounding recordings of your material, and control the sync/master rights, you can submit them for possible inclusion in a production. Music Supervisors are always looking for material for the projects they are connected with.\r\n\r\nIf your track is used, you get a synch/master-use fee upfront and royalties on the back end. Performing rights societies BMI, ASCAP and SESAC will have more information on how licensing works. If you are not a member of one of these organizations, you can join as a songwriter for free.\r\n\r\n[caption id=\"attachment_603\" align=\"alignleft\" width=\"300\"]<a href=\"https://paulchiten.com/wp-content/uploads/2015/05/PC-On-Train-.jpg\"><img class=\"size-medium wp-image-603\" src=\"https://paulchiten.com/wp-content/uploads/2015/05/PC-On-Train--300x238.jpg\" alt=\"On the road in Russia with the Songwriters Summit Cyndi Lauper––Jerry Knight––Paul Chiten––Franke Previte\" width=\"300\" height=\"238\" /></a> On the road in Russia with the Songwriters Summit<br />Cyndi Lauper––Jerry Knight––Paul Chiten––Franke Previte[/caption]\r\n\r\n<em>\r\nMS:</em>\r\n<em>In my early days, it was sheer enthusiasm for the music and the work to be done that </em><em>kept me going. Now I\'d like to know how other musicians stay on top of their craft.</em>\r\n\r\n<strong>PC:</strong>\r\n<strong>You have to stay on top of your craft, or your craft might get on top of </strong><strong>you.</strong>\r\n\r\nI keep my ear tilted towards what’s happening now, and where that might be leading in the future. But that’s only part of it.\r\n\r\nFor many years I was signed as a songwriter. Publishers want their songwriters to compose hits, because that’s where the money is. They are, after all, in business to make money––or fetti, scrilla, gwop, cheddar, bank––whatever you want to call it. And we artists need to make a living, too.\r\n\r\nThere is always pressure to try to duplicate something that\'s already successful. Songwriters call it “chasing the hit.” However, it’s not necessary to follow every popular movement just because it happens to be trending that week. I do stay open to what’s going on, and plugging in the elements that I find appealing into my own sound. But I’m not a slave to fashion for fashion’s sake.\r\n\r\nThere is actually more diversity in popular music now than in any previous era. Not only in the variety of sounds and styles that are out there, but the playing field has changed. A large record label is no longer necessary to launch an artist, band or song. Savvy Internet marketing can create a buzz that formerly took huge amounts of corporate promotion money and aggressive marketing to achieve.\r\n\r\nHey, there will always be somebody coming down the pike who can play faster licks, compose catchier hooks, jump further or fly higher. My goal has always been to cultivate something that is uniquely mine.\r\n\r\nThat way, <i>nobody will be able to do me –– quite as well as me.</i>', 'Sasaki Speaks to . . . Paul Chiten', 'Paul Chiten is a Los Angeles-based songwriter, composer, producer, musician, singer and artist. His songs have gone platinum and gold. His compositions have won Telly, Aurora and Emmy Awards. He has worked with Michael Jackson, Anita Baker, Tine Turner, Donna Summer, Cyndi Lauper and countless others.', 'inherit', 'closed', 'closed', '', '818-revision-v1', '', '', '2016-07-28 19:40:14', '2016-07-29 02:40:14', '', 818, 'https://afm424.org/818-revision-v1/', 0, 'revision', '', 0),
(2448, 6, '2016-08-08 11:45:17', '2016-08-08 18:45:17', 'When we think of manipulation, it’s usually a direct action: something a person is actively doing to influence and persuade someone else. Rarely do we think of it as some passive background noise that no one <em>really </em>pays attention to. But of course, that’s the most efficient kind of manipulation. The persuasion you don’t see, don’t think about, and that can get in deep.\r\n\r\nIf you ask someone whether music can manipulate them, they may scoff, believing such a notion is ridiculous. But if you ask that same person if music can affect their mood, they’ll likely say that it does. The irony is that affecting mood is manipulation, and that’s exactly why retail stores play music during their open hours.\r\n\r\nYou probably don\'t pay much attention to music that plays in stores, unless it is a song you recognize. That’s because many store music systems are designed that way; to provide ambient background music that seeks to orchestrate your mood without demanding too much of your attention. These tracks are selected on purpose to influence your buying habits––preferably in the direction of buying more of whatever that store is selling.\r\n\r\nDoes this smack of a marketing scam? A dirty trick to squeeze more money out of us?\r\n\r\nAccording to <a href=\"http://www.bbc.com/news/magazine-36424854\" target=\"_blank\">this BBC article</a>, Marks and Spencer is getting rid of in-store music entirely after considerable feedback from their employees and customers. They weren’t explicitly clear on why they made this decision. But it could be because some music choices can influence customers to actually buy less.\r\n\r\nSome people may believe this whole notion of musical manipulation is hogwash. But I believe it without a doubt. I love music. In fact, any time I’m alone, or doing some sort of work that doesn’t require communicating with someone else, I’ve got a pair of headphones on, feeding my imagination with all sorts of aural images. This definitely affects how I feel.\r\n\r\nClassical music brings a sense of refinement and class. While modern, upbeat music makes me feel impulsive and bold. At home these feelings might not amount to much, but when you’re out shopping, your emotions can have a serious effect on what you buy.\r\n\r\nThis particular brand of market music used for influence is called “Muzak,” a term coined by General George Squires in 1920. As for how it works, it’s mostly a social tool, for making your targeted groups feel a certain way, gently steering them towards desired behaviors.\r\n\r\nIf you’re feeling \"refined and classy,\" you’re more likely to take an interest in higher-end items. Whereas feeling \"impulsive and bold\" could lead you to purchase products you didn’t <em>really </em>need, and probably didn’t come in for.\r\n\r\nOn the other hand, some music, and by extension some emotions, might actually make you buy less. Does it matter if it\'s underhanded manipulation or not? In the end it’s just another form of advertising.\r\n\r\nPersonally, I’m not too terribly bothered by the notion. Everything about a store is designed to subtly push you to buy more, or buy go for more expensive products. Attention and care is put into product placement, store layout, advertisements––so why not the sonic environment as well?\r\n\r\nI don’t believe retail companies are wrong for employing music as a selling technique. Especially since the whole idea of “Muzak“ is not an exact science. There’s no formula for what music will or won’t have an effect on a customer’s buying habits. It’s all guesstimates about what might work.\r\n\r\nAnd while some of us might object to the notion of persuasion against our will, I for one, would miss that ambient background music that makes every shopping trip a little bit more exciting.', 'Tricky Tunes: Subversion at its Finest?', '', 'publish', 'open', 'closed', '', 'tricky-tunes-subversion-finest', '', '', '2016-08-02 20:27:37', '2016-08-03 03:27:37', '', 0, 'https://afm424.org/?p=2448', 0, 'post', '', 0);
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(2449, 4, '2016-08-01 06:43:54', '2016-08-01 13:43:54', '', 'model-wooden-puppet', '', 'inherit', 'open', 'closed', '', 'model-wooden-puppet', '', '', '2016-08-01 06:43:54', '2016-08-01 13:43:54', '', 2448, 'https://afm424.org/wp-content/uploads/2016/08/model-wooden-puppet.jpg', 0, 'attachment', 'image/jpeg', 0),
(2450, 4, '2016-08-01 06:45:17', '2016-08-01 13:45:17', 'When we think of manipulation, it’s usually a direct action: something a person is actively doing to influence and persuade someone else. Rarely do we think of it as some passive background noise that no one <em>really </em>pays attention to. But of course, that’s the most efficient kind of manipulation. The persuasion you don’t see, don’t think about, and certainly never give credit to.\r\n\r\nIf you ask someone whether or not music can manipulate them, they may scoff, saying that such a notion is ridiculous. But if you ask that same person if music can affect their mood, they’ll likely say that it does. The irony is that affecting mood is manipulation, and that’s exactly why retail stores play music during their open hours.\r\n\r\nIf you’ve ever taken the time to even acknowledge that music is playing within a store, you probably didn’t think much of it, unless it was a song you specifically recognized. That’s they it’s supposed to be: ambient background music that orchestrates your mood without taking too much of your explicit attention. And whether you realize it or not, these tracks are selected on purpose to influence your buying habits: preferably in the direction of buying more.\r\n\r\nAll in all, it sounds like a marketing scam, a dirty trick to squeeze even more money out of us, but it’s not like every store is trying to nail you and your spare change. According to <a href=\"http://www.bbc.com/news/magazine-36424854\" target=\"_blank\">this BBC article</a>, Marks and Spencer is getting rid of in-store music entirely after considerably feedback from their employees and customers. They weren’t explicitly clear on why they made this decision, though it could be because some music can influence customers to actually buy less.\r\n\r\nNow lots of people may think this whole notion of musical manipulation is hogwash, but I believe it without a doubt. I love music. In fact, any time I’m alone, or doing some sort of work that doesn’t require communicating with someone else, I’ve got a pair of headphones feeding my imagination with all sorts of genres. And it definitely affects how I feel. Classical music brings a sense of refinement and class, while more modern, upbeat music can make me feel impulsive and bold. At home these feelings might not amount to much, but when you’re out shopping, your emotions can have a serious effect on what you buy.\r\n\r\nThis particular brand of market music used for influence is called “Muzak,” a term coined by General George Squires in 1920. As for how it works, it’s mostly a social tool, for making your targeted groups feel a certain way to urge them towards certain behaviors. If you’re feeling classy and refined, you’re more likely to take an interest in higher-end items, whereas feeling impulsive and brash could lead you to buy products you didn’t <em>really </em>need, and probably didn’t come for. On the other hand, some music, and by extension some emotions, might actually make you buy less. It seems underhanded, but in the end it’s just another form of advertising.\r\n\r\nPersonally I’m not too terribly bothered by the notion. Everything about a store is designed to subtly push you to buy more, or buy more expensive products. Product placement, store layout, advertisements… why not music as well? I don’t think retail companies are wrong for using music as a selling technique, especially since the whole idea of “Muzak“ is not an exact science. There’s no formula for what music will or won’t have an effect on a customer’s buying habits. It’s all guesstimates and rough ideas about what might work. And while some of us might detest the notion of being persuaded against our will, I for one would miss that ambient background music that makes every shopping trip a little bit more exciting.', 'Tricky Tunes: Subversion at its Finest', '', 'inherit', 'closed', 'closed', '', '2448-revision-v1', '', '', '2016-08-01 06:45:17', '2016-08-01 13:45:17', '', 2448, 'https://afm424.org/2448-revision-v1/', 0, 'revision', '', 0),
(2451, 6, '2016-08-10 10:50:14', '2016-08-10 17:50:14', '<em>\"The prevailing trend of our time, it seems, is a disburdening of the past.\"</em> So states author Amanda Petrusich in her article in <a href=\"http://www.newyorker.com/culture/cultural-comment/why-record-stores-mattered\" target=\"_blank\">The New Yorker</a> about why record stores mattered. Her piece was prompted by the closure of a beloved neighborhood record shop, \"Other Music\" which lived its life in New York\'s scrappy East Village.\r\n\r\nAs time moves relentlessly forward, many relics of the past can be found hanging onto their place in society by ever-thinning strands, constantly in danger of breaking. Only later to be passionately revered in delicious waves of nostalgia ingested and savored like comfort food.\r\n\r\nMusic is a good barometer with which to gauge the pace of cultural change. As we dispense with outmoded musical notions and category distinctions, dividing music into \"record bin\" style categories is no longer necessary. Genre affiliation has blurred to the point where it\'s not all that surprising to see Radiohead, Beyoncé and Beethoven in the same playlist. What is considered \"good\" music is not only up for debate, but arguing the point is increasingly becoming less important.\r\n\r\nYet there was something endlessly fascinating and wondrously compelling about a trip to the local record store. The sheer variety of sounds and styles saw a mix of hipsters, teenyboppers, folkies, rockers, funkateers, jazzers, and snooty intellectuals––all sharing the rapture to be found in whatever type of music captivated them.\r\n\r\nMost people who opted to work as record shop employees were lovers of the art; aficionados who could suggest anything from jugband music to rhythm &amp; blues, from hip hop to classical, from rap to avant-garde electronica. They knew the quirks and idiosyncrasies of various artists, the best cover-version of a particular song, and could even suggest which label had the best sounding vinyl pressings.\r\n\r\nIn the sea of traditional record retailing Other Music was an exceptional island. It was not like Tower Records or Virgin Megastore (it outlasted both). It\'s eclectic selection of niche musical gems never failed to open the eyes (and ears) of any browsing customer. The uncommon and extraordinary could be found in every aisle, in every rack, in every bin. Talking with the ever-knowledgable clerks would bring new insights, new revelations.\r\n\r\nApart from losing these physical representations of musical art, the closing of Other Music speaks of a more tangible aspect of our new world.\r\n\r\nToday most people purchase their music online. Any questions concerning the music are usually addressed through a swift consultation with one\'s cell phone. No longer it is necessary to walk into a store that sells physical media. But also gone is engaging in a spark of unexpected, spontaneous conversation with a fellow music enthusiast about some new sounds that might be worth checking out.\r\n\r\nI can’t help feeling that we’ve lost something here; as the ritual of physically obtaining music from those that truly love it...is slowly disappearing.', 'Why Record Stores Were So Important', '\"The prevailing trend of our time, it seems, is a disburdening of the past.\"', 'publish', 'open', 'closed', '', 'time-flies-cultural-change-explicit-loss', '', '', '2016-08-10 22:11:49', '2016-08-11 05:11:49', '', 0, 'https://afm424.org/?p=2451', 0, 'post', '', 0),
(2452, 4, '2016-08-01 06:47:23', '2016-08-01 13:47:23', '', 'pexels-photo (3)', '', 'inherit', 'open', 'closed', '', 'pexels-photo-3', '', '', '2016-08-01 06:47:23', '2016-08-01 13:47:23', '', 2451, 'https://afm424.org/wp-content/uploads/2016/08/pexels-photo-3.jpg', 0, 'attachment', 'image/jpeg', 0),
(2454, 6, '2016-08-12 10:55:30', '2016-08-12 17:55:30', 'When you have a favorite band, you can’t help but want to know more about them. Usually finding out more means tuning into interviews where that band answers the questions the public wants to know. Questions about how they met, where their name came from, or what some of their cool stories are. These are the most common questions asked, according to <a href=\"http://www.digitalmusicnews.com/2016/06/09/top-7-interview-questions-bands-get-asked-answer/\" target=\"_blank\">Digital Music News</a>.\r\n\r\nWith any luck, we find most the answers to these questions intriguing and great conversation points. But to be honest: these response can often come across as scripted fiction. We’ve all done it. We have a story we think is fascinating––we start telling it to our friends, we realize \"this could be more dramatic if I just added a little something…”\r\n\r\nBut how much does this embellishment really matter? Should we feel betrayed that our music heroes exaggerate their tale a bit?\r\n\r\nIf one reaches the rarified stratosphere of becoming a cultural icon, this usually means having an interesting backstory ready, one that captivates people. Boring personas and mundane tales don’t quite resonate regarding legends and stars. We like our idols to have something compelling and captivating to tell our friends about. Of course, not every band has a riveting or glamorous story. So what do you do when you need more voltage in the circuit? You make it up. With the proper creative spark, an interesting tale can be spun.\r\n\r\nThe Digital Music News article is about this very notion of making life sound more thrilling, and enthralling, than it really is. The piece details not only seven questions commonly asked of bands, but also the best way to respond (and embellish) them.\r\n\r\nIs it a crime to change your story from, “I met my drummer in music class” to “we met during an ascent on Mount Everest?\" No, its definitely not the straight-up story. But it\'s way more entertaining than the naked truth.\r\n\r\nShow biz is just like politics. A politician\'s career relies on public opinion. It\'s usually imperative that the public like them. More often than not, this requires twisting and bending the truth to make the candidate sound more intriguing and impressive than they really are.\r\n\r\nOf course, unlike politics, the white lies of a band about their origins doesn\'t often undermine the integrity of the country––and they usually aren’t harmful to society.\r\n\r\nIt serves the function of making our idols look more attractive to us. Besides, how could we convince our friends how great our favorite band is of they all met at…y’know...<em>band camp?</em>', 'The 7 Questions Bands Always Get Asked (And What To Say When They Do)', '', 'publish', 'open', 'closed', '', 'one-time-band-camp', '', '', '2016-08-12 22:37:05', '2016-08-13 05:37:05', '', 0, 'https://afm424.org/?p=2454', 0, 'post', '', 0),
(2455, 4, '2016-08-01 06:53:05', '2016-08-01 13:53:05', '', 'marching-band-559379_640', '', 'inherit', 'open', 'closed', '', 'marching-band-559379_640', '', '', '2016-08-01 06:53:05', '2016-08-01 13:53:05', '', 2454, 'https://afm424.org/wp-content/uploads/2016/08/marching-band-559379_640.jpg', 0, 'attachment', 'image/jpeg', 0),
(2457, 6, '2016-08-15 10:57:21', '2016-08-15 17:57:21', 'It wasn’t called jazz.\r\n\r\nIt wasn’t called anything.\r\n\r\nIt started out as a matrix of African tribal rhythms, indigenous folk melodies and ceremonial dances. When it migrated to Europe, western harmonies and lyrics were added to the mix.\r\n\r\nWhen it landed in New Orleans, this new music became infused with robust doses of blues, spiritual song and southern soul. It boogied to the jaunty ragtime piano of Jelly Roll Morton and stomped to the zesty swing of Louis Armstrong’s Hot Five.\r\n\r\nBy 1915 it had a name: <em>jazz. </em>And it grew to become an indigenous music of the States. Some believe jazz is America’s only true art form.\r\n\r\nThere is no other music where the art of improvisation is so enthralling, so visceral, so electric. A simple riff can morph into a symphony of dueling hoofers dancing on the heads of a thousand pins.\r\n\r\nJazz lived outside the box. This powerful and seductive freedom fueled the desire for all kinds of musicians to express themselves in an exhilarating new world of sound.\r\n\r\nJazz could not only liberate those who played it, but emancipate those who heard it.\r\n<h4><u>Jazz &amp; Its Children</u></h4>\r\nEver since the 1920s, when Satchmo &amp; his Hot Five produced some of the wildest improvisations this side of the moon, jazz has been evolving, transmuting, influencing and absorbing everything around it.\r\n\r\nJazz grew from the humid street corners of New Orleans, the dark cellars of New York and the blues enclaves of Chicago to become a musical form rich in style, authentic in spirit, and soulfully compelling.\r\n\r\nJust take a peek at the children jazz has sired: R&amp;B, funk, Motown, rock, disco, hip-hop, rap, techno, drum &amp; bass, house.\r\n\r\nAnd the dazzling artists who led the way: Lester Young, Duke Ellington, The Boswell Sisters, Ella Fitzgerald, Charlie Parker, Billie Holiday, Art Tatum, John Coltrane, Thelonious Monk, James Brown, Smokey Robinson, Ray Charles, Bill Evans, Miles Davis, Aretha Franklin, Jimi Hendrix, Herbie Hancock. Help! I’m running out of breath.\r\n<h4><u>The Beat On Goes</u></h4>\r\nEverything from 50s R&amp;B, to 90s break beat dance culture, owes its origins to the vibes laid down by jazz musicians of the 20s to the 70s. Even if these later artists weren’t aware of it.\r\n\r\nToday the echoes of jazz can be felt in the sounds of D’Angelo, OutKast, Snoop Dogg, Jay Z., Kanye West, Beyoncé, Drake, Young Thug, Kamasi Washington and so many others. They adapted its irresistible appeal, weaving its glorious rhythms, harmonies, timbres and themes into their own music.\r\n\r\nJazz has an enduring spirit, a direct-to-the-bone visceral appeal, a thrust of improvisational mojo rarely, if ever, matched by any other musical form. Read Greg Tate’s impressive <a href=\"http://www.thefader.com/2016/05/05/jazz-will-always-be-relevant\">article</a> from “The Fader” website. It’s a roiling romp through the history and ethos of that sublime noise we call jazz.\r\n\r\nJust as they say a person’s soul lives on…<em>jazz will forever swing to the beat of the human heart.</em>', 'Why Jazz Will Always Matter', '', 'publish', 'open', 'closed', '', 'why-jazz-will-always-matter', '', '', '2016-08-15 21:38:51', '2016-08-16 04:38:51', '', 0, 'https://afm424.org/?p=2457', 0, 'post', '', 0),
(2458, 4, '2016-08-01 06:56:58', '2016-08-01 13:56:58', '', 'vintage-music-closed-shop', '', 'inherit', 'open', 'closed', '', 'vintage-music-closed-shop', '', '', '2016-08-01 06:56:58', '2016-08-01 13:56:58', '', 2457, 'https://afm424.org/wp-content/uploads/2016/08/vintage-music-closed-shop.jpg', 0, 'attachment', 'image/jpeg', 0),
(2460, 6, '2016-08-17 11:02:45', '2016-08-17 18:02:45', 'If there’s one thing society has been hell-bent on doing since time immemorial, it’s copying their heroes. When someone does something amazing, everyone who is captivated by them likes to tell themselves <em>“Hey, I can do that too.”</em>\r\n\r\nThe same goes for music. Karaoke has become hugely popular, as well as covers of popular songs. And apparently MTV thinks so as well, if <a href=\"http://www.mtv.com/news/2890505/%e2%80%8bwe-are-all-stars-how-cover-culture-has-saturated-our-lives/\" target=\"_blank\">their recent article</a> has anything to say about the phenomenon.\r\n\r\nAccording to MTV, lip-synching, karaoke, and cover art is all immensely popular with the public right now. I do listen to a fair number of music covers But not out of some misguided notion that I need to hear my favorite artist copied. I may prefer the voice or musical touch of the cover artist more than the original.\r\n\r\n&nbsp;\r\n\r\nAs for karaoke and lip-synch, I’ve never been too keen on either, but neither did I think it was that popular for music lovers. I can’t even think of a well-known karaoke bar, and even driving around large cities with countless different establishments, karaoke bars are few and far between, not to mention rarely crowded. For lip-synching, I personally can’t see the appeal in it, though, as MTV’s article said, there are a number of apps and shows that revolve entirely around it.\r\n\r\n&nbsp;\r\n\r\nPerhaps these forms of musical imitation may be crowding the industry and the art form a bit, I don’t see this as a necessarily bad addition. I personally enjoy music covers. And while I may not find enjoyment in karaoke myself, I think it’s fantastic that groups of friends get together and enjoy themselves with a night of musical fun.\r\n\r\nThe question remains though: <em>why are people so obsessed with copying others?</em>\r\n\r\nIs it because they idolize a certain artist so much, they want to try and be them? Is is because imitation is a sort of pseudo-success? Is it attaching oneself to an accomplishment that seeks to prove something without having put a ton of effort into it? It feels good to accomplish something, but many accomplishments take a considerable time and effort. With covers, karaoke, and lip-synch, you can \"get there\" without having to do it all from scratch.\r\n\r\nWith these imitation forms, you can prove that you can sing, or play an instrument, and that you, too can temporarily become an \"idol\" without having to go through all of the hassle of actually being one.\r\n\r\nDoes that mean it’s all a pointless exercise that amounts to nothing?\r\n\r\nThough these musical \"gains\" may not be monetary or tangible, they can make you feel good about yourself. Or just plan happy. Isn’t it still worth your time?\r\n\r\nCopying your idols may not produce anything you can make a decent dime with, but so long as it satisfies society’s desire to imitate their heroes while doing no real harm to the art form, I see no reason to condemn these fantasies that people love so much.', 'Copycat Culture: Imitating your Idols', '', 'publish', 'open', 'closed', '', 'copycat-culture-imitating-idols', '', '', '2016-08-02 22:44:16', '2016-08-03 05:44:16', '', 0, 'https://afm424.org/?p=2460', 0, 'post', '', 0),
(2461, 4, '2016-08-01 07:01:50', '2016-08-01 14:01:50', '', 'singer-84874_640', '', 'inherit', 'open', 'closed', '', 'singer-84874_640', '', '', '2016-08-01 07:01:50', '2016-08-01 14:01:50', '', 2460, 'https://afm424.org/wp-content/uploads/2016/08/singer-84874_640.jpg', 0, 'attachment', 'image/jpeg', 0),
(2462, 4, '2016-08-01 07:02:45', '2016-08-01 14:02:45', 'If there’s one thing society has been hell-bent on doing since time immemorial, it’s copying their heroes. When one man or woman does something amazing, everyone who adores them likes to tell themselves “I can do that too.”\r\n\r\nThe same goes for music, with karaoke and cover art and all other kinds of imitation being hugely popular today. Apparently MTV thinks so as well, if <a href=\"http://www.mtv.com/news/2890505/%e2%80%8bwe-are-all-stars-how-cover-culture-has-saturated-our-lives/\" target=\"_blank\">their recent article</a> has anything to say about the phenomenon.\r\n\r\nAccording to MTV, lip-synching, karaoke, and cover art is all immensely popular with the public right now, though I personally haven’t seen much of it. I do listen to a fair number of music covers, but not out of some misguided notion that I need to hear my favorite artist copied. For the most part I like the lyrics of the original song, but prefer the voice or musical touch of the covering artist more.\r\n\r\nAs for karaoke and lip-synch, I’ve never been too keen on either, but neither did I think it was that popular for music lovers. I can’t even think of a well-known karaoke bar, and even driving around large cities with countless different establishments, karaoke bars are few and far between, not to mention rarely crowded. For lip-synching, I personally can’t see the appeal in it, though, as MTV’s article said, there are a number of apps and shows that revolve entirely around it.\r\n\r\nBut even if these forms of musical imitation are crowding the industry and the art, I don’t see them as a necessarily bad addition. I personally enjoy music covers, and while I find no enjoyment in karaoke myself, I think it’s fantastic that groups of friends can get together and enjoy themselves with a carefree night of fun.\r\n\r\nThe question remains though: why are people so obsessed with copying others? Is it because they idolize a certain artist so much, they want to try and be them? Personally I don’t think that’s the case for most. If anything, it’s because imitation is a sort of pseudo-success, an accomplishment that proves something about you without having to necessarily put a ton of effort into it. It always feels good to accomplish something, but most accomplishments take a lot of time and effort. With covers, karaoke, and lip-synch, you can accomplish something without having to do it all from scratch.\r\n\r\nWith these imitation forms, you can prove that you can sing, or play an instrument really well, that you can ‘be an idol too’ without having to go through all of the hassle of actually being one. Does that mean it’s useless? That it’s all pointless exercises that amount to nothing? In a fiscal and productive sense, maybe. You might not gain anything physical from your musical imitations, but if they make you feel good about yourself, or just make you happy, isn’t it still worth your time? Copying your idols may not produce anything you can make a decent dime with, but so long as it satisfies society’s desire to imitate their heroes while doing no real harm to the music industry, I see no reason to condemn those imitations that people love so much.', 'Copycat Culture: Imitating your Idols', '', 'inherit', 'closed', 'closed', '', '2460-revision-v1', '', '', '2016-08-01 07:02:45', '2016-08-01 14:02:45', '', 2460, 'https://afm424.org/2460-revision-v1/', 0, 'revision', '', 0),
(2463, 6, '2016-08-01 20:38:55', '2016-08-02 03:38:55', '', 'Piano keys off_small', '', 'inherit', 'open', 'closed', '', 'piano-keys-off_small', '', '', '2016-08-01 20:38:55', '2016-08-02 03:38:55', '', 0, 'https://afm424.org/wp-content/uploads/2016/08/Piano-keys-off_small.jpg', 0, 'attachment', 'image/jpeg', 0),
(2464, 6, '2016-08-01 20:48:00', '2016-08-02 03:48:00', '', 'stars and milky way', '', 'inherit', 'open', 'closed', '', 'stars-and-milky-way-2', '', '', '2016-08-01 20:48:00', '2016-08-02 03:48:00', '', 0, 'https://afm424.org/wp-content/uploads/2016/08/stars-and-milky-way.jpeg', 0, 'attachment', 'image/jpeg', 0),
(2465, 6, '2016-08-02 17:56:35', '2016-08-03 00:56:35', 'ALLURE OF SOULS is a Gothic influenced alternative rock duo with a melodic and romantic overlay. They are based in Los Angeles. Lead singer Aina Olsen is a former Miss Norway. AOS music has been featured in films and television. Their album, \"X-O\" has become popular on digital media. Download on iTunes and Amazon. Stream on Spotify, Apple Music, Tidal, Deezer, Beats/Media Net, YouTube, Muzoic, Microsoft Groove, and Google Play.\n\nAmazon: (<a href=\"https://www.amazon.com/gp/product/B0194NQDLI?ie=UTF8&amp;keywords=Allure%20of%20Souls&amp;qid=1454198349&amp;ref_=sr_1_3&amp;s=dmusic&amp;sr=1-3-mp3-albums-bar-strip-0\" target=\"_blank\">download</a>)\niTunes: (<a href=\"https://itunes.apple.com/in/album/x-o/id1066205916?app=itunes&amp;ign-mpt=uo%3D4\" target=\"_blank\">download</a>)\nGoogle Play: (<a href=\"https://play.google.com/store/music/album/Allure_of_Souls_X_O?id=Bi2d7kczdwtdzoxz3cr4wx3krby&amp;hl=en\" target=\"_blank\">stream</a>)\n\n[playlist artists=\"false\" ids=\"2103,1450,2474\"]', 'Featured Artist - Allure of Souls', 'ALLURE OF SOULS is a compelling Gothic influenced alternative rock duo with a melodic and romantic overlay. A portion of their current album “X-O” can be listened to here.', 'inherit', 'closed', 'closed', '', '1436-autosave-v1', '', '', '2016-08-02 17:56:35', '2016-08-03 00:56:35', '', 1436, 'https://afm424.org/1436-autosave-v1/', 0, 'revision', '', 0),
(2466, 6, '2016-08-01 20:59:18', '2016-08-02 03:59:18', 'ALLURE OF SOULS is a Gothic influenced alternative rock duo with a melodic and romantic overlay. They are based in Los Angeles. Lead singer Aina Olsen is a former Miss Norway. AOS music has been featured in films and television. They\'ve released two singles, “When The Angels Cry” and “Cold” which have become popular on digital media. The Allure of Souls album “X-O” is available for download on iTunes and Amazon––and streaming on Spotify, Apple Music, Tidal, Deezer, Beats/Media Net, YouTube, Muzoic, Microsoft Groove, and Google Play.\r\n\r\nAmazon: (<a href=\"https://www.amazon.com/gp/product/B0194NQDLI?ie=UTF8&amp;keywords=Allure%20of%20Souls&amp;qid=1454198349&amp;ref_=sr_1_3&amp;s=dmusic&amp;sr=1-3-mp3-albums-bar-strip-0\" target=\"_blank\">download</a>)\r\niTunes: (<a href=\"https://itunes.apple.com/in/album/x-o/id1066205916?app=itunes&amp;ign-mpt=uo%3D4\" target=\"_blank\">download</a>)\r\nGoogle Play: (<a href=\"https://play.google.com/store/music/album/Allure_of_Souls_X_O?id=Bi2d7kczdwtdzoxz3cr4wx3krby&amp;hl=en\" target=\"_blank\">stream</a>)\r\n\r\n[playlist artists=\"false\" ids=\"1456,1450,1449\"]', 'Featured Artist - Allure of Souls', 'ALLURE OF SOULS is a compelling Gothic influenced alternative rock duo with a melodic and romantic overlay. A portion of their current album “X-O” can be listened to here.', 'inherit', 'closed', 'closed', '', '1436-revision-v1', '', '', '2016-08-01 20:59:18', '2016-08-02 03:59:18', '', 1436, 'https://afm424.org/1436-revision-v1/', 0, 'revision', '', 0),
(2467, 6, '2016-08-01 21:02:24', '2016-08-02 04:02:24', 'ALLURE OF SOULS is a Gothic influenced alternative rock duo with a melodic and romantic overlay. They are based in Los Angeles. Lead singer Aina Olsen is a former Miss Norway. AOS music has been featured in films and television. Their album, \"X-O\" has become popular on digital media. Download on iTunes and Amazon. Stream on Spotify, Apple Music, Tidal, Deezer, Beats/Media Net, YouTube, Muzoic, Microsoft Groove, and Google Play.\r\n\r\nAmazon: (<a href=\"https://www.amazon.com/gp/product/B0194NQDLI?ie=UTF8&amp;keywords=Allure%20of%20Souls&amp;qid=1454198349&amp;ref_=sr_1_3&amp;s=dmusic&amp;sr=1-3-mp3-albums-bar-strip-0\" target=\"_blank\">download</a>)\r\niTunes: (<a href=\"https://itunes.apple.com/in/album/x-o/id1066205916?app=itunes&amp;ign-mpt=uo%3D4\" target=\"_blank\">download</a>)\r\nGoogle Play: (<a href=\"https://play.google.com/store/music/album/Allure_of_Souls_X_O?id=Bi2d7kczdwtdzoxz3cr4wx3krby&amp;hl=en\" target=\"_blank\">stream</a>)\r\n\r\n[playlist artists=\"false\" ids=\"1456,1450,1449\"]', 'Featured Artist - Allure of Souls', 'ALLURE OF SOULS is a compelling Gothic influenced alternative rock duo with a melodic and romantic overlay. A portion of their current album “X-O” can be listened to here.', 'inherit', 'closed', 'closed', '', '1436-revision-v1', '', '', '2016-08-01 21:02:24', '2016-08-02 04:02:24', '', 1436, 'https://afm424.org/1436-revision-v1/', 0, 'revision', '', 0),
(2468, 6, '2016-08-19 11:36:58', '2016-08-19 18:36:58', 'Most every pop music enthusiast looks with melancholy at the music shelf where albums of favorite artists, gathered with care in the good old days, may still sit aligned in a clean, precise order. But the days when one anxiously awaited for a particular album to be released so are, for better or worse, long gone.\r\n\r\nOr are they?\r\n\r\nSomething extremely interesting is happening in the music industry regarding the album format. The pop album\'s glory days may lay in the past, but the medium may not be necessarily dead.\r\n\r\nYes, with the development of the digital era and audio streaming services, the pop album has become an endangered species. You no longer have to wait for months to enjoy a new song from your favorite artist. You can find freshly released material year-round on websites like YouTube and Spotify.\r\n\r\nOnline personalized playlists offer limitless hard drive space to store the largest of collections. And these playlist programs are becoming smarter, anticipating what they think you may like, and making suggestions to expand and enrich your playlist. With so many features now available on streaming websites, why should artists work hard on releasing albums, when they can simply release a song within a matter of minutes?\r\n\r\n<a href=\"http://blog.thirdbridgecreative.com/2016/07/the-long-play/\" target=\"_blank\">Some music execs advise</a> that artists should abandon the album format completely––and use the extra time for new creations–– releasing their music solely in the digital domain.\r\n\r\nBut there are a handful of artists, like Justin Bieber and Taylor Swift, who remain loyal to the more traditional methodology of releasing albums along with singles.\r\n\r\nIt seems that albums are still an integral step in the evolution of an artist.\r\n\r\nA number of established artists have released albums that were extremely well-assembled; \"statement albums\" as they have come to be called. These are released both in physical form and in the digital world.\r\n\r\nBeyonce, Drake, Rihanna, and Kanye are a few names on this list. These artists release singles, but also take advantage of the album format\'s expanded canvas, where many pieces of music can be presented as a cohesive whole.\r\n\r\nThese artists\' works are evidence that the pop album is not only still appreciated, but very much alive and kicking.\r\n\r\nFew predicted this would happen, believing that ever evolving technology would change everything.\r\n\r\nAnd it\'s true, a lot of things did change. But an artifact that was of great importance to the music industry has managed to survive, and find ways to adapt itself to the rules of the New Game.\r\n\r\n&nbsp;', 'The Pop Album: Is it Dead?', '', 'publish', 'open', 'closed', '', 'pop-album-dead-alive-kicking', '', '', '2016-08-21 15:50:53', '2016-08-21 22:50:53', '', 0, 'https://afm424.org/?p=2468', 0, 'post', '', 0),
(2469, 4, '2016-08-02 05:43:34', '2016-08-02 12:43:34', '', 'pexels-photo (2)', '', 'inherit', 'open', 'closed', '', 'pexels-photo-2-2', '', '', '2016-08-02 05:43:34', '2016-08-02 12:43:34', '', 2468, 'https://afm424.org/wp-content/uploads/2016/08/pexels-photo-2.jpeg', 0, 'attachment', 'image/jpeg', 0),
(2472, 4, '2016-08-02 06:36:55', '2016-08-02 13:36:55', 'Every pop music enthusiast looks with melancholy at the music shelf where albums of favorite artists, gathered with care in the good old days, sit aligned in a precise order. The days in which you anxiously waited for a particular album to be released so you can get it are long gone, or are they? Something extremely interesting happens in the music industry, when it comes to the release of albums. It seems like artists don’t bother to work that much anymore, or is it something else in the middle of these things? The pop album may not be what it once was, but it may not be dead either.\r\n\r\nTogether with the development of the digital era and audio streaming services, the presence of pop albums didn’t seem to be necessary anymore. Today, you don’t have to wait for a whole year to enjoy brand new song of your favorite artist, because you can find newly released songs throughout the year, on websites like YouTube or Spotify. You can even create online a personalized playlist, where you can save all the songs you like to hear, having limitless space to do so. And, these programs are so smart that they can also guess what you may like, without you even looking for the song, making suggestions and helping you constantly expand and enrich your playlist. With so many features available, why should artists work so hard on releasing albums, when they can simply put a song out in a matter of minutes?\r\n\r\nAlso, <a href=\"http://blog.thirdbridgecreative.com/2016/07/the-long-play/\" target=\"_blank\">some even advised</a> our pop stars to stop releasing any kind of album at all, because they will use the time to be creative and release songs in the digital world alone. Still, there are a few artists, Justin Bieber and Taylor Swift, who remained loyal to the methodology of releasing singles. But, something emerged and proved wrong the idea that albums are not appreciated or important in the evolution of an artist. A number of consecrated artists released albums that were extremely well-prepared, statement albums as they may be called, which also have the possibility of being distributed with the help of digital technology. Beyonce, Drake, Rihanna, and Kanye, are just a few names that are worth being mentioned on this list. Of course, they still release singles as well, but they also invest time and effort into creating consistent work, which represents them in the best way possible, gathering it on an album.\r\n\r\nAll these artists managed to show that the pop album is not only appreciated, but also very much alive and still kicking strong. No one managed to predict such a thing, considering that technology will change everything. But, even if things did change, something that was of great important in the music industry managed to survive, finding a way to adapt to the term rules of the game. Of course, all of this happened because our artists wanted it, working hard to deliver work that is appreciated both by fans and critics as well.', 'The Pop Album: Is it Dead or Alive and Kicking?', '', 'inherit', 'closed', 'closed', '', '2468-revision-v1', '', '', '2016-08-02 06:36:55', '2016-08-02 13:36:55', '', 2468, 'https://afm424.org/2468-revision-v1/', 0, 'revision', '', 0),
(2473, 4, '2016-08-02 08:17:16', '2016-08-02 15:17:16', '[vc_row][vc_column width=\"1/2\"][vc_column_text]\n<h1>Member Dashboard</h1>\nBelow you can view and update information pertaining to your account.\n\n<strong>All personal data inputted on this page is encrypted/secure.</strong>[/vc_column_text][vc_column_text]You\'re currently logged in.[/vc_column_text][ihc-logout-link][/vc_column][vc_column width=\"1/2\"][vc_cta h2=\"Looking for Members Only content?\" txt_align=\"center\" add_button=\"bottom\" btn_title=\"Members Only Area\" btn_style=\"classic\" btn_color=\"danger\" btn_align=\"center\" btn_link=\"url:https%3A%2F%2Fafm424.org%2Fmembers-area%2F||\"]As an Local 424 AFM member, you have exclusive access to members only content. Click the button below.[/vc_cta][/vc_column][/vc_row][vc_row][vc_column][ihc-user-page][/vc_column][/vc_row]', 'Member Dashboard', '', 'inherit', 'closed', 'closed', '', '921-autosave-v1', '', '', '2016-08-02 08:17:16', '2016-08-02 15:17:16', '', 921, 'https://afm424.org/921-autosave-v1/', 0, 'revision', '', 0),
(2474, 6, '2016-08-02 17:45:11', '2016-08-03 00:45:11', '\"Another Side of Love_single_edit_fade\".', 'Another Side of Love', '', 'inherit', 'open', 'closed', '', 'another-side-of-love_single_edit_fade', '', '', '2016-08-02 17:56:29', '2016-08-03 00:56:29', '', 1436, 'https://afm424.org/wp-content/uploads/2016/02/Another-Side-of-Love_single_edit_fade.mp3', 0, 'attachment', 'audio/mpeg', 0),
(2476, 6, '2016-08-02 18:00:11', '2016-08-03 01:00:11', 'ALLURE OF SOULS is a Gothic influenced alternative rock duo with a melodic and romantic overlay. They are based in Los Angeles. Lead singer Aina Olsen is a former Miss Norway. AOS music has been featured in films and television. Their album, \"X-O\" has become popular on digital media. Download on iTunes and Amazon. Stream on Spotify, Apple Music, Tidal, Deezer, Beats/Media Net, YouTube, Muzoic, Microsoft Groove, and Google Play.\r\n\r\nAmazon: (<a href=\"https://www.amazon.com/gp/product/B0194NQDLI?ie=UTF8&amp;keywords=Allure%20of%20Souls&amp;qid=1454198349&amp;ref_=sr_1_3&amp;s=dmusic&amp;sr=1-3-mp3-albums-bar-strip-0\" target=\"_blank\">download</a>)\r\niTunes: (<a href=\"https://itunes.apple.com/in/album/x-o/id1066205916?app=itunes&amp;ign-mpt=uo%3D4\" target=\"_blank\">download</a>)\r\nGoogle Play: (<a href=\"https://play.google.com/store/music/album/Allure_of_Souls_X_O?id=Bi2d7kczdwtdzoxz3cr4wx3krby&amp;hl=en\" target=\"_blank\">stream</a>)\r\n\r\n[playlist artists=\"false\" ids=\"2103,1450,2474\"]', 'Featured Artist - Allure of Souls', 'ALLURE OF SOULS is a compelling Gothic influenced alternative rock duo with a melodic and romantic overlay. A portion of their current album “X-O” can be listened to here.', 'inherit', 'closed', 'closed', '', '1436-revision-v1', '', '', '2016-08-02 18:00:11', '2016-08-03 01:00:11', '', 1436, 'https://afm424.org/1436-revision-v1/', 0, 'revision', '', 0),
(2477, 6, '2016-08-02 18:24:09', '2016-08-03 01:24:09', '', 'Tueller cutout FX 1', '', 'inherit', 'open', 'closed', '', 'tueller-cutout-fx-1', '', '', '2016-08-02 18:24:09', '2016-08-03 01:24:09', '', 0, 'https://afm424.org/wp-content/uploads/2016/08/Tueller-cutout-FX-1.jpg', 0, 'attachment', 'image/jpeg', 0),
(2478, 6, '2016-08-21 15:50:43', '2016-08-21 22:50:43', 'Most every pop music enthusiast looks with melancholy at the music shelf where albums of favorite artists, gathered with care in the good old days, may still sit aligned in a clean, precise order. But the days when one anxiously awaited for a particular album to be released so are, for better or worse, long gone.\n\nOr are they?\n\nSomething extremely interesting is happening in the music industry regarding the album format. The pop album\'s glory days may lay in the past, but the medium may not be necessarily dead.\n\nYes, with the development of the digital era and audio streaming services, the pop album has become an endangered species. You no longer have to wait for months to enjoy a new song from your favorite artist. You can find freshly released material year-round on websites like YouTube and Spotify.\n\nOnline personalized playlists offer limitless hard drive space to store the largest of collections. And these playlist programs are becoming smarter, anticipating what they think you may like, and making suggestions to expand and enrich your playlist. With so many features now available on streaming websites, why should artists work hard on releasing albums, when they can simply release a song within a matter of minutes?\n\n<a href=\"http://blog.thirdbridgecreative.com/2016/07/the-long-play/\" target=\"_blank\">Some music execs advise</a> that artists should abandon the album format completely––and use the extra time for new creations–– releasing their music solely in the digital domain.\n\nBut there are a handful of artists, like Justin Bieber and Taylor Swift, who remain loyal to the more traditional methodology of releasing albums along with singles.\n\nIt seems that albums are still an integral step in the evolution of an artist.\n\nA number of established artists have released albums that were extremely well-assembled; \"statement albums\" as they have come to be called. These are released both in physical form and in the digital world.\n\nBeyonce, Drake, Rihanna, and Kanye are a few names on this list. These artists release singles, but also take advantage of the album format\'s expanded canvas, where many pieces of music can be presented as a cohesive whole.\n\nThese artists\' works are evidence that the pop album is not only still appreciated, but very much alive and kicking.\n\nFew predicted this would happen, believing that ever evolving technology would change everything.\n\nAnd it\'s true, a lot of things did change. But an artifact that was of great importance to the music industry has managed to survive, and finding ways to adapt itself to the rules of the New Game.\n\n&nbsp;', 'The Pop Album: Is it Dead?', '', 'inherit', 'closed', 'closed', '', '2468-autosave-v1', '', '', '2016-08-21 15:50:43', '2016-08-21 22:50:43', '', 2468, 'https://afm424.org/2468-autosave-v1/', 0, 'revision', '', 0),
(2479, 6, '2016-08-02 19:08:12', '2016-08-03 02:08:12', 'Every pop music enthusiast looks with melancholy at the music shelf where albums of favorite artists, gathered with care in the good old days, sit aligned in a precise order. The days in which you anxiously waited for a particular album to be released so you can get it are long gone.\r\n\r\nOr are they?\r\n\r\nSomething extremely interesting is happening in the music industry regarding when it comes to the release of albums.  The pop album may not be what it once was, but it may not be dead either.\r\n\r\nWith the development of the digital era and audio streaming services, pop albums became an endangered species.\r\n\r\nToday you don’t have to wait for a whole year to enjoy a new song from your favorite artist, because you can find newly released material throughout the year on websites like YouTube and Spotify.\r\n\r\nYou can create online personalized playlists, where you can save your faves songs, and have limitless hard drive space to do so. These programs are trying to be smart, anticipating what they think you may like, and making suggestions to help you expand and enrich your playlist. With so many features now available on streaming websites, why should artists work so hard on releasing albums, when they can simply put a song out in a matter of minutes?\r\n\r\n<a href=\"http://blog.thirdbridgecreative.com/2016/07/the-long-play/\" target=\"_blank\">Some music execs even advise</a> that pop stars to stop releasing any kind of album at all––because they could use the extra time to be creative and then release their music solely in the digital world. Still, there are a few artists, like Justin Bieber and Taylor Swift, who remain loyal to the methodology of releasing singles.\r\n\r\nHowever, something has emerged, that proves that albums are still appreciated and important in the evolution of an artist.\r\n\r\nA number of established artists have released albums that were extremely well-prepared, (\"statement albums\" as they may be called) which also have the possibility of being distributed with the aid of digital technology. Beyonce, Drake, Rihanna, and Kanye are just a few names that are worth being mentioned on this list. Of course, they still release singles as well, but they also invest time and effort into creating consistent work, which represents them in the best way possible, and presenting it album format.\r\n\r\nThese artists have managed to show that the pop album is not only appreciated, but also very much alive and still kicking.\r\n\r\nFew predicted such an emergence would happen, believing that the newer technology will change everything.\r\n\r\nYes, a lot of things did change. But an artifact that was of great importance in the music industry has managed to survive, finding ways to adapt to the rules of the New Game.\r\n\r\n&nbsp;', 'The Pop Album: Is it Dead?', '', 'inherit', 'closed', 'closed', '', '2468-revision-v1', '', '', '2016-08-02 19:08:12', '2016-08-03 02:08:12', '', 2468, 'https://afm424.org/2468-revision-v1/', 0, 'revision', '', 0),
(2480, 6, '2016-08-07 01:03:33', '2016-08-07 08:03:33', 'When we think of manipulation, it’s usually a direct action: something a person is actively doing to influence and persuade someone else. Rarely do we think of it as some passive background noise that no one <em>really </em>pays attention to. But of course, that’s the most efficient kind of manipulation. The persuasion you don’t see, don’t think about, and that can get in deep.\r\n\r\nIf you ask someone whether music can manipulate them, they may scoff, believing such a notion is ridiculous. But if you ask that same person if music can affect their mood, they’ll likely say that it does. The irony is that affecting mood is manipulation, and that’s exactly why retail stores play music during their open hours.\r\n\r\nYou probably don\'t pay much attention to music that plays in stores, unless it is a song you recognize. That’s because many store music systems are designed that way; to provide ambient background music that seeks to orchestrate your mood without demanding too much of your attention. These tracks are selected on purpose to influence your buying habits––preferably in the direction of buying more of whatever that store is selling.\r\n\r\nDoes this smack of a marketing scam? A dirty trick to squeeze more money out of us?\r\n\r\nAccording to <a href=\"http://www.bbc.com/news/magazine-36424854\" target=\"_blank\">this BBC article</a>, Marks and Spencer is getting rid of in-store music entirely after considerable feedback from their employees and customers. They weren’t explicitly clear on why they made this decision. But it could be because some music choices can influence customers to actually buy less.\r\n\r\nSome people may believe this whole notion of musical manipulation is hogwash. But I believe it without a doubt. I love music. In fact, any time I’m alone, or doing some sort of work that doesn’t require communicating with someone else, I’ve got a pair of headphones on, feeding my imagination with all sorts of aural images. This definitely affects how I feel.\r\n\r\nClassical music brings a sense of refinement and class. While modern, upbeat music makes me feel impulsive and bold. At home these feelings might not amount to much, but when you’re out shopping, your emotions can have a serious effect on what you buy.\r\n\r\nThis particular brand of market music used for influence is called “Muzak,” a term coined by General George Squires in 1920. As for how it works, it’s mostly a social tool, for making your targeted groups feel a certain way, gently steering them towards desired behaviors.\r\n\r\nIf you’re feeling \"refined and classy,\" you’re more likely to take an interest in higher-end items. Whereas feeling \"impulsive and bold\" could lead you to purchase products you didn’t <em>really </em>need, and probably didn’t come in for.\r\n\r\nOn the other hand, some music, and by extension some emotions, might actually make you buy less. Does it matter if it\'s underhanded manipulation or not? In the end it’s just another form of advertising.\r\n\r\nPersonally, I’m not too terribly bothered by the notion. Everything about a store is designed to subtly push you to buy more, or buy go for more expensive products. Attention and care is put into product placement, store layout, advertisements––so why not the sonic environment as well?\r\n\r\nI don’t believe retail companies are wrong for employing music as a selling technique. Especially since the whole idea of “Muzak“ is not an exact science. There’s no formula for what music will or won’t have an effect on a customer’s buying habits. It’s all guesstimates about what might work.\r\n\r\nAnd while some of us might object to the notion of persuasion against our will, I for one, would miss that ambient background music that makes every shopping trip a little bit more exciting.', 'Tricky Tunes: Subversion at its Finest?', '', 'inherit', 'closed', 'closed', '', '2448-autosave-v1', '', '', '2016-08-07 01:03:33', '2016-08-07 08:03:33', '', 2448, 'https://afm424.org/2448-autosave-v1/', 0, 'revision', '', 0);
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(2481, 6, '2016-08-02 19:56:22', '2016-08-03 02:56:22', 'When we think of manipulation, it’s usually a direct action: something a person is actively doing to influence and persuade someone else. Rarely do we think of it as some passive background noise that no one <em>really </em>pays attention to. But of course, that’s the most efficient kind of manipulation. The persuasion you don’t see, don’t think about, and that can get in deep.\r\n\r\nIf you ask someone whether music can manipulate them, they may scoff, believing such a notion is ridiculous. But if you ask that same person if music can affect their mood, they’ll likely say that it does. The irony is that affecting mood is manipulation, and that’s exactly why retail stores play music during their open hours.\r\n\r\nYou probably don\'t pay much attention to music that plays in stores, unless it is a song you recognize. That’s because many store music systems are designed that way; to provide ambient background music that seeks to orchestrate your mood without demanding too much of your attention. These tracks are selected on purpose to influence your buying habits––preferably in the direction of buying more of whatever that store is selling.\r\n\r\nDoes this smack of a marketing scam? A dirty trick to squeeze more money out of us?\r\n\r\nAccording to <a href=\"http://www.bbc.com/news/magazine-36424854\" target=\"_blank\">this BBC article</a>, Marks and Spencer is getting rid of in-store music entirely after considerable feedback from their employees and customers. They weren’t explicitly clear on why they made this decision. But it could be because some music choices can influence customers to actually buy less.\r\n\r\nSome people may believe this whole notion of musical manipulation is hogwash. But I believe it without a doubt. I love music. In fact, any time I’m alone, or doing some sort of work that doesn’t require communicating with someone else, I’ve got a pair of headphones on, feeding my imagination with all sorts of aural images. This definitely affects how I feel.\r\n\r\nClassical music brings a sense of refinement and class. While modern, upbeat music makes me feel impulsive and bold. At home these feelings might not amount to much, but when you’re out shopping, your emotions can have a serious effect on what you buy.\r\n\r\nThis particular brand of market music used for influence is called “Muzak,” a term coined by General George Squires in 1920. As for how it works, it’s mostly a social tool, for making your targeted groups feel a certain way, gently steering them towards desired behaviors.\r\n\r\nIf you’re feeling \"refined and classy,\" you’re more likely to take an interest in higher-end items. Whereas feeling \"impulsive and bold\" could lead you to purchase products you didn’t <em>really </em>need, and probably didn’t come in for.\r\n\r\nOn the other hand, some music, and by extension some emotions, might actually make you buy less. Does it matter if it\'s underhanded manipulation or not?  In the end it’s just another form of advertising.\r\n\r\nPersonally, I’m not too terribly bothered by the notion. Everything about a store is designed to subtly push you to buy more, or buy go for more expensive products. Care is put into product placement, store layout, advertisements…so why not music as well?\r\n\r\nI don’t believe retail companies are wrong for using music as a selling technique. Especially since the whole idea of “Muzak“ is not an exact science. There’s no formula for what music will or won’t have an effect on a customer’s buying habits. It’s all guesstimates about what might work.\r\n\r\nAnd while some of us might detest the notion of being persuaded against our will, I for one, would miss that ambient background music that makes every shopping trip a little bit more exciting.', 'Tricky Tunes: Subversion at its Finest', '', 'inherit', 'closed', 'closed', '', '2448-revision-v1', '', '', '2016-08-02 19:56:22', '2016-08-03 02:56:22', '', 2448, 'https://afm424.org/2448-revision-v1/', 0, 'revision', '', 0),
(2482, 6, '2016-08-02 20:16:45', '2016-08-03 03:16:45', 'When we think of manipulation, it’s usually a direct action: something a person is actively doing to influence and persuade someone else. Rarely do we think of it as some passive background noise that no one <em>really </em>pays attention to. But of course, that’s the most efficient kind of manipulation. The persuasion you don’t see, don’t think about, and that can get in deep.\r\n\r\nIf you ask someone whether music can manipulate them, they may scoff, believing such a notion is ridiculous. But if you ask that same person if music can affect their mood, they’ll likely say that it does. The irony is that affecting mood is manipulation, and that’s exactly why retail stores play music during their open hours.\r\n\r\nYou probably don\'t pay much attention to music that plays in stores, unless it is a song you recognize. That’s because many store music systems are designed that way; to provide ambient background music that seeks to orchestrate your mood without demanding too much of your attention. These tracks are selected on purpose to influence your buying habits––preferably in the direction of buying more of whatever that store is selling.\r\n\r\nDoes this smack of a marketing scam? A dirty trick to squeeze more money out of us?\r\n\r\nAccording to <a href=\"http://www.bbc.com/news/magazine-36424854\" target=\"_blank\">this BBC article</a>, Marks and Spencer is getting rid of in-store music entirely after considerable feedback from their employees and customers. They weren’t explicitly clear on why they made this decision. But it could be because some music choices can influence customers to actually buy less.\r\n\r\nSome people may believe this whole notion of musical manipulation is hogwash. But I believe it without a doubt. I love music. In fact, any time I’m alone, or doing some sort of work that doesn’t require communicating with someone else, I’ve got a pair of headphones on, feeding my imagination with all sorts of aural images. This definitely affects how I feel.\r\n\r\nClassical music brings a sense of refinement and class. While modern, upbeat music makes me feel impulsive and bold. At home these feelings might not amount to much, but when you’re out shopping, your emotions can have a serious effect on what you buy.\r\n\r\nThis particular brand of market music used for influence is called “Muzak,” a term coined by General George Squires in 1920. As for how it works, it’s mostly a social tool, for making your targeted groups feel a certain way, gently steering them towards desired behaviors.\r\n\r\nIf you’re feeling \"refined and classy,\" you’re more likely to take an interest in higher-end items. Whereas feeling \"impulsive and bold\" could lead you to purchase products you didn’t <em>really </em>need, and probably didn’t come in for.\r\n\r\nOn the other hand, some music, and by extension some emotions, might actually make you buy less. Does it matter if it\'s underhanded manipulation or not? In the end it’s just another form of advertising.\r\n\r\nPersonally, I’m not too terribly bothered by the notion. Everything about a store is designed to subtly push you to buy more, or buy go for more expensive products. Attention and care is put into product placement, store layout, advertisements––so why not the sonic environment as well?\r\n\r\nI don’t believe retail companies are wrong for employing music as a selling technique. Especially since the whole idea of “Muzak“ is not an exact science. There’s no formula for what music will or won’t have an effect on a customer’s buying habits. It’s all guesstimates about what might work.\r\n\r\nAnd while some of us might object to the notion of persuasion against our will, I for one, would miss that ambient background music that makes every shopping trip a little bit more exciting.', 'Tricky Tunes: Subversion at its Finest', '', 'inherit', 'closed', 'closed', '', '2448-revision-v1', '', '', '2016-08-02 20:16:45', '2016-08-03 03:16:45', '', 2448, 'https://afm424.org/2448-revision-v1/', 0, 'revision', '', 0),
(2483, 6, '2016-08-02 20:27:37', '2016-08-03 03:27:37', 'When we think of manipulation, it’s usually a direct action: something a person is actively doing to influence and persuade someone else. Rarely do we think of it as some passive background noise that no one <em>really </em>pays attention to. But of course, that’s the most efficient kind of manipulation. The persuasion you don’t see, don’t think about, and that can get in deep.\r\n\r\nIf you ask someone whether music can manipulate them, they may scoff, believing such a notion is ridiculous. But if you ask that same person if music can affect their mood, they’ll likely say that it does. The irony is that affecting mood is manipulation, and that’s exactly why retail stores play music during their open hours.\r\n\r\nYou probably don\'t pay much attention to music that plays in stores, unless it is a song you recognize. That’s because many store music systems are designed that way; to provide ambient background music that seeks to orchestrate your mood without demanding too much of your attention. These tracks are selected on purpose to influence your buying habits––preferably in the direction of buying more of whatever that store is selling.\r\n\r\nDoes this smack of a marketing scam? A dirty trick to squeeze more money out of us?\r\n\r\nAccording to <a href=\"http://www.bbc.com/news/magazine-36424854\" target=\"_blank\">this BBC article</a>, Marks and Spencer is getting rid of in-store music entirely after considerable feedback from their employees and customers. They weren’t explicitly clear on why they made this decision. But it could be because some music choices can influence customers to actually buy less.\r\n\r\nSome people may believe this whole notion of musical manipulation is hogwash. But I believe it without a doubt. I love music. In fact, any time I’m alone, or doing some sort of work that doesn’t require communicating with someone else, I’ve got a pair of headphones on, feeding my imagination with all sorts of aural images. This definitely affects how I feel.\r\n\r\nClassical music brings a sense of refinement and class. While modern, upbeat music makes me feel impulsive and bold. At home these feelings might not amount to much, but when you’re out shopping, your emotions can have a serious effect on what you buy.\r\n\r\nThis particular brand of market music used for influence is called “Muzak,” a term coined by General George Squires in 1920. As for how it works, it’s mostly a social tool, for making your targeted groups feel a certain way, gently steering them towards desired behaviors.\r\n\r\nIf you’re feeling \"refined and classy,\" you’re more likely to take an interest in higher-end items. Whereas feeling \"impulsive and bold\" could lead you to purchase products you didn’t <em>really </em>need, and probably didn’t come in for.\r\n\r\nOn the other hand, some music, and by extension some emotions, might actually make you buy less. Does it matter if it\'s underhanded manipulation or not? In the end it’s just another form of advertising.\r\n\r\nPersonally, I’m not too terribly bothered by the notion. Everything about a store is designed to subtly push you to buy more, or buy go for more expensive products. Attention and care is put into product placement, store layout, advertisements––so why not the sonic environment as well?\r\n\r\nI don’t believe retail companies are wrong for employing music as a selling technique. Especially since the whole idea of “Muzak“ is not an exact science. There’s no formula for what music will or won’t have an effect on a customer’s buying habits. It’s all guesstimates about what might work.\r\n\r\nAnd while some of us might object to the notion of persuasion against our will, I for one, would miss that ambient background music that makes every shopping trip a little bit more exciting.', 'Tricky Tunes: Subversion at its Finest?', '', 'inherit', 'closed', 'closed', '', '2448-revision-v1', '', '', '2016-08-02 20:27:37', '2016-08-03 03:27:37', '', 2448, 'https://afm424.org/2448-revision-v1/', 0, 'revision', '', 0),
(2484, 6, '2016-08-10 22:10:57', '2016-08-11 05:10:57', '<em>\"The prevailing trend of our time, it seems, is a disburdening of the past.\"</em> So states author Amanda Petrusich in her article in <a href=\"http://www.newyorker.com/culture/cultural-comment/why-record-stores-mattered\" target=\"_blank\">The New Yorker</a> about why record stores mattered. Her piece was prompted by the closure of a beloved neighborhood record shop, \"Other Music\" which lived its life in New York\'s scrappy East Village.\n\nAs time moves relentlessly forward, many relics of the past can be found hanging onto their place in society by ever-thinning strands, constantly in danger of breaking. Only later to be passionately revered in delicious waves of nostalgia ingested and savored like comfort food.\n\nMusic is a good barometer with which to gauge the pace of cultural change. As we dispense with outmoded musical notions and category distinctions, dividing music into \"record bin\" style categories is no longer necessary. Genre affiliation has blurred to the point where it\'s not all that surprising to see Radiohead, Beyoncé and Beethoven in the same playlist. What is considered \"good\" music is not only up for debate, but arguing the point is increasingly becoming less important.\n\nYet there was something endlessly fascinating and wondrously compelling about a trip to the local record store. The sheer variety of sounds and styles saw a mix of hipsters, teenyboppers, folkies, rockers, funkateers, jazzers, and snooty intellectuals––all sharing the rapture to be found in whatever type of music captivated them.\n\nMost people who opted to work as record shop employees were lovers of the art. aficionados who could suggest anything from jugband music to rhythm &amp; blues, from hip hop to classical, from rap to avant-garde electronica. They knew the quirks and idiosyncrasies of various artists, the best cover-version of a particular song, and could even suggest which label had the best sounding vinyl pressings.\n\nIn the sea of traditional record retailing Other Music was an exceptional island. It was not like Tower Records or Virgin Megastore (it outlasted both). It\'s eclectic selection of niche musical gems never failed to open the eyes (and ears) of any browsing customer. The uncommon and extraordinary could be found in every aisle, in every rack, in every bin. Talking with the ever-knowledgable clerks would bring new insights, new revelations.\n\nApart from losing these physical representations of musical art, the closing of Other Music speaks of a more tangible aspect of our new world.\n\nToday most people purchase their music online. Any questions concerning the music are usually addressed through a swift consultation with one\'s cell phone. No longer it is necessary to walk into a store that sells physical media. But also gone is engaging in a spark of unexpected, spontaneous conversation with a fellow music enthusiast about some new sounds that might be worth checking out.\n\nI can’t help feeling that we’ve lost something here; as the ritual of physically obtaining music from those that truly love it...is slowly disappearing.', 'Why Record Stores Were So Important', '\"The prevailing trend of our time, it seems, is a disburdening of the past.\"', 'inherit', 'closed', 'closed', '', '2451-autosave-v1', '', '', '2016-08-10 22:10:57', '2016-08-11 05:10:57', '', 2451, 'https://afm424.org/2451-autosave-v1/', 0, 'revision', '', 0),
(2488, 6, '2016-08-02 21:28:38', '2016-08-03 04:28:38', '', 'violin against the door', 'lifesized toy violin found leaning against an old door along an alley', 'inherit', 'open', 'closed', '', 'violin-against-the-door-2', '', '', '2016-08-02 21:28:38', '2016-08-03 04:28:38', '', 0, 'https://afm424.org/wp-content/uploads/2016/08/Violin-corner.jpg', 0, 'attachment', 'image/jpeg', 0),
(2489, 6, '2016-08-12 22:29:41', '2016-08-13 05:29:41', 'When you have a favorite band, you can’t help but want to know more about them. Usually finding out more means tuning into interviews where that band answers the questions the public wants to know. Questions about how they met, where their name came from, or what some of their cool stories are. These are the most common questions asked, according to <a href=\"http://www.digitalmusicnews.com/2016/06/09/top-7-interview-questions-bands-get-asked-answer/\" target=\"_blank\">Digital Music News</a>.\n\nWith any luck, we find most the answers to these questions intriguing and great conversation points. But to be honest: these response can often come across as scripted fiction. We’ve all done it. We have a story we think is fascinating––we start telling it to our friends, we realize \"this could be more dramatic if I just added a little something…”\n\nBut how much does this embellishment really matter? Should we feel betrayed that our music heroes exaggerate their tale a bit?\n\nIf one reaches the rarified stratosphere of becoming a cultural icon, this usually means having an interesting backstory ready, one that captivates people. Boring personas and mundane tales don’t quite resonate regarding legends and stars. We like our idols to have something compelling and captivating to tell our friends about. Of course, not every band has a riveting or glamorous story. So what do you do when you need more voltage in the circuit? You make it up. With the proper creative spark, an interesting tale can be spun.\n\nThe Digital Music News article is about this very notion of making life sound more thrilling, and enthralling, than it really is. The piece details not only seven questions commonly asked of bands, but also the best way to respond (and embellish) them.\n\nIs it a crime to change your story from, “I met my drummer in music class” to “we met during an ascent on Mount Everest?\" No, its definitely not the straight-up story. But it\'s way more entertaining than the naked truth.\n\nShow biz is just like politics. A politician\'s career relies on public opinion. It\'s usually imperative that the public like them. More often than not, this requires twisting and bending the truth to make the candidate sound more intriguing and impressive than they really are.\n\nOf course, unlike politics, the white lies of a band about their origins doesn\'t often undermine the integrity of the country––and they usually aren’t harmful to society.\n\nIt serves the function of making our idols look more attractive to us. Besides, how could we convince our friends how great our favorite band is of they all met at…y’know...<em>band camp?</em>', 'The 7 Questions Bands Always Get Asked (And What To Say When They Do)', '', 'inherit', 'closed', 'closed', '', '2454-autosave-v1', '', '', '2016-08-12 22:29:41', '2016-08-13 05:29:41', '', 2454, 'https://afm424.org/2454-autosave-v1/', 0, 'revision', '', 0),
(2490, 6, '2016-08-02 21:54:09', '2016-08-03 04:54:09', 'When you have a favorite band, you can’t help but want to know more about them. Usually finding out more means tuning into interviews where that band answers the questions the public wants to know. Questions about how they met, where their name came from, or what some of their cool stories are. These are the most common questions asked, according to <a href=\"http://www.digitalmusicnews.com/2016/06/09/top-7-interview-questions-bands-get-asked-answer/\" target=\"_blank\">Digital Music News</a>.\r\n\r\nWith any luck, we find most the answers to these questions intriguing and great conversation points. But to be honest: a lot of it comes across as scripted fiction. We’ve all done it. We have a story we think is fascinating––we start telling it to our friends, we realize \"this could be more dramatic if I just added a little something…”\r\n\r\nBut how much does this embellishment really matter? Should we feel betrayed that our music heroes exaggerate their tale a bit? I don’t think so.\r\n\r\nIf one reaches the rarified stratosphere of becoming a cultural icon, this usually means having an interesting backstory that captivates people. Boring personas and mundane tales don’t quite resonate regarding legends and stars. We like for our idols to have something compelling and captivating to tell our friends about. But not every band has a riveting or glamorous story. So what do you do when you need more voltage in the circuit? You make it up. With the proper creative spark, an interesting tale can be spun.\r\n\r\nDigital Music News\' article is about this very notion of making life sound more thrilling, and enthralling, than it really is. The piece details not only seven questions commonly asked of bands, but also the best way to embellish them.\r\n\r\nIs it a crime to change your story from, “I met my drummer in music class” to “we met when some guy lost his arm in an industrial accident?” No, its definitely not the straight-up truth. But way more entertaining than the naked truth.\r\n\r\nIt’s just like politics. A politician\'s career relies on public opinion. It\'s usually imperative  that the public like them. So, more often than not, this means twisting and bending the truth to make the candidate sound more intriguing and impressive than they really are.\r\n\r\nOf course, unlike politics, the little white lies of a band about their origins don\'t often undermine the integrity of the country––and they usually aren’t harmful to society.\r\n\r\nIt serves the function of making our idols look more attractive to us. Besides, how could we convince our friends how great our favorite band is they all met at…y’know...band camp?', 'This One Time, at Band Camp…', '', 'inherit', 'closed', 'closed', '', '2454-revision-v1', '', '', '2016-08-02 21:54:09', '2016-08-03 04:54:09', '', 2454, 'https://afm424.org/2454-revision-v1/', 0, 'revision', '', 0),
(2495, 6, '2016-08-02 22:43:57', '2016-08-03 05:43:57', 'If there’s one thing society has been hell-bent on doing since time immemorial, it’s copying their heroes. When someone does something amazing, everyone who is captivated by them likes to tell themselves <em>“Hey, I can do that too.”</em>\n\nThe same goes for music. Karaoke has become hugely popular, as well as covers of popular songs. And apparently MTV thinks so as well, if <a href=\"http://www.mtv.com/news/2890505/%e2%80%8bwe-are-all-stars-how-cover-culture-has-saturated-our-lives/\" target=\"_blank\">their recent article</a> has anything to say about the phenomenon.\n\nAccording to MTV, lip-synching, karaoke, and cover art is all immensely popular with the public right now. I do listen to a fair number of music covers But not out of some misguided notion that I need to hear my favorite artist copied. I may prefer the voice or musical touch of the cover artist more than the original.\n\n&nbsp;\n\nAs for karaoke and lip-synch, I’ve never been too keen on either, but neither did I think it was that popular for music lovers. I can’t even think of a well-known karaoke bar, and even driving around large cities with countless different establishments, karaoke bars are few and far between, not to mention rarely crowded. For lip-synching, I personally can’t see the appeal in it, though, as MTV’s article said, there are a number of apps and shows that revolve entirely around it.\n\n&nbsp;\n\nPerhaps these forms of musical imitation may be crowding the industry and the art form a bit, I don’t see this as a necessarily bad addition. I personally enjoy music covers. And while I may not find enjoyment in karaoke myself, I think it’s fantastic that groups of friends get together and enjoy themselves with a night of musical fun.\n\nThe question remains though: <em>why are people so obsessed with copying others?</em>\n\nIs it because they idolize a certain artist so much, they want to try and be them? Is is because imitation is a sort of pseudo-success? Is it attaching oneself to an accomplishment that seeks to prove something without having put a ton of effort into it? It feels good to accomplish something, but many accomplishments take a considerable time and effort. With covers, karaoke, and lip-synch, you can \"get there\" without having to do it all from scratch.\n\nWith these imitation forms, you can prove that you can sing, or play an instrument, and that you, too can temporarily become an \"idol\" without having to go through all of the hassle of actually being one.\n\nDoes that mean it’s all a pointless exercise that amounts to nothing?\n\nThough these musical \"gains\" may not be monetary or tangible, they can make you feel good about yourself. Or just plan happy. Isn’t it still worth your time?\n\nCopying your idols may not produce anything you can make a decent dime with, but so long as it satisfies society’s desire to imitate their heroes while doing no real harm to the art form, I see no reason to condemn the ose imitations that people love so much.', 'Copycat Culture: Imitating your Idols', '', 'inherit', 'closed', 'closed', '', '2460-autosave-v1', '', '', '2016-08-02 22:43:57', '2016-08-03 05:43:57', '', 2460, 'https://afm424.org/2460-autosave-v1/', 0, 'revision', '', 0),
(2496, 6, '2016-08-02 22:44:16', '2016-08-03 05:44:16', 'If there’s one thing society has been hell-bent on doing since time immemorial, it’s copying their heroes. When someone does something amazing, everyone who is captivated by them likes to tell themselves <em>“Hey, I can do that too.”</em>\r\n\r\nThe same goes for music. Karaoke has become hugely popular, as well as covers of popular songs. And apparently MTV thinks so as well, if <a href=\"http://www.mtv.com/news/2890505/%e2%80%8bwe-are-all-stars-how-cover-culture-has-saturated-our-lives/\" target=\"_blank\">their recent article</a> has anything to say about the phenomenon.\r\n\r\nAccording to MTV, lip-synching, karaoke, and cover art is all immensely popular with the public right now. I do listen to a fair number of music covers But not out of some misguided notion that I need to hear my favorite artist copied. I may prefer the voice or musical touch of the cover artist more than the original.\r\n\r\n&nbsp;\r\n\r\nAs for karaoke and lip-synch, I’ve never been too keen on either, but neither did I think it was that popular for music lovers. I can’t even think of a well-known karaoke bar, and even driving around large cities with countless different establishments, karaoke bars are few and far between, not to mention rarely crowded. For lip-synching, I personally can’t see the appeal in it, though, as MTV’s article said, there are a number of apps and shows that revolve entirely around it.\r\n\r\n&nbsp;\r\n\r\nPerhaps these forms of musical imitation may be crowding the industry and the art form a bit, I don’t see this as a necessarily bad addition. I personally enjoy music covers. And while I may not find enjoyment in karaoke myself, I think it’s fantastic that groups of friends get together and enjoy themselves with a night of musical fun.\r\n\r\nThe question remains though: <em>why are people so obsessed with copying others?</em>\r\n\r\nIs it because they idolize a certain artist so much, they want to try and be them? Is is because imitation is a sort of pseudo-success? Is it attaching oneself to an accomplishment that seeks to prove something without having put a ton of effort into it? It feels good to accomplish something, but many accomplishments take a considerable time and effort. With covers, karaoke, and lip-synch, you can \"get there\" without having to do it all from scratch.\r\n\r\nWith these imitation forms, you can prove that you can sing, or play an instrument, and that you, too can temporarily become an \"idol\" without having to go through all of the hassle of actually being one.\r\n\r\nDoes that mean it’s all a pointless exercise that amounts to nothing?\r\n\r\nThough these musical \"gains\" may not be monetary or tangible, they can make you feel good about yourself. Or just plan happy. Isn’t it still worth your time?\r\n\r\nCopying your idols may not produce anything you can make a decent dime with, but so long as it satisfies society’s desire to imitate their heroes while doing no real harm to the art form, I see no reason to condemn these fantasies that people love so much.', 'Copycat Culture: Imitating your Idols', '', 'inherit', 'closed', 'closed', '', '2460-revision-v1', '', '', '2016-08-02 22:44:16', '2016-08-03 05:44:16', '', 2460, 'https://afm424.org/2460-revision-v1/', 0, 'revision', '', 0),
(2497, 6, '2016-08-02 23:53:33', '2016-08-03 06:53:33', '', 'Jazz Musicians-yellow', '', 'inherit', 'open', 'closed', '', 'jazz-musicians-yellow-2', '', '', '2016-08-02 23:53:33', '2016-08-03 06:53:33', '', 2457, 'https://afm424.org/wp-content/uploads/2016/08/Jazz-Musicians-yellow.jpg', 0, 'attachment', 'image/jpeg', 0),
(2499, 6, '2016-08-03 20:41:03', '2016-08-04 03:41:03', 'When you have a favorite band, you can’t help but want to know more about them. Usually finding out more means tuning into interviews where that band answers the questions the public wants to know. Questions about how they met, where their name came from, or what some of their cool stories are. These are the most common questions asked, according to <a href=\"http://www.digitalmusicnews.com/2016/06/09/top-7-interview-questions-bands-get-asked-answer/\" target=\"_blank\">Digital Music News</a>.\r\n\r\nWith any luck, we find most the answers to these questions intriguing and great conversation points. But to be honest: a lot of it comes across as scripted fiction. We’ve all done it. We have a story we think is fascinating––we start telling it to our friends, we realize \"this could be more dramatic if I just added a little something…”\r\n\r\nBut how much does this embellishment really matter? Should we feel betrayed that our music heroes exaggerate their tale a bit? I don’t think so.\r\n\r\nIf one reaches the rarified stratosphere of becoming a cultural icon, this usually means having an interesting backstory that captivates people. Boring personas and mundane tales don’t quite resonate regarding legends and stars. We like for our idols to have something compelling and captivating to tell our friends about. But not every band has a riveting or glamorous story. So what do you do when you need more voltage in the circuit? You make it up. With the proper creative spark, an interesting tale can be spun.\r\n\r\nDigital Music News\' article is about this very notion of making life sound more thrilling, and enthralling, than it really is. The piece details not only seven questions commonly asked of bands, but also the best way to embellish them.\r\n\r\nIs it a crime to change your story from, “I met my drummer in music class” to “we met when some guy lost his arm in an industrial accident?” No, its definitely not the straight-up truth. But way more entertaining than the naked truth.\r\n\r\nIt’s just like politics. A politician\'s career relies on public opinion. It\'s usually imperative  that the public like them. So, more often than not, this means twisting and bending the truth to make the candidate sound more intriguing and impressive than they really are.\r\n\r\nOf course, unlike politics, the little white lies of a band about their origins don\'t often undermine the integrity of the country––and they usually aren’t harmful to society.\r\n\r\nIt serves the function of making our idols look more attractive to us. Besides, how could we convince our friends how great our favorite band is they all met at…y’know...band camp?', 'This 7 Questions Bands Always Get Asked (And What To Say When They Do)', '', 'inherit', 'closed', 'closed', '', '2454-revision-v1', '', '', '2016-08-03 20:41:03', '2016-08-04 03:41:03', '', 2454, 'https://afm424.org/2454-revision-v1/', 0, 'revision', '', 0),
(2500, 6, '2016-08-03 20:49:28', '2016-08-04 03:49:28', 'When you have a favorite band, you can’t help but want to know more about them. Usually finding out more means tuning into interviews where that band answers the questions the public wants to know. Questions about how they met, where their name came from, or what some of their cool stories are. These are the most common questions asked, according to <a href=\"http://www.digitalmusicnews.com/2016/06/09/top-7-interview-questions-bands-get-asked-answer/\" target=\"_blank\">Digital Music News</a>.\r\n\r\nWith any luck, we find most the answers to these questions intriguing and great conversation points. But to be honest: these response can often come across as scripted fiction. We’ve all done it. We have a story we think is fascinating––we start telling it to our friends, we realize \"this could be more dramatic if I just added a little something…”\r\n\r\nBut how much does this embellishment really matter? Should we feel betrayed that our music heroes exaggerate their tale a bit?\r\n\r\nIf one reaches the rarified stratosphere of becoming a cultural icon, this usually means having an interesting backstory ready, one that captivates people. Boring personas and mundane tales don’t quite resonate regarding legends and stars. We like our idols to have something compelling and captivating to tell our friends about. Of course, not every band has a riveting or glamorous story. So what do you do when you need more voltage in the circuit? You make it up. With the proper creative spark, an interesting tale can be spun.\r\n\r\nThe Digital Music News article is about this very notion of making life sound more thrilling, and enthralling, than it really is. The piece details not only seven questions commonly asked of bands, but also the best way to respond (and embellish) them.\r\n\r\nIs it a crime to change your story from, “I met my drummer in music class” to “we met during an ascent on Mount Everest?\" No, its definitely not the straight-up story. But it\'s way more entertaining than the naked truth.\r\n\r\nShow biz is just like politics. A politician\'s career relies on public opinion. It\'s usually imperative that the public like them. More often than not, this requires twisting and bending the truth to make the candidate sound more intriguing and impressive than they really are.\r\n\r\nOf course, unlike politics, the white lies of a band about their origins doesn\'t often undermine the integrity of the country––and they usually aren’t harmful to society.\r\n\r\nIt serves the function of making our idols look more attractive to us. Besides, how could we convince our friends how great our favorite band is they all met at…y’know...<em>band camp?</em>', 'This 7 Questions Bands Always Get Asked (And What To Say When They Do)', '', 'inherit', 'closed', 'closed', '', '2454-revision-v1', '', '', '2016-08-03 20:49:28', '2016-08-04 03:49:28', '', 2454, 'https://afm424.org/2454-revision-v1/', 0, 'revision', '', 0),
(2501, 6, '2016-08-03 20:52:38', '2016-08-04 03:52:38', 'Every pop music enthusiast looks with melancholy at the music shelf where albums of favorite artists, gathered with care in the good old days, sit aligned in a precise order. The days in which you anxiously waited for a particular album to be released so you can get it are long gone.\r\n\r\nOr are they?\r\n\r\nSomething extremely interesting is happening in the music industry regarding when it comes to the release of albums.  The pop album may not be what it once was, but it may not be dead either.\r\n\r\nWith the development of the digital era and audio streaming services, pop albums became an endangered species.\r\n\r\nToday you don’t have to wait for a whole year to enjoy a new song from your favorite artist, because you can find newly released material throughout the year on websites like YouTube and Spotify.\r\n\r\nYou can create online personalized playlists, where you can save your faves songs, and have limitless hard drive space to do so. These programs are trying to be smart, anticipating what they think you may like, and making suggestions to help you expand and enrich your playlist. With so many features now available on streaming websites, why should artists work so hard on releasing albums, when they can simply put a song out in a matter of minutes?\r\n\r\n<a href=\"http://blog.thirdbridgecreative.com/2016/07/the-long-play/\" target=\"_blank\">Some music execs even advise</a> that pop stars stop releasing any kind of album at all––because they could use the extra time to be creative. And then release their music solely in the digital domain. There are a handful of artists, like Justin Bieber and Taylor Swift, who remain loyal to the more traditional methodology of releasing singles along with albums.\r\n\r\nHowever, something has emerged, that proves that albums are still appreciated and important in the evolution of an artist.\r\n\r\nA number of established artists have released albums that were extremely well-prepared, (\"statement albums\" as they may be called) which also have the possibility of being distributed with the aid of digital technology. Beyonce, Drake, Rihanna, and Kanye are just a few names that are worth being mentioned on this list. Of course, they still release singles as well, but they also invest time and effort into creating consistent work, which represents them in the best way possible, and presenting it album format.\r\n\r\nThese artists have managed to show that the pop album is not only appreciated, but also very much alive and still kicking.\r\n\r\nFew predicted such an emergence would happen, believing that the newer technology will change everything.\r\n\r\nYes, a lot of things did change. But an artifact that was of great importance in the music industry has managed to survive, finding ways to adapt to the rules of the New Game.\r\n\r\n&nbsp;', 'The Pop Album: Is it Dead?', '', 'inherit', 'closed', 'closed', '', '2468-revision-v1', '', '', '2016-08-03 20:52:38', '2016-08-04 03:52:38', '', 2468, 'https://afm424.org/2468-revision-v1/', 0, 'revision', '', 0),
(2503, 6, '2016-08-03 21:05:11', '2016-08-04 04:05:11', '', 'Record store 1', '', 'inherit', 'open', 'closed', '', 'record-store-1', '', '', '2016-08-03 21:05:11', '2016-08-04 04:05:11', '', 0, 'https://afm424.org/wp-content/uploads/2016/08/Record-store-1.jpg', 0, 'attachment', 'image/jpeg', 0),
(2508, 6, '2016-08-29 10:56:36', '2016-08-29 17:56:36', 'Thinking about sending a song to a publisher or a record company? Then you\'ll want to make sure that you do everything possible to increase your chances of landing a placement. The following 10 tips will help by making sure that you have the best shot possible at being successful.\r\n<ol>\r\n 	<li><strong>Mix it right, without mastering</strong></li>\r\n</ol>\r\nYou may believe that showing your mastering skills will help you stay ahead of the competition, but is it really so? In reality, you don’t necessarily have to do any mastering. Just make sure your song is mixed right. Why? This leaves the door open to the possibility of the client adding additional tracks. The song can always be mastered down the road.\r\n<ol start=\"2\">\r\n 	<li><strong>Don’t forget about contact details</strong></li>\r\n</ol>\r\nYour track should include metadata with your contact information. Add your phone number next to the \"Produced By\" tag. If you use iTunes to edit your metadata, include e-mail and social network info.\r\n<ol start=\"3\">\r\n 	<li><strong>Put a label on the key</strong></li>\r\n</ol>\r\nIf you really want to be thorough and make yourself easy to contact, label the key following your phone number. Example: Troll Paradise (Produced By Hot Spoons Productions) (415) 841-7670 (Am).\r\n<ol start=\"4\">\r\n 	<li><strong>Include the Performing Rights Organization</strong></li>\r\n</ol>\r\nThis should be included in the metadata summary in iTunes, BMI, SESAC, or ASCAP.\r\n\r\n5.<strong>  Hook references for the songs</strong>\r\n\r\nFor songs with reference hooks, include the contact info for the singer, include an instrumental version, and include a written copy of the hook.\r\n<ol start=\"6\">\r\n 	<li><strong>Offer a professional DJ pack</strong></li>\r\n</ol>\r\nWhat\'s a DJ pak? It should include a clean and a dirty version of the song, an a cappella version,  the instrumental version and (if needed) a \"DJ Intro\" (8 bars) for both the clean and dirty tracks.\r\n<ol start=\"7\">\r\n 	<li><strong>Make sure your songs have titles</strong></li>\r\n</ol>\r\nNever send a song titled “track 1” or “track 2”. Find a strong title that conveys the message of your song. This will help the artist gain more insight into your vision of the song. It also shows that you care about your work.\r\n<ol start=\"8\">\r\n 	<li><strong>Pay attention to song structure</strong></li>\r\n</ol>\r\nThe intro, hook, verse, bridge, and outro, should all be distinct sections with easily countable bars––8, 16 and 32.\r\n<ol start=\"9\">\r\n 	<li><strong>Start the track with a tag</strong></li>\r\n</ol>\r\nYour tag should appear at the beginning of the track. It\'s not necessary to remind the listener of who owns the copyright.\r\n<ol start=\"10\">\r\n 	<li><strong>Include the contact of the studio</strong></li>\r\n</ol>\r\nIf you recorded the song in a studio, include their contact info. They may need to be contacted regarding stems. It may also give the studio additional business, which they\'ll appreciate––and it will make you look good.', '10 Things You Should Do Before Sending a Song', '', 'publish', 'open', 'closed', '', '10-things-before-sending-a-song', '', '', '2016-09-01 22:54:05', '2016-09-02 05:54:05', '', 0, 'https://afm424.org/?p=2508', 0, 'post', '', 0),
(2510, 6, '2016-08-24 10:59:40', '2016-08-24 17:59:40', 'Since the 1950s, jazz has been a genre of music that was much appreciated, but usually relegated to a niche audience––those who were capable of understanding this often complex style.\r\n\r\nThe good news is that jazz is enjoying a major comeback. With increased public demand comes a palpable expansion of the New York jazz scene.\r\n\r\nHowever, this doesn’t mean that NY jazz musicians will start having an easier life.\r\n\r\nJazz training  has gone from the homegrown \"learning on the gig\" of the 20s and 30s to an acceptable subject to be taught in music schools. But to attend a decent music school, you need the funds to pay for it. Today’s jazz musicians are afraid that only the children with money will have the privilege of attending such schools.\r\n\r\nSo, let’s say you\'ve invested a lot of energy, money and practice room time in getting a good musical education. You believe you can have an edge on becoming a successful musician. What\'s next?\r\n\r\nIf you think the hard work is done, you\'re wrong.\r\n\r\nA young jazz musician must work even harder to prove that he/she has the skills needed to dazzle audiences or even other players.\r\n\r\nWhen getting started, it doesn’t matter where you play, as long as you keep playing.\r\n\r\nThis can be in a small café where it\'s \"pass the hat,\" a free church performance, or even regularly sitting in at the local jazz club.\r\n\r\nIn the best case scenario, your name will start to resonate only in the ears of the connoisseurs. Meanwhile, you will struggle to find a band to play together and even strive to record your own creations in a studio. If your reputation improves well enough, you may even start teaching music classes. So, the life of a jazz musician is far from being careless and paved with success. In this domain, success has a price, which needs to be paid constantly.\r\n\r\nRead <a href=\"http://www.villagevoice.com/music/almost-famous-almost-broke-how-does-a-jazz-musician-make-it-in-new-york-now-8768844\">this article</a> for a fascinating peek into the world of a New York jazz musician.\r\n\r\nBy now, it is more than obvious that you need to be passionate about playing jazz to start on this road. It will not get easier, at least not in the near future, so you have to be ready not to complain. If you are looking for fame and fortune, this is not the right path for you. Jazz musicians do the contrary of Taylor Swift and Justin Bieber, so if you want to have their success, you are heading in the wrong direction. Jazz is a stunning music genre, but it is not the type of music radios will play, as it is not understood and digested by the masses.', 'The Struggle For Survival of New York’s Jazz Musicians', '', 'draft', 'open', 'closed', '', 'struggle-survival-new-yorks-jazz-musicians', '', '', '2016-08-09 05:44:33', '2016-08-09 12:44:33', '', 0, 'https://afm424.org/?p=2510', 0, 'post', '', 0),
(2511, 4, '2016-08-04 08:01:05', '2016-08-04 15:01:05', '', 'pexels-photo (4)', '', 'inherit', 'open', 'closed', '', 'pexels-photo-4', '', '', '2016-08-04 08:01:05', '2016-08-04 15:01:05', '', 2510, 'https://afm424.org/wp-content/uploads/2016/08/pexels-photo-4.jpg', 0, 'attachment', 'image/jpeg', 0),
(2512, 4, '2016-08-04 08:01:32', '2016-08-04 15:01:32', 'Jazz has always been a genre of music that was much appreciated, but also addressing to a particular niche of listeners, who were capable of understanding this music and appreciated its sounds. It is true that jazz is enjoying a major comeback, the New York scene for such type of music increasing, together with the public’s interest for it, but this doesn’t mean that jazz musicians will start having a better life. A jazz musician will, by far, be extremely appreciated in the niche, but will be far from being a famous artist and enjoy the fortune that comes along.\r\n\r\nThe fact that a jazz artist is far from being rich even after working hard to emerge from the shadows into the light comes in contradiction with the fact that a jazz school is quite expensive. If other artists in the music industry can make it without following the courses of a music school in particular, if you want to play jazz you won’t be able to do it any other way. You need the school, but you also need the funds for it, which do not consist in insignificant amounts of money. In fact, today’s jazz musicians are afraid that only the children with money will have the privilege of attending such schools, if the situation doesn’t improve. So, let’s say you invested a lot in education, so you can have what it takes to become an appreciated musician, but what’s next?\r\n\r\nIf you think the hard work is done, you are wrong. A young jazz musician must work even harder to prove that he or she has the skills needed to appear at live events. It doesn’t matter where you play, as long as you manage to do so. It can be a small café, where people raise funds in any way they can to pay your performance, it can be a church performance, and, in time, you can even have the chance to play in large venues and tours. In the best case scenario, your name will start to resonate only in the ears of the connoisseurs. Meanwhile, you will struggle to find a band to play together and even strive to record your own creations in a studio. If your reputation improves well enough, you may even start teaching music classes. So, the life of a jazz musician is far from being careless and paved with success. In this domain, success has a price, which needs to be paid constantly.\r\n\r\nBy now, it is more than obvious that you need to be passionate about playing jazz to start on this road. It will not get easier, at least not in the near future, so you have to be ready not to complain. If you are looking for fame and fortune, this is not the right path for you. Jazz musicians do the contrary of Taylor Swift and Justin Bieber, so if you want to have their success, you are heading in the wrong direction. Jazz is a stunning music genre, but it is not the type of music radios will play, as it is not understood and digested by the masses.', 'The Struggle For Survival of New York’s Jazz Musicians', '', 'inherit', 'closed', 'closed', '', '2510-revision-v1', '', '', '2016-08-04 08:01:32', '2016-08-04 15:01:32', '', 2510, 'https://afm424.org/2510-revision-v1/', 0, 'revision', '', 0),
(2513, 6, '2016-08-04 13:02:23', '2016-08-04 20:02:23', '', 'Loud music_72dpi_small', '', 'inherit', 'open', 'closed', '', 'loud-music_72dpi_small', '', '', '2016-08-04 13:02:23', '2016-08-04 20:02:23', '', 0, 'https://afm424.org/wp-content/uploads/2016/08/Loud-music_72dpi_small.jpg', 0, 'attachment', 'image/jpeg', 0),
(2514, 6, '2016-08-04 13:02:41', '2016-08-04 20:02:41', '', 'Loud music_72dpi', '', 'inherit', 'open', 'closed', '', 'loud-music_72dpi', '', '', '2016-08-04 13:02:41', '2016-08-04 20:02:41', '', 0, 'https://afm424.org/wp-content/uploads/2016/08/Loud-music_72dpi.jpg', 0, 'attachment', 'image/jpeg', 0),
(2533, 6, '2016-08-05 22:33:32', '2016-08-06 05:33:32', '', 'Jazz Trio_reduced', '', 'inherit', 'open', 'closed', '', 'jazz-trio_reduced', '', '', '2016-08-05 22:33:32', '2016-08-06 05:33:32', '', 0, 'https://afm424.org/wp-content/uploads/2016/08/Jazz-Trio_reduced.jpg', 0, 'attachment', 'image/jpeg', 0);
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(2534, 6, '2016-08-08 00:29:25', '2016-08-08 07:29:25', 'Downloading our favorite music was, and still is to some degree, an activity that ensures the music we love will always be available. But download sites are slowly disappearing. iTunes, the heavyweight in the field, is not as popular as it once was. Today, 13 years after its launch in 2003, it\'s increasingly becoming an outmoded model for music distribution.\r\n\r\nIn 2000, there was a seismic shift in the music industry––when music went from being physical to being digital. Now, downloads are being replaced by massive audio streaming services, which offer monthly subscription plans to their customers. Soon we might not be able to download music anymore. There are predictions that the whole concept of music downloading will last only 4 more years, at most.\r\n\r\nWhat\'s causing this change? Since 2012, music streaming revenue has grown consistently with every passing year. In 2012 and 2013 revenue from streaming was below downloading. But in 2014, streams exceeded downloads for the first time, setting a new trend in the music industry. This year the download decline is continuing, resulting in an even larger gap between downloading and streaming.\r\n\r\nIf iTunes goes down, Apple Music (Apple\'s streaming service) could still thrive in its wake, taking over where iTunes left off. Current predictions state that Apple Music will become 10 times bigger than iTunes. If you\'d like more info from Apple on how their streaming service will evolve, <a href=\"http://qz.com/679071/music-downloads-may-only-have-about-four-years-left/\">read this</a>.\r\n\r\nNew technology always brings about new trends. Why download and store music when you can listen whenever you want, and whatever you want, by using streaming services?\r\n\r\nHowever, transitioning from iTunes to Apple Music is not the smoothest of operations. iTunes users are complaining that it\'s a hassle to move from iTunes to Apple Music––that it\'s difficult and time consuming, And there seems to be a risk of losing some of your personal files in the process. This can be frustrating, considering that you\'re not changing the service provider, just the service.\r\n\r\nIf you\'re a longtime iTunes user, keep your eyes (and ears) open to what transpires in the near future. There will be change, that much is for certain. If you already prefer Apple Music, then you are part of the population that is ahead of the curve.', 'The Era of Music Downloads May End Soon', '', 'inherit', 'closed', 'closed', '', '2316-revision-v1', '', '', '2016-08-08 00:29:25', '2016-08-08 07:29:25', '', 2316, 'https://afm424.org/2316-revision-v1/', 0, 'revision', '', 0),
(2535, 6, '2016-08-08 00:31:30', '2016-08-08 07:31:30', 'Downloading our favorite music was, and still is to some degree, an activity that ensures the music we love will always be available. But download sites are slowly disappearing. iTunes, the heavyweight in the field, is not as popular as it once was. Today, 13 years after its launch in 2003, it\'s increasingly becoming an outmoded model for music distribution.\r\n\r\nIn 2000, there was a seismic shift in the music industry––when music went from being physical to being digital. Now, downloads are being replaced by massive audio streaming services, which offer monthly subscription plans to their customers. Soon we might not be able to download music anymore. There are predictions that the whole concept of music downloading will last only 4 more years, at most.\r\n\r\nWhat\'s causing this change? Since 2012, music streaming revenue has grown consistently with every passing year. In 2012 and 2013 revenue from streaming was below downloading. But in 2014, streams exceeded downloads for the first time, setting a new trend in the music industry. This year the download decline is continuing, resulting in an even larger gap between downloading and streaming.\r\n\r\nIf iTunes goes down, Apple Music (Apple\'s streaming service) could thrive in its wake, taking over where iTunes left off. Current predictions state that Apple Music will become 10 times bigger than iTunes. If you\'d like more info from Apple on how their streaming service will evolve, <a href=\"http://qz.com/679071/music-downloads-may-only-have-about-four-years-left/\">read this</a>.\r\n\r\nNew technology always brings about new trends. Why download and store music when you can listen whenever you want, and whatever you want, by using streaming services?\r\n\r\nHowever, transitioning from iTunes to Apple Music is not the smoothest of operations. iTunes users are complaining that it\'s a hassle to move from iTunes to Apple Music––that it\'s difficult and time consuming, And there seems to be a risk of losing some of your personal files in the process. This can be frustrating, considering that you\'re not changing the service provider, just the service.\r\n\r\nIf you\'re a longtime iTunes user, keep your eyes (and ears) open to what transpires in the near future. There will be change, that much is for certain. If you already prefer Apple Music, then you are part of the population that is ahead of the curve.', 'The Era of Music Downloads May End Soon', '', 'inherit', 'closed', 'closed', '', '2316-revision-v1', '', '', '2016-08-08 00:31:30', '2016-08-08 07:31:30', '', 2316, 'https://afm424.org/2316-revision-v1/', 0, 'revision', '', 0),
(2536, 6, '2016-08-08 00:32:49', '2016-08-08 07:32:49', 'Downloading our favorite music was, and still is to some degree, an activity that ensures the music we love will always be available. But download sites are slowly disappearing. iTunes, the heavyweight in the field, is not as popular as it once was. Today, 13 years after its launch in 2003, it\'s increasingly becoming an outmoded model for music distribution.\r\n\r\nIn 2000, there was a seismic shift in the music industry––when music went from being physical to being digital. Now, downloads are being replaced by massive audio streaming services, which offer monthly subscription plans to their customers. Soon we might not be able to download music anymore. There are predictions that the whole concept of music downloading will last only 4 more years, at most.\r\n\r\nWhat\'s causing this change? Since 2012, music streaming revenue has grown consistently with every passing year. In 2012 and 2013 revenue from streaming was below downloading. But in 2014, streams exceeded downloads for the first time, setting a new trend in the music industry. This year the download decline is continuing, resulting in an even larger gap between downloading and streaming.\r\n\r\nIf iTunes goes down, Apple Music (Apple\'s streaming service) could thrive in its wake, taking over where iTunes left off. Current predictions state that Apple Music will become 10 times bigger than iTunes. If you\'d like more info from Apple on how their streaming service will evolve, <a href=\"http://qz.com/679071/music-downloads-may-only-have-about-four-years-left/\">read this</a>.\r\n\r\nNew technology always brings about new trends. Why download and store music when you can listen to whatever you want, whenever you want, by using streaming services?\r\n\r\nHowever, transitioning from iTunes to Apple Music is not the smoothest of operations. iTunes users are complaining that it\'s a hassle to move from iTunes to Apple Music––that it\'s difficult and time consuming, And there seems to be a risk of losing some of your personal files in the process. This can be frustrating, considering that you\'re not changing the service provider, just the service.\r\n\r\nIf you\'re a longtime iTunes user, keep your eyes (and ears) open to what transpires in the near future. There will be change, that much is for certain. If you already prefer Apple Music, then you are part of the population that is ahead of the curve.', 'The Era of Music Downloads May End Soon', '', 'inherit', 'closed', 'closed', '', '2316-revision-v1', '', '', '2016-08-08 00:32:49', '2016-08-08 07:32:49', '', 2316, 'https://afm424.org/2316-revision-v1/', 0, 'revision', '', 0),
(2538, 6, '2016-08-26 11:33:40', '2016-08-26 18:33:40', 'When it comes to session musicians, there are plenty out there that are good at what they do.\r\n\r\nAnd we all know there\'s a difference in an amateur and a pro. Before diving into that, it’s important to acknowledge that the word “amateur” doesn’t necessarily denote a poor musician. Technically speaking, anyone who isn’t a professional is considered an amateur. A musical prodigy with amazing talent is still an amateur if he/she decided to do something else with their professional lives.\r\n\r\nBut for those amateur session musicians who do want to make it big with their love of music, you have to take it up to the next level to hit pro status. There are certain attributes that separate the pros from the amateurs, and <a href=\"http://blog.sonicbids.com/5-musical-attributes-that-separate-pro-session-musicians-from-amateurs\" target=\"_blank\">Sonicbids Blog</a> is looking to share the secret with an article that tells us just what those attributes are.\r\n\r\nIf you were expecting some sort of underhanded or obscure secret to carry you to fame, you’ll be disappointed to learn that these qualities aren’t anything like that. In fact, most of it is stuff you would expect pro musicians to be capable of in the first place, but sometimes knowing exactly what they are helps you make sure you can get them down pat before heading out for fame and glory.\r\n\r\nThe first attribute mentioned is your control and feel for time. This means having complete command over your ability to play in accordance with rhythm, though not always directly on the beat. You should be able to play ahead or behind of beats as well, and on command from a producer. Sounds like common knowledge, but like most simple concepts, it’s probably difficult to master.\r\n\r\nThe second attribute is something you would think obvious in any situation: bring the right gear! Obviously you should always show up to a session with the instruments the producer wants to hear, or you might as well be throwing your shot down the drain. When it’s up to you to please someone paying your rate, it’s always good practice to try and give them exactly what they want.\r\n\r\nWhen you think of attack, it probably isn’t in relation to music. But attack is a very important quality of pro session musicians, and the third attribute detailed in the article. You may never be able to change the acoustic nature of one of your instruments, but your control over the force you play notes with can widen the array of sounds you can produce, and knowing how to do that with finesse is a big plus for any musician.\r\n\r\nFollowing that, there is something that I personally think is the most important, and that’s being able to emulate genre standards. Producers will often ask for particular styles of music or emulation of popular musicians, so being able to provide that to them is very important.\r\n\r\nBut, maybe the most important thing of all is to make sure you get your takes done right quickly and efficiently every single time. A producer is paying you by the hour, so if you aren’t providing what he wants, and in a timely manner, chances are he’ll drop you for someone else. And if you’re aiming to be a pro session musician, that’s probably what you need to remember above everything else here!', 'The Line Between Good and Best', '', 'draft', 'open', 'closed', '', 'line-between-good-best', '', '', '2016-08-09 05:45:08', '2016-08-09 12:45:08', '', 0, 'https://afm424.org/?p=2538', 0, 'post', '', 0),
(2539, 4, '2016-08-08 06:36:31', '2016-08-08 13:36:31', '', 'pexels-photo-89909', '', 'inherit', 'open', 'closed', '', 'pexels-photo-89909', '', '', '2016-08-08 06:36:31', '2016-08-08 13:36:31', '', 2538, 'https://afm424.org/wp-content/uploads/2016/08/pexels-photo-89909.jpeg', 0, 'attachment', 'image/jpeg', 0),
(2540, 4, '2016-08-08 06:37:35', '2016-08-08 13:37:35', 'When it comes to session musicians, there are plenty of enthusiasts out there that are really good at what they do. They practice all the time, and for us musical layman, they would probably sound just as good as any professional. Unfortunately, there is a difference in a pro and an amateur. Of course, before diving into that, it’s important to acknowledge that the word “amateur” doesn’t necessarily denote a poor musician. Technically speaking, anyone who isn’t a professional at their art is considered an amateur, so some musical prodigy with amazing talent could be an amateur if he or she decided to do something else with their professional lives.\r\n\r\nBut for those amateur session musicians who do want to make it big with their love of music, you have to take it up to the next level to hit pro status. There are certain attributes that separate the pros from the amateurs, and <a href=\"http://blog.sonicbids.com/5-musical-attributes-that-separate-pro-session-musicians-from-amateurs\" target=\"_blank\">Sonicbids Blog</a> is looking to share the secret with an article that tells us just what those attributes are.\r\n\r\nIf you were expecting some sort of underhanded or obscure secret to carry you to fame, you’ll be disappointed to learn that these qualities aren’t anything like that. In fact, most of it is stuff you would expect pro musicians to be capable of in the first place, but sometimes knowing exactly what they are helps you make sure you can get them down pat before heading out for fame and glory.\r\n\r\nThe first attribute mentioned is your control and feel for time. This means having complete command over your ability to play in accordance with rhythm, though not always directly on the beat. You should be able to play ahead or behind of beats as well, and on command from a producer. Sounds like common knowledge, but like most simple concepts, it’s probably difficult to master.\r\n\r\nThe second attribute is something you would think obvious in any situation: bring the right gear! Obviously you should always show up to a session with the instruments the producer wants to hear, or you might as well be throwing your shot down the drain. When it’s up to you to please someone paying your rate, it’s always good practice to try and give them exactly what they want.\r\n\r\nWhen you think of attack, it probably isn’t in relation to music. But attack is a very important quality of pro session musicians, and the third attribute detailed in the article. You may never be able to change the acoustic nature of one of your instruments, but your control over the force you play notes with can widen the array of sounds you can produce, and knowing how to do that with finesse is a big plus for any musician.\r\n\r\nFollowing that, there is something that I personally think is the most important, and that’s being able to emulate genre standards. Producers will often ask for particular styles of music or emulation of popular musicians, so being able to provide that to them is very important.\r\n\r\nBut, maybe the most important thing of all is to make sure you get your takes done right quickly and efficiently every single time. A producer is paying you by the hour, so if you aren’t providing what he wants, and in a timely manner, chances are he’ll drop you for someone else. And if you’re aiming to be a pro session musician, that’s probably what you need to remember above everything else here!', 'The Line Between Good and Best', '', 'inherit', 'closed', 'closed', '', '2538-revision-v1', '', '', '2016-08-08 06:37:35', '2016-08-08 13:37:35', '', 2538, 'https://afm424.org/2538-revision-v1/', 0, 'revision', '', 0),
(2541, 6, '2016-09-07 11:37:46', '2016-09-07 18:37:46', 'The concept of virtual reality is not a new one. It\'s been one of entertainment\'s holy grails since the 80s.\r\n\r\nWith each passing decade, technology takes another step towards making virtual reality a...well...<em>reality. </em>\r\n\r\nIn 2016, it seems that VR is slowly but surely coming of age. Its sensorially immersive experience goes beyond what was traditionally thought of as \"music.\" Let\'s get into some details.\r\n\r\nArtists like Bjork and Ash Koosha have already given us sounds futuristic sounds, their music being always one step ahead of the present trends. Adding VR to their pallet was a natural fit.\r\n\r\nBut now more traditional artists are slowly joining them in getting on the VR spaceship. Bands like U2, Muse and Kasabian have become interested in this new world. VR is indeed uniquely cool. And it could help artists reach a new level of communication with their audience.\r\n\r\nCreating a VR presentation is not cheap. It can cost a small fortune for just a few minutes of high-tech footage. Artists that have backing from large corporate structures are truly fortunate because the companies themselves want to explore this new territory.\r\n\r\nHow expensive can one minute of VR get? The New York Times spent up to $100,000 a minute on its recent VR film, “The Displaced.” Because VR is still considered to be in its infancy, most cannot afford such adventures.\r\n\r\nIf we take a closer look, we see that artists are not seeking to involve themselves in the VR exploration solely for the high-tech gimmick factor. They consider VR a new tool, a new instrument, an experimental leap in expanding their artistic creativity, and a way to link closer with their audience. We now have 4K and 3D experiences in our living room. Why shouldn’t we experience music on another level as well?\r\n\r\nEventually, the term \"music\" may not even be adequate in defining this alternate cosmos. The music/VR connection may spawn a new word to describe what it is. Read more about this emerging and fascinating new galaxy <a href=\"http://thequietus.com/articles/20199-virtual-reality-ash-koosha-bjork\" target=\"_blank\">here</a>.\r\n\r\nIn a world where technology accelerates with every passing year...who knows what the future holds?', 'Will a Combination Of Virtual Reality and Music Be Possible in the Future?', '', 'publish', 'open', 'closed', '', 'will-combination-virtual-reality-music-possible-future', '', '', '2016-09-01 23:51:27', '2016-09-02 06:51:27', '', 0, 'https://afm424.org/?p=2541', 0, 'post', '', 0),
(2542, 4, '2016-08-08 06:39:55', '2016-08-08 13:39:55', '', 'pexels-photo-123335', '', 'inherit', 'open', 'closed', '', 'pexels-photo-123335', '', '', '2016-08-08 06:39:55', '2016-08-08 13:39:55', '', 2541, 'https://afm424.org/wp-content/uploads/2016/08/pexels-photo-123335.jpeg', 0, 'attachment', 'image/jpeg', 0),
(2544, 6, '2016-08-31 11:40:25', '2016-08-31 18:40:25', 'Most people believe that wanting more from yourself will motivate you to reach greater heights.\r\n\r\nThis may be true. But you must differentiate between wanting more––and wanting perfection.\r\n\r\nPerfectionists are never be happy. There will always be something that\'s out of place or doesn\'t fit quite right. will not fit right.\r\n\r\nIn a musical career, such a thing can drive you crazy. It\'s impossible to play every note perfectly. In fact, you should let your creativity flow free, even if at a first attempt this will sound chaotic. You can always adjust the songs you create, but it will be impossible to reach perfection, so let it go.\r\n\r\nWishing to be the best at what your doing is not wrong, only the desire to be perfect. Believe it or not, the chase for perfection will produce a lot of stress on yourself, which will accumulate into tension and will not only make your life increasingly miserable, but will also threaten your wellbeing and mental health. Chasing perfection is like chasing a myth, or a fantasy, because perfection does not exist, and you will have to be aware of this. Work to be better and work to improve yourself every step of the way, but stop looking for perfect because it will only waste your precious time. How to be a successful musician and still keep your mental sanity? Look at music as a never-ending domain, a world in which you will constantly have something to learn and something to work on, without the possibility of ever mastering it up to perfection. When it comes to music, no one can say that they have reached a limit concerning their performance or skills, perfection being the next level, because such a thing does not exist.\r\n\r\nUnfortunately, there are many artists out there that look for perfection, ending up being constantly unsatisfied with their work, and being very critic when it comes to their person, the result in these cases being the destruction of their careers. So, don’t walk on this path. Just bear in mind that you can be better, or the best, as long as you continuously learn, discover, and improve your skills. Music is such a diverse domain that it will be able to provide endless possibilities of development, without you ever reaching its boundaries. You need to know that you can improve, if you do the right adjustments, but <a href=\"http://blog.sonicbids.com/why-perfectionism-is-toxic-to-your-music-career\" target=\"_blank\">without seeking perfection</a>.\r\n\r\nPerfection is like the songs of the mermaids, inexistent but the idea of it is extremely irresistible. It draws people in with the promise of a fulfilled and happy life, but all it can bring is a career that will go downwards, together with your health. Scientific studies showed that perfectionists risks a greater number of illnesses and usually have shorter life spans. Do not see everyone around, who may be trying to be supportive, as your critics. Making mistakes is normal for humans, so is the desire to learn and be better. If the idea of perfection hovers in your life, so do your best to take it out before it ruins everything for you. It won’t be easy, but you will feel much better accepting life as it is, without aiming for perfection.', 'Never Seek Perfection in Your Musical Career', '', 'draft', 'open', 'closed', '', 'never-seek-perfection-musical-career', '', '', '2016-08-09 05:44:44', '2016-08-09 12:44:44', '', 0, 'https://afm424.org/?p=2544', 0, 'post', '', 0),
(2545, 4, '2016-08-08 06:43:15', '2016-08-08 13:43:15', '', 'pexels-photo (5)', '', 'inherit', 'open', 'closed', '', 'pexels-photo-5', '', '', '2016-08-08 06:43:15', '2016-08-08 13:43:15', '', 2544, 'https://afm424.org/wp-content/uploads/2016/08/pexels-photo-5.jpg', 0, 'attachment', 'image/jpeg', 0),
(2546, 4, '2016-08-08 06:43:35', '2016-08-08 13:43:35', 'Everybody says that wanting more from yourself is a good thing, as it will motivate you to do more. Well, this is true, but you have to make the difference between wanting more and wanting perfection. Perfectionists will never be happy, because there will always be something that is out of place or will not fit right. If you are pursuing a musical career, such a thing can drive you crazy, because it is impossible to play every musical note perfect. In fact, you should let your creativity flow free, even if at a first attempt this will sound chaotic. You can always adjust the songs you create, but it will be impossible to reach perfection, so let it go.\r\n\r\nWishing to be the best at what your doing is not wrong, only the desire to be perfect. Believe it or not, the chase for perfection will produce a lot of stress on yourself, which will accumulate into tension and will not only make your life increasingly miserable, but will also threaten your wellbeing and mental health. Chasing perfection is like chasing a myth, or a fantasy, because perfection does not exist, and you will have to be aware of this. Work to be better and work to improve yourself every step of the way, but stop looking for perfect because it will only waste your precious time. How to be a successful musician and still keep your mental sanity? Look at music as a never-ending domain, a world in which you will constantly have something to learn and something to work on, without the possibility of ever mastering it up to perfection. When it comes to music, no one can say that they have reached a limit concerning their performance or skills, perfection being the next level, because such a thing does not exist.\r\n\r\nUnfortunately, there are many artists out there that look for perfection, ending up being constantly unsatisfied with their work, and being very critic when it comes to their person, the result in these cases being the destruction of their careers. So, don’t walk on this path. Just bear in mind that you can be better, or the best, as long as you continuously learn, discover, and improve your skills. Music is such a diverse domain that it will be able to provide endless possibilities of development, without you ever reaching its boundaries. You need to know that you can improve, if you do the right adjustments, but <a href=\"http://blog.sonicbids.com/why-perfectionism-is-toxic-to-your-music-career\" target=\"_blank\">without seeking perfection</a>.\r\n\r\nPerfection is like the songs of the mermaids, inexistent but the idea of it is extremely irresistible. It draws people in with the promise of a fulfilled and happy life, but all it can bring is a career that will go downwards, together with your health. Scientific studies showed that perfectionists risks a greater number of illnesses and usually have shorter life spans. Do not see everyone around, who may be trying to be supportive, as your critics. Making mistakes is normal for humans, so is the desire to learn and be better. If the idea of perfection hovers in your life, so do your best to take it out before it ruins everything for you. It won’t be easy, but you will feel much better accepting life as it is, without aiming for perfection.', 'Never Seek Perfection in Your Musical Career', '', 'inherit', 'closed', 'closed', '', '2544-revision-v1', '', '', '2016-08-08 06:43:35', '2016-08-08 13:43:35', '', 2544, 'https://afm424.org/2544-revision-v1/', 0, 'revision', '', 0),
(2547, 6, '2016-08-31 11:43:45', '2016-08-31 18:43:45', 'Gadgets of all kinds are not unusual in today’s market. Many of them are mobile devices meant to serve multiple purposes. But some music gadgets some are just plain weird.  <a href=\"http://ajournalofmusicalthings.com/four-really-weird-music-gadgets/\" target=\"_blank\">Take a look at this</a>. You may find them awkward, if not completely alien.\r\n<ul>\r\n 	<li><strong>Nabaztag</strong></li>\r\n</ul>\r\nWhat is it? The name is bizarre. It comes in shape of a rabbit. It can do everything from announcing the weather and latest stock market trends, to playing MP3 files and streaming radio stations, to reading the incoming email messages of its owners. It can be programmed to do wild things, like encouraging one to exercise more or practice tai-chi. These features may seem useful to some,  but the Nabaztag has not garnered many fans. Nobody knows exactly why this small sci-fi looking rabbit never captured the attention of technology enthusiasts. But I\'ll bet we can all venture a guess.\r\n<ul>\r\n 	<li><strong>The Oakley Thump Sunglasses</strong></li>\r\n</ul>\r\nWhen the MP3 emerged, everybody went mad about it. The market was flooded with all these different MP3 players. So...how about a pair of sunglasses that had incorporated earbuds for listening to music? You could shield your eyes from the sun, listen to music, and look cool––all by using this one gadget. The first Thump was released in 2004. These futuristic looking sunglasses were surprisingly successful. So additional models were added to the line in 2005, 2006 and 2007.\r\n<ul>\r\n 	<li><strong>Sony Rolly</strong></li>\r\n</ul>\r\nSony is a brand that\'s world-renowned when it comes to audio gadgets. But this doesn’t mean that the company always hit the mark with every new release. One of Sony\'s goals is to become as important a player as Apple is in the digital music market. The Sony Rolly was a football-shaped gizmo that could play music and beats while spinning, rolling and dancing around to the song\'s tempo. Oh, and it also flashed colorful stroboscopic lights into the air. But that\'s about it. You couldn\'t connect headphones because it would prevent the thing from \"dancing\" around. Aside from being strange, this device turned out to be just plain goofy.\r\n<ul>\r\n 	<li><strong>The Bone Fone</strong></li>\r\n</ul>\r\nTalk about strange, this is a rather bizarre name for a music playing gadget. It belongs to this late 1970\'s device––a time when small gadgets were still scarce and awkward looking. The Bone Fone was actually not a phone (and obviously not a bone either). It was a speaker that could be wrapped around your neck and shoulders. Specifically targeting joggers, it could replace headphones, which were uncomfortably large in those days. Even if the Bone Fone looked weird, the manufacturer, JS&amp;A, did manage to sell over 10,000 Bone Fones...before they disappeared from view.', 'Music Gadgets You May Consider Rather Strange', '', 'publish', 'open', 'closed', '', 'music-gadgets-may-consider-awkward', '', '', '2016-09-01 23:01:00', '2016-09-02 06:01:00', '', 0, 'https://afm424.org/?p=2547', 0, 'post', '', 0),
(2549, 6, '2016-09-01 23:00:06', '2016-09-02 06:00:06', 'Gadgets of all kinds are not unusual in today’s market. Many of them are mobile devices meant to serve multiple purposes. But some music gadgets some are just plain weird.  <a href=\"http://ajournalofmusicalthings.com/four-really-weird-music-gadgets/\" target=\"_blank\">Take a look at this</a>. You may find them awkward, if not completely alien.\n<ul>\n 	<li><strong>Nabaztag</strong></li>\n</ul>\nWhat is it? The name is bizarre. It comes in shape of a rabbit. It can do everything from announcing the weather and latest stock market trends, to playing MP3 files and streaming radio stations, to reading the incoming email messages of its owners. It can be programmed to do wild things, like encouraging one to exercise more or practice tai-chi. These features may seem useful to some,  but the Nabaztag has not garnered many fans. Nobody knows exactly why this small sci-fi looking rabbit never captured the attention of technology enthusiasts. But I\'ll bet we can all venture a guess.\n<ul>\n 	<li><strong>The Oakley Thump Sunglasses</strong></li>\n</ul>\nWhen the MP3 emerged, everybody went mad about it. The market was flooded with all these different MP3 players. So...how about a pair of sunglasses that had incorporated earbuds for listening to music? You could shield your eyes from the sun, listen to music, and look cool––all by using this one gadget. The first Thump was released in 2004. These futuristic looking sunglasses were surprisingly successful. So additional models were added to the line in 2005, 2006 and 2007.\n<ul>\n 	<li><strong>Sony Rolly</strong></li>\n</ul>\nSony is a brand that\'s world-renowned when it comes to audio gadgets. But this doesn’t mean that the company always hit the mark with every new release. One of Sony\'s goals is to become as important a player as Apple is in the digital music market. The Sony Rolly was a football-shaped gizmo that could play music and beats while spinning, rolling and dancing around to the song\'s tempo. Oh, and it also flashed colorful stroboscopic lights into the air. But that\'s about it. You couldn\'t connect headphones because it would prevent the thing from \"dancing\" around. Aside from being strange, this device turned out to be just plain goofy.\n<ul>\n 	<li><strong>The Bone Fone</strong></li>\n</ul>\nTalk about strange, this is a rather bizarre name for a music playing gadget. It belongs to this late 1970\'s device––a time when small gadgets were still scarce and awkward looking. The Bone Phone was actually not a phone (and obviously not a bone either). It was a speaker that could be wrapped around your neck and shoulders. Specifically targeting joggers, it could replace headphones, which were uncomfortably large in those days. Even if the Bone Fone looked weird, the manufacturer, JS&amp;A, did manage to sell over 10,000 Bone Phones...before they disappeared from view.', 'Music Gadgets You May Consider Rather Strange', '', 'inherit', 'closed', 'closed', '', '2547-autosave-v1', '', '', '2016-09-01 23:00:06', '2016-09-02 06:00:06', '', 2547, 'https://afm424.org/2547-autosave-v1/', 0, 'revision', '', 0),
(2552, 6, '2016-09-01 23:51:12', '2016-09-02 06:51:12', 'The concept of virtual reality is not a new one. It\'s been one of entertainment\'s holy grails since the 80s.\n\nWith each passing decade, technology takes another step towards making virtual reality a...well...<em>reality. </em>\n\nIn 2016, it seems that VR is slowly but surely coming of age. Its sensorially immersive experience goes beyond what was traditionally thought of as \"music.\" Let\'s get into some details.\n\nArtists like Bjork and Ash Koosha have already given us sounds futuristic sounds, their music being always one step ahead of the present trends. Adding VR to their pallet was a natural fit.\n\nBut now more traditional artists are slowly joining them in getting on the VR spaceship. Bands like U2, Muse and Kasabian have become interested in this new world. VR is indeed uniquely cool. And it could help artists reach a new level of communication with their audience.\n\nCreating a VR presentation is not cheap. It can cost a small fortune for just a few minutes of high-tech footage. Artists that have backing from large corporate structures are truly fortunate because the companies themselves want to explore this new territory.\n\nHow expensive can one minute of VR get? The New York Times spent up to $100,000 a minute on its recent VR film, “The Displaced.” Because VR is still considered to be in its infancy, most cannot afford such adventures.\n\nIf we take a closer look, we see that artists are not seeking to involve themselves in the VR exploration solely for the high-tech gimmick factor. They consider VR a new tool, a new instrument, an experimental leap in expanding their artistic creativity, and a way to link closer with their audience. We now have 4K and 3D experiences in our living room. Why shouldn’t we experience music on another level as well?\n\nEventually, the term \"music\" may not even be adequate in defining this alternate cosmos. The music/VR connection may spawn a new word to describe what it is. Read more about this emerging and fascinating new galaxy <a href=\"http://thequietus.com/articles/20199-virtual-reality-ash-koosha-bjork\" target=\"_blank\">here</a>.\n\nIn a world where technology accelerates with every passing year...who knows what the future holds?', 'Will a Combination Of Virtual Reality and Music Be Possible in the Future?', '', 'inherit', 'closed', 'closed', '', '2541-autosave-v1', '', '', '2016-09-01 23:51:12', '2016-09-02 06:51:12', '', 2541, 'https://afm424.org/2541-autosave-v1/', 0, 'revision', '', 0),
(2557, 6, '2016-08-08 15:05:18', '2016-08-08 22:05:18', 'Gadgets of all kinds are not unusual in today’s market. Many of them are mobile devices meant to serve multiple purposes. But some music gadgets some are just plain weird.  <a href=\"http://ajournalofmusicalthings.com/four-really-weird-music-gadgets/\" target=\"_blank\">Take a look at this</a>. You may find them awkward, if not completely alien.\r\n<ul>\r\n 	<li><strong>Nabaztag</strong></li>\r\n</ul>\r\nWhat is it? The name is bizarre. It comes in shape of a rabbit. It can do everything from announcing the weather and latest stock market trends, to playing MP3 files and streaming radio stations, to reading the incoming email messages of its owners. It can be programmed to do wild things, like encouraging one to exercise more or practice tai-chi. These features may seem useful to some,  but the Nabaztag has not garnered many fans. Nobody knows exactly why this small sci-fi looking rabbit never captured the attention of technology enthusiasts. But I\'ll bet we can all venture a guess.\r\n<ul>\r\n 	<li><strong>The Oakley Thump Sunglasses</strong></li>\r\n</ul>\r\nWhen the MP3 emerged, everybody went mad about it. The market was flooded with all these different MP3 players. So...how about a pair of sunglasses that had incorporated earbuds for listening to music? You could shield your eyes from the sun, listen to music, and look cool––all by using this one gadget. The first Thump was released in 2004. These futuristic looking sunglasses were surprisingly successful. So additional models were added to the line in 2005, 2006 and 2007.\r\n<ul>\r\n 	<li><strong>Sony Rolly</strong></li>\r\n</ul>\r\nSony is a brand that\'s world-renowned when it comes to audio gadgets. But this doesn’t mean that the company always hit the mark with every new release. One of Sony\'s goals is to become as important a player as Apple is in the digital music market. The Sony Rolly was an American football-shaped gizmo that could play music and beats while spinning, rolling and dancing around to the song\'s tempo. Oh, and also flashed colorful stroboscopic lights into the air. But that\'s about it. You couldn\'t connect any headphones to it, because it would prevent the thing from \"dancing\" around. Aside from being strange, this device turned out to be just plain goofy.\r\n<ul>\r\n 	<li><strong>The Bone Fone</strong></li>\r\n</ul>\r\nTalking about strange, this is an unusual name for a music playing gadget. It belongs to this late 1970\'s device––a time when small gadgets were still scarce and awkward looking. The Bone Phone was actually not a phone (and obviously not a bone either). It was a speaker that could be wrapped around your neck and shoulders. Specifically targeting joggers, it could replace headphones, which were uncomfortably large in those days. Even if the Bone Fone looked weird, the manufacturer, JS&amp;A, did manage to sell over 10,000 Bone Phones...before they disappeared from view.', 'Music Gadgets You May Consider Very Awkward', '', 'inherit', 'closed', 'closed', '', '2547-revision-v1', '', '', '2016-08-08 15:05:18', '2016-08-08 22:05:18', '', 2547, 'https://afm424.org/2547-revision-v1/', 0, 'revision', '', 0),
(2562, 6, '2016-08-08 16:06:22', '2016-08-08 23:06:22', 'Thinking about sending a song to a publisher or a record company? Then you\'ll want to make sure that you did everything possible to increase your chances of landing a placement. These following 10 tips will help by making sure that you have the best shot possible at being successful.\r\n<ol>\r\n 	<li><strong>Mix it right, without mastering</strong></li>\r\n</ol>\r\nYou may believe that showing your mastering skills will help you stay ahead of the competition, but is it really so? In reality, you don’t necessarily have to do any mastering. Just make sure your song is mixed right. Why? This leaves the door open to the possibility of adding additional tracks and then mastering down the road.\r\n<ol start=\"2\">\r\n 	<li><strong>Don’t forget about contact details</strong></li>\r\n</ol>\r\nYour track should include metadata with your contact details. Add your phone number next to the \"Produced By\" tag. If you use iTunes to edit your metadata, include e-mail and social network info.\r\n<ol start=\"3\">\r\n 	<li><strong>Put a label on the key</strong></li>\r\n</ol>\r\nIf you really want to be thorough and make yourself easy to contact, label the key following your phone number. Example: Troll Paradise (Produced By Hot Spoons Productions) (415) 841-7670 (Am).\r\n<ol start=\"4\">\r\n 	<li><strong>Include the Performing Rights Organization</strong></li>\r\n</ol>\r\nThis should be included in the metadata summary in iTunes, BMI, SESAC, or ASCAP.\r\n\r\n5.<strong>  Hook references to the songs</strong>\r\n\r\nFor songs with reference hooks, include the contact info for the singer, include an instrumental version, and include a copy of the hook written.\r\n<ol start=\"6\">\r\n 	<li><strong>Offer a professional DJ pack</strong></li>\r\n</ol>\r\nWhat\'s a DJ pak? It should include a clean and a dirty version of the song, an a cappella version,  the instrumental version and (if needed) a \"DJ Intro\" (8 bars) for both the clean and dirty tracks.\r\n<ol start=\"7\">\r\n 	<li><strong>Make sure your songs have titles</strong></li>\r\n</ol>\r\nNever send a song titled “track 1” or “track 2”. Find a strong title that conveys the message of your song. This will help the artist gain more insight into your vision of the song. It also show that you care about your work.\r\n<ol start=\"8\">\r\n 	<li><strong>Pay attention to song structure</strong></li>\r\n</ol>\r\nThe intro, hook, verse, bridge, and outro, should all be distinct sections with easily countable bars––8, 16 and 32.\r\n<ol start=\"9\">\r\n 	<li><strong>Start the track with a tag</strong></li>\r\n</ol>\r\nYour tag should appear at the beginning of the track. It\'s not necessary to remind the listener of who owns the copyright.\r\n<ol start=\"10\">\r\n 	<li><strong>Include the contact of the studio</strong></li>\r\n</ol>\r\nIf you recorded the song in a studio, include their contact info. They may need to be contacted regarding stems. It may also give the studio additional business, which they\'ll appreciate––and it will make you look good.', '10 Things You Should Do Before Sending a Song', '', 'inherit', 'closed', 'closed', '', '2508-revision-v1', '', '', '2016-08-08 16:06:22', '2016-08-08 23:06:22', '', 2508, 'https://afm424.org/2508-revision-v1/', 0, 'revision', '', 0),
(2563, 6, '2016-08-08 17:02:23', '2016-08-09 00:02:23', 'The concept of virtual reality is not a new one. It\'s been one of entertainment\'s holy grails since the 80s.\r\n\r\nWith each passing decade, technology takes another step towards making virtual reality a...well...<em>reality. </em>\r\n\r\nIn 2016, it seems that VR is finally coming of age. Its sensorially immersive experience goes beyond what was traditionally thought of as \"music.\" So, lets\' get into some details.\r\n\r\nArtists like Bjork and Ash Koosha have already given us sounds futuristic sounds, their music being always one step ahead of the present trends. Adding VR to their pallet was a natural fit.\r\n\r\nBut now more traditional artists are slowly joined them in getting on the VR spaceship. Bands such as U2, Muse and Kasabian have become interested in this new world. VR is indeed cool. And it could help artists reach a new level of communication with their audience.\r\n\r\nCreating a VR presentation is not cheap. It can cost a small fortune for just a few minutes of high-tech footage. So the artists that have backing from large corporate structures are fortunate that the companies themselves want to explore this new territory.\r\n\r\nHow expensive can one minute of VR get? The New York Times spent up to $100,000 a minute for on its recent VR film, “The Displaced.” Because VR is still considered to be in its infancy, most cannot afford such adventures.\r\n\r\nBut, if we take a closer look, we see that artists are not seeking to involve themselves in the VR universe solely for the hi-tech gimmick factor. They see VR as a new tool, a new instrument, an experimental leap in expanding their artistic creativity––and in the process, link closer with their audience. We now have 4K and 3D experiences in our living room. Why shouldn’t we experience music on another level as well?\r\n\r\nThe word \"music\" may not be adequate in this alternate universe. The music/VR connection may spawn a new word to describe what it is. Read more about this emerging and fascinating new world <a href=\"http://thequietus.com/articles/20199-virtual-reality-ash-koosha-bjork\" target=\"_blank\">here</a>.\r\n\r\nIn a world where technology accelerates with every passing year, who knows what the future holds?', 'Will a Combination Between Virtual Reality and Music Be Possible in the Future?', '', 'inherit', 'closed', 'closed', '', '2541-revision-v1', '', '', '2016-08-08 17:02:23', '2016-08-09 00:02:23', '', 2541, 'https://afm424.org/2541-revision-v1/', 0, 'revision', '', 0),
(2564, 6, '2016-08-08 17:04:48', '2016-08-09 00:04:48', 'The concept of virtual reality is not a new one. It\'s been one of entertainment\'s holy grails since the 80s.\r\n\r\nWith each passing decade, technology takes another step towards making virtual reality a...well...<em>reality. </em>\r\n\r\nIn 2016, it seems that VR is finally coming of age. Its sensorially immersive experience goes beyond what was traditionally thought of as \"music.\" So, lets\' get into some details.\r\n\r\nArtists like Bjork and Ash Koosha have already given us sounds futuristic sounds, their music being always one step ahead of the present trends. Adding VR to their pallet was a natural fit.\r\n\r\nBut now more traditional artists are slowly joined them in getting on the VR spaceship. Bands such as U2, Muse and Kasabian have become interested in this new world. VR is indeed cool. And it could help artists reach a new level of communication with their audience.\r\n\r\nCreating a VR presentation is not cheap. It can cost a small fortune for just a few minutes of high-tech footage. So the artists that have backing from large corporate structures are fortunate that the companies themselves want to explore this new territory.\r\n\r\nHow expensive can one minute of VR get? The New York Times spent up to $100,000 a minute for on its recent VR film, “The Displaced.” Because VR is still considered to be in its infancy, most cannot afford such adventures.\r\n\r\nBut, if we take a closer look, we see that artists are not seeking to involve themselves in the VR exploration solely for the hi-tech gimmick factor. They see VR as a new tool, a new instrument, an experimental leap in expanding their artistic creativity––and in the process, link closer with their audience. We now have 4K and 3D experiences in our living room. Why shouldn’t we experience music on another level as well?\r\n\r\nThe word \"music\" may not be adequate in this alternate cosmos. The music/VR connection may spawn a new word to describe what it is. Read more about this emerging and fascinating new world <a href=\"http://thequietus.com/articles/20199-virtual-reality-ash-koosha-bjork\" target=\"_blank\">here</a>.\r\n\r\nIn a world where technology accelerates with every passing year, who knows what the future holds?', 'Will a Combination Between Virtual Reality and Music Be Possible in the Future?', '', 'inherit', 'closed', 'closed', '', '2541-revision-v1', '', '', '2016-08-08 17:04:48', '2016-08-09 00:04:48', '', 2541, 'https://afm424.org/2541-revision-v1/', 0, 'revision', '', 0),
(2565, 6, '2016-08-08 17:06:08', '2016-08-09 00:06:08', 'The concept of virtual reality is not a new one. It\'s been one of entertainment\'s holy grails since the 80s.\r\n\r\nWith each passing decade, technology takes another step towards making virtual reality a...well...<em>reality. </em>\r\n\r\nIn 2016, it seems that VR is finally coming of age. Its sensorially immersive experience goes beyond what was traditionally thought of as \"music.\" So, lets\' get into some details.\r\n\r\nArtists like Bjork and Ash Koosha have already given us sounds futuristic sounds, their music being always one step ahead of the present trends. Adding VR to their pallet was a natural fit.\r\n\r\nBut now more traditional artists are slowly joined them in getting on the VR spaceship. Bands such as U2, Muse and Kasabian have become interested in this new world. VR is indeed cool. And it could help artists reach a new level of communication with their audience.\r\n\r\nCreating a VR presentation is not cheap. It can cost a small fortune for just a few minutes of high-tech footage. So the artists that have backing from large corporate structures are fortunate that the companies themselves want to explore this new territory.\r\n\r\nHow expensive can one minute of VR get? The New York Times spent up to $100,000 a minute for on its recent VR film, “The Displaced.” Because VR is still considered to be in its infancy, most cannot afford such adventures.\r\n\r\nBut, if we take a closer look, we see that artists are not seeking to involve themselves in the VR exploration solely for the hi-tech gimmick factor. They see VR as a new tool, a new instrument, an experimental leap in expanding their artistic creativity––and in the process, link closer with their audience. We now have 4K and 3D experiences in our living room. Why shouldn’t we experience music on another level as well?\r\n\r\nEventually, the term \"music\" may not even be adequate in describing this alternate cosmos. The music/VR connection may spawn a new word to describe what it is. Read more about this emerging and fascinating new world <a href=\"http://thequietus.com/articles/20199-virtual-reality-ash-koosha-bjork\" target=\"_blank\">here</a>.\r\n\r\nIn a world where technology accelerates with every passing year, who knows what the future holds?', 'Will a Combination Between Virtual Reality and Music Be Possible in the Future?', '', 'inherit', 'closed', 'closed', '', '2541-revision-v1', '', '', '2016-08-08 17:06:08', '2016-08-09 00:06:08', '', 2541, 'https://afm424.org/2541-revision-v1/', 0, 'revision', '', 0);
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(2566, 6, '2016-08-08 17:40:09', '2016-08-09 00:40:09', 'Since the 1950s, jazz has been a genre of music that was much appreciated, but usually relegated to a niche audience––those who were capable of understanding this often complex style.\n\nThe good news is that jazz is enjoying a major comeback. With increased public demand comes a palpable expansion of the New York jazz scene.\n\nHowever, this doesn’t mean that NY jazz musicians will start having an easier life.\n\nJazz training  has gone from the homegrown \"learning on the gig\" of the 20s and 30s to an acceptable subject to be taught in music schools. But to attend a decent music school, you need the funds to pay for it. Today’s jazz musicians are afraid that only the children with money will have the privilege of attending such schools.\n\nSo, let’s say you\'ve invested a lot of energy, money and practice room time in getting a good musical education. You believe you can have an edge on becoming a successful musician. What\'s next?\n\nIf you think the hard work is done, you\'re wrong.\n\nA young jazz musician must work even harder to prove that he/she has the skills needed to dazzle audiences or even other players.\n\nWhen getting started, it doesn’t matter where you play, as long as you keep playing.\n\nThis can be in a small café where it\'s \"pass the hat,\" a church performance, or even in time, you can even have the chance to play in large venues and tours. In the best case scenario, your name will start to resonate only in the ears of the connoisseurs. Meanwhile, you will struggle to find a band to play together and even strive to record your own creations in a studio. If your reputation improves well enough, you may even start teaching music classes. So, the life of a jazz musician is far from being careless and paved with success. In this domain, success has a price, which needs to be paid constantly.\n\nRead <a href=\"http://www.villagevoice.com/music/almost-famous-almost-broke-how-does-a-jazz-musician-make-it-in-new-york-now-8768844\">this article</a> for a fascinating peek into the world of a New York jazz musician.\n\nBy now, it is more than obvious that you need to be passionate about playing jazz to start on this road. It will not get easier, at least not in the near future, so you have to be ready not to complain. If you are looking for fame and fortune, this is not the right path for you. Jazz musicians do the contrary of Taylor Swift and Justin Bieber, so if you want to have their success, you are heading in the wrong direction. Jazz is a stunning music genre, but it is not the type of music radios will play, as it is not understood and digested by the masses.', 'Almost Famous, Almost Broke: The Struggle For Survival of New York’s Jazz Musicians', '', 'inherit', 'closed', 'closed', '', '2510-autosave-v1', '', '', '2016-08-08 17:40:09', '2016-08-09 00:40:09', '', 2510, 'https://afm424.org/2510-autosave-v1/', 0, 'revision', '', 0),
(2567, 6, '2016-08-08 17:24:50', '2016-08-09 00:24:50', 'Since the 1950s, jazz has been a genre of music that was much appreciated, but usually relegated to a niche audience––those who were capable of understanding this often complex style.\r\n\r\nThe good news is that jazz is enjoying a major comeback. With increased public demand comes a palpable expansion of the New York jazz scene.\r\n\r\nHowever, this doesn’t mean that NY jazz musicians will start having an easier life.\r\n\r\nJazz training  has gone from the homegrown \"learning on the gig\" of the 20s and 30s to an acceptable subject to be taught in music schools. But to attend a decent music school, you need the funds to pay for it. Today’s jazz musicians are afraid that only the children with money will have the privilege of attending such schools.\r\n\r\nSo, let’s say you\'ve invested a lot of energy, money and practice room time in getting a good musical education. You believe you can have an edge on becoming a successful musician. What\'s next?\r\n\r\nIf you think the hard work is done, you\'re wrong.\r\n\r\nA young jazz musician must work even harder to prove that he/she has the skills needed to dazzle audiences or even other players.\r\n\r\nIt doesn’t matter where you play, as long as you manage to do so. It can be a small café, where people raise funds in any way they can to pay your performance, it can be a church performance, and, in time, you can even have the chance to play in large venues and tours. In the best case scenario, your name will start to resonate only in the ears of the connoisseurs. Meanwhile, you will struggle to find a band to play together and even strive to record your own creations in a studio. If your reputation improves well enough, you may even start teaching music classes. So, the life of a jazz musician is far from being careless and paved with success. In this domain, success has a price, which needs to be paid constantly.\r\n\r\nBy now, it is more than obvious that you need to be passionate about playing jazz to start on this road. It will not get easier, at least not in the near future, so you have to be ready not to complain. If you are looking for fame and fortune, this is not the right path for you. Jazz musicians do the contrary of Taylor Swift and Justin Bieber, so if you want to have their success, you are heading in the wrong direction. Jazz is a stunning music genre, but it is not the type of music radios will play, as it is not understood and digested by the masses.', 'Almost Famous, Almost Broke: The Struggle For Survival of New York’s Jazz Musicians', '', 'inherit', 'closed', 'closed', '', '2510-revision-v1', '', '', '2016-08-08 17:24:50', '2016-08-09 00:24:50', '', 2510, 'https://afm424.org/2510-revision-v1/', 0, 'revision', '', 0),
(2568, 6, '2016-08-08 17:28:41', '2016-08-09 00:28:41', 'Since the 1950s, jazz has been a genre of music that was much appreciated, but usually relegated to a niche audience––those who were capable of understanding this often complex style.\r\n\r\nThe good news is that jazz is enjoying a major comeback. With increased public demand comes a palpable expansion of the New York jazz scene.\r\n\r\nHowever, this doesn’t mean that NY jazz musicians will start having an easier life.\r\n\r\nJazz training  has gone from the homegrown \"learning on the gig\" of the 20s and 30s to an acceptable subject to be taught in music schools. But to attend a decent music school, you need the funds to pay for it. Today’s jazz musicians are afraid that only the children with money will have the privilege of attending such schools.\r\n\r\nSo, let’s say you\'ve invested a lot of energy, money and practice room time in getting a good musical education. You believe you can have an edge on becoming a successful musician. What\'s next?\r\n\r\nIf you think the hard work is done, you\'re wrong.\r\n\r\nA young jazz musician must work even harder to prove that he/she has the skills needed to dazzle audiences or even other players.\r\n\r\nIt doesn’t matter where you play, as long as you manage to do so. It can be a small café, where people raise funds in any way they can to pay your performance, it can be a church performance, and, in time, you can even have the chance to play in large venues and tours. In the best case scenario, your name will start to resonate only in the ears of the connoisseurs. Meanwhile, you will struggle to find a band to play together and even strive to record your own creations in a studio. If your reputation improves well enough, you may even start teaching music classes. So, the life of a jazz musician is far from being careless and paved with success. In this domain, success has a price, which needs to be paid constantly.\r\n\r\nRead <a href=\"http://www.villagevoice.com/music/almost-famous-almost-broke-how-does-a-jazz-musician-make-it-in-new-york-now-8768844\">this article</a> for a fascinating peek into the world of a New York jazz musician.\r\n\r\nBy now, it is more than obvious that you need to be passionate about playing jazz to start on this road. It will not get easier, at least not in the near future, so you have to be ready not to complain. If you are looking for fame and fortune, this is not the right path for you. Jazz musicians do the contrary of Taylor Swift and Justin Bieber, so if you want to have their success, you are heading in the wrong direction. Jazz is a stunning music genre, but it is not the type of music radios will play, as it is not understood and digested by the masses.', 'Almost Famous, Almost Broke: The Struggle For Survival of New York’s Jazz Musicians', '', 'inherit', 'closed', 'closed', '', '2510-revision-v1', '', '', '2016-08-08 17:28:41', '2016-08-09 00:28:41', '', 2510, 'https://afm424.org/2510-revision-v1/', 0, 'revision', '', 0),
(2569, 6, '2016-08-08 17:41:17', '2016-08-09 00:41:17', 'Since the 1950s, jazz has been a genre of music that was much appreciated, but usually relegated to a niche audience––those who were capable of understanding this often complex style.\r\n\r\nThe good news is that jazz is enjoying a major comeback. With increased public demand comes a palpable expansion of the New York jazz scene.\r\n\r\nHowever, this doesn’t mean that NY jazz musicians will start having an easier life.\r\n\r\nJazz training  has gone from the homegrown \"learning on the gig\" of the 20s and 30s to an acceptable subject to be taught in music schools. But to attend a decent music school, you need the funds to pay for it. Today’s jazz musicians are afraid that only the children with money will have the privilege of attending such schools.\r\n\r\nSo, let’s say you\'ve invested a lot of energy, money and practice room time in getting a good musical education. You believe you can have an edge on becoming a successful musician. What\'s next?\r\n\r\nIf you think the hard work is done, you\'re wrong.\r\n\r\nA young jazz musician must work even harder to prove that he/she has the skills needed to dazzle audiences or even other players.\r\n\r\nWhen getting started, it doesn’t matter where you play, as long as you keep playing.\r\n\r\nThis can be in a small café where it\'s \"pass the hat,\" a free church performance, or even regularly sitting in at the local jazz club.\r\n\r\nIn the best case scenario, your name will start to resonate only in the ears of the connoisseurs. Meanwhile, you will struggle to find a band to play together and even strive to record your own creations in a studio. If your reputation improves well enough, you may even start teaching music classes. So, the life of a jazz musician is far from being careless and paved with success. In this domain, success has a price, which needs to be paid constantly.\r\n\r\nRead <a href=\"http://www.villagevoice.com/music/almost-famous-almost-broke-how-does-a-jazz-musician-make-it-in-new-york-now-8768844\">this article</a> for a fascinating peek into the world of a New York jazz musician.\r\n\r\nBy now, it is more than obvious that you need to be passionate about playing jazz to start on this road. It will not get easier, at least not in the near future, so you have to be ready not to complain. If you are looking for fame and fortune, this is not the right path for you. Jazz musicians do the contrary of Taylor Swift and Justin Bieber, so if you want to have their success, you are heading in the wrong direction. Jazz is a stunning music genre, but it is not the type of music radios will play, as it is not understood and digested by the masses.', 'Almost Famous, Almost Broke: The Struggle For Survival of New York’s Jazz Musicians', '', 'inherit', 'closed', 'closed', '', '2510-revision-v1', '', '', '2016-08-08 17:41:17', '2016-08-09 00:41:17', '', 2510, 'https://afm424.org/2510-revision-v1/', 0, 'revision', '', 0),
(2570, 6, '2016-08-08 17:48:22', '2016-08-09 00:48:22', 'Most people believe that wanting more from yourself will motivate you to reach greater heights.\n\nThis may be true. But you must differentiate between wanting more––and wanting perfection.\n\nPerfectionists are never be happy. There will always be something that\'s out of place or doesn\'t fit quite right. will not fit right.\n\nIn a musical career, f you are pursuing a musical career, such a thing can drive you crazy, because it is impossible to play every musical note perfect. In fact, you should let your creativity flow free, even if at a first attempt this will sound chaotic. You can always adjust the songs you create, but it will be impossible to reach perfection, so let it go.\n\nWishing to be the best at what your doing is not wrong, only the desire to be perfect. Believe it or not, the chase for perfection will produce a lot of stress on yourself, which will accumulate into tension and will not only make your life increasingly miserable, but will also threaten your wellbeing and mental health. Chasing perfection is like chasing a myth, or a fantasy, because perfection does not exist, and you will have to be aware of this. Work to be better and work to improve yourself every step of the way, but stop looking for perfect because it will only waste your precious time. How to be a successful musician and still keep your mental sanity? Look at music as a never-ending domain, a world in which you will constantly have something to learn and something to work on, without the possibility of ever mastering it up to perfection. When it comes to music, no one can say that they have reached a limit concerning their performance or skills, perfection being the next level, because such a thing does not exist.\n\nUnfortunately, there are many artists out there that look for perfection, ending up being constantly unsatisfied with their work, and being very critic when it comes to their person, the result in these cases being the destruction of their careers. So, don’t walk on this path. Just bear in mind that you can be better, or the best, as long as you continuously learn, discover, and improve your skills. Music is such a diverse domain that it will be able to provide endless possibilities of development, without you ever reaching its boundaries. You need to know that you can improve, if you do the right adjustments, but <a href=\"http://blog.sonicbids.com/why-perfectionism-is-toxic-to-your-music-career\" target=\"_blank\">without seeking perfection</a>.\n\nPerfection is like the songs of the mermaids, inexistent but the idea of it is extremely irresistible. It draws people in with the promise of a fulfilled and happy life, but all it can bring is a career that will go downwards, together with your health. Scientific studies showed that perfectionists risks a greater number of illnesses and usually have shorter life spans. Do not see everyone around, who may be trying to be supportive, as your critics. Making mistakes is normal for humans, so is the desire to learn and be better. If the idea of perfection hovers in your life, so do your best to take it out before it ruins everything for you. It won’t be easy, but you will feel much better accepting life as it is, without aiming for perfection.', 'Never Seek Perfection in Your Musical Career', '', 'inherit', 'closed', 'closed', '', '2544-autosave-v1', '', '', '2016-08-08 17:48:22', '2016-08-09 00:48:22', '', 2544, 'https://afm424.org/2544-autosave-v1/', 0, 'revision', '', 0),
(2571, 6, '2016-08-08 17:49:14', '2016-08-09 00:49:14', 'Most people believe that wanting more from yourself will motivate you to reach greater heights.\r\n\r\nThis may be true. But you must differentiate between wanting more––and wanting perfection.\r\n\r\nPerfectionists are never be happy. There will always be something that\'s out of place or doesn\'t fit quite right. will not fit right.\r\n\r\nIn a musical career, such a thing can drive you crazy. It\'s impossible to play every note perfectly. In fact, you should let your creativity flow free, even if at a first attempt this will sound chaotic. You can always adjust the songs you create, but it will be impossible to reach perfection, so let it go.\r\n\r\nWishing to be the best at what your doing is not wrong, only the desire to be perfect. Believe it or not, the chase for perfection will produce a lot of stress on yourself, which will accumulate into tension and will not only make your life increasingly miserable, but will also threaten your wellbeing and mental health. Chasing perfection is like chasing a myth, or a fantasy, because perfection does not exist, and you will have to be aware of this. Work to be better and work to improve yourself every step of the way, but stop looking for perfect because it will only waste your precious time. How to be a successful musician and still keep your mental sanity? Look at music as a never-ending domain, a world in which you will constantly have something to learn and something to work on, without the possibility of ever mastering it up to perfection. When it comes to music, no one can say that they have reached a limit concerning their performance or skills, perfection being the next level, because such a thing does not exist.\r\n\r\nUnfortunately, there are many artists out there that look for perfection, ending up being constantly unsatisfied with their work, and being very critic when it comes to their person, the result in these cases being the destruction of their careers. So, don’t walk on this path. Just bear in mind that you can be better, or the best, as long as you continuously learn, discover, and improve your skills. Music is such a diverse domain that it will be able to provide endless possibilities of development, without you ever reaching its boundaries. You need to know that you can improve, if you do the right adjustments, but <a href=\"http://blog.sonicbids.com/why-perfectionism-is-toxic-to-your-music-career\" target=\"_blank\">without seeking perfection</a>.\r\n\r\nPerfection is like the songs of the mermaids, inexistent but the idea of it is extremely irresistible. It draws people in with the promise of a fulfilled and happy life, but all it can bring is a career that will go downwards, together with your health. Scientific studies showed that perfectionists risks a greater number of illnesses and usually have shorter life spans. Do not see everyone around, who may be trying to be supportive, as your critics. Making mistakes is normal for humans, so is the desire to learn and be better. If the idea of perfection hovers in your life, so do your best to take it out before it ruins everything for you. It won’t be easy, but you will feel much better accepting life as it is, without aiming for perfection.', 'Never Seek Perfection in Your Musical Career', '', 'inherit', 'closed', 'closed', '', '2544-revision-v1', '', '', '2016-08-08 17:49:14', '2016-08-09 00:49:14', '', 2544, 'https://afm424.org/2544-revision-v1/', 0, 'revision', '', 0),
(2572, 6, '2016-08-08 19:19:42', '2016-08-09 02:19:42', 'When it comes to session musicians, there are plenty out there that are good at what they do.\n\nAnd we all know there\'s a difference in an amateur and a pro. Before diving into that, it’s important to acknowledge that the word “amateur” doesn’t necessarily denote a poor musician. Technically speaking, anyone who isn’t a professional is considered an amateur. A musical prodigy with amazing talent is still an amateur if he/she decided to do something else with their professional lives.\n\nBut for those amateur session musicians who do want to make it big with their love of music, you have to take it up to the next level to hit pro status. There are certain attributes that separate the pros from the amateurs, and <a href=\"http://blog.sonicbids.com/5-musical-attributes-that-separate-pro-session-musicians-from-amateurs\" target=\"_blank\">Sonicbids Blog</a> is looking to share the secret with an article that tells us just what those attributes are.\n\nIf you were expecting some sort of underhanded or obscure secret to carry you to fame, you’ll be disappointed to learn that these qualities aren’t anything like that. In fact, most of it is stuff you would expect pro musicians to be capable of in the first place, but sometimes knowing exactly what they are helps you make sure you can get them down pat before heading out for fame and glory.\n\nThe first attribute mentioned is your control and feel for time. This means having complete command over your ability to play in accordance with rhythm, though not always directly on the beat. You should be able to play ahead or behind of beats as well, and on command from a producer. Sounds like common knowledge, but like most simple concepts, it’s probably difficult to master.\n\nThe second attribute is something you would think obvious in any situation: bring the right gear! Obviously you should always show up to a session with the instruments the producer wants to hear, or you might as well be throwing your shot down the drain. When it’s up to you to please someone paying your rate, it’s always good practice to try and give them exactly what they want.\n\nWhen you think of attack, it probably isn’t in relation to music. But attack is a very important quality of pro session musicians, and the third attribute detailed in the article. You may never be able to change the acoustic nature of one of your instruments, but your control over the force you play notes with can widen the array of sounds you can produce, and knowing how to do that with finesse is a big plus for any musician.\n\nFollowing that, there is something that I personally think is the most important, and that’s being able to emulate genre standards. Producers will often ask for particular styles of music or emulation of popular musicians, so being able to provide that to them is very important.\n\nBut, maybe the most important thing of all is to make sure you get your takes done right quickly and efficiently every single time. A producer is paying you by the hour, so if you aren’t providing what he wants, and in a timely manner, chances are he’ll drop you for someone else. And if you’re aiming to be a pro session musician, that’s probably what you need to remember above everything else here!', 'The Line Between Good and Best', '', 'inherit', 'closed', 'closed', '', '2538-autosave-v1', '', '', '2016-08-08 19:19:42', '2016-08-09 02:19:42', '', 2538, 'https://afm424.org/2538-autosave-v1/', 0, 'revision', '', 0),
(2573, 6, '2016-08-08 19:23:16', '2016-08-09 02:23:16', 'When it comes to session musicians, there are plenty out there that are good at what they do.\r\n\r\nAnd we all know there\'s a difference in an amateur and a pro. Before diving into that, it’s important to acknowledge that the word “amateur” doesn’t necessarily denote a poor musician. Technically speaking, anyone who isn’t a professional is considered an amateur. A musical prodigy with amazing talent is still an amateur if he/she decided to do something else with their professional lives.\r\n\r\nBut for those amateur session musicians who do want to make it big with their love of music, you have to take it up to the next level to hit pro status. There are certain attributes that separate the pros from the amateurs, and <a href=\"http://blog.sonicbids.com/5-musical-attributes-that-separate-pro-session-musicians-from-amateurs\" target=\"_blank\">Sonicbids Blog</a> is looking to share the secret with an article that tells us just what those attributes are.\r\n\r\nIf you were expecting some sort of underhanded or obscure secret to carry you to fame, you’ll be disappointed to learn that these qualities aren’t anything like that. In fact, most of it is stuff you would expect pro musicians to be capable of in the first place, but sometimes knowing exactly what they are helps you make sure you can get them down pat before heading out for fame and glory.\r\n\r\nThe first attribute mentioned is your control and feel for time. This means having complete command over your ability to play in accordance with rhythm, though not always directly on the beat. You should be able to play ahead or behind of beats as well, and on command from a producer. Sounds like common knowledge, but like most simple concepts, it’s probably difficult to master.\r\n\r\nThe second attribute is something you would think obvious in any situation: bring the right gear! Obviously you should always show up to a session with the instruments the producer wants to hear, or you might as well be throwing your shot down the drain. When it’s up to you to please someone paying your rate, it’s always good practice to try and give them exactly what they want.\r\n\r\nWhen you think of attack, it probably isn’t in relation to music. But attack is a very important quality of pro session musicians, and the third attribute detailed in the article. You may never be able to change the acoustic nature of one of your instruments, but your control over the force you play notes with can widen the array of sounds you can produce, and knowing how to do that with finesse is a big plus for any musician.\r\n\r\nFollowing that, there is something that I personally think is the most important, and that’s being able to emulate genre standards. Producers will often ask for particular styles of music or emulation of popular musicians, so being able to provide that to them is very important.\r\n\r\nBut, maybe the most important thing of all is to make sure you get your takes done right quickly and efficiently every single time. A producer is paying you by the hour, so if you aren’t providing what he wants, and in a timely manner, chances are he’ll drop you for someone else. And if you’re aiming to be a pro session musician, that’s probably what you need to remember above everything else here!', 'The Line Between Good and Best', '', 'inherit', 'closed', 'closed', '', '2538-revision-v1', '', '', '2016-08-08 19:23:16', '2016-08-09 02:23:16', '', 2538, 'https://afm424.org/2538-revision-v1/', 0, 'revision', '', 0),
(2577, 6, '2016-08-08 21:11:07', '2016-08-09 04:11:07', 'Since the 1950s, jazz has been a genre of music that was much appreciated, but usually relegated to a niche audience––those who were capable of understanding this often complex style.\r\n\r\nThe good news is that jazz is enjoying a major comeback. With increased public demand comes a palpable expansion of the New York jazz scene.\r\n\r\nHowever, this doesn’t mean that NY jazz musicians will start having an easier life.\r\n\r\nJazz training  has gone from the homegrown \"learning on the gig\" of the 20s and 30s to an acceptable subject to be taught in music schools. But to attend a decent music school, you need the funds to pay for it. Today’s jazz musicians are afraid that only the children with money will have the privilege of attending such schools.\r\n\r\nSo, let’s say you\'ve invested a lot of energy, money and practice room time in getting a good musical education. You believe you can have an edge on becoming a successful musician. What\'s next?\r\n\r\nIf you think the hard work is done, you\'re wrong.\r\n\r\nA young jazz musician must work even harder to prove that he/she has the skills needed to dazzle audiences or even other players.\r\n\r\nWhen getting started, it doesn’t matter where you play, as long as you keep playing.\r\n\r\nThis can be in a small café where it\'s \"pass the hat,\" a free church performance, or even regularly sitting in at the local jazz club.\r\n\r\nIn the best case scenario, your name will start to resonate only in the ears of the connoisseurs. Meanwhile, you will struggle to find a band to play together and even strive to record your own creations in a studio. If your reputation improves well enough, you may even start teaching music classes. So, the life of a jazz musician is far from being careless and paved with success. In this domain, success has a price, which needs to be paid constantly.\r\n\r\nRead <a href=\"http://www.villagevoice.com/music/almost-famous-almost-broke-how-does-a-jazz-musician-make-it-in-new-york-now-8768844\">this article</a> for a fascinating peek into the world of a New York jazz musician.\r\n\r\nBy now, it is more than obvious that you need to be passionate about playing jazz to start on this road. It will not get easier, at least not in the near future, so you have to be ready not to complain. If you are looking for fame and fortune, this is not the right path for you. Jazz musicians do the contrary of Taylor Swift and Justin Bieber, so if you want to have their success, you are heading in the wrong direction. Jazz is a stunning music genre, but it is not the type of music radios will play, as it is not understood and digested by the masses.', 'The Struggle For Survival of New York’s Jazz Musicians', '', 'inherit', 'closed', 'closed', '', '2510-revision-v1', '', '', '2016-08-08 21:11:07', '2016-08-09 04:11:07', '', 2510, 'https://afm424.org/2510-revision-v1/', 0, 'revision', '', 0),
(2578, 6, '2016-08-08 21:35:12', '2016-08-09 04:35:12', 'Thinking about sending a song to a publisher or a record company? Then you\'ll want to make sure that you do everything possible to increase your chances of landing a placement. The following 10 tips will help by making sure that you have the best shot possible at being successful.\r\n<ol>\r\n 	<li><strong>Mix it right, without mastering</strong></li>\r\n</ol>\r\nYou may believe that showing your mastering skills will help you stay ahead of the competition, but is it really so? In reality, you don’t necessarily have to do any mastering. Just make sure your song is mixed right. Why? This leaves the door open to the possibility of the client adding additional tracks. The song can always be mastered down the road.\r\n<ol start=\"2\">\r\n 	<li><strong>Don’t forget about contact details</strong></li>\r\n</ol>\r\nYour track should include metadata with your contact details. Add your phone number next to the \"Produced By\" tag. If you use iTunes to edit your metadata, include e-mail and social network info.\r\n<ol start=\"3\">\r\n 	<li><strong>Put a label on the key</strong></li>\r\n</ol>\r\nIf you really want to be thorough and make yourself easy to contact, label the key following your phone number. Example: Troll Paradise (Produced By Hot Spoons Productions) (415) 841-7670 (Am).\r\n<ol start=\"4\">\r\n 	<li><strong>Include the Performing Rights Organization</strong></li>\r\n</ol>\r\nThis should be included in the metadata summary in iTunes, BMI, SESAC, or ASCAP.\r\n\r\n5.<strong>  Hook references to the songs</strong>\r\n\r\nFor songs with reference hooks, include the contact info for the singer, include an instrumental version, and include a copy of the hook written.\r\n<ol start=\"6\">\r\n 	<li><strong>Offer a professional DJ pack</strong></li>\r\n</ol>\r\nWhat\'s a DJ pak? It should include a clean and a dirty version of the song, an a cappella version,  the instrumental version and (if needed) a \"DJ Intro\" (8 bars) for both the clean and dirty tracks.\r\n<ol start=\"7\">\r\n 	<li><strong>Make sure your songs have titles</strong></li>\r\n</ol>\r\nNever send a song titled “track 1” or “track 2”. Find a strong title that conveys the message of your song. This will help the artist gain more insight into your vision of the song. It also show that you care about your work.\r\n<ol start=\"8\">\r\n 	<li><strong>Pay attention to song structure</strong></li>\r\n</ol>\r\nThe intro, hook, verse, bridge, and outro, should all be distinct sections with easily countable bars––8, 16 and 32.\r\n<ol start=\"9\">\r\n 	<li><strong>Start the track with a tag</strong></li>\r\n</ol>\r\nYour tag should appear at the beginning of the track. It\'s not necessary to remind the listener of who owns the copyright.\r\n<ol start=\"10\">\r\n 	<li><strong>Include the contact of the studio</strong></li>\r\n</ol>\r\nIf you recorded the song in a studio, include their contact info. They may need to be contacted regarding stems. It may also give the studio additional business, which they\'ll appreciate––and it will make you look good.', '10 Things You Should Do Before Sending a Song', '', 'inherit', 'closed', 'closed', '', '2508-revision-v1', '', '', '2016-08-08 21:35:12', '2016-08-09 04:35:12', '', 2508, 'https://afm424.org/2508-revision-v1/', 0, 'revision', '', 0),
(2579, 6, '2016-08-08 21:36:03', '2016-08-09 04:36:03', 'Thinking about sending a song to a publisher or a record company? Then you\'ll want to make sure that you do everything possible to increase your chances of landing a placement. The following 10 tips will help by making sure that you have the best shot possible at being successful.\r\n<ol>\r\n 	<li><strong>Mix it right, without mastering</strong></li>\r\n</ol>\r\nYou may believe that showing your mastering skills will help you stay ahead of the competition, but is it really so? In reality, you don’t necessarily have to do any mastering. Just make sure your song is mixed right. Why? This leaves the door open to the possibility of the client adding additional tracks. The song can always be mastered down the road.\r\n<ol start=\"2\">\r\n 	<li><strong>Don’t forget about contact details</strong></li>\r\n</ol>\r\nYour track should include metadata with your contact information. Add your phone number next to the \"Produced By\" tag. If you use iTunes to edit your metadata, include e-mail and social network info.\r\n<ol start=\"3\">\r\n 	<li><strong>Put a label on the key</strong></li>\r\n</ol>\r\nIf you really want to be thorough and make yourself easy to contact, label the key following your phone number. Example: Troll Paradise (Produced By Hot Spoons Productions) (415) 841-7670 (Am).\r\n<ol start=\"4\">\r\n 	<li><strong>Include the Performing Rights Organization</strong></li>\r\n</ol>\r\nThis should be included in the metadata summary in iTunes, BMI, SESAC, or ASCAP.\r\n\r\n5.<strong>  Hook references to the songs</strong>\r\n\r\nFor songs with reference hooks, include the contact info for the singer, include an instrumental version, and include a copy of the hook written.\r\n<ol start=\"6\">\r\n 	<li><strong>Offer a professional DJ pack</strong></li>\r\n</ol>\r\nWhat\'s a DJ pak? It should include a clean and a dirty version of the song, an a cappella version,  the instrumental version and (if needed) a \"DJ Intro\" (8 bars) for both the clean and dirty tracks.\r\n<ol start=\"7\">\r\n 	<li><strong>Make sure your songs have titles</strong></li>\r\n</ol>\r\nNever send a song titled “track 1” or “track 2”. Find a strong title that conveys the message of your song. This will help the artist gain more insight into your vision of the song. It also show that you care about your work.\r\n<ol start=\"8\">\r\n 	<li><strong>Pay attention to song structure</strong></li>\r\n</ol>\r\nThe intro, hook, verse, bridge, and outro, should all be distinct sections with easily countable bars––8, 16 and 32.\r\n<ol start=\"9\">\r\n 	<li><strong>Start the track with a tag</strong></li>\r\n</ol>\r\nYour tag should appear at the beginning of the track. It\'s not necessary to remind the listener of who owns the copyright.\r\n<ol start=\"10\">\r\n 	<li><strong>Include the contact of the studio</strong></li>\r\n</ol>\r\nIf you recorded the song in a studio, include their contact info. They may need to be contacted regarding stems. It may also give the studio additional business, which they\'ll appreciate––and it will make you look good.', '10 Things You Should Do Before Sending a Song', '', 'inherit', 'closed', 'closed', '', '2508-revision-v1', '', '', '2016-08-08 21:36:03', '2016-08-09 04:36:03', '', 2508, 'https://afm424.org/2508-revision-v1/', 0, 'revision', '', 0),
(2580, 6, '2016-08-08 21:43:24', '2016-08-09 04:43:24', 'Thinking about sending a song to a publisher or a record company? Then you\'ll want to make sure that you do everything possible to increase your chances of landing a placement. The following 10 tips will help by making sure that you have the best shot possible at being successful.\n<ol>\n 	<li><strong>Mix it right, without mastering</strong></li>\n</ol>\nYou may believe that showing your mastering skills will help you stay ahead of the competition, but is it really so? In reality, you don’t necessarily have to do any mastering. Just make sure your song is mixed right. Why? This leaves the door open to the possibility of the client adding additional tracks. The song can always be mastered down the road.\n<ol start=\"2\">\n 	<li><strong>Don’t forget about contact details</strong></li>\n</ol>\nYour track should include metadata with your contact information. Add your phone number next to the \"Produced By\" tag. If you use iTunes to edit your metadata, include e-mail and social network info.\n<ol start=\"3\">\n 	<li><strong>Put a label on the key</strong></li>\n</ol>\nIf you really want to be thorough and make yourself easy to contact, label the key following your phone number. Example: Troll Paradise (Produced By Hot Spoons Productions) (415) 841-7670 (Am).\n<ol start=\"4\">\n 	<li><strong>Include the Performing Rights Organization</strong></li>\n</ol>\nThis should be included in the metadata summary in iTunes, BMI, SESAC, or ASCAP.\n\n5.<strong>  Hook references for the songs</strong>\n\nFor songs with reference hooks, include the contact info for the singer, include an instrumental version, and include a copy of the hook written.\n<ol start=\"6\">\n 	<li><strong>Offer a professional DJ pack</strong></li>\n</ol>\nWhat\'s a DJ pak? It should include a clean and a dirty version of the song, an a cappella version,  the instrumental version and (if needed) a \"DJ Intro\" (8 bars) for both the clean and dirty tracks.\n<ol start=\"7\">\n 	<li><strong>Make sure your songs have titles</strong></li>\n</ol>\nNever send a song titled “track 1” or “track 2”. Find a strong title that conveys the message of your song. This will help the artist gain more insight into your vision of the song. It also show that you care about your work.\n<ol start=\"8\">\n 	<li><strong>Pay attention to song structure</strong></li>\n</ol>\nThe intro, hook, verse, bridge, and outro, should all be distinct sections with easily countable bars––8, 16 and 32.\n<ol start=\"9\">\n 	<li><strong>Start the track with a tag</strong></li>\n</ol>\nYour tag should appear at the beginning of the track. It\'s not necessary to remind the listener of who owns the copyright.\n<ol start=\"10\">\n 	<li><strong>Include the contact of the studio</strong></li>\n</ol>\nIf you recorded the song in a studio, include their contact info. They may need to be contacted regarding stems. It may also give the studio additional business, which they\'ll appreciate––and it will make you look good.', '10 Things You Should Do Before Sending a Song', '', 'inherit', 'closed', 'closed', '', '2508-autosave-v1', '', '', '2016-08-08 21:43:24', '2016-08-09 04:43:24', '', 2508, 'https://afm424.org/2508-autosave-v1/', 0, 'revision', '', 0),
(2581, 6, '2016-08-08 21:44:31', '2016-08-09 04:44:31', 'Thinking about sending a song to a publisher or a record company? Then you\'ll want to make sure that you do everything possible to increase your chances of landing a placement. The following 10 tips will help by making sure that you have the best shot possible at being successful.\r\n<ol>\r\n 	<li><strong>Mix it right, without mastering</strong></li>\r\n</ol>\r\nYou may believe that showing your mastering skills will help you stay ahead of the competition, but is it really so? In reality, you don’t necessarily have to do any mastering. Just make sure your song is mixed right. Why? This leaves the door open to the possibility of the client adding additional tracks. The song can always be mastered down the road.\r\n<ol start=\"2\">\r\n 	<li><strong>Don’t forget about contact details</strong></li>\r\n</ol>\r\nYour track should include metadata with your contact information. Add your phone number next to the \"Produced By\" tag. If you use iTunes to edit your metadata, include e-mail and social network info.\r\n<ol start=\"3\">\r\n 	<li><strong>Put a label on the key</strong></li>\r\n</ol>\r\nIf you really want to be thorough and make yourself easy to contact, label the key following your phone number. Example: Troll Paradise (Produced By Hot Spoons Productions) (415) 841-7670 (Am).\r\n<ol start=\"4\">\r\n 	<li><strong>Include the Performing Rights Organization</strong></li>\r\n</ol>\r\nThis should be included in the metadata summary in iTunes, BMI, SESAC, or ASCAP.\r\n\r\n5.<strong>  Hook references for the songs</strong>\r\n\r\nFor songs with reference hooks, include the contact info for the singer, include an instrumental version, and include a written copy of the hook.\r\n<ol start=\"6\">\r\n 	<li><strong>Offer a professional DJ pack</strong></li>\r\n</ol>\r\nWhat\'s a DJ pak? It should include a clean and a dirty version of the song, an a cappella version,  the instrumental version and (if needed) a \"DJ Intro\" (8 bars) for both the clean and dirty tracks.\r\n<ol start=\"7\">\r\n 	<li><strong>Make sure your songs have titles</strong></li>\r\n</ol>\r\nNever send a song titled “track 1” or “track 2”. Find a strong title that conveys the message of your song. This will help the artist gain more insight into your vision of the song. It also show that you care about your work.\r\n<ol start=\"8\">\r\n 	<li><strong>Pay attention to song structure</strong></li>\r\n</ol>\r\nThe intro, hook, verse, bridge, and outro, should all be distinct sections with easily countable bars––8, 16 and 32.\r\n<ol start=\"9\">\r\n 	<li><strong>Start the track with a tag</strong></li>\r\n</ol>\r\nYour tag should appear at the beginning of the track. It\'s not necessary to remind the listener of who owns the copyright.\r\n<ol start=\"10\">\r\n 	<li><strong>Include the contact of the studio</strong></li>\r\n</ol>\r\nIf you recorded the song in a studio, include their contact info. They may need to be contacted regarding stems. It may also give the studio additional business, which they\'ll appreciate––and it will make you look good.', '10 Things You Should Do Before Sending a Song', '', 'inherit', 'closed', 'closed', '', '2508-revision-v1', '', '', '2016-08-08 21:44:31', '2016-08-09 04:44:31', '', 2508, 'https://afm424.org/2508-revision-v1/', 0, 'revision', '', 0),
(2585, 6, '2016-08-10 21:31:48', '2016-08-11 04:31:48', '<em>\"The prevailing trend of our time, it seems, is a disburdening of the past.\"</em> So states author Amanda Petrusich in her article in <a href=\"http://www.newyorker.com/culture/cultural-comment/why-record-stores-mattered\" target=\"_blank\">The New Yorker</a> about why record stores mattered. Her piece was prompted by the closure of a beloved neighborhood record shop, \"Other Music\" which lived its life in New York\'s scrappy East Village.\r\n\r\nAs time moves relentlessly forward, many relics of the past can be found hanging onto their place in society by ever-thinning strands, constantly in danger of breaking. Only to later be passionately revered in delicious waves of nostalgia ingested and savored like comfort food.\r\n\r\nMusic is a good barometer with which to gauge the pace of cultural change. As we dispense with outmoded musical notions and category distinctions, dividing music into \"record bin\" style categories is no longer necessary. Genre affiliation has blurred to the point where it\'s not all that surprising to see Radiohead, Beyoncé and Beethoven in the same playlist. What is considered \"good\" music is not only up for debate, but arguing the point is increasingly becoming less important.\r\n\r\nYet there was something endlessly fascinating and wondrously compelling about a trip to the local record store. The sheer variety of sounds and styles saw a mix of hipsters, teenyboppers, folkies, rockers, funkateers, jazzers, and snooty intellectuals––all sharing the rapture to be found in whatever type of music captivated them.\r\n\r\nMost people who opted to work as record shop employees were lovers of the art. These were aficionados who could suggest anything from jugband music to rhythm &amp; blues, from hip hop to classical, from rap to electronic avant-garde. They knew the quirks and idiosyncrasies of various artists, the best cover-version of a particular song, and could even suggest which label had the best sounding pressings.\r\n\r\nIn the sea of traditional record retailing Other Music was an exceptional island. It was not like Tower Records or Virgin Megastore (it outlasted both). It\'s eclectic selection of niche musical finds never failed to open the eyes (and ears) of any browsing customer. The uncommon and extraordinary could be found in every aisle, in every rack, in every bin. Talking with the ever-knowledgable clerks would bring new insights, new revelations.\r\n\r\nApart from losing these physical representations of musical art, the closing of Other Music speaks of a more tangible aspect of our new world.\r\n\r\nToday most people purchase their music online. Any questions concerning the music are usually addressed through a swift consultation with one\'s cell phone. No longer it is necessary to walk into a store that sells physical media. But also gone is engaging in a spark of unexpected, spontaneous conversation with a fellow music enthusiast about some new sounds that might be worth checking out.\r\n\r\nI can’t help feeling that we’ve lost something here; as the ritual of physically obtaining music from those that truly love it...is slowly disappearing.', 'Why Record Stores Were So Important', '\"The prevailing trend of our time, it seems, is a disburdening of the past.\"', 'inherit', 'closed', 'closed', '', '2451-revision-v1', '', '', '2016-08-10 21:31:48', '2016-08-11 04:31:48', '', 2451, 'https://afm424.org/2451-revision-v1/', 0, 'revision', '', 0),
(2586, 6, '2016-08-10 21:43:51', '2016-08-11 04:43:51', '<em>\"The prevailing trend of our time, it seems, is a disburdening of the past.\"</em> So states author Amanda Petrusich in her article in <a href=\"http://www.newyorker.com/culture/cultural-comment/why-record-stores-mattered\" target=\"_blank\">The New Yorker</a> about why record stores mattered. Her piece was prompted by the closure of a beloved neighborhood record shop, \"Other Music\" which lived its life in New York\'s scrappy East Village.\r\n\r\nAs time moves relentlessly forward, many relics of the past can be found hanging onto their place in society by ever-thinning strands, constantly in danger of breaking. Only later to be passionately revered in delicious waves of nostalgia ingested and savored like comfort food.\r\n\r\nMusic is a good barometer with which to gauge the pace of cultural change. As we dispense with outmoded musical notions and category distinctions, dividing music into \"record bin\" style categories is no longer necessary. Genre affiliation has blurred to the point where it\'s not all that surprising to see Radiohead, Beyoncé and Beethoven in the same playlist. What is considered \"good\" music is not only up for debate, but arguing the point is increasingly becoming less important.\r\n\r\nYet there was something endlessly fascinating and wondrously compelling about a trip to the local record store. The sheer variety of sounds and styles saw a mix of hipsters, teenyboppers, folkies, rockers, funkateers, jazzers, and snooty intellectuals––all sharing the rapture to be found in whatever type of music captivated them.\r\n\r\nMost people who opted to work as record shop employees were lovers of the art. These were aficionados who could suggest anything from jugband music to rhythm &amp; blues, from hip hop to classical, from rap to electronic avant-garde. They knew the quirks and idiosyncrasies of various artists, the best cover-version of a particular song, and could even suggest which label had the best sounding pressings.\r\n\r\nIn the sea of traditional record retailing Other Music was an exceptional island. It was not like Tower Records or Virgin Megastore (it outlasted both). It\'s eclectic selection of niche musical finds never failed to open the eyes (and ears) of any browsing customer. The uncommon and extraordinary could be found in every aisle, in every rack, in every bin. Talking with the ever-knowledgable clerks would bring new insights, new revelations.\r\n\r\nApart from losing these physical representations of musical art, the closing of Other Music speaks of a more tangible aspect of our new world.\r\n\r\nToday most people purchase their music online. Any questions concerning the music are usually addressed through a swift consultation with one\'s cell phone. No longer it is necessary to walk into a store that sells physical media. But also gone is engaging in a spark of unexpected, spontaneous conversation with a fellow music enthusiast about some new sounds that might be worth checking out.\r\n\r\nI can’t help feeling that we’ve lost something here; as the ritual of physically obtaining music from those that truly love it...is slowly disappearing.', 'Why Record Stores Were So Important', '\"The prevailing trend of our time, it seems, is a disburdening of the past.\"', 'inherit', 'closed', 'closed', '', '2451-revision-v1', '', '', '2016-08-10 21:43:51', '2016-08-11 04:43:51', '', 2451, 'https://afm424.org/2451-revision-v1/', 0, 'revision', '', 0);
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(2587, 6, '2016-08-10 21:46:54', '2016-08-11 04:46:54', '<em>\"The prevailing trend of our time, it seems, is a disburdening of the past.\"</em> So states author Amanda Petrusich in her article in <a href=\"http://www.newyorker.com/culture/cultural-comment/why-record-stores-mattered\" target=\"_blank\">The New Yorker</a> about why record stores mattered. Her piece was prompted by the closure of a beloved neighborhood record shop, \"Other Music\" which lived its life in New York\'s scrappy East Village.\r\n\r\nAs time moves relentlessly forward, many relics of the past can be found hanging onto their place in society by ever-thinning strands, constantly in danger of breaking. Only later to be passionately revered in delicious waves of nostalgia ingested and savored like comfort food.\r\n\r\nMusic is a good barometer with which to gauge the pace of cultural change. As we dispense with outmoded musical notions and category distinctions, dividing music into \"record bin\" style categories is no longer necessary. Genre affiliation has blurred to the point where it\'s not all that surprising to see Radiohead, Beyoncé and Beethoven in the same playlist. What is considered \"good\" music is not only up for debate, but arguing the point is increasingly becoming less important.\r\n\r\nYet there was something endlessly fascinating and wondrously compelling about a trip to the local record store. The sheer variety of sounds and styles saw a mix of hipsters, teenyboppers, folkies, rockers, funkateers, jazzers, and snooty intellectuals––all sharing the rapture to be found in whatever type of music captivated them.\r\n\r\nMost people who opted to work as record shop employees were lovers of the art. These were aficionados who could suggest anything from jugband music to rhythm &amp; blues, from hip hop to classical, from rap to avant-garde electronica. They knew the quirks and idiosyncrasies of various artists, the best cover-version of a particular song, and could even suggest which label had the best sounding pressings.\r\n\r\nIn the sea of traditional record retailing Other Music was an exceptional island. It was not like Tower Records or Virgin Megastore (it outlasted both). It\'s eclectic selection of niche musical finds never failed to open the eyes (and ears) of any browsing customer. The uncommon and extraordinary could be found in every aisle, in every rack, in every bin. Talking with the ever-knowledgable clerks would bring new insights, new revelations.\r\n\r\nApart from losing these physical representations of musical art, the closing of Other Music speaks of a more tangible aspect of our new world.\r\n\r\nToday most people purchase their music online. Any questions concerning the music are usually addressed through a swift consultation with one\'s cell phone. No longer it is necessary to walk into a store that sells physical media. But also gone is engaging in a spark of unexpected, spontaneous conversation with a fellow music enthusiast about some new sounds that might be worth checking out.\r\n\r\nI can’t help feeling that we’ve lost something here; as the ritual of physically obtaining music from those that truly love it...is slowly disappearing.', 'Why Record Stores Were So Important', '\"The prevailing trend of our time, it seems, is a disburdening of the past.\"', 'inherit', 'closed', 'closed', '', '2451-revision-v1', '', '', '2016-08-10 21:46:54', '2016-08-11 04:46:54', '', 2451, 'https://afm424.org/2451-revision-v1/', 0, 'revision', '', 0),
(2588, 6, '2016-08-10 21:49:05', '2016-08-11 04:49:05', '<em>\"The prevailing trend of our time, it seems, is a disburdening of the past.\"</em> So states author Amanda Petrusich in her article in <a href=\"http://www.newyorker.com/culture/cultural-comment/why-record-stores-mattered\" target=\"_blank\">The New Yorker</a> about why record stores mattered. Her piece was prompted by the closure of a beloved neighborhood record shop, \"Other Music\" which lived its life in New York\'s scrappy East Village.\r\n\r\nAs time moves relentlessly forward, many relics of the past can be found hanging onto their place in society by ever-thinning strands, constantly in danger of breaking. Only later to be passionately revered in delicious waves of nostalgia ingested and savored like comfort food.\r\n\r\nMusic is a good barometer with which to gauge the pace of cultural change. As we dispense with outmoded musical notions and category distinctions, dividing music into \"record bin\" style categories is no longer necessary. Genre affiliation has blurred to the point where it\'s not all that surprising to see Radiohead, Beyoncé and Beethoven in the same playlist. What is considered \"good\" music is not only up for debate, but arguing the point is increasingly becoming less important.\r\n\r\nYet there was something endlessly fascinating and wondrously compelling about a trip to the local record store. The sheer variety of sounds and styles saw a mix of hipsters, teenyboppers, folkies, rockers, funkateers, jazzers, and snooty intellectuals––all sharing the rapture to be found in whatever type of music captivated them.\r\n\r\nMost people who opted to work as record shop employees were lovers of the art. These were aficionados who could suggest anything from jugband music to rhythm &amp; blues, from hip hop to classical, from rap to avant-garde electronica. They knew the quirks and idiosyncrasies of various artists, the best cover-version of a particular song, and could even suggest which label had the best sounding vinyl pressings.\r\n\r\nIn the sea of traditional record retailing Other Music was an exceptional island. It was not like Tower Records or Virgin Megastore (it outlasted both). It\'s eclectic selection of niche musical gems never failed to open the eyes (and ears) of any browsing customer. The uncommon and extraordinary could be found in every aisle, in every rack, in every bin. Talking with the ever-knowledgable clerks would bring new insights, new revelations.\r\n\r\nApart from losing these physical representations of musical art, the closing of Other Music speaks of a more tangible aspect of our new world.\r\n\r\nToday most people purchase their music online. Any questions concerning the music are usually addressed through a swift consultation with one\'s cell phone. No longer it is necessary to walk into a store that sells physical media. But also gone is engaging in a spark of unexpected, spontaneous conversation with a fellow music enthusiast about some new sounds that might be worth checking out.\r\n\r\nI can’t help feeling that we’ve lost something here; as the ritual of physically obtaining music from those that truly love it...is slowly disappearing.', 'Why Record Stores Were So Important', '\"The prevailing trend of our time, it seems, is a disburdening of the past.\"', 'inherit', 'closed', 'closed', '', '2451-revision-v1', '', '', '2016-08-10 21:49:05', '2016-08-11 04:49:05', '', 2451, 'https://afm424.org/2451-revision-v1/', 0, 'revision', '', 0),
(2589, 6, '2016-08-10 22:11:49', '2016-08-11 05:11:49', '<em>\"The prevailing trend of our time, it seems, is a disburdening of the past.\"</em> So states author Amanda Petrusich in her article in <a href=\"http://www.newyorker.com/culture/cultural-comment/why-record-stores-mattered\" target=\"_blank\">The New Yorker</a> about why record stores mattered. Her piece was prompted by the closure of a beloved neighborhood record shop, \"Other Music\" which lived its life in New York\'s scrappy East Village.\r\n\r\nAs time moves relentlessly forward, many relics of the past can be found hanging onto their place in society by ever-thinning strands, constantly in danger of breaking. Only later to be passionately revered in delicious waves of nostalgia ingested and savored like comfort food.\r\n\r\nMusic is a good barometer with which to gauge the pace of cultural change. As we dispense with outmoded musical notions and category distinctions, dividing music into \"record bin\" style categories is no longer necessary. Genre affiliation has blurred to the point where it\'s not all that surprising to see Radiohead, Beyoncé and Beethoven in the same playlist. What is considered \"good\" music is not only up for debate, but arguing the point is increasingly becoming less important.\r\n\r\nYet there was something endlessly fascinating and wondrously compelling about a trip to the local record store. The sheer variety of sounds and styles saw a mix of hipsters, teenyboppers, folkies, rockers, funkateers, jazzers, and snooty intellectuals––all sharing the rapture to be found in whatever type of music captivated them.\r\n\r\nMost people who opted to work as record shop employees were lovers of the art; aficionados who could suggest anything from jugband music to rhythm &amp; blues, from hip hop to classical, from rap to avant-garde electronica. They knew the quirks and idiosyncrasies of various artists, the best cover-version of a particular song, and could even suggest which label had the best sounding vinyl pressings.\r\n\r\nIn the sea of traditional record retailing Other Music was an exceptional island. It was not like Tower Records or Virgin Megastore (it outlasted both). It\'s eclectic selection of niche musical gems never failed to open the eyes (and ears) of any browsing customer. The uncommon and extraordinary could be found in every aisle, in every rack, in every bin. Talking with the ever-knowledgable clerks would bring new insights, new revelations.\r\n\r\nApart from losing these physical representations of musical art, the closing of Other Music speaks of a more tangible aspect of our new world.\r\n\r\nToday most people purchase their music online. Any questions concerning the music are usually addressed through a swift consultation with one\'s cell phone. No longer it is necessary to walk into a store that sells physical media. But also gone is engaging in a spark of unexpected, spontaneous conversation with a fellow music enthusiast about some new sounds that might be worth checking out.\r\n\r\nI can’t help feeling that we’ve lost something here; as the ritual of physically obtaining music from those that truly love it...is slowly disappearing.', 'Why Record Stores Were So Important', '\"The prevailing trend of our time, it seems, is a disburdening of the past.\"', 'inherit', 'closed', 'closed', '', '2451-revision-v1', '', '', '2016-08-10 22:11:49', '2016-08-11 05:11:49', '', 2451, 'https://afm424.org/2451-revision-v1/', 0, 'revision', '', 0),
(2591, 6, '2016-08-12 22:22:47', '2016-08-13 05:22:47', 'When you have a favorite band, you can’t help but want to know more about them. Usually finding out more means tuning into interviews where that band answers the questions the public wants to know. Questions about how they met, where their name came from, or what some of their cool stories are. These are the most common questions asked, according to <a href=\"http://www.digitalmusicnews.com/2016/06/09/top-7-interview-questions-bands-get-asked-answer/\" target=\"_blank\">Digital Music News</a>.\r\n\r\nWith any luck, we find most the answers to these questions intriguing and great conversation points. But to be honest: these response can often come across as scripted fiction. We’ve all done it. We have a story we think is fascinating––we start telling it to our friends, we realize \"this could be more dramatic if I just added a little something…”\r\n\r\nBut how much does this embellishment really matter? Should we feel betrayed that our music heroes exaggerate their tale a bit?\r\n\r\nIf one reaches the rarified stratosphere of becoming a cultural icon, this usually means having an interesting backstory ready, one that captivates people. Boring personas and mundane tales don’t quite resonate regarding legends and stars. We like our idols to have something compelling and captivating to tell our friends about. Of course, not every band has a riveting or glamorous story. So what do you do when you need more voltage in the circuit? You make it up. With the proper creative spark, an interesting tale can be spun.\r\n\r\nThe Digital Music News article is about this very notion of making life sound more thrilling, and enthralling, than it really is. The piece details not only seven questions commonly asked of bands, but also the best way to respond (and embellish) them.\r\n\r\nIs it a crime to change your story from, “I met my drummer in music class” to “we met during an ascent on Mount Everest?\" No, its definitely not the straight-up story. But it\'s way more entertaining than the naked truth.\r\n\r\nShow biz is just like politics. A politician\'s career relies on public opinion. It\'s usually imperative that the public like them. More often than not, this requires twisting and bending the truth to make the candidate sound more intriguing and impressive than they really are.\r\n\r\nOf course, unlike politics, the white lies of a band about their origins doesn\'t often undermine the integrity of the country––and they usually aren’t harmful to society.\r\n\r\nIt serves the function of making our idols look more attractive to us. Besides, how could we convince our friends how great our favorite band is they all met at…y’know...<em>band camp?</em>', 'The 7 Questions Bands Always Get Asked (And What To Say When They Do)', '', 'inherit', 'closed', 'closed', '', '2454-revision-v1', '', '', '2016-08-12 22:22:47', '2016-08-13 05:22:47', '', 2454, 'https://afm424.org/2454-revision-v1/', 0, 'revision', '', 0),
(2592, 6, '2016-08-12 22:29:47', '2016-08-13 05:29:47', 'When you have a favorite band, you can’t help but want to know more about them. Usually finding out more means tuning into interviews where that band answers the questions the public wants to know. Questions about how they met, where their name came from, or what some of their cool stories are. These are the most common questions asked, according to <a href=\"http://www.digitalmusicnews.com/2016/06/09/top-7-interview-questions-bands-get-asked-answer/\" target=\"_blank\">Digital Music News</a>.\r\n\r\nWith any luck, we find most the answers to these questions intriguing and great conversation points. But to be honest: these response can often come across as scripted fiction. We’ve all done it. We have a story we think is fascinating––we start telling it to our friends, we realize \"this could be more dramatic if I just added a little something…”\r\n\r\nBut how much does this embellishment really matter? Should we feel betrayed that our music heroes exaggerate their tale a bit?\r\n\r\nIf one reaches the rarified stratosphere of becoming a cultural icon, this usually means having an interesting backstory ready, one that captivates people. Boring personas and mundane tales don’t quite resonate regarding legends and stars. We like our idols to have something compelling and captivating to tell our friends about. Of course, not every band has a riveting or glamorous story. So what do you do when you need more voltage in the circuit? You make it up. With the proper creative spark, an interesting tale can be spun.\r\n\r\nThe Digital Music News article is about this very notion of making life sound more thrilling, and enthralling, than it really is. The piece details not only seven questions commonly asked of bands, but also the best way to respond (and embellish) them.\r\n\r\nIs it a crime to change your story from, “I met my drummer in music class” to “we met during an ascent on Mount Everest?\" No, its definitely not the straight-up story. But it\'s way more entertaining than the naked truth.\r\n\r\nShow biz is just like politics. A politician\'s career relies on public opinion. It\'s usually imperative that the public like them. More often than not, this requires twisting and bending the truth to make the candidate sound more intriguing and impressive than they really are.\r\n\r\nOf course, unlike politics, the white lies of a band about their origins doesn\'t often undermine the integrity of the country––and they usually aren’t harmful to society.\r\n\r\nIt serves the function of making our idols look more attractive to us. Besides, how could we convince our friends how great our favorite band is of they all met at…y’know...<em>band camp?</em>', 'The 7 Questions Bands Always Get Asked (And What To Say When They Do)', '', 'inherit', 'closed', 'closed', '', '2454-revision-v1', '', '', '2016-08-12 22:29:47', '2016-08-13 05:29:47', '', 2454, 'https://afm424.org/2454-revision-v1/', 0, 'revision', '', 0),
(2593, 6, '2016-08-14 18:25:10', '2016-08-15 01:25:10', 'Gadgets of all kinds are not unusual in today’s market. Many of them are mobile devices meant to serve multiple purposes. But some music gadgets some are just plain weird.  <a href=\"http://ajournalofmusicalthings.com/four-really-weird-music-gadgets/\" target=\"_blank\">Take a look at this</a>. You may find them awkward, if not completely alien.\r\n<ul>\r\n 	<li><strong>Nabaztag</strong></li>\r\n</ul>\r\nWhat is it? The name is bizarre. It comes in shape of a rabbit. It can do everything from announcing the weather and latest stock market trends, to playing MP3 files and streaming radio stations, to reading the incoming email messages of its owners. It can be programmed to do wild things, like encouraging one to exercise more or practice tai-chi. These features may seem useful to some,  but the Nabaztag has not garnered many fans. Nobody knows exactly why this small sci-fi looking rabbit never captured the attention of technology enthusiasts. But I\'ll bet we can all venture a guess.\r\n<ul>\r\n 	<li><strong>The Oakley Thump Sunglasses</strong></li>\r\n</ul>\r\nWhen the MP3 emerged, everybody went mad about it. The market was flooded with all these different MP3 players. So...how about a pair of sunglasses that had incorporated earbuds for listening to music? You could shield your eyes from the sun, listen to music, and look cool––all by using this one gadget. The first Thump was released in 2004. These futuristic looking sunglasses were surprisingly successful. So additional models were added to the line in 2005, 2006 and 2007.\r\n<ul>\r\n 	<li><strong>Sony Rolly</strong></li>\r\n</ul>\r\nSony is a brand that\'s world-renowned when it comes to audio gadgets. But this doesn’t mean that the company always hit the mark with every new release. One of Sony\'s goals is to become as important a player as Apple is in the digital music market. The Sony Rolly was an American football-shaped gizmo that could play music and beats while spinning, rolling and dancing around to the song\'s tempo. Oh, and also flashed colorful stroboscopic lights into the air. But that\'s about it. You couldn\'t connect any headphones to it, because it would prevent the thing from \"dancing\" around. Aside from being strange, this device turned out to be just plain goofy.\r\n<ul>\r\n 	<li><strong>The Bone Fone</strong></li>\r\n</ul>\r\nTalking about strange, this is an unusual name for a music playing gadget. It belongs to this late 1970\'s device––a time when small gadgets were still scarce and awkward looking. The Bone Phone was actually not a phone (and obviously not a bone either). It was a speaker that could be wrapped around your neck and shoulders. Specifically targeting joggers, it could replace headphones, which were uncomfortably large in those days. Even if the Bone Fone looked weird, the manufacturer, JS&amp;A, did manage to sell over 10,000 Bone Phones...before they disappeared from view.', 'Music Gadgets You May Consider Rather Strange', '', 'inherit', 'closed', 'closed', '', '2547-revision-v1', '', '', '2016-08-14 18:25:10', '2016-08-15 01:25:10', '', 2547, 'https://afm424.org/2547-revision-v1/', 0, 'revision', '', 0),
(2595, 6, '2016-08-14 18:36:33', '2016-08-15 01:36:33', 'It wasn’t called jazz.\r\n\r\nIt wasn’t called anything.\r\n\r\nIt started out as a matrix of African tribal rhythms, indigenous folk melodies and ceremonial dances. When it migrated to Europe, western harmonies and lyrics were added to the mix.\r\n\r\nWhen it landed in New Orleans, this new music became infused with robust doses of blues, spiritual song and southern soul. It boogied to the jaunty ragtime piano of Jelly Roll Morton and stomped to the zesty swing of Louis Armstrong’s Hot Five.\r\n\r\nBy 1915 it had a name: <em>jazz. </em>And it grew to become an indigenous music of the States. Some believe jazz is America’s only true art form.\r\n\r\nThere is no other music where the art of improvisation is so enthralling, so visceral, so electric. A simple riff can morph into a symphony of dueling hoofers dancing on the heads of a thousand pins.\r\n\r\nJazz lived outside the box. The seductive freedom of the canvas fueled the desire for all kinds of musicians to express themselves in this exhilarating new world of sound.\r\n\r\nJazz could not only liberate those who played it, but emancipate those who heard it.\r\n<h4><u>Jazz &amp; Its Children</u></h4>\r\nEver since the 1920s, when Satchmo &amp; his Hot Five produced some of the wildest improvisations this side of the moon, jazz has been evolving, transmuting, influencing and absorbing everything around it.\r\n\r\nJazz grew from the humid street corners of New Orleans, the dark cellars of New York and the blues enclaves of Chicago to become a musical form rich in style, authentic in spirit, and soulfully compelling.\r\n\r\nJust take a peek at the children jazz has sired: R&amp;B, funk, Motown, rock, disco, hip-hop, rap, techno, drum &amp; bass, house.\r\n\r\nAnd the dazzling artists who led the way: Lester Young, Duke Ellington, The Boswell Sisters, Ella Fitzgerald, Charlie Parker, Billie Holiday, Art Tatum, John Coltrane, Thelonious Monk, James Brown, Smokey Robinson, Ray Charles, Bill Evans, Miles Davis, Aretha Franklin, Jimi Hendrix, Herbie Hancock. Help! I’m running out of breath.\r\n<h4><u>The Beat On Goes</u></h4>\r\nEverything from 50s R&amp;B, to 90s break beat dance culture, owes its origins to the vibes laid down by jazz musicians of the 20s to the 70s. Even if these later artists weren’t aware of it.\r\n\r\nToday the echoes of jazz can be felt in the sounds of D’Angelo, OutKast, Snoop Dogg, Jay Z., Kanye West, Beyoncé, Drake, Young Thug, Kamasi Washington and so many others. They adapted its irresistible appeal, weaving its glorious rhythms, harmonies, timbres and themes into their own music.\r\n\r\nJazz has an enduring spirit, a direct-to-the-bone visceral appeal, a thrust of improvisational mojo rarely, if ever, matched by any other musical form. Read Greg Tate’s impressive <a href=\"http://www.thefader.com/2016/05/05/jazz-will-always-be-relevant\">article</a> from “The Fader” website. It’s a magical romp through the history and ethos of that sublime noise we call jazz.\r\n\r\nJust as they say a person’s soul lives on…<em>jazz will forever swing to the beat of the human heart.</em>', 'Why Jazz Will Always Matter', '', 'inherit', 'closed', 'closed', '', '2457-revision-v1', '', '', '2016-08-14 18:36:33', '2016-08-15 01:36:33', '', 2457, 'https://afm424.org/2457-revision-v1/', 0, 'revision', '', 0),
(2596, 6, '2016-08-14 21:06:03', '2016-08-15 04:06:03', 'It wasn’t called jazz.\r\n\r\nIt wasn’t called anything.\r\n\r\nIt started out as a matrix of African tribal rhythms, indigenous folk melodies and ceremonial dances. When it migrated to Europe, western harmonies and lyrics were added to the mix.\r\n\r\nWhen it landed in New Orleans, this new music became infused with robust doses of blues, spiritual song and southern soul. It boogied to the jaunty ragtime piano of Jelly Roll Morton and stomped to the zesty swing of Louis Armstrong’s Hot Five.\r\n\r\nBy 1915 it had a name: <em>jazz. </em>And it grew to become an indigenous music of the States. Some believe jazz is America’s only true art form.\r\n\r\nThere is no other music where the art of improvisation is so enthralling, so visceral, so electric. A simple riff can morph into a symphony of dueling hoofers dancing on the heads of a thousand pins.\r\n\r\nJazz lived outside the box. The seductive freedom of this aural canvas fueled the desire for all kinds of musicians to express themselves in this exhilarating new world of sound.\r\n\r\nJazz could not only liberate those who played it, but emancipate those who heard it.\r\n<h4><u>Jazz &amp; Its Children</u></h4>\r\nEver since the 1920s, when Satchmo &amp; his Hot Five produced some of the wildest improvisations this side of the moon, jazz has been evolving, transmuting, influencing and absorbing everything around it.\r\n\r\nJazz grew from the humid street corners of New Orleans, the dark cellars of New York and the blues enclaves of Chicago to become a musical form rich in style, authentic in spirit, and soulfully compelling.\r\n\r\nJust take a peek at the children jazz has sired: R&amp;B, funk, Motown, rock, disco, hip-hop, rap, techno, drum &amp; bass, house.\r\n\r\nAnd the dazzling artists who led the way: Lester Young, Duke Ellington, The Boswell Sisters, Ella Fitzgerald, Charlie Parker, Billie Holiday, Art Tatum, John Coltrane, Thelonious Monk, James Brown, Smokey Robinson, Ray Charles, Bill Evans, Miles Davis, Aretha Franklin, Jimi Hendrix, Herbie Hancock. Help! I’m running out of breath.\r\n<h4><u>The Beat On Goes</u></h4>\r\nEverything from 50s R&amp;B, to 90s break beat dance culture, owes its origins to the vibes laid down by jazz musicians of the 20s to the 70s. Even if these later artists weren’t aware of it.\r\n\r\nToday the echoes of jazz can be felt in the sounds of D’Angelo, OutKast, Snoop Dogg, Jay Z., Kanye West, Beyoncé, Drake, Young Thug, Kamasi Washington and so many others. They adapted its irresistible appeal, weaving its glorious rhythms, harmonies, timbres and themes into their own music.\r\n\r\nJazz has an enduring spirit, a direct-to-the-bone visceral appeal, a thrust of improvisational mojo rarely, if ever, matched by any other musical form. Read Greg Tate’s impressive <a href=\"http://www.thefader.com/2016/05/05/jazz-will-always-be-relevant\">article</a> from “The Fader” website. It’s a magical romp through the history and ethos of that sublime noise we call jazz.\r\n\r\nJust as they say a person’s soul lives on…<em>jazz will forever swing to the beat of the human heart.</em>', 'Why Jazz Will Always Matter', '', 'inherit', 'closed', 'closed', '', '2457-revision-v1', '', '', '2016-08-14 21:06:03', '2016-08-15 04:06:03', '', 2457, 'https://afm424.org/2457-revision-v1/', 0, 'revision', '', 0),
(2597, 6, '2016-08-14 21:09:38', '2016-08-15 04:09:38', 'It wasn’t called jazz.\r\n\r\nIt wasn’t called anything.\r\n\r\nIt started out as a matrix of African tribal rhythms, indigenous folk melodies and ceremonial dances. When it migrated to Europe, western harmonies and lyrics were added to the mix.\r\n\r\nWhen it landed in New Orleans, this new music became infused with robust doses of blues, spiritual song and southern soul. It boogied to the jaunty ragtime piano of Jelly Roll Morton and stomped to the zesty swing of Louis Armstrong’s Hot Five.\r\n\r\nBy 1915 it had a name: <em>jazz. </em>And it grew to become an indigenous music of the States. Some believe jazz is America’s only true art form.\r\n\r\nThere is no other music where the art of improvisation is so enthralling, so visceral, so electric. A simple riff can morph into a symphony of dueling hoofers dancing on the heads of a thousand pins.\r\n\r\nJazz lived outside the box. This powerful seductive freedom fueled the desire for all kinds of musicians to express themselves in this exhilarating new world of sound.\r\n\r\nJazz could not only liberate those who played it, but emancipate those who heard it.\r\n<h4><u>Jazz &amp; Its Children</u></h4>\r\nEver since the 1920s, when Satchmo &amp; his Hot Five produced some of the wildest improvisations this side of the moon, jazz has been evolving, transmuting, influencing and absorbing everything around it.\r\n\r\nJazz grew from the humid street corners of New Orleans, the dark cellars of New York and the blues enclaves of Chicago to become a musical form rich in style, authentic in spirit, and soulfully compelling.\r\n\r\nJust take a peek at the children jazz has sired: R&amp;B, funk, Motown, rock, disco, hip-hop, rap, techno, drum &amp; bass, house.\r\n\r\nAnd the dazzling artists who led the way: Lester Young, Duke Ellington, The Boswell Sisters, Ella Fitzgerald, Charlie Parker, Billie Holiday, Art Tatum, John Coltrane, Thelonious Monk, James Brown, Smokey Robinson, Ray Charles, Bill Evans, Miles Davis, Aretha Franklin, Jimi Hendrix, Herbie Hancock. Help! I’m running out of breath.\r\n<h4><u>The Beat On Goes</u></h4>\r\nEverything from 50s R&amp;B, to 90s break beat dance culture, owes its origins to the vibes laid down by jazz musicians of the 20s to the 70s. Even if these later artists weren’t aware of it.\r\n\r\nToday the echoes of jazz can be felt in the sounds of D’Angelo, OutKast, Snoop Dogg, Jay Z., Kanye West, Beyoncé, Drake, Young Thug, Kamasi Washington and so many others. They adapted its irresistible appeal, weaving its glorious rhythms, harmonies, timbres and themes into their own music.\r\n\r\nJazz has an enduring spirit, a direct-to-the-bone visceral appeal, a thrust of improvisational mojo rarely, if ever, matched by any other musical form. Read Greg Tate’s impressive <a href=\"http://www.thefader.com/2016/05/05/jazz-will-always-be-relevant\">article</a> from “The Fader” website. It’s a magical romp through the history and ethos of that sublime noise we call jazz.\r\n\r\nJust as they say a person’s soul lives on…<em>jazz will forever swing to the beat of the human heart.</em>', 'Why Jazz Will Always Matter', '', 'inherit', 'closed', 'closed', '', '2457-revision-v1', '', '', '2016-08-14 21:09:38', '2016-08-15 04:09:38', '', 2457, 'https://afm424.org/2457-revision-v1/', 0, 'revision', '', 0),
(2598, 6, '2016-08-14 21:20:14', '2016-08-15 04:20:14', 'It wasn’t called jazz.\r\n\r\nIt wasn’t called anything.\r\n\r\nIt started out as a matrix of African tribal rhythms, indigenous folk melodies and ceremonial dances. When it migrated to Europe, western harmonies and lyrics were added to the mix.\r\n\r\nWhen it landed in New Orleans, this new music became infused with robust doses of blues, spiritual song and southern soul. It boogied to the jaunty ragtime piano of Jelly Roll Morton and stomped to the zesty swing of Louis Armstrong’s Hot Five.\r\n\r\nBy 1915 it had a name: <em>jazz. </em>And it grew to become an indigenous music of the States. Some believe jazz is America’s only true art form.\r\n\r\nThere is no other music where the art of improvisation is so enthralling, so visceral, so electric. A simple riff can morph into a symphony of dueling hoofers dancing on the heads of a thousand pins.\r\n\r\nJazz lived outside the box. This powerful seductive freedom fueled the desire for all kinds of musicians to express themselves in this exhilarating new world of sound.\r\n\r\nJazz could not only liberate those who played it, but emancipate those who heard it.\r\n<h4><u>Jazz &amp; Its Children</u></h4>\r\nEver since the 1920s, when Satchmo &amp; his Hot Five produced some of the wildest improvisations this side of the moon, jazz has been evolving, transmuting, influencing and absorbing everything around it.\r\n\r\nJazz grew from the humid street corners of New Orleans, the dark cellars of New York and the blues enclaves of Chicago to become a musical form rich in style, authentic in spirit, and soulfully compelling.\r\n\r\nJust take a peek at the children jazz has sired: R&amp;B, funk, Motown, rock, disco, hip-hop, rap, techno, drum &amp; bass, house.\r\n\r\nAnd the dazzling artists who led the way: Lester Young, Duke Ellington, The Boswell Sisters, Ella Fitzgerald, Charlie Parker, Billie Holiday, Art Tatum, John Coltrane, Thelonious Monk, James Brown, Smokey Robinson, Ray Charles, Bill Evans, Miles Davis, Aretha Franklin, Jimi Hendrix, Herbie Hancock. Help! I’m running out of breath.\r\n<h4><u>The Beat On Goes</u></h4>\r\nEverything from 50s R&amp;B, to 90s break beat dance culture, owes its origins to the vibes laid down by jazz musicians of the 20s to the 70s. Even if these later artists weren’t aware of it.\r\n\r\nToday the echoes of jazz can be felt in the sounds of D’Angelo, OutKast, Snoop Dogg, Jay Z., Kanye West, Beyoncé, Drake, Young Thug, Kamasi Washington and so many others. They adapted its irresistible appeal, weaving its glorious rhythms, harmonies, timbres and themes into their own music.\r\n\r\nJazz has an enduring spirit, a direct-to-the-bone visceral appeal, a thrust of improvisational mojo rarely, if ever, matched by any other musical form. Read Greg Tate’s impressive <a href=\"http://www.thefader.com/2016/05/05/jazz-will-always-be-relevant\">article</a> from “The Fader” website. It’s a roiling romp through the history and ethos of that sublime noise we call jazz.\r\n\r\nJust as they say a person’s soul lives on…<em>jazz will forever swing to the beat of the human heart.</em>', 'Why Jazz Will Always Matter', '', 'inherit', 'closed', 'closed', '', '2457-revision-v1', '', '', '2016-08-14 21:20:14', '2016-08-15 04:20:14', '', 2457, 'https://afm424.org/2457-revision-v1/', 0, 'revision', '', 0),
(2599, 6, '2016-08-15 21:37:29', '2016-08-16 04:37:29', 'It wasn’t called jazz.\n\nIt wasn’t called anything.\n\nIt started out as a matrix of African tribal rhythms, indigenous folk melodies and ceremonial dances. When it migrated to Europe, western harmonies and lyrics were added to the mix.\n\nWhen it landed in New Orleans, this new music became infused with robust doses of blues, spiritual song and southern soul. It boogied to the jaunty ragtime piano of Jelly Roll Morton and stomped to the zesty swing of Louis Armstrong’s Hot Five.\n\nBy 1915 it had a name: <em>jazz. </em>And it grew to become an indigenous music of the States. Some believe jazz is America’s only true art form.\n\nThere is no other music where the art of improvisation is so enthralling, so visceral, so electric. A simple riff can morph into a symphony of dueling hoofers dancing on the heads of a thousand pins.\n\nJazz lived outside the box. This powerful and seductive freedom fueled the desire for all kinds of musicians to express themselves in an exhilarating new world of sound.\n\nJazz could not only liberate those who played it, but emancipate those who heard it.\n<h4><u>Jazz &amp; Its Children</u></h4>\nEver since the 1920s, when Satchmo &amp; his Hot Five produced some of the wildest improvisations this side of the moon, jazz has been evolving, transmuting, influencing and absorbing everything around it.\n\nJazz grew from the humid street corners of New Orleans, the dark cellars of New York and the blues enclaves of Chicago to become a musical form rich in style, authentic in spirit, and soulfully compelling.\n\nJust take a peek at the children jazz has sired: R&amp;B, funk, Motown, rock, disco, hip-hop, rap, techno, drum &amp; bass, house.\n\nAnd the dazzling artists who led the way: Lester Young, Duke Ellington, The Boswell Sisters, Ella Fitzgerald, Charlie Parker, Billie Holiday, Art Tatum, John Coltrane, Thelonious Monk, James Brown, Smokey Robinson, Ray Charles, Bill Evans, Miles Davis, Aretha Franklin, Jimi Hendrix, Herbie Hancock. Help! I’m running out of breath.\n<h4><u>The Beat On Goes</u></h4>\nEverything from 50s R&amp;B, to 90s break beat dance culture, owes its origins to the vibes laid down by jazz musicians of the 20s to the 70s. Even if these later artists weren’t aware of it.\n\nToday the echoes of jazz can be felt in the sounds of D’Angelo, OutKast, Snoop Dogg, Jay Z., Kanye West, Beyoncé, Drake, Young Thug, Kamasi Washington and so many others. They adapted its irresistible appeal, weaving its glorious rhythms, harmonies, timbres and themes into their own music.\n\nJazz has an enduring spirit, a direct-to-the-bone visceral appeal, a thrust of improvisational mojo rarely, if ever, matched by any other musical form. Read Greg Tate’s impressive <a href=\"http://www.thefader.com/2016/05/05/jazz-will-always-be-relevant\">article</a> from “The Fader” website. It’s a roiling romp through the history and ethos of that sublime noise we call jazz.\n\nJust as they say a person’s soul lives on…<em>jazz will forever swing to the beat of the human heart.</em>', 'Why Jazz Will Always Matter', '', 'inherit', 'closed', 'closed', '', '2457-autosave-v1', '', '', '2016-08-15 21:37:29', '2016-08-16 04:37:29', '', 2457, 'https://afm424.org/2457-autosave-v1/', 0, 'revision', '', 0),
(2600, 6, '2016-08-15 21:37:39', '2016-08-16 04:37:39', 'It wasn’t called jazz.\r\n\r\nIt wasn’t called anything.\r\n\r\nIt started out as a matrix of African tribal rhythms, indigenous folk melodies and ceremonial dances. When it migrated to Europe, western harmonies and lyrics were added to the mix.\r\n\r\nWhen it landed in New Orleans, this new music became infused with robust doses of blues, spiritual song and southern soul. It boogied to the jaunty ragtime piano of Jelly Roll Morton and stomped to the zesty swing of Louis Armstrong’s Hot Five.\r\n\r\nBy 1915 it had a name: <em>jazz. </em>And it grew to become an indigenous music of the States. Some believe jazz is America’s only true art form.\r\n\r\nThere is no other music where the art of improvisation is so enthralling, so visceral, so electric. A simple riff can morph into a symphony of dueling hoofers dancing on the heads of a thousand pins.\r\n\r\nJazz lived outside the box. This powerful and seductive freedom fueled the desire for all kinds of musicians to express themselves in an exhilarating new world of sound.\r\n\r\nJazz could not only liberate those who played it, but emancipate those who heard it.\r\n<h4><u>Jazz &amp; Its Children</u></h4>\r\nEver since the 1920s, when Satchmo &amp; his Hot Five produced some of the wildest improvisations this side of the moon, jazz has been evolving, transmuting, influencing and absorbing everything around it.\r\n\r\nJazz grew from the humid street corners of New Orleans, the dark cellars of New York and the blues enclaves of Chicago to become a musical form rich in style, authentic in spirit, and soulfully compelling.\r\n\r\nJust take a peek at the children jazz has sired: R&amp;B, funk, Motown, rock, disco, hip-hop, rap, techno, drum &amp; bass, house.\r\n\r\nAnd the dazzling artists who led the way: Lester Young, Duke Ellington, The Boswell Sisters, Ella Fitzgerald, Charlie Parker, Billie Holiday, Art Tatum, John Coltrane, Thelonious Monk, James Brown, Smokey Robinson, Ray Charles, Bill Evans, Miles Davis, Aretha Franklin, Jimi Hendrix, Herbie Hancock. Help! I’m running out of breath.\r\n<h4><u>The Beat On Goes</u></h4>\r\nEverything from 50s R&amp;B, to 90s break beat dance culture, owes its origins to the vibes laid down by jazz musicians of the 20s to the 70s. Even if these later artists weren’t aware of it.\r\n\r\nToday the echoes of jazz can be felt in the sounds of D’Angelo, OutKast, Snoop Dogg, Jay Z., Kanye West, Beyoncé, Drake, Young Thug, Kamasi Washington and so many others. They adapted its irresistible appeal, weaving its glorious rhythms, harmonies, timbres and themes into their own music.\r\n\r\nJazz has an enduring spirit, a direct-to-the-bone visceral appeal, a thrust of improvisational mojo rarely, if ever, matched by any other musical form. Read Greg Tate’s impressive <a href=\"http://www.thefader.com/2016/05/05/jazz-will-always-be-relevant\">article</a> from “The Fader” website. It’s a roiling romp through the history and ethos of that sublime noise we call jazz.\r\n\r\nJust as they say a person’s soul lives on…<em>jazz will forever swing to the beat of the human heart.</em>', 'Why Jazz Will Always Matter', '', 'inherit', 'closed', 'closed', '', '2457-revision-v1', '', '', '2016-08-15 21:37:39', '2016-08-16 04:37:39', '', 2457, 'https://afm424.org/2457-revision-v1/', 0, 'revision', '', 0),
(2603, 6, '2016-08-21 15:35:50', '2016-08-21 22:35:50', 'Every pop music enthusiast looks with melancholy at the music shelf where albums of favorite artists, gathered with care in the good old days, sat aligned in a precise order. The days when you anxiously waited for a particular album to be released so are, for better or worse, long gone.\r\n\r\nOr are they?\r\n\r\nSomething extremely interesting is happening in the music industry regarding the release of albums. The pop album\'s glory days may lay in the past, but the medium may not be necessarily dead.\r\n\r\nYes, with the development of the digital era and audio streaming services, pop albums became an endangered species.\r\n\r\nToday you don’t have to wait for a whole year to enjoy a new song from your favorite artist. You can find freshly released material year round on websites like YouTube and Spotify.\r\n\r\nOnline personalized playlists offer limitless hard drive space to save the largest of collections. These playlist programs are trying to be smart, anticipating what they think you may like, and making suggestions to expand and enrich your playlist. So with so many features now available on streaming websites, why should artists work so hard on releasing albums, when they can simply put a song out in a matter of minutes?\r\n\r\n<a href=\"http://blog.thirdbridgecreative.com/2016/07/the-long-play/\" target=\"_blank\">Some music execs advise</a> that pop stars should stop releasing any kind of album at all––they could use the extra time to be more creative. Then release the music solely in the digital domain.\r\n\r\nBut there are a handful of artists, like Justin Bieber and Taylor Swift, who remain loyal to the more traditional methodology of releasing singles along with albums.\r\n\r\nIt seems that albums are still an integral step in the evolution of an artist.\r\n\r\nA number of established artists have released albums that were extremely well-prepared––\"statement albums\" as they have come to be called. Aside from being released on a physical medium, these albums are also digitally distributed.\r\n\r\nBeyonce, Drake, Rihanna, and Kanye are just a few names on this list. And these artists still release singles. But they also take advantage of the album format\'s expanded canvas, where many pieces of music are presented as a cohesive whole.\r\n\r\nThese artists continue to show that the pop album is not only still appreciated, but very much alive and kicking.\r\n\r\nFew predicted this would happen, believing that ever evolving technology would have changed everything.\r\n\r\nAnd it\'s true that a lot of things did change. But an artifact that was of great importance to the music industry has managed to survive, finding ways to adapt itself to the rules of the New Game.\r\n\r\n&nbsp;', 'The Pop Album: Is it Dead?', '', 'inherit', 'closed', 'closed', '', '2468-revision-v1', '', '', '2016-08-21 15:35:50', '2016-08-21 22:35:50', '', 2468, 'https://afm424.org/2468-revision-v1/', 0, 'revision', '', 0),
(2604, 6, '2016-08-21 15:50:53', '2016-08-21 22:50:53', 'Most every pop music enthusiast looks with melancholy at the music shelf where albums of favorite artists, gathered with care in the good old days, may still sit aligned in a clean, precise order. But the days when one anxiously awaited for a particular album to be released so are, for better or worse, long gone.\r\n\r\nOr are they?\r\n\r\nSomething extremely interesting is happening in the music industry regarding the album format. The pop album\'s glory days may lay in the past, but the medium may not be necessarily dead.\r\n\r\nYes, with the development of the digital era and audio streaming services, the pop album has become an endangered species. You no longer have to wait for months to enjoy a new song from your favorite artist. You can find freshly released material year-round on websites like YouTube and Spotify.\r\n\r\nOnline personalized playlists offer limitless hard drive space to store the largest of collections. And these playlist programs are becoming smarter, anticipating what they think you may like, and making suggestions to expand and enrich your playlist. With so many features now available on streaming websites, why should artists work hard on releasing albums, when they can simply release a song within a matter of minutes?\r\n\r\n<a href=\"http://blog.thirdbridgecreative.com/2016/07/the-long-play/\" target=\"_blank\">Some music execs advise</a> that artists should abandon the album format completely––and use the extra time for new creations–– releasing their music solely in the digital domain.\r\n\r\nBut there are a handful of artists, like Justin Bieber and Taylor Swift, who remain loyal to the more traditional methodology of releasing albums along with singles.\r\n\r\nIt seems that albums are still an integral step in the evolution of an artist.\r\n\r\nA number of established artists have released albums that were extremely well-assembled; \"statement albums\" as they have come to be called. These are released both in physical form and in the digital world.\r\n\r\nBeyonce, Drake, Rihanna, and Kanye are a few names on this list. These artists release singles, but also take advantage of the album format\'s expanded canvas, where many pieces of music can be presented as a cohesive whole.\r\n\r\nThese artists\' works are evidence that the pop album is not only still appreciated, but very much alive and kicking.\r\n\r\nFew predicted this would happen, believing that ever evolving technology would change everything.\r\n\r\nAnd it\'s true, a lot of things did change. But an artifact that was of great importance to the music industry has managed to survive, and find ways to adapt itself to the rules of the New Game.\r\n\r\n&nbsp;', 'The Pop Album: Is it Dead?', '', 'inherit', 'closed', 'closed', '', '2468-revision-v1', '', '', '2016-08-21 15:50:53', '2016-08-21 22:50:53', '', 2468, 'https://afm424.org/2468-revision-v1/', 0, 'revision', '', 0),
(2606, 6, '2016-08-25 23:24:21', '2016-08-26 06:24:21', '', 'The Serpent & Machinery_chain_AFM', '', 'inherit', 'open', 'closed', '', 'the-serpent-machinery_chain_afm', '', '', '2016-08-25 23:24:21', '2016-08-26 06:24:21', '', 0, 'https://afm424.org/wp-content/uploads/2016/08/The-Serpent-Machinery_chain_AFM.jpg', 0, 'attachment', 'image/jpeg', 0),
(2607, 6, '2016-08-25 23:28:18', '2016-08-26 06:28:18', '', 'Transylvania 6-5000_Dracula ReMix_update_AFM', '', 'inherit', 'open', 'closed', '', 'transylvania-6-5000_dracula-remix_update_afm', '', '', '2016-09-15 00:00:47', '2016-09-15 07:00:47', '', 2622, 'https://afm424.org/wp-content/uploads/2016/08/Transylvania-6-5000_Dracula-ReMix_update_AFM.jpg', 0, 'attachment', 'image/jpeg', 0),
(2608, 6, '2016-08-26 19:19:27', '2016-08-27 02:19:27', '[audio mp3=\"https://paulchiten.com/wp-content/uploads/2016/06/The-Serpent-and-the-Machinery_edit_bridge-efx_single.mp3\"][/audio]', 'Allure of Souls – \"The Serpent & The Machinery\"', '', 'inherit', 'closed', 'closed', '', '2101-revision-v1', '', '', '2016-08-26 19:19:27', '2016-08-27 02:19:27', '', 2101, 'https://afm424.org/2101-revision-v1/', 0, 'revision', '', 0),
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(2612, 6, '2016-09-01 22:54:05', '2016-09-02 05:54:05', 'Thinking about sending a song to a publisher or a record company? Then you\'ll want to make sure that you do everything possible to increase your chances of landing a placement. The following 10 tips will help by making sure that you have the best shot possible at being successful.\r\n<ol>\r\n 	<li><strong>Mix it right, without mastering</strong></li>\r\n</ol>\r\nYou may believe that showing your mastering skills will help you stay ahead of the competition, but is it really so? In reality, you don’t necessarily have to do any mastering. Just make sure your song is mixed right. Why? This leaves the door open to the possibility of the client adding additional tracks. The song can always be mastered down the road.\r\n<ol start=\"2\">\r\n 	<li><strong>Don’t forget about contact details</strong></li>\r\n</ol>\r\nYour track should include metadata with your contact information. Add your phone number next to the \"Produced By\" tag. If you use iTunes to edit your metadata, include e-mail and social network info.\r\n<ol start=\"3\">\r\n 	<li><strong>Put a label on the key</strong></li>\r\n</ol>\r\nIf you really want to be thorough and make yourself easy to contact, label the key following your phone number. Example: Troll Paradise (Produced By Hot Spoons Productions) (415) 841-7670 (Am).\r\n<ol start=\"4\">\r\n 	<li><strong>Include the Performing Rights Organization</strong></li>\r\n</ol>\r\nThis should be included in the metadata summary in iTunes, BMI, SESAC, or ASCAP.\r\n\r\n5.<strong>  Hook references for the songs</strong>\r\n\r\nFor songs with reference hooks, include the contact info for the singer, include an instrumental version, and include a written copy of the hook.\r\n<ol start=\"6\">\r\n 	<li><strong>Offer a professional DJ pack</strong></li>\r\n</ol>\r\nWhat\'s a DJ pak? It should include a clean and a dirty version of the song, an a cappella version,  the instrumental version and (if needed) a \"DJ Intro\" (8 bars) for both the clean and dirty tracks.\r\n<ol start=\"7\">\r\n 	<li><strong>Make sure your songs have titles</strong></li>\r\n</ol>\r\nNever send a song titled “track 1” or “track 2”. Find a strong title that conveys the message of your song. This will help the artist gain more insight into your vision of the song. It also shows that you care about your work.\r\n<ol start=\"8\">\r\n 	<li><strong>Pay attention to song structure</strong></li>\r\n</ol>\r\nThe intro, hook, verse, bridge, and outro, should all be distinct sections with easily countable bars––8, 16 and 32.\r\n<ol start=\"9\">\r\n 	<li><strong>Start the track with a tag</strong></li>\r\n</ol>\r\nYour tag should appear at the beginning of the track. It\'s not necessary to remind the listener of who owns the copyright.\r\n<ol start=\"10\">\r\n 	<li><strong>Include the contact of the studio</strong></li>\r\n</ol>\r\nIf you recorded the song in a studio, include their contact info. They may need to be contacted regarding stems. It may also give the studio additional business, which they\'ll appreciate––and it will make you look good.', '10 Things You Should Do Before Sending a Song', '', 'inherit', 'closed', 'closed', '', '2508-revision-v1', '', '', '2016-09-01 22:54:05', '2016-09-02 05:54:05', '', 2508, 'https://afm424.org/2508-revision-v1/', 0, 'revision', '', 0),
(2613, 6, '2016-09-01 22:58:11', '2016-09-02 05:58:11', 'Gadgets of all kinds are not unusual in today’s market. Many of them are mobile devices meant to serve multiple purposes. But some music gadgets some are just plain weird.  <a href=\"http://ajournalofmusicalthings.com/four-really-weird-music-gadgets/\" target=\"_blank\">Take a look at this</a>. You may find them awkward, if not completely alien.\r\n<ul>\r\n 	<li><strong>Nabaztag</strong></li>\r\n</ul>\r\nWhat is it? The name is bizarre. It comes in shape of a rabbit. It can do everything from announcing the weather and latest stock market trends, to playing MP3 files and streaming radio stations, to reading the incoming email messages of its owners. It can be programmed to do wild things, like encouraging one to exercise more or practice tai-chi. These features may seem useful to some,  but the Nabaztag has not garnered many fans. Nobody knows exactly why this small sci-fi looking rabbit never captured the attention of technology enthusiasts. But I\'ll bet we can all venture a guess.\r\n<ul>\r\n 	<li><strong>The Oakley Thump Sunglasses</strong></li>\r\n</ul>\r\nWhen the MP3 emerged, everybody went mad about it. The market was flooded with all these different MP3 players. So...how about a pair of sunglasses that had incorporated earbuds for listening to music? You could shield your eyes from the sun, listen to music, and look cool––all by using this one gadget. The first Thump was released in 2004. These futuristic looking sunglasses were surprisingly successful. So additional models were added to the line in 2005, 2006 and 2007.\r\n<ul>\r\n 	<li><strong>Sony Rolly</strong></li>\r\n</ul>\r\nSony is a brand that\'s world-renowned when it comes to audio gadgets. But this doesn’t mean that the company always hit the mark with every new release. One of Sony\'s goals is to become as important a player as Apple is in the digital music market. The Sony Rolly was a football-shaped gizmo that could play music and beats while spinning, rolling and dancing around to the song\'s tempo. Oh, and also flashed colorful stroboscopic lights into the air. But that\'s about it. You couldn\'t connect any headphones to it, because it would prevent the thing from \"dancing\" around. Aside from being strange, this device turned out to be just plain goofy.\r\n<ul>\r\n 	<li><strong>The Bone Fone</strong></li>\r\n</ul>\r\nTalking about strange, this is an unusual name for a music playing gadget. It belongs to this late 1970\'s device––a time when small gadgets were still scarce and awkward looking. The Bone Phone was actually not a phone (and obviously not a bone either). It was a speaker that could be wrapped around your neck and shoulders. Specifically targeting joggers, it could replace headphones, which were uncomfortably large in those days. Even if the Bone Fone looked weird, the manufacturer, JS&amp;A, did manage to sell over 10,000 Bone Phones...before they disappeared from view.', 'Music Gadgets You May Consider Rather Strange', '', 'inherit', 'closed', 'closed', '', '2547-revision-v1', '', '', '2016-09-01 22:58:11', '2016-09-02 05:58:11', '', 2547, 'https://afm424.org/2547-revision-v1/', 0, 'revision', '', 0),
(2614, 6, '2016-09-01 22:59:00', '2016-09-02 05:59:00', 'Gadgets of all kinds are not unusual in today’s market. Many of them are mobile devices meant to serve multiple purposes. But some music gadgets some are just plain weird.  <a href=\"http://ajournalofmusicalthings.com/four-really-weird-music-gadgets/\" target=\"_blank\">Take a look at this</a>. You may find them awkward, if not completely alien.\r\n<ul>\r\n 	<li><strong>Nabaztag</strong></li>\r\n</ul>\r\nWhat is it? The name is bizarre. It comes in shape of a rabbit. It can do everything from announcing the weather and latest stock market trends, to playing MP3 files and streaming radio stations, to reading the incoming email messages of its owners. It can be programmed to do wild things, like encouraging one to exercise more or practice tai-chi. These features may seem useful to some,  but the Nabaztag has not garnered many fans. Nobody knows exactly why this small sci-fi looking rabbit never captured the attention of technology enthusiasts. But I\'ll bet we can all venture a guess.\r\n<ul>\r\n 	<li><strong>The Oakley Thump Sunglasses</strong></li>\r\n</ul>\r\nWhen the MP3 emerged, everybody went mad about it. The market was flooded with all these different MP3 players. So...how about a pair of sunglasses that had incorporated earbuds for listening to music? You could shield your eyes from the sun, listen to music, and look cool––all by using this one gadget. The first Thump was released in 2004. These futuristic looking sunglasses were surprisingly successful. So additional models were added to the line in 2005, 2006 and 2007.\r\n<ul>\r\n 	<li><strong>Sony Rolly</strong></li>\r\n</ul>\r\nSony is a brand that\'s world-renowned when it comes to audio gadgets. But this doesn’t mean that the company always hit the mark with every new release. One of Sony\'s goals is to become as important a player as Apple is in the digital music market. The Sony Rolly was a football-shaped gizmo that could play music and beats while spinning, rolling and dancing around to the song\'s tempo. Oh, and it also flashed colorful stroboscopic lights into the air. But that\'s about it. You couldn\'t connect headphones because it would prevent the thing from \"dancing\" around. Aside from being strange, this device turned out to be just plain goofy.\r\n<ul>\r\n 	<li><strong>The Bone Fone</strong></li>\r\n</ul>\r\nTalking about strange, this is an unusual name for a music playing gadget. It belongs to this late 1970\'s device––a time when small gadgets were still scarce and awkward looking. The Bone Phone was actually not a phone (and obviously not a bone either). It was a speaker that could be wrapped around your neck and shoulders. Specifically targeting joggers, it could replace headphones, which were uncomfortably large in those days. Even if the Bone Fone looked weird, the manufacturer, JS&amp;A, did manage to sell over 10,000 Bone Phones...before they disappeared from view.', 'Music Gadgets You May Consider Rather Strange', '', 'inherit', 'closed', 'closed', '', '2547-revision-v1', '', '', '2016-09-01 22:59:00', '2016-09-02 05:59:00', '', 2547, 'https://afm424.org/2547-revision-v1/', 0, 'revision', '', 0),
(2615, 6, '2016-09-01 23:01:00', '2016-09-02 06:01:00', 'Gadgets of all kinds are not unusual in today’s market. Many of them are mobile devices meant to serve multiple purposes. But some music gadgets some are just plain weird.  <a href=\"http://ajournalofmusicalthings.com/four-really-weird-music-gadgets/\" target=\"_blank\">Take a look at this</a>. You may find them awkward, if not completely alien.\r\n<ul>\r\n 	<li><strong>Nabaztag</strong></li>\r\n</ul>\r\nWhat is it? The name is bizarre. It comes in shape of a rabbit. It can do everything from announcing the weather and latest stock market trends, to playing MP3 files and streaming radio stations, to reading the incoming email messages of its owners. It can be programmed to do wild things, like encouraging one to exercise more or practice tai-chi. These features may seem useful to some,  but the Nabaztag has not garnered many fans. Nobody knows exactly why this small sci-fi looking rabbit never captured the attention of technology enthusiasts. But I\'ll bet we can all venture a guess.\r\n<ul>\r\n 	<li><strong>The Oakley Thump Sunglasses</strong></li>\r\n</ul>\r\nWhen the MP3 emerged, everybody went mad about it. The market was flooded with all these different MP3 players. So...how about a pair of sunglasses that had incorporated earbuds for listening to music? You could shield your eyes from the sun, listen to music, and look cool––all by using this one gadget. The first Thump was released in 2004. These futuristic looking sunglasses were surprisingly successful. So additional models were added to the line in 2005, 2006 and 2007.\r\n<ul>\r\n 	<li><strong>Sony Rolly</strong></li>\r\n</ul>\r\nSony is a brand that\'s world-renowned when it comes to audio gadgets. But this doesn’t mean that the company always hit the mark with every new release. One of Sony\'s goals is to become as important a player as Apple is in the digital music market. The Sony Rolly was a football-shaped gizmo that could play music and beats while spinning, rolling and dancing around to the song\'s tempo. Oh, and it also flashed colorful stroboscopic lights into the air. But that\'s about it. You couldn\'t connect headphones because it would prevent the thing from \"dancing\" around. Aside from being strange, this device turned out to be just plain goofy.\r\n<ul>\r\n 	<li><strong>The Bone Fone</strong></li>\r\n</ul>\r\nTalk about strange, this is a rather bizarre name for a music playing gadget. It belongs to this late 1970\'s device––a time when small gadgets were still scarce and awkward looking. The Bone Fone was actually not a phone (and obviously not a bone either). It was a speaker that could be wrapped around your neck and shoulders. Specifically targeting joggers, it could replace headphones, which were uncomfortably large in those days. Even if the Bone Fone looked weird, the manufacturer, JS&amp;A, did manage to sell over 10,000 Bone Fones...before they disappeared from view.', 'Music Gadgets You May Consider Rather Strange', '', 'inherit', 'closed', 'closed', '', '2547-revision-v1', '', '', '2016-09-01 23:01:00', '2016-09-02 06:01:00', '', 2547, 'https://afm424.org/2547-revision-v1/', 0, 'revision', '', 0),
(2616, 6, '2016-09-01 23:50:08', '2016-09-02 06:50:08', 'The concept of virtual reality is not a new one. It\'s been one of entertainment\'s holy grails since the 80s.\r\n\r\nWith each passing decade, technology takes another step towards making virtual reality a...well...<em>reality. </em>\r\n\r\nIn 2016, it seems that VR is slowly but surely coming of age. Its sensorially immersive experience goes beyond what was traditionally thought of as \"music.\" Let\'s get into some details.\r\n\r\nArtists like Bjork and Ash Koosha have already given us sounds futuristic sounds, their music being always one step ahead of the present trends. Adding VR to their pallet was a natural fit.\r\n\r\nBut now more traditional artists are slowly joining them in getting on the VR spaceship. Bands like U2, Muse and Kasabian have become interested in this new world. VR is indeed uniquely cool. And it could help artists reach a new level of communication with their audience.\r\n\r\nCreating a VR presentation is not cheap. It can cost a small fortune for just a few minutes of high-tech footage. Artists that have backing from large corporate structures are truly fortunate because the companies themselves want to explore this new territory.\r\n\r\nHow expensive can one minute of VR get? The New York Times spent up to $100,000 a minute on its recent VR film, “The Displaced.” Because VR is still considered to be in its infancy, most cannot afford such adventures.\r\n\r\nIf we take a closer look, we see that artists are not seeking to involve themselves in the VR exploration solely for the high-tech gimmick factor. They consider VR a new tool, a new instrument, an experimental leap in expanding their artistic creativity, and a way to link closer with their audience. We now have 4K and 3D experiences in our living room. Why shouldn’t we experience music on another level as well?\r\n\r\nEventually, the term \"music\" may not even be adequate in defining this alternate cosmos. The music/VR connection may spawn a new word to describe what it is. Read more about this emerging and fascinating new galaxy <a href=\"http://thequietus.com/articles/20199-virtual-reality-ash-koosha-bjork\" target=\"_blank\">here</a>.\r\n\r\nIn a world where technology accelerates with every passing year...who knows what the future holds?', 'Will a Combination Between Virtual Reality and Music Be Possible in the Future?', '', 'inherit', 'closed', 'closed', '', '2541-revision-v1', '', '', '2016-09-01 23:50:08', '2016-09-02 06:50:08', '', 2541, 'https://afm424.org/2541-revision-v1/', 0, 'revision', '', 0),
(2617, 6, '2016-09-01 23:51:27', '2016-09-02 06:51:27', 'The concept of virtual reality is not a new one. It\'s been one of entertainment\'s holy grails since the 80s.\r\n\r\nWith each passing decade, technology takes another step towards making virtual reality a...well...<em>reality. </em>\r\n\r\nIn 2016, it seems that VR is slowly but surely coming of age. Its sensorially immersive experience goes beyond what was traditionally thought of as \"music.\" Let\'s get into some details.\r\n\r\nArtists like Bjork and Ash Koosha have already given us sounds futuristic sounds, their music being always one step ahead of the present trends. Adding VR to their pallet was a natural fit.\r\n\r\nBut now more traditional artists are slowly joining them in getting on the VR spaceship. Bands like U2, Muse and Kasabian have become interested in this new world. VR is indeed uniquely cool. And it could help artists reach a new level of communication with their audience.\r\n\r\nCreating a VR presentation is not cheap. It can cost a small fortune for just a few minutes of high-tech footage. Artists that have backing from large corporate structures are truly fortunate because the companies themselves want to explore this new territory.\r\n\r\nHow expensive can one minute of VR get? The New York Times spent up to $100,000 a minute on its recent VR film, “The Displaced.” Because VR is still considered to be in its infancy, most cannot afford such adventures.\r\n\r\nIf we take a closer look, we see that artists are not seeking to involve themselves in the VR exploration solely for the high-tech gimmick factor. They consider VR a new tool, a new instrument, an experimental leap in expanding their artistic creativity, and a way to link closer with their audience. We now have 4K and 3D experiences in our living room. Why shouldn’t we experience music on another level as well?\r\n\r\nEventually, the term \"music\" may not even be adequate in defining this alternate cosmos. The music/VR connection may spawn a new word to describe what it is. Read more about this emerging and fascinating new galaxy <a href=\"http://thequietus.com/articles/20199-virtual-reality-ash-koosha-bjork\" target=\"_blank\">here</a>.\r\n\r\nIn a world where technology accelerates with every passing year...who knows what the future holds?', 'Will a Combination Of Virtual Reality and Music Be Possible in the Future?', '', 'inherit', 'closed', 'closed', '', '2541-revision-v1', '', '', '2016-09-01 23:51:27', '2016-09-02 06:51:27', '', 2541, 'https://afm424.org/2541-revision-v1/', 0, 'revision', '', 0),
(2619, 6, '2016-09-09 16:29:54', '2016-09-09 23:29:54', '\"Transylvania 6-5000_Digital Visions ReMix_2\".', 'Transylvania 6-5000_Digital Visions ReMix_2', '', 'inherit', 'open', 'closed', '', 'transylvania-6-5000_digital-visions-remix_2', '', '', '2016-09-10 15:06:59', '2016-09-10 22:06:59', '', 2622, 'https://afm424.org/wp-content/uploads/2016/09/Transylvania-6-5000_Dracula-Remix_Digital-Visions-ReMix_2.mp3', 0, 'attachment', 'audio/mpeg', 0),
(2620, 6, '2016-09-09 22:27:25', '2016-09-10 05:27:25', 'Emmy and Telly Award-winning songwriter and 424 member Paul Chiten has composed Nashville artist Melissa Ramski\'s latest single, “As Real As It Gets,” co-written with indie artist Heidi Swan. Melissa won the 2015 Indie Ville TV Artist of The Year award and has thousands of followers on Facebook, Reverb Nation and Spotify.\r\n\r\n[audio mp3=\"https://paulchiten.com/wp-content/uploads/2016/04/As-Real-As-It-Gets-Ramskis.mp3\"][/audio]', 'Featured Artist - Heidi Swan - As Real As It Gets', '', 'inherit', 'closed', 'closed', '', '1762-revision-v1', '', '', '2016-09-09 22:27:25', '2016-09-10 05:27:25', '', 1762, 'https://afm424.org/1762-revision-v1/', 0, 'revision', '', 0),
(2621, 6, '2016-09-10 15:05:25', '2016-09-10 22:05:25', '[audio mp3=\"https://paulchiten.com/wp-content/uploads/2016/06/The-Serpent-and-the-Machinery_edit_bridge-efx_single.mp3\"][/audio]\r\n\r\n&nbsp;\r\n\r\nA new remix/re-edit of this popular Allure of Souls song.', 'Allure of Souls  – \"The Serpent & The Machinery (Chained Version)\"', '', 'inherit', 'closed', 'closed', '', '2101-revision-v1', '', '', '2016-09-10 15:05:25', '2016-09-10 22:05:25', '', 2101, 'https://afm424.org/2101-revision-v1/', 0, 'revision', '', 0),
(2622, 6, '2016-09-15 20:30:34', '2016-09-16 03:30:34', '&nbsp;\r\n\r\n[audio mp3=\"https://paulchiten.com/wp-content/uploads/2016/09/Transylvania-6-5000_Dracula-Remix_Digital-Visions_Teaser-Edit.mp3\"][/audio]\r\n\r\n&nbsp;\r\n<p style=\"text-align: left;\"><span style=\"color: #ff0000;\">Just in time for the Halloween season––the awesome new 2016 <strong>Dracula ReMix</strong> of the original hit song from the cult film <strong>\"Transylvania 6-5000\" -</strong> starring Jeff Goldblum, Geena Davis, Ed Begley, Jr. &amp; Carol Kane</span></p>\r\n<p style=\"text-align: left;\"><span style=\"color: #000000;\">Composed by <strong>Paul Chiten</strong> &amp; <strong>Sue Sheridan</strong></span></p>\r\n<p style=\"text-align: left;\"><strong><span style=\"color: #ff0000;\"><span style=\"color: #000000;\">\"Transylvania 6-5000 <span style=\"color: #333333;\">(Dracula ReMix)\"</span></span></span></strong> by DJ/Remixer <strong>Freddy Greene</strong> for Digital Visions</p>\r\n\r\n<h4 style=\"text-align: left;\"><span style=\"color: #ff6600;\">it\'s fun... it\'s campy...it rocks...<em>What more could you want?</em></span></h4>\r\n<h2 style=\"text-align: left;\"><span style=\"text-decoration: underline;\">Produced &amp; Performed by Paul Chiten</span></h2>\r\n<h2 style=\"text-align: left;\"></h2>\r\n<h4 style=\"text-align: left;\">This is the 2 min. <span style=\"color: #ff0000;\">Sexy Teaser Edit</span></h4>\r\n<h4 style=\"text-align: left;\">Download the Full Version: <a href=\"https://itunes.apple.com/us/album/transylvania-6-5000-dracula/id1150751284\">iTunes</a> / <a href=\"https://legitmix.com/Digital-Visions-Re-Edits/artist/26195/Paul-Chiten-Transylvania-6-5000-Dracula-Remix/mix/80040\">Legitmix</a> / <a href=\"https://www.amazon.com/gp/product/B01LQBXLGG\">Amazon</a> / <a href=\"https://play.google.com/store/music/album?id=Bcnaeles4sg7mevkovqymesv2em&amp;tid=song-Twke422n57q3qzxdlt6qgvgyybq&amp;hl=en\">Google Play</a></h4>\r\n&nbsp;\r\n<h4></h4>\r\n<h3></h3>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;', 'Featured Artist - Paul Chiten -\"Transylvania 6-5000 (Dracula ReMix)\"', '', 'publish', 'open', 'closed', '', 'featured-artist-paul-chiten-transylvania-6-5000-dracula-remix', '', '', '2016-10-01 01:21:33', '2016-10-01 08:21:33', '', 0, 'https://afm424.org/?p=2622', 0, 'post', '', 0),
(2665, 6, '2016-10-01 00:22:50', '2016-10-01 07:22:50', '&nbsp;\n\n[audio mp3=\"https://paulchiten.com/wp-content/uploads/2016/09/Transylvania-6-5000_Dracula-Remix_Digital-Visions_Teaser-Edit.mp3\"][/audio]\n\n&nbsp;\n<p style=\"text-align: left;\"><span style=\"color: #ff0000;\">Just in time for the Halloween season––the awesome new 2016 <strong>Dracula ReMix</strong> of the original hit song from the cult film <strong>\"Transylvania 6-5000\" -</strong> starring Jeff Goldblum, Geena Davis, Ed Begley, Jr. &amp; Carol Kane</span></p>\n<p style=\"text-align: left;\"><span style=\"color: #000000;\">Composed by <strong>Paul Chiten</strong> &amp; <strong>Sue Sheridan</strong></span></p>\n<p style=\"text-align: left;\"><strong><span style=\"color: #ff0000;\"><span style=\"color: #000000;\">\"Transylvania 6-5000 <span style=\"color: #333333;\">(Dracula ReMix)\"</span></span></span></strong> by DJ/Remixer <strong>Freddy Greene</strong> for Digital Visions</p>\n\n<h4 style=\"text-align: left;\"><span style=\"color: #ff6600;\">it\'s fun... it\'s campy...it rocks...<em>What more could you want?</em></span></h4>\n<h2 style=\"text-align: left;\"><span style=\"text-decoration: underline;\">Produced &amp; Performed by Paul Chiten</span></h2>\n<h2 style=\"text-align: left;\"></h2>\n<h4 style=\"text-align: left;\">This is the 2 min. <span style=\"color: #ff0000;\">Sexy Teaser Edit</span></h4>\n<h4 style=\"text-align: left;\">Download the Full Version: iTunes / Legitmix / <a href=\"https://www.amazon.com/gp/product/B01LQBXLGG\">Amazon</a> / Google Play</h4>\n&nbsp;\n<h4></h4>\n<h3></h3>\n&nbsp;\n\n&nbsp;\n\n&nbsp;', 'Featured Artist - Paul Chiten -\"Transylvania 6-5000 (Dracula ReMix)\"', '', 'inherit', 'closed', 'closed', '', '2622-autosave-v1', '', '', '2016-10-01 00:22:50', '2016-10-01 07:22:50', '', 2622, 'https://afm424.org/2622-autosave-v1/', 0, 'revision', '', 0),
(2673, 6, '2016-09-22 19:53:59', '2016-09-23 02:53:59', '\"Transylvania 6-5000 (Digital Visions Teaser Edit)\".', 'Transylvania 6-5000 (Digital Visions Teaser Edit)', '', 'inherit', 'open', 'closed', '', 'transylvania-6-5000-digital-visions-teaser-edit', '', '', '2016-09-22 20:04:51', '2016-09-23 03:04:51', '', 0, 'https://afm424.org/wp-content/uploads/2016/09/Transylvania-6-5000_Dracula-Remix_Digital-Visions_Teaser-Edit.mp3', 0, 'attachment', 'audio/mpeg', 0),
(2678, 6, '2016-09-29 07:52:41', '2016-09-29 14:52:41', '&nbsp;\r\n\r\n[audio mp3=\"https://paulchiten.com/wp-content/uploads/2016/09/Transylvania-6-5000_Dracula-Remix_Digital-Visions_Teaser-Edit.mp3\"][/audio]\r\n\r\n&nbsp;\r\n<p style=\"text-align: left;\"><span style=\"color: #ff0000;\">Just in time for the Halloween season––the awesome new 2016 <strong>Dracula ReMix</strong> of the original hit song from the cult film <strong>\"Transylvania 6-5000\" -</strong> starring Jeff Goldblum, Geena Davis, Ed Begley, Jr. &amp; Carol Kane</span></p>\r\n<p style=\"text-align: left;\"><span style=\"color: #000000;\">Composed by <strong>Paul Chiten</strong> &amp; <strong>Sue Sheridan</strong></span></p>\r\n<p style=\"text-align: left;\"><strong><span style=\"color: #ff0000;\"><span style=\"color: #000000;\">\"Transylvania 6-5000 <span style=\"color: #333333;\">(Dracula ReMix)\"</span></span></span></strong> by DJ/Remixer <strong>Freddy Greene</strong> for Digital Visions</p>\r\n\r\n<h4 style=\"text-align: left;\"><span style=\"color: #ff6600;\">it\'s fun... it\'s campy...it rocks...<em>What more could you want?</em></span></h4>\r\n<h2 style=\"text-align: left;\"><span style=\"text-decoration: underline;\">Produced &amp; Performed by Paul Chiten</span></h2>\r\n<h2 style=\"text-align: left;\"></h2>\r\n<h4 style=\"text-align: left;\">This is the short <span style=\"color: #ff0000;\">Sexy Teaser Edit</span></h4>\r\n<h4 style=\"text-align: left;\">Download the Full Version from <a href=\"https://legitmix.com/Digital-Visions-Re-Edits/artist/26195/Paul-Chiten-Transylvania-6-5000-Dracula-Remix/mix/80040\">Legitmix</a></h4>\r\n&nbsp;\r\n<h4></h4>\r\n<h3></h3>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;', 'Featured Artist - Paul Chiten -\"Transylvania 6-5000 (Dracula ReMix)\"', '', 'inherit', 'closed', 'closed', '', '2622-revision-v1', '', '', '2016-09-29 07:52:41', '2016-09-29 14:52:41', '', 2622, 'https://afm424.org/2622-revision-v1/', 0, 'revision', '', 0),
(2679, 6, '2016-10-01 00:21:16', '2016-10-01 07:21:16', '&nbsp;\r\n\r\n[audio mp3=\"https://paulchiten.com/wp-content/uploads/2016/09/Transylvania-6-5000_Dracula-Remix_Digital-Visions_Teaser-Edit.mp3\"][/audio]\r\n\r\n&nbsp;\r\n<p style=\"text-align: left;\"><span style=\"color: #ff0000;\">Just in time for the Halloween season––the awesome new 2016 <strong>Dracula ReMix</strong> of the original hit song from the cult film <strong>\"Transylvania 6-5000\" -</strong> starring Jeff Goldblum, Geena Davis, Ed Begley, Jr. &amp; Carol Kane</span></p>\r\n<p style=\"text-align: left;\"><span style=\"color: #000000;\">Composed by <strong>Paul Chiten</strong> &amp; <strong>Sue Sheridan</strong></span></p>\r\n<p style=\"text-align: left;\"><strong><span style=\"color: #ff0000;\"><span style=\"color: #000000;\">\"Transylvania 6-5000 <span style=\"color: #333333;\">(Dracula ReMix)\"</span></span></span></strong> by DJ/Remixer <strong>Freddy Greene</strong> for Digital Visions</p>\r\n\r\n<h4 style=\"text-align: left;\"><span style=\"color: #ff6600;\">it\'s fun... it\'s campy...it rocks...<em>What more could you want?</em></span></h4>\r\n<h2 style=\"text-align: left;\"><span style=\"text-decoration: underline;\">Produced &amp; Performed by Paul Chiten</span></h2>\r\n<h2 style=\"text-align: left;\"></h2>\r\n<h4 style=\"text-align: left;\">This is the short <span style=\"color: #ff0000;\">Sexy Teaser Edit</span></h4>\r\n<h4 style=\"text-align: left;\">Download the Full Version from <a href=\"https://legitmix.com/Digital-Visions-Re-Edits/artist/26195/Paul-Chiten-Transylvania-6-5000-Dracula-Remix/mix/80040\">Legitmix</a> / iTunes / <a href=\"https://www.amazon.com/gp/product/B01LQBXLGG\">Amazon</a> / Google Play</h4>\r\n&nbsp;\r\n<h4></h4>\r\n<h3></h3>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;', 'Featured Artist - Paul Chiten -\"Transylvania 6-5000 (Dracula ReMix)\"', '', 'inherit', 'closed', 'closed', '', '2622-revision-v1', '', '', '2016-10-01 00:21:16', '2016-10-01 07:21:16', '', 2622, 'https://afm424.org/2622-revision-v1/', 0, 'revision', '', 0),
(2680, 6, '2016-10-01 00:21:45', '2016-10-01 07:21:45', '&nbsp;\r\n\r\n[audio mp3=\"https://paulchiten.com/wp-content/uploads/2016/09/Transylvania-6-5000_Dracula-Remix_Digital-Visions_Teaser-Edit.mp3\"][/audio]\r\n\r\n&nbsp;\r\n<p style=\"text-align: left;\"><span style=\"color: #ff0000;\">Just in time for the Halloween season––the awesome new 2016 <strong>Dracula ReMix</strong> of the original hit song from the cult film <strong>\"Transylvania 6-5000\" -</strong> starring Jeff Goldblum, Geena Davis, Ed Begley, Jr. &amp; Carol Kane</span></p>\r\n<p style=\"text-align: left;\"><span style=\"color: #000000;\">Composed by <strong>Paul Chiten</strong> &amp; <strong>Sue Sheridan</strong></span></p>\r\n<p style=\"text-align: left;\"><strong><span style=\"color: #ff0000;\"><span style=\"color: #000000;\">\"Transylvania 6-5000 <span style=\"color: #333333;\">(Dracula ReMix)\"</span></span></span></strong> by DJ/Remixer <strong>Freddy Greene</strong> for Digital Visions</p>\r\n\r\n<h4 style=\"text-align: left;\"><span style=\"color: #ff6600;\">it\'s fun... it\'s campy...it rocks...<em>What more could you want?</em></span></h4>\r\n<h2 style=\"text-align: left;\"><span style=\"text-decoration: underline;\">Produced &amp; Performed by Paul Chiten</span></h2>\r\n<h2 style=\"text-align: left;\"></h2>\r\n<h4 style=\"text-align: left;\">This is the 2 min. <span style=\"color: #ff0000;\">Sexy Teaser Edit</span></h4>\r\n<h4 style=\"text-align: left;\">Download the Full Version from <a href=\"https://legitmix.com/Digital-Visions-Re-Edits/artist/26195/Paul-Chiten-Transylvania-6-5000-Dracula-Remix/mix/80040\">Legitmix</a> / iTunes / <a href=\"https://www.amazon.com/gp/product/B01LQBXLGG\">Amazon</a> / Google Play</h4>\r\n&nbsp;\r\n<h4></h4>\r\n<h3></h3>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;', 'Featured Artist - Paul Chiten -\"Transylvania 6-5000 (Dracula ReMix)\"', '', 'inherit', 'closed', 'closed', '', '2622-revision-v1', '', '', '2016-10-01 00:21:45', '2016-10-01 07:21:45', '', 2622, 'https://afm424.org/2622-revision-v1/', 0, 'revision', '', 0),
(2681, 6, '2016-10-01 00:23:52', '2016-10-01 07:23:52', '&nbsp;\r\n\r\n[audio mp3=\"https://paulchiten.com/wp-content/uploads/2016/09/Transylvania-6-5000_Dracula-Remix_Digital-Visions_Teaser-Edit.mp3\"][/audio]\r\n\r\n&nbsp;\r\n<p style=\"text-align: left;\"><span style=\"color: #ff0000;\">Just in time for the Halloween season––the awesome new 2016 <strong>Dracula ReMix</strong> of the original hit song from the cult film <strong>\"Transylvania 6-5000\" -</strong> starring Jeff Goldblum, Geena Davis, Ed Begley, Jr. &amp; Carol Kane</span></p>\r\n<p style=\"text-align: left;\"><span style=\"color: #000000;\">Composed by <strong>Paul Chiten</strong> &amp; <strong>Sue Sheridan</strong></span></p>\r\n<p style=\"text-align: left;\"><strong><span style=\"color: #ff0000;\"><span style=\"color: #000000;\">\"Transylvania 6-5000 <span style=\"color: #333333;\">(Dracula ReMix)\"</span></span></span></strong> by DJ/Remixer <strong>Freddy Greene</strong> for Digital Visions</p>\r\n\r\n<h4 style=\"text-align: left;\"><span style=\"color: #ff6600;\">it\'s fun... it\'s campy...it rocks...<em>What more could you want?</em></span></h4>\r\n<h2 style=\"text-align: left;\"><span style=\"text-decoration: underline;\">Produced &amp; Performed by Paul Chiten</span></h2>\r\n<h2 style=\"text-align: left;\"></h2>\r\n<h4 style=\"text-align: left;\">This is the 2 min. <span style=\"color: #ff0000;\">Sexy Teaser Edit</span></h4>\r\n<h4 style=\"text-align: left;\">Download the Full Version: iTunes / <a href=\"https://legitmix.com/Digital-Visions-Re-Edits/artist/26195/Paul-Chiten-Transylvania-6-5000-Dracula-Remix/mix/80040\">Legitmix</a> / <a href=\"https://www.amazon.com/gp/product/B01LQBXLGG\">Amazon</a> / Google Play</h4>\r\n&nbsp;\r\n<h4></h4>\r\n<h3></h3>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;', 'Featured Artist - Paul Chiten -\"Transylvania 6-5000 (Dracula ReMix)\"', '', 'inherit', 'closed', 'closed', '', '2622-revision-v1', '', '', '2016-10-01 00:23:52', '2016-10-01 07:23:52', '', 2622, 'https://afm424.org/2622-revision-v1/', 0, 'revision', '', 0),
(2682, 6, '2016-10-01 01:19:49', '2016-10-01 08:19:49', '&nbsp;\r\n\r\n[audio mp3=\"https://paulchiten.com/wp-content/uploads/2016/09/Transylvania-6-5000_Dracula-Remix_Digital-Visions_Teaser-Edit.mp3\"][/audio]\r\n\r\n&nbsp;\r\n<p style=\"text-align: left;\"><span style=\"color: #ff0000;\">Just in time for the Halloween season––the awesome new 2016 <strong>Dracula ReMix</strong> of the original hit song from the cult film <strong>\"Transylvania 6-5000\" -</strong> starring Jeff Goldblum, Geena Davis, Ed Begley, Jr. &amp; Carol Kane</span></p>\r\n<p style=\"text-align: left;\"><span style=\"color: #000000;\">Composed by <strong>Paul Chiten</strong> &amp; <strong>Sue Sheridan</strong></span></p>\r\n<p style=\"text-align: left;\"><strong><span style=\"color: #ff0000;\"><span style=\"color: #000000;\">\"Transylvania 6-5000 <span style=\"color: #333333;\">(Dracula ReMix)\"</span></span></span></strong> by DJ/Remixer <strong>Freddy Greene</strong> for Digital Visions</p>\r\n\r\n<h4 style=\"text-align: left;\"><span style=\"color: #ff6600;\">it\'s fun... it\'s campy...it rocks...<em>What more could you want?</em></span></h4>\r\n<h2 style=\"text-align: left;\"><span style=\"text-decoration: underline;\">Produced &amp; Performed by Paul Chiten</span></h2>\r\n<h2 style=\"text-align: left;\"></h2>\r\n<h4 style=\"text-align: left;\">This is the 2 min. <span style=\"color: #ff0000;\">Sexy Teaser Edit</span></h4>\r\n<h4 style=\"text-align: left;\">Download the Full Version: <a href=\"https://itunes.apple.com/us/album/transylvania-6-5000-dracula/id1150751284\">iTunes</a> / <a href=\"https://legitmix.com/Digital-Visions-Re-Edits/artist/26195/Paul-Chiten-Transylvania-6-5000-Dracula-Remix/mix/80040\">Legitmix</a> / <a href=\"https://www.amazon.com/gp/product/B01LQBXLGG\">Amazon</a> / <a href=\"https://play.google.com/store/music/album?id=Bcnaeles4sg7mevkovqymesv2em&amp;tid=song-Twke422n57q3qzxdlt6qgvgyybq&amp;hl=en\">Google Play</a></h4>\r\n&nbsp;\r\n<h4></h4>\r\n<h3></h3>\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;', 'Featured Artist - Paul Chiten -\"Transylvania 6-5000 (Dracula ReMix)\"', '', 'inherit', 'closed', 'closed', '', '2622-revision-v1', '', '', '2016-10-01 01:19:49', '2016-10-01 08:19:49', '', 2622, 'https://afm424.org/2622-revision-v1/', 0, 'revision', '', 0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES
(2688, 6, '2017-02-15 22:58:03', '2017-02-16 05:58:03', '<div>\r\n<div>\r\n<div>PAUL CHITEN website home page:</div>\r\n<div><b><a href=\"http://www.sweethartproductions.com/\">sweethartproductions.com</a></b></div>\r\n<div>\r\n<div>\r\n<div>PAUL CHITEN website personal page:</div>\r\n<div><a href=\"http://sweethartproductions.com/PaulChiten.aspx\"><b>http://sweethartproductions.com/PaulChiten.aspx</b></a></div>\r\n</div>\r\n</div>\r\n</div>\r\n</div>\r\n<div>\r\n<div>PAUL CHITEN business email:\r\n<a href=\"mailto:pc@sweethartproductions.com\"><b>pc@sweethartproductions.com</b></a></div>\r\n<div></div>\r\n</div>\r\n&nbsp;\r\n\r\n<strong>Music &amp; Technology Talents</strong>\r\n\r\n• Composer • Arranger • Producer • Songwriter • Performer • Conductor • Musician\r\n• Vocalist • MIDI Programmer • Sound Designer • Computer Consultant\r\n• Primary Instruments: Piano &amp; Synthesizers\r\n• Other Instruments: Electric Guitar, Acoustic Guitar, Bass, Flute, Organ, Harmonica,\r\nVibes, Harpsichord, Recorder, Harmonium, Drums, Marimba, Percussion, Didgeridoo\r\n\r\n[playlist ids=\"1796,1798,1825\"]\r\n\r\n<strong>A Few Highlights</strong>\r\n<ul>\r\n 	<li>Composer/Arranger/Performer/Musical Director for EMC World show, Las Vegas, 2014-2015-2016</li>\r\n 	<li>Music for “The Carrie Diaries,” CW Network, 2013-2014</li>\r\n 	<li>Won a 2008 Daytime Emmy for Nickelodeon’s top-rated show, “The Wonder Pets!” for Outstanding  Achievement in Music Direction and Composition.</li>\r\n 	<li>Winner of two 2008 Telly Awards for Outstanding Achievement in Music</li>\r\n 	<li>Composed, Performed &amp; Produced music for the new video game “Spy Bots” from Bionic Games</li>\r\n 	<li>Winner of three 2005 Telly Awards for Best Television Commercial</li>\r\n 	<li>Winner of 2005 Aurora Platinum Award for Best Commercial</li>\r\n 	<li>Arranged &amp; Performed the Main Title music for the CBS Movie,  “Helter Skelter” Co-produced with “X-Files” composer  Mark Snow. Music for the show was nominated for an Emmy Award</li>\r\n 	<li>Producer/Performer/Co-Composer for Sony/Showtime television series, “Street Time.”</li>\r\n 	<li>Music Director, Arranger and Performer for Cisco Systems Show, Las Vegas</li>\r\n 	<li>Composed and Produced the theme music that daily opens and closes “The Tokyo Stock Exchange”</li>\r\n 	<li>Musical Director and Performer, “Crystal Palace,” Tokyo, Japan</li>\r\n 	<li>Musical Director for featured show at “Windows Of The World” Amphitheatre, China</li>\r\n 	<li>Music Publishing deal with Fuji Pacific</li>\r\n 	<li>Worked with composer Mike Stoller on the definitive music arrangements for the “Elvis Presley Sings Lieber &amp;  Stoller Songbook”</li>\r\n 	<li>South American tour with Donna Summer, Keyboards and Vocals</li>\r\n 	<li>European tour with Donna Summer, Keyboards and Vocals</li>\r\n 	<li>African tours with my band, “Angel City”</li>\r\n 	<li>Music Publishing deal with Paramount/Famous Music</li>\r\n 	<li>Member of the Songwriter’s Summit excursion to Russia with  “Music Speaks Louder Than Words” project. Album on Epic Records</li>\r\n 	<li>Featured in the television mini-series “Makin’ Music,” which won an Emmy Award</li>\r\n</ul>\r\n<table width=\"413\">\r\n<tbody>\r\n<tr>\r\n<td width=\"123\"><strong>Film &amp; Television</strong>\r\n<table width=\"413\">\r\n<tbody>\r\n<tr>\r\n<td width=\"203\"><strong>The Carrie Diaries</strong></td>\r\n<td width=\"211\">CW Network</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Street Time</strong></td>\r\n<td width=\"211\">Sony/Showtime</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Dawson’s Creek</strong></td>\r\n<td width=\"211\">Columbia/Tri-Star/Warner Brothers</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Helter Skelter </strong>(main title)</td>\r\n<td width=\"211\">CBS Movie</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Law &amp; Order</strong></td>\r\n<td width=\"211\">NBC</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Wonder Pets</strong></td>\r\n<td width=\"211\">Nickelodeon</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Saving Milly</strong></td>\r\n<td width=\"211\">CBS Movie Of The Week</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Tokyo Stock Exchange</strong></td>\r\n<td width=\"211\">Music for Nikkei Exchange</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Software AG Show</strong></td>\r\n<td width=\"211\">Music Director, Arranger and Performer</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Spring Break Shark Attack</strong></td>\r\n<td width=\"211\">CBS Movie Of The Week</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Coming To America</strong></td>\r\n<td width=\"211\">Paramount</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Beyond Chance</strong></td>\r\n<td width=\"211\">Lifetime</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Witness</strong></td>\r\n<td width=\"211\">Paramount</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Queen’s Logic</strong></td>\r\n<td width=\"211\">Universal</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>True Colors</strong></td>\r\n<td width=\"211\">Paramount</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Santa Barbara</strong></td>\r\n<td width=\"211\">NBC</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>The Jew In The Lotus</strong>(score)</td>\r\n<td width=\"211\">Blind Dog Films</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>New Attitude</strong></td>\r\n<td width=\"211\">ABC</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Distant Thunder</strong></td>\r\n<td width=\"211\">Paramount</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Woman On The Run</strong></td>\r\n<td width=\"211\">NBC Mini-Series</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Lame Ducks</strong></td>\r\n<td width=\"211\">Paramount</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Hollywood Beat</strong></td>\r\n<td width=\"211\">Aaron Spelling/ABC</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Transylvania 6-5000</strong></td>\r\n<td width=\"211\">New World</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Bad Guys</strong></td>\r\n<td width=\"211\">Tomorrow Entertainment</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Street Smart</strong></td>\r\n<td width=\"211\">Cannon</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Sweet Poison</strong> (score)</td>\r\n<td width=\"211\">Universal</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Los Angeles Olympics</strong>(score)</td>\r\n<td width=\"211\">Master Arts</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Fantasy Chamber </strong>(score)</td>\r\n<td width=\"211\">Ultimate</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Intellidex </strong>(LaserDisc score)</td>\r\n<td width=\"211\">Post Films</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Erotic Visions </strong>(score)</td>\r\n<td width=\"211\">Ultimate</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Pulsebeat </strong>(score)</td>\r\n<td width=\"211\">Calla Films</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Intersil </strong>(score)</td>\r\n<td width=\"211\">General Electric</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Technics </strong>(score)</td>\r\n<td width=\"211\">Technics Ltd.</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Marbella </strong>(score)</td>\r\n<td width=\"211\">Calla Films</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Fame</strong></td>\r\n<td width=\"211\">ABC</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"></td>\r\n<td width=\"211\"></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n&nbsp;\r\n\r\n<strong>Trailers</strong>\r\n<table width=\"413\">\r\n<tbody>\r\n<tr>\r\n<td width=\"241\"><strong>Slingblade</strong></td>\r\n<td width=\"172\">Miramax</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Let The Devil Wear Black</strong></td>\r\n<td width=\"172\">Trimark</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Joe The King</strong></td>\r\n<td width=\"172\">Trimark</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>The Cape</strong></td>\r\n<td width=\"172\">MTM Television</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>The Blood Oranges</strong></td>\r\n<td width=\"172\">Trimark Pictures</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Witness</strong></td>\r\n<td width=\"172\">Paramount</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Mona Lisa</strong></td>\r\n<td width=\"172\">Island Pictures</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>River’s Edge</strong></td>\r\n<td width=\"172\">New World</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Jimmy Reardon</strong></td>\r\n<td width=\"172\">Island Pictures</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Sweet Lies</strong></td>\r\n<td width=\"172\">Island Pictures</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Rocky IV</strong></td>\r\n<td width=\"172\">CBS/Fox</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Pope of Greenwich Village</strong></td>\r\n<td width=\"172\">United Artists</td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n&nbsp;\r\n\r\n<strong>Commercials</strong>\r\n<table width=\"413\">\r\n<tbody>\r\n<tr>\r\n<td width=\"241\"><strong>Armani Olympiad</strong></td>\r\n<td width=\"172\">Giorgio Armani</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Relax</strong></td>\r\n<td width=\"172\">Ford</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Countrywide</strong></td>\r\n<td width=\"172\">Countrywide</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Port Of Los Angeles</strong></td>\r\n<td width=\"172\">M-Creative</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>The Bus Ride</strong></td>\r\n<td width=\"172\">Big Star Jeans</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Just Can’t Wait</strong></td>\r\n<td width=\"172\">Toyota</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Metro Parks</strong></td>\r\n<td width=\"172\">Ohio State Parks</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Island Presents</strong></td>\r\n<td width=\"172\">Island Pictures</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Season Theme</strong></td>\r\n<td width=\"172\">Oakland A’s</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Attitude</strong></td>\r\n<td width=\"172\">Gotcha Jeans</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Prom Fantasy</strong></td>\r\n<td width=\"172\">Elektra Casadei Designs</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Logo Theme</strong></td>\r\n<td width=\"172\">Pathe</td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n&nbsp;\r\n\r\n<strong>Video</strong>\r\n<table width=\"413\">\r\n<tbody>\r\n<tr>\r\n<td width=\"261\"><strong>Spy Bots</strong> (video game)</td>\r\n<td width=\"152\">Bionic Games</td>\r\n</tr>\r\n<tr>\r\n<td width=\"261\"><strong>Fighter Squadron</strong> (video game)</td>\r\n<td width=\"152\">Activision</td>\r\n</tr>\r\n<tr>\r\n<td width=\"261\"><strong>Faster Faster</strong></td>\r\n<td width=\"152\">MTV</td>\r\n</tr>\r\n<tr>\r\n<td width=\"261\"><strong>Girls Of Radio</strong> •Talk,Rock &amp; Shock</td>\r\n<td width=\"152\">Playboy Entertainment</td>\r\n</tr>\r\n<tr>\r\n<td width=\"261\"><strong>London Nights</strong></td>\r\n<td width=\"152\">Trikilis Productions</td>\r\n</tr>\r\n<tr>\r\n<td width=\"261\"><strong>On Campus</strong> (score)</td>\r\n<td width=\"152\">Warner Vision</td>\r\n</tr>\r\n<tr>\r\n<td width=\"261\"><strong>Beyond Vaudeville</strong></td>\r\n<td width=\"152\">Exotic World</td>\r\n</tr>\r\n<tr>\r\n<td width=\"261\"><strong>Art of Massage</strong> (score)</td>\r\n<td width=\"152\">Warner Vision</td>\r\n</tr>\r\n<tr>\r\n<td width=\"261\"><strong>Bump &amp; Grind</strong> • History of Burlesque</td>\r\n<td width=\"152\">Sheba Productions</td>\r\n</tr>\r\n<tr>\r\n<td width=\"261\"><strong>Poison Letter</strong></td>\r\n<td width=\"152\">MTV</td>\r\n</tr>\r\n<tr>\r\n<td width=\"261\"><strong>Paris Lights</strong></td>\r\n<td width=\"152\">Trikilis Productions</td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<strong> </strong>\r\n\r\n<strong>Studio &amp; Production</strong>\r\n\r\n<em>Composed, Arranged, Produced, Performed, Programmed or Sound Designed for:</em>\r\n<table width=\"413\">\r\n<tbody>\r\n<tr>\r\n<td width=\"128\">Michael Jackson</td>\r\n<td width=\"120\">Natalie Cole</td>\r\n<td width=\"149\">Anita Baker</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Tina Turner</td>\r\n<td width=\"120\">Alice Cooper</td>\r\n<td width=\"149\">Brenda Russell</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Donna Summer</td>\r\n<td width=\"120\">Cyndi Lauper</td>\r\n<td width=\"149\">LA Law</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Pointer Sisters</td>\r\n<td width=\"120\">The Breakfast Club</td>\r\n<td width=\"149\">Vince Neil (Motley Crue)</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Commodores</td>\r\n<td width=\"120\">Kokopop</td>\r\n<td width=\"149\">Skin Deep</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Lou Rawls, Jr</td>\r\n<td width=\"120\">Marvin Gaye, Jr.</td>\r\n<td width=\"149\">Alisha</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Glass</td>\r\n<td width=\"120\">Phil Perry</td>\r\n<td width=\"149\">Santa Barbera</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Five Star</td>\r\n<td width=\"120\">Julian Lennon</td>\r\n<td width=\"149\">Fame</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">NBC</td>\r\n<td width=\"120\">Solid Gold</td>\r\n<td width=\"149\">CBS</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">B.D. Fox &amp; Friends</td>\r\n<td width=\"120\">ABC</td>\r\n<td width=\"149\">Court TV</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Warner Brothers</td>\r\n<td width=\"120\">Fox Television</td>\r\n<td width=\"149\">Propaganda Films</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Universal</td>\r\n<td width=\"120\">Cucoloris Films</td>\r\n<td width=\"149\">McClatchy Films</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Phil Perry</td>\r\n<td width=\"120\">Flicker Films</td>\r\n<td width=\"149\">Lifetime</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Herbie Hancock</td>\r\n<td width=\"120\">History Channel</td>\r\n<td width=\"149\">Andre Fisher</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Phil Ramone</td>\r\n<td width=\"120\">KPIX</td>\r\n<td width=\"149\">Saatchi &amp; Saatchi</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Jimmy Iovine</td>\r\n<td width=\"120\">Young &amp; Rubicam</td>\r\n<td width=\"149\"></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n&nbsp;\r\n\r\n<strong>Musical Director</strong>\r\n\r\n•   EMC World show, Las Vegas\r\n\r\n•   Television series “Makin’ Music,” which won an Emmy Award.\r\n\r\n•   Cisco Annual Corporate Show, Las Vegas\r\n\r\n•   Sweethart Productions\r\n\r\n•   The Commodores, conductor &amp; arranger\r\n\r\n•   Software AG Annual Corporate Show, Orlando\r\n\r\n•   Headline show at “Windows Of The World” Amphitheater, China\r\n\r\n•   Oracle Show at the Los Angeles Convention Center\r\n\r\n•   Deltek Annual Corporate Show, Nashville\r\n\r\n•   The band “Angel City,” multiple tours of Africa\r\n\r\n•   The band “PC2000,” launching MTV’s “Basement Tapes” series.\r\n\r\n•   Television series “Zoom,” WGBH\r\n\r\n•   Production company “Hot Spoons Productions”\r\n\r\n•   Los Angeles Olympics Master Arts Show\r\n\r\n<strong>\r\nSongs</strong>\r\n\r\nMaster Produced (*) by Paul Chiten\r\nMaster co-Produced (**) by Paul Chiten\r\n<table width=\"413\">\r\n<tbody>\r\n<tr>\r\n<td width=\"123\"><strong>Title</strong></td>\r\n<td width=\"115\"><strong>Artist</strong></td>\r\n<td width=\"156\"><strong>Label</strong></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Can’t Wait Another Minute</strong></td>\r\n<td width=\"115\">Five Star</td>\r\n<td width=\"156\">RCA</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Lewis Sisters</td>\r\n<td width=\"156\">Riva</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Aina</td>\r\n<td width=\"156\">Polydor</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Ain’t Crack</td>\r\n<td width=\"156\">Disney</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Patti Brooks</td>\r\n<td width=\"156\">Paramount</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Dance Chart</td>\r\n<td width=\"156\">Telstar</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Five Star’s Greatest Hits</td>\r\n<td width=\"156\">RCA</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Now Dance</td>\r\n<td width=\"156\">EMI/Virgin</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Drive My Car (Til Sunset)</strong></td>\r\n<td width=\"115\">Brenda Russell</td>\r\n<td width=\"156\">A&amp;M</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Come Into My Life</strong></td>\r\n<td width=\"115\">Laura Branigan</td>\r\n<td width=\"156\">Atco</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">The Imperials</td>\r\n<td width=\"156\">Starsong</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Chikaco Sawada</td>\r\n<td width=\"156\">Taurus</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Dancing With A Stranger</strong></td>\r\n<td width=\"115\">Cyndi Lauper</td>\r\n<td width=\"156\">Epic</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Real Life</strong></td>\r\n<td width=\"115\">Pointer Sisters</td>\r\n<td width=\"156\">Motown</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Get Ethnic</strong></td>\r\n<td width=\"115\">Donna Summer</td>\r\n<td width=\"156\">Atlantic</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Hollywood Beat</strong></td>\r\n<td width=\"115\">Natalie Cole</td>\r\n<td width=\"156\">ABC/Aaron Spelling</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>One Step Closer</strong></td>\r\n<td width=\"115\">Starpoint</td>\r\n<td width=\"156\">Elecktra</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Together</strong></td>\r\n<td width=\"115\">Mickey Thomas (Starship)</td>\r\n<td width=\"156\">Epic</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Seduction</strong></td>\r\n<td width=\"115\">Sam Riney</td>\r\n<td width=\"156\">Spindletop</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>You Are My Angel</strong></td>\r\n<td width=\"115\">Myrah Kay</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Party-2-Go</strong></td>\r\n<td width=\"115\">Ram Jam**</td>\r\n<td width=\"156\">Universal</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Show Me</strong></td>\r\n<td width=\"115\">Glass*</td>\r\n<td width=\"156\">BMG</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Minako Tanaka</td>\r\n<td width=\"156\">Japan Records</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Tango</strong></td>\r\n<td width=\"115\">Laima</td>\r\n<td width=\"156\">MCA / GRP</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Transylvania 6-5000</strong></td>\r\n<td width=\"115\">Paul Chiten*</td>\r\n<td width=\"156\">New World</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Snap Dance</strong></td>\r\n<td width=\"115\">New Fifth Dimension</td>\r\n<td width=\"156\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Hand Tools*</td>\r\n<td width=\"156\">Casablanca</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>For Members</strong><strong>Only</strong></td>\r\n<td width=\"115\">Imagination</td>\r\n<td width=\"156\">RCA</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Love Will Talk</strong></td>\r\n<td width=\"115\">Alisha</td>\r\n<td width=\"156\">MCA</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Solveg Angelic</td>\r\n<td width=\"156\">Intermediate</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>All Over Again</strong></td>\r\n<td width=\"115\">Jose Feliciano*</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>First In Line</strong></td>\r\n<td width=\"115\">Jaki Graham</td>\r\n<td width=\"156\">RCA</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Fame*</td>\r\n<td width=\"156\">ABC</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>It’s A Wild World</strong></td>\r\n<td width=\"115\">Tonio K.</td>\r\n<td width=\"156\">Warner Brothers</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Shocking Behavior</strong></td>\r\n<td width=\"115\">Hand Tools*</td>\r\n<td width=\"156\">Paramount</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Suzi Quatro*</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Target Practice</strong></td>\r\n<td width=\"115\">Aina</td>\r\n<td width=\"156\">Polydor</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Courting Disaster</strong></td>\r\n<td width=\"115\">Paul Chiten*</td>\r\n<td width=\"156\">Casablanca</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Patterns In Peru</td>\r\n<td width=\"156\"></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>I’ll Move The World</strong></td>\r\n<td width=\"115\">Gennaro*</td>\r\n<td width=\"156\">CBS</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Girls Don’t Lie</strong></td>\r\n<td width=\"115\">Alisha</td>\r\n<td width=\"156\">RCA</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">George McCrae</td>\r\n<td width=\"156\">Ariola</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Only In Your Arms</strong></td>\r\n<td width=\"115\">DeVere*</td>\r\n<td width=\"156\">Cannon</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>I’ve Got Your Number</strong></td>\r\n<td width=\"115\">Ondrea**</td>\r\n<td width=\"156\">RCA</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Move Over, I’m Driving</strong></td>\r\n<td width=\"115\">Jane Edwards</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>The Melting Point</strong></td>\r\n<td width=\"115\">Lewis Sisters</td>\r\n<td width=\"156\">Riva</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Yoko Oginome</td>\r\n<td width=\"156\">VIctor</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Mocha*</td>\r\n<td width=\"156\"></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Somebody Wants You</strong></td>\r\n<td width=\"115\">Mendy Lee</td>\r\n<td width=\"156\">Jacksons Records</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Man On The Street</strong></td>\r\n<td width=\"115\">PC2000*</td>\r\n<td width=\"156\">HSRecords</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Mike Hegedus*</td>\r\n<td width=\"156\"></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Every Time We Kiss</strong></td>\r\n<td width=\"115\">Sam Riney</td>\r\n<td width=\"156\">Spindletop</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Over The Top</strong></td>\r\n<td width=\"115\">Mocha*</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Tell Me How You </strong><strong>Like It </strong></td>\r\n<td width=\"115\">Minako Tanaka</td>\r\n<td width=\"156\">Japan Records</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Vivien</td>\r\n<td width=\"156\">Funhouse</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Whatcha Gonna Do</strong><strong>About It</strong></td>\r\n<td width=\"115\">Yvonne Jackson</td>\r\n<td width=\"156\">Ichiban</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Suzette Charles**</td>\r\n<td width=\"156\"></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Before It Rains Again</strong></td>\r\n<td width=\"115\">Patrick DuPont</td>\r\n<td width=\"156\">Off The Wall</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Weekend Pain</strong></td>\r\n<td width=\"115\">Minako Tanaka</td>\r\n<td width=\"156\">Japan Records</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Some Day</strong></td>\r\n<td width=\"115\">Paul Chiten*</td>\r\n<td width=\"156\">ABC</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>The Truth About Angel</strong></td>\r\n<td width=\"115\">Suzi Quatro*</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Sleeping In The Moon</strong></td>\r\n<td width=\"115\">Hiromi Asai</td>\r\n<td width=\"156\">Funhouse</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>The Truth About Angel</strong></td>\r\n<td width=\"115\">Suzi Quatro*</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Too Far Too Fast</strong></td>\r\n<td width=\"115\">The Heat</td>\r\n<td width=\"156\">MDM</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>You Set Me In Motion</strong></td>\r\n<td width=\"115\">Tricia Burton</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Old Enough To</strong><strong>Know Better</strong></td>\r\n<td width=\"115\">Jacqui Berne</td>\r\n<td width=\"156\">Rick Wake Productions</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Patti Day</td>\r\n<td width=\"156\">Starway</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>You Got My Attention</strong></td>\r\n<td width=\"115\">Angie Gold</td>\r\n<td width=\"156\">Alfa</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Witch’s Trap</strong></td>\r\n<td width=\"115\">Akemi Ishi</td>\r\n<td width=\"156\">CBS</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Have You Ever</strong></td>\r\n<td width=\"115\">Tomo</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>When I Look At You</strong></td>\r\n<td width=\"115\">Tomo</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>The Poetry Of Sex</strong></td>\r\n<td width=\"115\">Tomo</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Vanilla Latte</strong></td>\r\n<td width=\"115\">Tomo</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>So Deep </strong></td>\r\n<td width=\"115\">Tomo</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Perfect World  </strong></td>\r\n<td width=\"115\">Tomo</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>More Than Just Friends </strong></td>\r\n<td width=\"115\">Tomo</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Mindworker</strong></td>\r\n<td width=\"115\">Paul August*</td>\r\n<td width=\"156\">John Paul Records</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Emergency</strong></td>\r\n<td width=\"115\">PC2000*</td>\r\n<td width=\"156\">Jump Records</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>There Must Be A God</strong></td>\r\n<td width=\"115\">Rhetta Hughs</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Erotic Visions (album)</strong></td>\r\n<td width=\"115\">Paul Chiten*</td>\r\n<td width=\"156\">Playfull</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Poet For The Moonlight</strong></td>\r\n<td width=\"115\">Jose Feliciano*</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Fantasy Chamber (album)</strong></td>\r\n<td width=\"115\">Paul Chiten*</td>\r\n<td width=\"156\">Playfull</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>A Woman Like Me</strong></td>\r\n<td width=\"115\">Soul Tarot*</td>\r\n<td width=\"156\">B Street</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Seditious Philosophies (album)</strong></td>\r\n<td width=\"115\">Steve Dolmer*</td>\r\n<td width=\"156\">Sony</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>You Are My Angel</strong></td>\r\n<td width=\"115\">Andrea Robinson*</td>\r\n<td width=\"156\">LDH Records</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>What Is Sex</strong></td>\r\n<td width=\"115\">Tahlia Loren*</td>\r\n<td width=\"156\">LS Records</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>So Crazy In Love</strong></td>\r\n<td width=\"115\">Robin Taylor*</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Whatever It Takes</strong></td>\r\n<td width=\"115\">Robin Taylor*</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Sedative</strong></td>\r\n<td width=\"115\">Robin Taylor*</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Hearts Under Fire</strong></td>\r\n<td width=\"115\">Gennaro*</td>\r\n<td width=\"156\">CBS</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>I’ll Move The World</strong></td>\r\n<td width=\"115\">Gennaro*</td>\r\n<td width=\"156\">CBS</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>You Are My Angel </strong></td>\r\n<td width=\"115\">Myrah Kay</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Take It All  </strong></td>\r\n<td width=\"115\">Heidi Swan</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>As Real As It Gets</strong></td>\r\n<td width=\"115\">Heidi Swan</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>No More Borken Dreams</strong></td>\r\n<td width=\"115\">Heidi Swan</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>It Takes A Lot To Love </strong></td>\r\n<td width=\"115\">Heidi Swan</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>You Are my Angel</strong></td>\r\n<td width=\"115\">Myrah Kay</td>\r\n<td width=\"156\">Avex</td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n&nbsp;\r\n\r\n<strong>Education</strong>\r\n•  Mills College, Masters Degree in Music Composition\r\n•  Brown University, Bachelor’s Degree\r\n•  Harvard University, Special Arts Program\r\n•   University Of California at San Diego\r\n•  New England Conservatory Of Music\r\n•  Berklee School Of Music\r\n•   Private Piano &amp; Composition Study\r\n\r\n<strong>\r\nLecturing &amp; Publications</strong>\r\n\r\n• <strong>UCLA </strong>\r\nTopic: Music For Visuals\r\n\r\n•<strong> Musician’s Institute </strong>\r\nTopic: Music Composition Using MIDI &amp; Computers\r\n\r\n•<strong> National Academy of Songwriters</strong>\r\nTopic: Record Deals For New Artists\r\n\r\n•<strong> Mix Magazine</strong>\r\nTopic: The Importance Of Pre-Production\r\n\r\n•<strong> Songwriter’s Expo</strong>\r\nTopic: The Promotion &amp; Marketing of New Music\r\n\r\n• <strong>San Luis Obispo Dept. of Corrections Outreach Program </strong>\r\nTopic: World Music\r\n\r\n• <strong>Los Angeles Songwriters Showcase </strong>\r\nTopic: Modern Songwriting\r\n\r\n• <strong>South By Southwest Music Conference – BMI Guest Speaker </strong>\r\nTopic: Music Composition For Different Genres\r\n\r\n• <strong>N.A.M.M Show</strong>\r\nTopic: Producing New Artists\r\n\r\n•<strong> A.E.S Show</strong>\r\nTopic: Music &amp; The Internet\r\n\r\n• <strong>Digital Living Room High Technology Convention </strong>\r\nTopic: Music &amp; Technology\r\n\r\n• <strong>National Music Educators Convention – Keynote Speaker</strong>\r\nTopic: The Future of Music\r\n<div></div>\r\n<div>PAUL CHITEN website home page:</div>\r\n<div><b><a href=\"http://sweethartproductions.com/\" target=\"_blank\">sweethartproductions.com</a></b></div>\r\n<div>PAUL CHITEN website personal page:</div>\r\n<div><b>http://sweethartproductions.com/PaulChiten.aspx</b></div>\r\n<div>PAUL CHITEN business email:\r\n<a href=\"mailto:pc@sweethartproductions.com\"><b>pc@sweethartproductions.com</b></a></div></td>\r\n</tr>\r\n</tbody>\r\n</table>', 'Featured Artist – Paul Chiten', 'Paul Chiten is a Los Angeles-based songwriter, composer, producer, musician, singer and artist. His songs have gone platinum and gold. His compositions and productions have won Telly, Aurora and Emmy Awards. He has worked with Michael Jackson, Anita Baker, Tina Turner, Donna Summer, Cyndi Lauper and countless others.', 'inherit', 'closed', 'closed', '', '813-revision-v1', '', '', '2017-02-15 22:58:03', '2017-02-16 05:58:03', '', 813, 'https://afm424.org/813-revision-v1/', 0, 'revision', '', 0);
INSERT INTO `wp_posts` (`ID`, `post_author`, `post_date`, `post_date_gmt`, `post_content`, `post_title`, `post_excerpt`, `post_status`, `comment_status`, `ping_status`, `post_password`, `post_name`, `to_ping`, `pinged`, `post_modified`, `post_modified_gmt`, `post_content_filtered`, `post_parent`, `guid`, `menu_order`, `post_type`, `post_mime_type`, `comment_count`) VALUES
(2693, 6, '2017-04-05 19:15:32', '2017-04-06 02:15:32', '<div>\r\n<div>\r\n<div>PAUL CHITEN website home page:</div>\r\n<div><b><a href=\"http://www.sweethartproductions.com/\">sweethartproductions.com</a></b></div>\r\n<div>\r\n<div>\r\n<div>PAUL CHITEN website personal page:</div>\r\n<div><a href=\"http://sweethartproductions.com/PaulChiten.aspx\"><b>http://sweethartproductions.com/PaulChiten.aspx</b></a></div>\r\n</div>\r\n</div>\r\n</div>\r\n</div>\r\n<div>\r\n<div>PAUL CHITEN business email:\r\n<a href=\"mailto:pc@sweethartproductions.com\"><b>pc@sweethartproductions.com</b></a></div>\r\n<div></div>\r\n</div>\r\n&nbsp;\r\n\r\n<strong>Music &amp; Technology Talents</strong>\r\n\r\n• Composer • Arranger • Producer • Songwriter • Performer • Conductor • Musician\r\n• Vocalist • MIDI Programmer • Sound Designer • Computer Consultant\r\n• Primary Instruments: Piano &amp; Synthesizers\r\n• Other Instruments: Electric Guitar, Acoustic Guitar, Bass, Flute, Organ, Harmonica,\r\nVibes, Harpsichord, Recorder, Harmonium, Drums, Marimba, Percussion, Didgeridoo\r\n\r\n[playlist ids=\"1796,1798,1825\"]\r\n\r\n<strong>A Few Highlights</strong>\r\n<ul>\r\n 	<li>Composer/Arranger/Performer/Musical Director for EMC World show, Las Vegas, 2014-2015-2016-2017</li>\r\n 	<li>Music for “The Carrie Diaries,” CW Network, 2013-2014</li>\r\n 	<li>Won a 2008 Daytime Emmy for Nickelodeon’s top-rated show, “The Wonder Pets!” for Outstanding  Achievement in Music Direction and Composition.</li>\r\n 	<li>Winner of two 2008 Telly Awards for Outstanding Achievement in Music</li>\r\n 	<li>Composed, Performed &amp; Produced music for the new video game “Spy Bots” from Bionic Games</li>\r\n 	<li>Winner of three 2005 Telly Awards for Best Television Commercial</li>\r\n 	<li>Winner of 2005 Aurora Platinum Award for Best Commercial</li>\r\n 	<li>Arranged &amp; Performed the Main Title music for the CBS Movie,  “Helter Skelter” Co-produced with “X-Files” composer  Mark Snow. Music for the show was nominated for an Emmy Award</li>\r\n 	<li>Producer/Performer/Co-Composer for Sony/Showtime television series, “Street Time.”</li>\r\n 	<li>Music Director, Arranger and Performer for Cisco Systems Show, Las Vegas</li>\r\n 	<li>Composed and Produced the theme music that daily opens and closes “The Tokyo Stock Exchange”</li>\r\n 	<li>Musical Director and Performer, “Crystal Palace,” Tokyo, Japan</li>\r\n 	<li>Musical Director for featured show at “Windows Of The World” Amphitheatre, China</li>\r\n 	<li>Music Publishing deal with Fuji Pacific</li>\r\n 	<li>Worked with composer Mike Stoller on the definitive music arrangements for the “Elvis Presley Sings Lieber &amp;  Stoller Songbook”</li>\r\n 	<li>South American tour with Donna Summer, Keyboards and Vocals</li>\r\n 	<li>European tour with Donna Summer, Keyboards and Vocals</li>\r\n 	<li>African tours with my band, “Angel City”</li>\r\n 	<li>Music Publishing deal with Paramount/Famous Music</li>\r\n 	<li>Member of the Songwriter’s Summit excursion to Russia with  “Music Speaks Louder Than Words” project. Album on Epic Records</li>\r\n 	<li>Featured in the television mini-series “Makin’ Music,” which won an Emmy Award</li>\r\n</ul>\r\n<table width=\"413\">\r\n<tbody>\r\n<tr>\r\n<td width=\"123\"><strong>Film &amp; Television</strong>\r\n<table width=\"413\">\r\n<tbody>\r\n<tr>\r\n<td width=\"203\"><strong>The Carrie Diaries</strong></td>\r\n<td width=\"211\">CW Network</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Street Time</strong></td>\r\n<td width=\"211\">Sony/Showtime</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Dawson’s Creek</strong></td>\r\n<td width=\"211\">Columbia/Tri-Star/Warner Brothers</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Helter Skelter </strong>(main title)</td>\r\n<td width=\"211\">CBS Movie</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Law &amp; Order</strong></td>\r\n<td width=\"211\">NBC</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Wonder Pets</strong></td>\r\n<td width=\"211\">Nickelodeon</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Saving Milly</strong></td>\r\n<td width=\"211\">CBS Movie Of The Week</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Tokyo Stock Exchange</strong></td>\r\n<td width=\"211\">Music for Nikkei Exchange</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Software AG Show</strong></td>\r\n<td width=\"211\">Music Director, Arranger and Performer</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Spring Break Shark Attack</strong></td>\r\n<td width=\"211\">CBS Movie Of The Week</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Coming To America</strong></td>\r\n<td width=\"211\">Paramount</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Beyond Chance</strong></td>\r\n<td width=\"211\">Lifetime</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Witness</strong></td>\r\n<td width=\"211\">Paramount</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Queen’s Logic</strong></td>\r\n<td width=\"211\">Universal</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>True Colors</strong></td>\r\n<td width=\"211\">Paramount</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Santa Barbara</strong></td>\r\n<td width=\"211\">NBC</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>The Jew In The Lotus</strong>(score)</td>\r\n<td width=\"211\">Blind Dog Films</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>New Attitude</strong></td>\r\n<td width=\"211\">ABC</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Distant Thunder</strong></td>\r\n<td width=\"211\">Paramount</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Woman On The Run</strong></td>\r\n<td width=\"211\">NBC Mini-Series</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Lame Ducks</strong></td>\r\n<td width=\"211\">Paramount</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Hollywood Beat</strong></td>\r\n<td width=\"211\">Aaron Spelling/ABC</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Transylvania 6-5000</strong></td>\r\n<td width=\"211\">New World</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Bad Guys</strong></td>\r\n<td width=\"211\">Tomorrow Entertainment</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Street Smart</strong></td>\r\n<td width=\"211\">Cannon</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Sweet Poison</strong> (score)</td>\r\n<td width=\"211\">Universal</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Los Angeles Olympics</strong>(score)</td>\r\n<td width=\"211\">Master Arts</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Fantasy Chamber </strong>(score)</td>\r\n<td width=\"211\">Ultimate</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Intellidex </strong>(LaserDisc score)</td>\r\n<td width=\"211\">Post Films</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Erotic Visions </strong>(score)</td>\r\n<td width=\"211\">Ultimate</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Pulsebeat </strong>(score)</td>\r\n<td width=\"211\">Calla Films</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Intersil </strong>(score)</td>\r\n<td width=\"211\">General Electric</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Technics </strong>(score)</td>\r\n<td width=\"211\">Technics Ltd.</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Marbella </strong>(score)</td>\r\n<td width=\"211\">Calla Films</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"><strong>Fame</strong></td>\r\n<td width=\"211\">ABC</td>\r\n</tr>\r\n<tr>\r\n<td width=\"203\"></td>\r\n<td width=\"211\"></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n&nbsp;\r\n\r\n<strong>Trailers</strong>\r\n<table width=\"413\">\r\n<tbody>\r\n<tr>\r\n<td width=\"241\"><strong>Slingblade</strong></td>\r\n<td width=\"172\">Miramax</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Let The Devil Wear Black</strong></td>\r\n<td width=\"172\">Trimark</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Joe The King</strong></td>\r\n<td width=\"172\">Trimark</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>The Cape</strong></td>\r\n<td width=\"172\">MTM Television</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>The Blood Oranges</strong></td>\r\n<td width=\"172\">Trimark Pictures</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Witness</strong></td>\r\n<td width=\"172\">Paramount</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Mona Lisa</strong></td>\r\n<td width=\"172\">Island Pictures</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>River’s Edge</strong></td>\r\n<td width=\"172\">New World</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Jimmy Reardon</strong></td>\r\n<td width=\"172\">Island Pictures</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Sweet Lies</strong></td>\r\n<td width=\"172\">Island Pictures</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Rocky IV</strong></td>\r\n<td width=\"172\">CBS/Fox</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Pope of Greenwich Village</strong></td>\r\n<td width=\"172\">United Artists</td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n&nbsp;\r\n\r\n<strong>Commercials</strong>\r\n<table width=\"413\">\r\n<tbody>\r\n<tr>\r\n<td width=\"241\"><strong>Armani Olympiad</strong></td>\r\n<td width=\"172\">Giorgio Armani</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Relax</strong></td>\r\n<td width=\"172\">Ford</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Countrywide</strong></td>\r\n<td width=\"172\">Countrywide</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Port Of Los Angeles</strong></td>\r\n<td width=\"172\">M-Creative</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>The Bus Ride</strong></td>\r\n<td width=\"172\">Big Star Jeans</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Just Can’t Wait</strong></td>\r\n<td width=\"172\">Toyota</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Metro Parks</strong></td>\r\n<td width=\"172\">Ohio State Parks</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Island Presents</strong></td>\r\n<td width=\"172\">Island Pictures</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Season Theme</strong></td>\r\n<td width=\"172\">Oakland A’s</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Attitude</strong></td>\r\n<td width=\"172\">Gotcha Jeans</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Prom Fantasy</strong></td>\r\n<td width=\"172\">Elektra Casadei Designs</td>\r\n</tr>\r\n<tr>\r\n<td width=\"241\"><strong>Logo Theme</strong></td>\r\n<td width=\"172\">Pathe</td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n&nbsp;\r\n\r\n<strong>Video</strong>\r\n<table width=\"413\">\r\n<tbody>\r\n<tr>\r\n<td width=\"261\"><strong>Spy Bots</strong> (video game)</td>\r\n<td width=\"152\">Bionic Games</td>\r\n</tr>\r\n<tr>\r\n<td width=\"261\"><strong>Fighter Squadron</strong> (video game)</td>\r\n<td width=\"152\">Activision</td>\r\n</tr>\r\n<tr>\r\n<td width=\"261\"><strong>Faster Faster</strong></td>\r\n<td width=\"152\">MTV</td>\r\n</tr>\r\n<tr>\r\n<td width=\"261\"><strong>Girls Of Radio</strong> •Talk,Rock &amp; Shock</td>\r\n<td width=\"152\">Playboy Entertainment</td>\r\n</tr>\r\n<tr>\r\n<td width=\"261\"><strong>London Nights</strong></td>\r\n<td width=\"152\">Trikilis Productions</td>\r\n</tr>\r\n<tr>\r\n<td width=\"261\"><strong>On Campus</strong> (score)</td>\r\n<td width=\"152\">Warner Vision</td>\r\n</tr>\r\n<tr>\r\n<td width=\"261\"><strong>Beyond Vaudeville</strong></td>\r\n<td width=\"152\">Exotic World</td>\r\n</tr>\r\n<tr>\r\n<td width=\"261\"><strong>Art of Massage</strong> (score)</td>\r\n<td width=\"152\">Warner Vision</td>\r\n</tr>\r\n<tr>\r\n<td width=\"261\"><strong>Bump &amp; Grind</strong> • History of Burlesque</td>\r\n<td width=\"152\">Sheba Productions</td>\r\n</tr>\r\n<tr>\r\n<td width=\"261\"><strong>Poison Letter</strong></td>\r\n<td width=\"152\">MTV</td>\r\n</tr>\r\n<tr>\r\n<td width=\"261\"><strong>Paris Lights</strong></td>\r\n<td width=\"152\">Trikilis Productions</td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n<strong> </strong>\r\n\r\n<strong>Studio &amp; Production</strong>\r\n\r\n<em>Composed, Arranged, Produced, Performed, Programmed or Sound Designed for:</em>\r\n<table width=\"413\">\r\n<tbody>\r\n<tr>\r\n<td width=\"128\">Michael Jackson</td>\r\n<td width=\"120\">Natalie Cole</td>\r\n<td width=\"149\">Anita Baker</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Tina Turner</td>\r\n<td width=\"120\">Alice Cooper</td>\r\n<td width=\"149\">Brenda Russell</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Donna Summer</td>\r\n<td width=\"120\">Cyndi Lauper</td>\r\n<td width=\"149\">LA Law</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Pointer Sisters</td>\r\n<td width=\"120\">The Breakfast Club</td>\r\n<td width=\"149\">Vince Neil (Motley Crue)</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Commodores</td>\r\n<td width=\"120\">Kokopop</td>\r\n<td width=\"149\">Skin Deep</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Lou Rawls, Jr</td>\r\n<td width=\"120\">Marvin Gaye, Jr.</td>\r\n<td width=\"149\">Alisha</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Glass</td>\r\n<td width=\"120\">Phil Perry</td>\r\n<td width=\"149\">Santa Barbera</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Five Star</td>\r\n<td width=\"120\">Julian Lennon</td>\r\n<td width=\"149\">Fame</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">NBC</td>\r\n<td width=\"120\">Solid Gold</td>\r\n<td width=\"149\">CBS</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">B.D. Fox &amp; Friends</td>\r\n<td width=\"120\">ABC</td>\r\n<td width=\"149\">Court TV</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Warner Brothers</td>\r\n<td width=\"120\">Fox Television</td>\r\n<td width=\"149\">Propaganda Films</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Universal</td>\r\n<td width=\"120\">Cucoloris Films</td>\r\n<td width=\"149\">McClatchy Films</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Phil Perry</td>\r\n<td width=\"120\">Flicker Films</td>\r\n<td width=\"149\">Lifetime</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Herbie Hancock</td>\r\n<td width=\"120\">History Channel</td>\r\n<td width=\"149\">Andre Fisher</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Phil Ramone</td>\r\n<td width=\"120\">KPIX</td>\r\n<td width=\"149\">Saatchi &amp; Saatchi</td>\r\n</tr>\r\n<tr>\r\n<td width=\"128\">Jimmy Iovine</td>\r\n<td width=\"120\">Young &amp; Rubicam</td>\r\n<td width=\"149\"></td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n&nbsp;\r\n\r\n<strong>Musical Director</strong>\r\n\r\n•   EMC World show, Las Vegas\r\n\r\n•   Television series “Makin’ Music,” which won an Emmy Award.\r\n\r\n•   Cisco Annual Corporate Show, Las Vegas\r\n\r\n•   Sweethart Productions\r\n\r\n•   The Commodores, conductor &amp; arranger\r\n\r\n•   Software AG Annual Corporate Show, Orlando\r\n\r\n•   Headline show at “Windows Of The World” Amphitheater, China\r\n\r\n•   Oracle Show at the Los Angeles Convention Center\r\n\r\n•   Deltek Annual Corporate Show, Nashville\r\n\r\n•   The band “Angel City,” multiple tours of Africa\r\n\r\n•   The band “PC2000,” launching MTV’s “Basement Tapes” series.\r\n\r\n•   Television series “Zoom,” WGBH\r\n\r\n•   Production company “Hot Spoons Productions”\r\n\r\n•   Los Angeles Olympics Master Arts Show\r\n\r\n<strong>\r\nSongs</strong>\r\n\r\nMaster Produced (*) by Paul Chiten\r\nMaster co-Produced (**) by Paul Chiten\r\n<table width=\"413\">\r\n<tbody>\r\n<tr>\r\n<td width=\"123\"><strong>Title</strong></td>\r\n<td width=\"115\"><strong>Artist</strong></td>\r\n<td width=\"156\"><strong>Label</strong></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Can’t Wait Another Minute</strong></td>\r\n<td width=\"115\">Five Star</td>\r\n<td width=\"156\">RCA</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Lewis Sisters</td>\r\n<td width=\"156\">Riva</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Aina</td>\r\n<td width=\"156\">Polydor</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Ain’t Crack</td>\r\n<td width=\"156\">Disney</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Patti Brooks</td>\r\n<td width=\"156\">Paramount</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Dance Chart</td>\r\n<td width=\"156\">Telstar</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Five Star’s Greatest Hits</td>\r\n<td width=\"156\">RCA</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Now Dance</td>\r\n<td width=\"156\">EMI/Virgin</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Drive My Car (Til Sunset)</strong></td>\r\n<td width=\"115\">Brenda Russell</td>\r\n<td width=\"156\">A&amp;M</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Come Into My Life</strong></td>\r\n<td width=\"115\">Laura Branigan</td>\r\n<td width=\"156\">Atco</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">The Imperials</td>\r\n<td width=\"156\">Starsong</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Chikaco Sawada</td>\r\n<td width=\"156\">Taurus</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Dancing With A Stranger</strong></td>\r\n<td width=\"115\">Cyndi Lauper</td>\r\n<td width=\"156\">Epic</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Real Life</strong></td>\r\n<td width=\"115\">Pointer Sisters</td>\r\n<td width=\"156\">Motown</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Get Ethnic</strong></td>\r\n<td width=\"115\">Donna Summer</td>\r\n<td width=\"156\">Atlantic</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Hollywood Beat</strong></td>\r\n<td width=\"115\">Natalie Cole</td>\r\n<td width=\"156\">ABC/Aaron Spelling</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>One Step Closer</strong></td>\r\n<td width=\"115\">Starpoint</td>\r\n<td width=\"156\">Elecktra</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Together</strong></td>\r\n<td width=\"115\">Mickey Thomas (Starship)</td>\r\n<td width=\"156\">Epic</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Seduction</strong></td>\r\n<td width=\"115\">Sam Riney</td>\r\n<td width=\"156\">Spindletop</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>You Are My Angel</strong></td>\r\n<td width=\"115\">Myrah Kay</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Party-2-Go</strong></td>\r\n<td width=\"115\">Ram Jam**</td>\r\n<td width=\"156\">Universal</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Show Me</strong></td>\r\n<td width=\"115\">Glass*</td>\r\n<td width=\"156\">BMG</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Minako Tanaka</td>\r\n<td width=\"156\">Japan Records</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Tango</strong></td>\r\n<td width=\"115\">Laima</td>\r\n<td width=\"156\">MCA / GRP</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Transylvania 6-5000</strong></td>\r\n<td width=\"115\">Paul Chiten*</td>\r\n<td width=\"156\">New World</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Snap Dance</strong></td>\r\n<td width=\"115\">New Fifth Dimension</td>\r\n<td width=\"156\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Hand Tools*</td>\r\n<td width=\"156\">Casablanca</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>For Members</strong><strong>Only</strong></td>\r\n<td width=\"115\">Imagination</td>\r\n<td width=\"156\">RCA</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Love Will Talk</strong></td>\r\n<td width=\"115\">Alisha</td>\r\n<td width=\"156\">MCA</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Solveg Angelic</td>\r\n<td width=\"156\">Intermediate</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>All Over Again</strong></td>\r\n<td width=\"115\">Jose Feliciano*</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>First In Line</strong></td>\r\n<td width=\"115\">Jaki Graham</td>\r\n<td width=\"156\">RCA</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Fame*</td>\r\n<td width=\"156\">ABC</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>It’s A Wild World</strong></td>\r\n<td width=\"115\">Tonio K.</td>\r\n<td width=\"156\">Warner Brothers</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Shocking Behavior</strong></td>\r\n<td width=\"115\">Hand Tools*</td>\r\n<td width=\"156\">Paramount</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Suzi Quatro*</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Target Practice</strong></td>\r\n<td width=\"115\">Aina</td>\r\n<td width=\"156\">Polydor</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Courting Disaster</strong></td>\r\n<td width=\"115\">Paul Chiten*</td>\r\n<td width=\"156\">Casablanca</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Patterns In Peru</td>\r\n<td width=\"156\"></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>I’ll Move The World</strong></td>\r\n<td width=\"115\">Gennaro*</td>\r\n<td width=\"156\">CBS</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Girls Don’t Lie</strong></td>\r\n<td width=\"115\">Alisha</td>\r\n<td width=\"156\">RCA</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">George McCrae</td>\r\n<td width=\"156\">Ariola</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Only In Your Arms</strong></td>\r\n<td width=\"115\">DeVere*</td>\r\n<td width=\"156\">Cannon</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>I’ve Got Your Number</strong></td>\r\n<td width=\"115\">Ondrea**</td>\r\n<td width=\"156\">RCA</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Move Over, I’m Driving</strong></td>\r\n<td width=\"115\">Jane Edwards</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>The Melting Point</strong></td>\r\n<td width=\"115\">Lewis Sisters</td>\r\n<td width=\"156\">Riva</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Yoko Oginome</td>\r\n<td width=\"156\">VIctor</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Mocha*</td>\r\n<td width=\"156\"></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Somebody Wants You</strong></td>\r\n<td width=\"115\">Mendy Lee</td>\r\n<td width=\"156\">Jacksons Records</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Man On The Street</strong></td>\r\n<td width=\"115\">PC2000*</td>\r\n<td width=\"156\">HSRecords</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Mike Hegedus*</td>\r\n<td width=\"156\"></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Every Time We Kiss</strong></td>\r\n<td width=\"115\">Sam Riney</td>\r\n<td width=\"156\">Spindletop</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Over The Top</strong></td>\r\n<td width=\"115\">Mocha*</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Tell Me How You </strong><strong>Like It </strong></td>\r\n<td width=\"115\">Minako Tanaka</td>\r\n<td width=\"156\">Japan Records</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Vivien</td>\r\n<td width=\"156\">Funhouse</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Whatcha Gonna Do</strong><strong>About It</strong></td>\r\n<td width=\"115\">Yvonne Jackson</td>\r\n<td width=\"156\">Ichiban</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Suzette Charles**</td>\r\n<td width=\"156\"></td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Before It Rains Again</strong></td>\r\n<td width=\"115\">Patrick DuPont</td>\r\n<td width=\"156\">Off The Wall</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Weekend Pain</strong></td>\r\n<td width=\"115\">Minako Tanaka</td>\r\n<td width=\"156\">Japan Records</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Some Day</strong></td>\r\n<td width=\"115\">Paul Chiten*</td>\r\n<td width=\"156\">ABC</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>The Truth About Angel</strong></td>\r\n<td width=\"115\">Suzi Quatro*</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Sleeping In The Moon</strong></td>\r\n<td width=\"115\">Hiromi Asai</td>\r\n<td width=\"156\">Funhouse</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>The Truth About Angel</strong></td>\r\n<td width=\"115\">Suzi Quatro*</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Too Far Too Fast</strong></td>\r\n<td width=\"115\">The Heat</td>\r\n<td width=\"156\">MDM</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>You Set Me In Motion</strong></td>\r\n<td width=\"115\">Tricia Burton</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Old Enough To</strong><strong>Know Better</strong></td>\r\n<td width=\"115\">Jacqui Berne</td>\r\n<td width=\"156\">Rick Wake Productions</td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"></td>\r\n<td width=\"115\">Patti Day</td>\r\n<td width=\"156\">Starway</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>You Got My Attention</strong></td>\r\n<td width=\"115\">Angie Gold</td>\r\n<td width=\"156\">Alfa</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Witch’s Trap</strong></td>\r\n<td width=\"115\">Akemi Ishi</td>\r\n<td width=\"156\">CBS</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Have You Ever</strong></td>\r\n<td width=\"115\">Tomo</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>When I Look At You</strong></td>\r\n<td width=\"115\">Tomo</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>The Poetry Of Sex</strong></td>\r\n<td width=\"115\">Tomo</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Vanilla Latte</strong></td>\r\n<td width=\"115\">Tomo</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>So Deep </strong></td>\r\n<td width=\"115\">Tomo</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Perfect World  </strong></td>\r\n<td width=\"115\">Tomo</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>More Than Just Friends </strong></td>\r\n<td width=\"115\">Tomo</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Mindworker</strong></td>\r\n<td width=\"115\">Paul August*</td>\r\n<td width=\"156\">John Paul Records</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Emergency</strong></td>\r\n<td width=\"115\">PC2000*</td>\r\n<td width=\"156\">Jump Records</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>There Must Be A God</strong></td>\r\n<td width=\"115\">Rhetta Hughs</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Erotic Visions (album)</strong></td>\r\n<td width=\"115\">Paul Chiten*</td>\r\n<td width=\"156\">Playfull</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Poet For The Moonlight</strong></td>\r\n<td width=\"115\">Jose Feliciano*</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Fantasy Chamber (album)</strong></td>\r\n<td width=\"115\">Paul Chiten*</td>\r\n<td width=\"156\">Playfull</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>A Woman Like Me</strong></td>\r\n<td width=\"115\">Soul Tarot*</td>\r\n<td width=\"156\">B Street</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Seditious Philosophies (album)</strong></td>\r\n<td width=\"115\">Steve Dolmer*</td>\r\n<td width=\"156\">Sony</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>You Are My Angel</strong></td>\r\n<td width=\"115\">Andrea Robinson*</td>\r\n<td width=\"156\">LDH Records</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>What Is Sex</strong></td>\r\n<td width=\"115\">Tahlia Loren*</td>\r\n<td width=\"156\">LS Records</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>So Crazy In Love</strong></td>\r\n<td width=\"115\">Robin Taylor*</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Whatever It Takes</strong></td>\r\n<td width=\"115\">Robin Taylor*</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Sedative</strong></td>\r\n<td width=\"115\">Robin Taylor*</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Hearts Under Fire</strong></td>\r\n<td width=\"115\">Gennaro*</td>\r\n<td width=\"156\">CBS</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>I’ll Move The World</strong></td>\r\n<td width=\"115\">Gennaro*</td>\r\n<td width=\"156\">CBS</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>You Are My Angel </strong></td>\r\n<td width=\"115\">Myrah Kay</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>Take It All  </strong></td>\r\n<td width=\"115\">Heidi Swan</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>As Real As It Gets</strong></td>\r\n<td width=\"115\">Heidi Swan</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>No More Borken Dreams</strong></td>\r\n<td width=\"115\">Heidi Swan</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>It Takes A Lot To Love </strong></td>\r\n<td width=\"115\">Heidi Swan</td>\r\n<td width=\"156\">Independent</td>\r\n</tr>\r\n<tr>\r\n<td colspan=\"3\" width=\"404\"></td>\r\n</tr>\r\n<tr>\r\n<td width=\"123\"><strong>You Are my Angel</strong></td>\r\n<td width=\"115\">Myrah Kay</td>\r\n<td width=\"156\">Avex</td>\r\n</tr>\r\n</tbody>\r\n</table>\r\n&nbsp;\r\n\r\n<strong>Education</strong>\r\n•  Mills College, Masters Degree in Music Composition\r\n•  Brown University, Bachelor’s Degree\r\n•  Harvard University, Special Arts Program\r\n•   University Of California at San Diego\r\n•  New England Conservatory Of Music\r\n•  Berklee School Of Music\r\n•   Private Piano &amp; Composition Study\r\n\r\n<strong>\r\nLecturing &amp; Publications</strong>\r\n\r\n• <strong>UCLA </strong>\r\nTopic: Music For Visuals\r\n\r\n•<strong> Musician’s Institute </strong>\r\nTopic: Music Composition Using MIDI &amp; Computers\r\n\r\n•<strong> National Academy of Songwriters</strong>\r\nTopic: Record Deals For New Artists\r\n\r\n•<strong> Mix Magazine</strong>\r\nTopic: The Importance Of Pre-Production\r\n\r\n•<strong> Songwriter’s Expo</strong>\r\nTopic: The Promotion &amp; Marketing of New Music\r\n\r\n• <strong>San Luis Obispo Dept. of Corrections Outreach Program </strong>\r\nTopic: World Music\r\n\r\n• <strong>Los Angeles Songwriters Showcase </strong>\r\nTopic: Modern Songwriting\r\n\r\n• <strong>South By Southwest Music Conference – BMI Guest Speaker </strong>\r\nTopic: Music Composition For Different Genres\r\n\r\n• <strong>N.A.M.M Show</strong>\r\nTopic: Producing New Artists\r\n\r\n•<strong> A.E.S Show</strong>\r\nTopic: Music &amp; The Internet\r\n\r\n• <strong>Digital Living Room High Technology Convention </strong>\r\nTopic: Music &amp; Technology\r\n\r\n• <strong>National Music Educators Convention – Keynote Speaker</strong>\r\nTopic: The Future of Music\r\n<div></div>\r\n<div>PAUL CHITEN website home page:</div>\r\n<div><b><a href=\"http://sweethartproductions.com/\" target=\"_blank\">sweethartproductions.com</a></b></div>\r\n<div>PAUL CHITEN website personal page:</div>\r\n<div><b>http://sweethartproductions.com/PaulChiten.aspx</b></div>\r\n<div>PAUL CHITEN business email:\r\n<a href=\"mailto:pc@sweethartproductions.com\"><b>pc@sweethartproductions.com</b></a></div></td>\r\n</tr>\r\n</tbody>\r\n</table>', 'Featured Artist – Paul Chiten', 'Paul Chiten is a Los Angeles-based songwriter, composer, producer, musician, singer and artist. His songs have gone platinum and gold. His compositions and productions have won Telly, Aurora and Emmy Awards. He has worked with Michael Jackson, Anita Baker, Tina Turner, Donna Summer, Cyndi Lauper and countless others.', 'inherit', 'closed', 'closed', '', '813-revision-v1', '', '', '2017-04-05 19:15:32', '2017-04-06 02:15:32', '', 813, 'https://afm424.org/813-revision-v1/', 0, 'revision', '', 0);
