Category Archives: performing

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A Naden Band Christmas

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Without wanting to sound like a Grinch, November is just too early for Christmas music for me.

I mean, COME ON. Two months of nothing but Christmas music?? It’s on the radio, in the stores, at the mall, on my husband’s car playlist. It’s omnipotent.

And it drives me nuts.

Not only that, but every artist and her uncle has to release their version of every single Christmas song ever penned.

Why? Because Yuletide music is a big money maker. Just like all of the Christmas merchandise showing up on Costco shelves in early October.

Okay, so I AM a bit grinchy.

But now that I’ve got that off my chest, there is one Christmas music tradition that never disappoints. And it’s usually in the appropriate month of December too.

It’s the annual Naden Band Christmas concert, which has been a tradition in Victoria for more than 40 years. Even when COVID was cramping our style, the Naden Band streamed their concert so we wouldn’t have to miss it.

We often think of the Naden Band as part of our local parades, but they have performed all over the world for many different events, along with their more traditional performances.

Only days before we attended this year’s concert, the Naden Band had been at Canadian Forces Base Esquimalt to welcome back two navy ships, HMCS Vancouver and Winnipeg, as hundreds of sailors returned from months of deployment in the Indo-Pacific region.

The Naden Christmas concert was in conjunction with the Salvation Army’s holiday toy drive. The ticket price was very reasonable (are you paying attention Taylor Swift?), and each audience member was encouraged to bring one unwrapped toy.

The theme of this year’s concert intrigued me. It was “Hygge”.

Most of you have at least heard of hygge over the last few years, but for those of you who haven’t, let me exercise my Scandinavian heritage.

Hygge, which originated in Norway but was made popular in Denmark, is all about getting cozy and finding comfort. It might be found in a hot toddy by the fire, or curling up with a good book. It has a similar origin as the word “hug”. Whatever brings you contentment, that’s hygge.

Mostly, I was curious as to how the Naden concert people would pronounce it. Scandinavian languages have a sound all their own and the word hygge is no exception. Online you’ll see it described “hoo-ga”, but that’s not really it.

No, it’s more like a hacking sound from deep in the throat, followed by “gi” as in the word give. Okay, that doesn’t sound very cozy-like, does it?

So we’ll move on.

This year’s musical evening was fabulous, as usual. The Naden Band performed everything from traditional Christmas songs like I Saw Three Ships and Joy To The World, to less traditional ones like Fairytale of New York.

Among my favourites were songs from A Charlie Brown Christmas (Linus and Lucy gets me every time) and I’m Dreaming of Home, which featured the Pipes And Drums of the Canadian Scottish Regiment. There’s nothing quite like the sound of the pipes, is there?

The Royal Canadian Navy’s Naden Band, if you don’t already know, is a group of amazing, top notch musicians. Whenever a musical piece calls for a solo performance, you really get to hear how talented they are. And playing music is a full time position for 34 military musicians, so they practice A LOT.

Another highlight of the evening was when an audience member was chosen to conduct the band for the song Sleigh Ride. During the intermission, anyone who was interested could add their name to the draw.

A few minutes into the second half, a name was picked out of the box. It was a magical moment for all of us. The name drawn was one of the sailors who had returned from deployment only days before. It was something right out of a Hallmark movie script.

If you have never attended the Naden Band’s Christmas concert, I highly recommend it. There are usually several performance dates to choose from, including a matinee show.

And now I want you to mark this day and time on your calendars: December 26, 12:01am. That’s when the Christmas music ends, okay??

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We Love Music – But Who Pays For It?

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There are so many bad things happening in the world these days that a lot of news stories end up even lower on the radar than usual.

It certainly didn’t receive anywhere near the attention that Will Smith’s incident with Chris Rock did, but did you know that last year, Canadian songwriters made an average of only $67.14? Talk about a slap in the face.

Ever since music ventured into the digital realm, more and more people have been using streaming services to create their playlists. And many find ways to create digital copies of songs so they don’t have to purchase them.

But, of course, it didn’t start with the internet.

When cassette tapes were the big thing, we would record songs off the radio or make copies of our albums to play in our cars. And with the advent of recordable CD’s and the internet, we found a way to download and record songs that we wanted copies of.

With everybody streaming music these days, I decided to research how much a songwriter actually makes from streaming their songs. It turns out that they get, on average, about $0.005 per stream. That means their song would have to be streamed 200 times just to make one dollar.

One dollar. For 200 streams.

Spotify is reported to have about 406 million subscribers. About half of those pay $10 a month for the service while the “free” service includes ads.

That means Spotify rakes in about $2 billion a month just from subscribers. Never mind the ad revenue. Where does all that money go?

If you’re a Rihanna or a Justin Bieber, you’re not too worried about money. But if you’re a songwriter trying to make some kind of living from your work, well, don’t give up your day job.

Don’t get me wrong: it has always been a challenge making a living as a performing songwriter. Never mind how COVID has impacted live performances in the last couple of years.

But when I was doing that back in the 90’s, at least I could sell a CD or two.

I can’t tell you how many times I was told that not getting paid for a gig was okay because it would be great “exposure”.

Sometimes I was lucky and they would pass a hat during my performance.

On one occasion, I was asked to play right after a poetry reading night at a coffeehouse in Burnaby. They were going to pass the hat that night, and they did so during the poetry readings.

When the poetry was done, the poets and the patrons left and took the “hat” with them. I was left with empty pockets and one person to play to for an hour. She sat on the couch politely listening, probably too embarrassed to walk out and leave me all alone.

If you got your song on the radio back then, which I did a few times, you were at least fairly compensated. And if you were really lucky and the song caught on, you were on your way.

When the internet became a thing, I remember thinking that this would be a great way to reach so many more people without having to go on the road.

I was partially right.

In fact, in the very beginning, I got a couple of my songs on one of the first digital music platforms, mp3.com. A lot of businesses played mp3.com stations, and if your song got into rotation on one of those, you were doing well. I made some real money from that.

According to Wikipedia, “At its peak, MP3.com delivered over 4 million MP3 formatted audio files per day to over 800,000 unique users on a customer base of 25 million registered users.”

It was a great venue for independent artists to not only get that “exposure”, but make a little money at it too. And then everything changed, mp3.com was sold, and it morphed into something else. 

Big digital companies caught on to mp3.com’s success, and now here we are with streaming services that, once again, have no respect for content creators.

SOCAN, the Society for Composers, Authors and Music Publishers of Canada, is trying to do something about this by pushing for Bill C-11, the Online Streaming Act.

But I really think more needs to be done to force digital streaming services to pay actual money for the content they use to make their fortunes.

Now THAT would be music to my ears.

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Let Them Play On

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Every time you hear about school districts having budget problems, the first thing they seem to cut is their music and arts programs. Now, I’m a guitar teacher and musician, so I’m biased. But why are these programs always the first to get cut? Why isn’t it football? Basketball? Home Economics? Typing? (Yes, I know, I’m dating myself now.)

But seriously.

I don’t think some people know how important music is. For everybody, I mean. Not only is it great for you to learn an instrument at any age, but it does amazing things to your brain, even if you can’t play brilliantly! A lot of people consider playing chess or doing sudoku puzzles as a great brain exercise, but playing an instrument is actually a full brain work out.

I’ve seen it in action. Sometimes it takes all of a person’s focus and energy to learn a new piece. They are in the zone, and the rest of the world, all of their problems, are on the other side of the closed studio door. Sometimes they are in shock when they realize the lesson is over.

Being able to play an instrument stays with you all of your life, regardless of your mental capacity. There are countless stories of people with dementia, unable to remember what they had for breakfast, but well able to play the piano or the flute as beautifully as they did when they were younger.

According to classicfm.com in their article explaining why you should take up an instrument, it enhances verbal memory, spatial reasoning and literacy skills. The science says it makes you smarter. Isn’t that what we all want?

Beyond what it does for your brain, playing an instrument can relieve stress, build confidence and can even help you improve your social life. Well, maybe not the social part right now, since we’re trying to keep physically distanced.

But why would school boards or districts even consider taking all of these positives away from their students?

Maybe some of them think playing an instrument is only for musical snobs. Or the exceptionally talented. They’ve probably never paid much attention to their school bands, like the one I played clarinet in when I was in school.

We were pretty mediocre. We occasionally entered into competitions with other high school bands in the district. But as soon as the other bands would start playing, we knew where we stood. Dead last.

Mr. Parkinson, our high school band teacher, was in the British military for a long time and did his best to keep us together playing those marches he loved. The theme to Hogan’s Heroes was my favourite. We didn’t actually march when we played, yet we still managed to have two musical left feet. But that wasn’t the point.

Because what I remember the most was the feeling of being in the middle of all of that music, especially when we had those moments where we pulled it together almost perfectly. It was not only uplifting, it was transformative. We played, we laughed, we tried again.

Some of the friends I made back then I still keep in touch with to this day. In fact, I married the snare drummer.

Both of my daughters used my clarinet when they had their turn playing in the school band. They also tried the strings program, and took private lessons in other instruments.

But not all parents can afford to send their children for private lessons, which is why the music programs in schools are so important.

It isn’t about children becoming virtuosos, it’s about giving them the chance to have a really positive experience. It’s about taking them away from their electronics for just a little while and doing something that they may very well remember for the rest of their lives. If music is not for them, that’s okay. At least they had the chance to try.

I’m hanging onto that clarinet and waiting for the day when I can pass it on to my grandkids. Let them play on!

The Wrath of Auto-Tune

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A few years ago, an acquaintance of mine who had a recording studio in Nashville was telling me a story about an experience he’d recently had in the studio. Every year, all of the smaller recording studios used to hold open houses on the same day, where artists and managers were invited to come and check out the facilities so they would potentially record their next project there. This guy told me that at one point during the day, several well-known country artists were sitting in a room in his recording facility, jamming together as a couple of them played guitar. What struck my friend at the time was that some of them could sing, and some of them really couldn’t! He made a quip about how you could tell which ones needed Auto-Tune when they were recording and performing :-).

Some of you may have heard the word “Auto-Tune” before, but most, if not all of you have heard its effects if you listen to music. For those of you who don’t recognize the word, Auto-Tune is a digital technology that corrects musical pitch. To simplify that, music producers use the software to “fix” the pitch of vocals or instruments so that they are perfect. Even the best singers can be slightly off pitch when they are recording or performing, so the software could save lots of time and effort by simply correcting it either while it is being sung, or afterwards in post-production.

The first time you might have heard Auto-Tune in its extreme was in Cher’s hit song “Believe”, recorded in 1998. It was used as an effect to make her voice sound robotic in a few places in the song’s chorus, particularly on the line “do you believe in life after love?” If you remember that song, then you’ve heard Auto-Tune. But the fact is that Auto-Tune is used in pretty much every single pop song these days. Everything you hear in this genre has been “fixed” with Auto-Tune. In fact, if you go to a live performance, particularly pop or rock, rap or hip hop, Auto-Tune is used as part of the performance. At music awards shows, many “live” performances of songs are run through Auto-Tune. You don’t hear the actual, raw, live voice of a performer.

You might think, well, what’s wrong with perfect?

A few years back, there was a music awards show broadcast live on television where Taylor Swift did a live performance. She appeared to be one of the only performers who DIDN’T use Auto-Tune that evening. As a result, her voice was raw and real, and it was not pitch perfect. Immediately afterwards, social media came alive with comments like “Taylor Swift can’t sing!” and other, more critical responses to her performance. At the time, I remember applauding her for her guts, but I think since then she has probably given in to the use of Auto-Tune in her performances.  The pressure to be perfect these days, has become too great.

From a performer viewpoint, anyone and their dog can “sing” now, and YouTube has had many, many videos with animals or public figures “singing” songs that they actually aren’t, the creators using Auto-Tune and some fancy editing to create these videos.

But what has happened to listeners, particularly younger people, is that their ears are now conditioned to desire “perfect” sounds, and when they hear something that isn’t, it’s aurally offensive to them. Anything that is real and imperfect sounds like a mistake.  Not only that, but it becomes impossible to tell real talent from manufactured, certainly when it comes to recording.  And performers become so reliant on the software, they can’t live without it.

There are, however, artists who refuse to use it and a campaign against Auto-Tune that is growing.  In a 2009 performance on the Grammy Awards, for example, Deathcab For Cutie wore blue ribbons to protest the use of Auto-Tune in the music industry.  Even some recording engineers and producers are now trying to wean artists off the thing in an attempt to bring “real” back into recordings and performances.

So what’s wrong with perfect?  It makes everything sound the same.  Perfect pitch, perfect timing, perfect everything, creates perfect garbage.  And who needs more of that?  Let’s keep it real!

IJ

If I Had It All To Do Again

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I was 12 when I wrote my first song, and songwriting has been a big part of my life ever since then. It helped me to cope with a lot of life’s events, and gave me a way to express my desires, my opinions, and my sense of humour in some cases. As it turns out, many songwriters start writing at about that time in their lives, and for the same reason. The angst-filled adolescent and teenage years are truly a creative (or destructive, in some cases) hotbed for all kinds of things.

I’ve written dozens and dozens of articles on all aspects of songwriting since I first put up a website in 1995. I’ve met a lot of other songwriters over the years because of that website, and participated in other online sites, some of which are still very active. They include the Muses Muse, a huge songwriting community created by a fellow Canadian Jodi Krangle, and SongU, a kind of songwriting university designed by Danny Arena and his wife Sara Light from Nashville, both of who are very involved in teaching and who have also written songs for a Broadway musical. It was really exciting to watch when they were nominated for a Tony!

I’ve performed hundreds of times for the smallest of events to big ones, for all kinds of people. My smallest audience was an audience of one :-). It was at a coffee shop in Burnaby a few years back in the middle of winter. The evening started out as a poetry reading, and I was supposed to be the second act. Well, once the poetry reading was over, the audience all left too! All except for one. She sat on a couch and patiently listened through a whole set of my songs. We laughed in between at this odd, private concert she was getting. Outside it was dark and raining pretty hard…no wonder there were no stragglers off the street, it was a terrible night!

It would be hard to say what my largest audience was…but I’ve performed for audiences at festivals where there were literally hundreds and probably thousands of people within earshot.

There was a time when I didn’t even perform my own material, I basically just played cover songs at bars in order to make some money. I’d slip the odd original song in, but I had little confidence in my own songs then. I didn’t like that kind of performing much…driving alone up to Duncan, about an hour’s drive from my home, over a pretty tricky part of the highway called the Malahat, playing three hours, and then driving back again after midnight, was not my idea of a good time. I just about gave up performing for good after that!

In the early 90’s I discovered recording and that was the beginning of a whole new aspect of music for me. I began by recording my own songs, of course, but I also got to record others, and had an opportunity to record some music for a television series called “Home Check with Shell Busey”. When I listen now to those first recording attempts, I cringe :-). I didn’t take any training, all of my learning came hands on. And I made a lot of mistakes! Eventually, I got better…the highlight came when I was asked to write the theme music along with many other music beds for CHEK News here in Victoria.

Another aspect of music that blossomed for me was teaching guitar. I made a proposal to a local community organization to teach adults guitar in an eight week program and I did that for a couple of years beginning in 1989. Then I was approached by a woman, Becky Bernson, who was also a guitar teacher, to become a part of an organization called the Whistling Gypsy. It was meant to be a kind of teaching umbrella, but part of the mandate was to put on folk music concerts featuring better known artists and groups travelling through our area. Becky and I would each teach guitar classes and private students out of our homes, and she gathered up other teachers in voice, bass, mandolin, and banjo among others.

At its peak, the Whistling Gypsy did very well, but it was a non-profit organization and it was hard to keep enough volunteers involved to manage the events and keep it going. Still as the Whistling Gypsy came to an end, I continued teaching. These days I average anywhere from 30 to 50 students, some private, some in classes, and teaching continues to be one of my main functions. I can’t tell you how much fun it is for me to watch someone learn to play their first chord on a guitar :-). I do have times when I get a little burned out, but find me a class of adults who have never been near a guitar before and I’m happy as a pig in mud! When I get them playing their first song, the smiles on their faces are priceless.

My Dad didn’t know what to think when I talked about playing guitar and performing when I was a kid. He didn’t see that as anything more than a hobby. And it took many years for me to find the confidence to pursue the many avenues of music that I did. But if I had it all to do again, I wouldn’t change any of it. The song in the video above, however, tells a different story.

There is a poem out there called When I Am An Old Woman, I Shall Wear Purple, by Jenny Joseph. If you’ve never come across it, you might find it a treat to read. What it meant to me when I first read it, was the idea of believing that old age would bring with it a kind of liberation from having to do what we have to do now. At the end of the poem, the writer considers that perhaps she should start doing those crazy things in the present so that people won’t get too shocked when she begins to wear purple in her old age.

The underlying message I think is the idea that we really want to live our lives fully and completely NOW. When I was writing this song, I was imaging getting to the end of one’s life and having regrets. I sure hope I don’t. Quick! Get me the purple clothes and the red hat!

IJ