Spring Issue, 2016
CENTER STAGE Music Center Corp.
“The Power of the Voice”
The Colorines • TH100 Throat Microphone • Stephanie McKenna
THE TEAM EDITOR IN CHIEF Angela O’Reilly MANAGING DIRECTOR Veronica Sanchez DESIGNER Christiana Kaimis TEAM WRITERS & EDITORS Kelby Khan Ulises Amaya
CONTRIBUTORS CAESCHE The Colorines Freddie Feldman Joe Gomez Stephanie Mckenna
Search for CSMusicCenter Facebook & YouTube Center Stage Music Center www.CenterStageMusicCenter.com
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CONTENTS
4 Letter From the Editor
Cover photo by: Ryan Dangelo-Sylvia
Photo by: Michael Rathsam
6 Worth the Hype? The problem with singing competitions
Photo by: Mike Petzinger
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Sit Down Session with: Stephanie McKenna
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9 The Colorines
A Beatboxers Best Friend: Thumper TH100 Throat Microphone Photo by: TimeLine Media
Backstage with Kelby Khan
21 Vocal Masters Playlist
Photo by: Michael Rathsam
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LETTER FROM THE EDITOR
Michael Rathsam
Springtime...
The snow has melted, the birds are singing and it’s time to gather around the TV to cheer on your favorite singing competition show personality in hopes they will win the big prize. But, what exactly is that prize? Chances are you will never hear from that ‘singer’ again. What you’re really doing is bingewatching reality TV to pass time on the weeknights. While there are exceptions, these programs do not show the mastery, technique and time that it takes to really turn your vocal chords into an amazing musical instrument.
In this issue readers will discover the problem with popular singing competitions as well learn about some true vocal masters that have graced the earth with their talents over the last century. We will also get transported back to those dreamy 70s vibes as we meet the psychedelic pop project ‘The Coloronies.’ Let us celebrate the power of the voice. Enjoy, Angela Lee Editor & Author
ABOUT CENTER STAGE Center Stage Magazine is a branch of Center Stage Music Center, a teaching studio in Westbury, New York. Since opening our doors in 2011, our goal has always been to create a comprehensive learning experience beyond what is taught in the classroom. This magazine is a natural extension of that goal and aims to provide an even greater array of musical knowledge for general readership and the budding musician. Written by musicians for music lovers, our desire is to bring all the diamonds in the rough to the masses and to inspire the next generation of artists, musicians, and listeners.
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WORTH THE HYPE? The problem with Singing Competitions Written by Kelby Khan & Ulises Amaya
In the modern world, singing competitions such as The Voice and American Idol are
symptoms of the “I-want-it-now” modern American psyche. We are constantly presented with a success that seems entirely detached from any sense of long-term appreciation for the art of music, never mind the fact that most of the time we will never hear from these “stars” again. We are choosing to inspire a generation of musicians with the same promise of instant gratification we use to sell the lottery. These shows are more akin to the flash celebrity of social media, and are divorced from true focus and artistic passion. Recent American Idol winners Candice Glover (2013), Caleb Johnson (2014), and Nick Fradiani (2015) have failed to produce any substantial work, receiving little radio play and minimal streaming plays on digital platforms. Even worse, NBC’s highest rating show, The Voice, has yet to produce a singer with ANY charting hit. Despite the fan fervor, high ratings, and mass public exposure, it raises the question as to why post-show success is the exception rather than the rule.
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"THESE SHOWS PUT A STRESS ON BEING FAMOUS WHILE DIMINISHING THE LOVE FOR TRUE ARTISTRY." 2012’s American Idol winner Phillip Phillips found himself imprisoned by contractual obligations that served no purpose in furthering his career as a musician - performing for free at events, and giving 40 percent of his endorsement deals over to Idol’s co-producers, 19 Entertainment. The Hollywood Reporter quotes Phillips saying “I have not felt that I have been free to conduct my career in a way that I am comfortable with. I look forward to being able to make my own choices about my career and to being able to make great music and play it for my fans.” This kind of message isn’t exactly what networks want their viewers to see. Furthermore, one must draw a distinction between fans and viewers.
Depending on the show a typical season lasts anywhere from 3-6 months. Viewers have very little time to create a meaningful relationship with the contestants. What’s presented is a fleeting parade of emotions seen with the same attention span of a social media scroll-through. It’s superficial nature leaves a void of the true appreciation necessary to be a long-term fan (never mind the fact that original music is rarely performed on these shows). This is in stark contrast to the countless years that true artists spend performing in an effort to build a meaningful fan base. Unfortunately, this latter scheme is constantly being challenged by our culture’s need for instant gratification. As a reflection of our modern ethos, these shows put a stress on being famous while diminishing the love for true artistry. Needless drama sequences similar to reality shows, such as The Real Housewives or The Bachelor, take the forefront of these programs while the performers’ artistic developments are secondary. Judges’ knowledge of vocal technique, with few exceptions, is at a disturbingly elementary level. Instead, judges rely on vague descriptors such as “pitchy” or “pretty”, and often justify a performance with only their emotional response, rather than an objective one. All is not completely lost in today’s music scene in terms of ground-up, honing-your-art-for-years type musicians. A great example would be Stefani Germanotta, better known as Lady Gaga. From as young as 13 she was studying voice and songwriting, and performing at open mic spots in New York City before she ever went under her more famous moniker. The years she spent chiseling away at her craft resulted in her becoming one of the biggest pop stars of our time - not to mention her ability to cross over into genres like jazz (something unheard of for any American Idol or Voice contestant). Another artist with mass crossover appeal was Amy Winehouse. Despite her untimely death, her ability to craft well-written and visceral lyrics at such a young age, while possessing one of the most unique voices in modern music, gave her mass appeal throughout the world. She spent an astronomical amount of time studying the world of jazz, and was open to opportunities such as singing with the National Youth Jazz Orchestra. This is the type of exposure a budding artist should receive, not one of perceived instant fame via a faux singing competition. Amy Winehouse didn’t just sing notes with words. Her voice carried a believable weight accrued through life experiences - unparalleled by singers in these reality competitions. By the time her breakthrough album Back to Black debuted, she had been relentlessly touring, recording, and sculpting her sound. These elements resulted in a fan base that is still strong today even after her death. The lack of artistic development is why shows like American Idol, and The Voice will likely never produce a quality musician capable of standing the test of time.
Photo taken at Niagara in NYC
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TRACING THE VOICE OF R&B Written by: Kelby Khan & Ulises Amaya
Beyonce, Mary J. Blige, and Erykah Badu are part of a rich lineage in the history of R&B music. Tracing this line goes back to the early part of the 20th century. We took a look at some of the most influential artists of the last hundred years who have made their mark in the development of this American genre.
BESSIE SMITH
The “Empress of the Blues” a contemporary and student of Ma Rainey, Smith gained unprecedented success and helped launch the Blues into the Caucasian mainstream.
It starts with the blues...
1920
MA RAINEY
“Mother of the Blues” Ma Rainey helped to popularize this emerging genre.
LOUIS JORDAN
1930
Jordan helped popularize the emerging “Jump Blues” style, characterized by fast rhythms, call and response, and instrumental solo breaks.
1910 MAHALIA JACKSON
JAMES BROWN
Known as the “Godfather of Soul” and “hardest working man in show business.” Brown accented only beat one in his music, contrary to the tradition of emphasizing beats two and four. This would become a prime characteristic of funk music to follow.
1940 1960
Sometimes referred to as the, “greatest gospel singer” Jackson infused her performances with a deep personal spirituality. The integration of gospel and blues created the foundation for rhythm and blues, and later soul music.
ARETHA FRANKLIN
Appearing on Billboard’s R&B list 112 times (more than any female in history) “The Queen of Soul” has influenced generations of singers.
1970
DIANA ROSS
1950 RAY CHARLES
A seminal artist who blended country, blues, and gospel to create early soul, further popularizing rhythm and blues.
MARY J. BLIGE
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1980
Combining the edginess of hip hop with soul and classic R&B musings, Mary J. Blige is the quintessential modern day R&B artist.
Rivaling only The Beatles, Diana Ross was a part of arguably the greatest female group of all time, The Supremes. Her solo career brought even more success.
WHITNEY HOUSTON
1990
The Guinness Book of World Records lists her as the “most awarded female act of all time”. Among the people on this list, she possesses perhaps the most technically skilled voice. This, combined with flawless artistry, has influenced generations of singers across all genres.
Far from an exhausted list, this timeline seeks to highlight the lineage of artists who’ve carried us from the turn of the 20th century to today.
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Photo by: Robb Sciortino
Photo by: Kelsi Carpenter Written by: Angela O’Reilly & Ulises Amaya
As we approached the front of the unmarked building in the heart of Bushwick and walked upstairs I realized we arrived way too early. A quick look around at The Gateway, a DIY underground Brooklyn venue reminiscent of 258 Kent and Glasslands (RIP), and we found Robb Sciortino - member of The Colorines. “Ohh man, did I not warn you that there was no bar. A bunch of people brought flasks though.” With time to kill, we wondered the streets of Bushwick looking for a bodega, grabbed a 40 to share and headed back to the venue. We watched as the band casually set up their soundscape, no venue rep anxious to keep the show on time. The young, Brooklyn crowd–something like a 20th century grunge scene spun into the vague modern hipster affectation– amusing themselves on alcohol and rooftop cigarettes. Around midnight, singer/ bassist/guitarist, Derek Daunicht, began talking to the crowd and drawing them in with his punchy enunciations before The Colorines launched into their set. The performance felt experimental from the start, improvisational and dynamic with the band rotating instruments and vocal lines, abetted by electronic ornaments. At one point, Daunicht put his head through colored tissue paper to turn himself into a flower adding another visual aid to the audience just in case the less than good PA system wasn’t able to convey the lyrics of their song “Trash Flower.” After the band members finally herded together in one spot post-show, we headed outside where it was quieter on The Gateway’s balcony, in January might I add, to talk to the guys (Derek Daunict, Robb Sciortino, Oscar Bilger and Sean Grim) more about this psychedelic pop project, The Colorines.
Still frame shot by: Sonia Ostrovsky 10
Photos by: Ryan Dangelo-Sylvia
“We love chaos.”
What are each of your positions in the band?
How long have you been together?
Derek: Well, technically Robb is the producer, because it’s Robb’s laptop. But, on stage everyone switches instruments. Oscar: We’re all multi-instrumentalists. Sean’s the drummer though. Derek: But Robb does play drums on a song in the new album so... (The L train passes by just a few dozen yards away)... EVEN THAT ISN’T TOTALLY FIXED!
Robb: Two years? Yeah it’s been two years since we released Paleontology and Fossil Fumes.
How did that start? Like, at the end of rehearsal did you start playing each other’s instruments, that’s what I do in my band ha. Robb: No, we just never limited ourselves from the beginning, which kind of makes playing live difficult sometimes. Sean: When we started, we never had an intention of playing live, we were just recording weird demos. Maybe it’s not supposed to be a band, haha. How did you guys meet? Oscar: We were all friends in the Hudson Valley where we were in different bands. We came together because we liked each other enough to make music, as opposed to our old bands which were dysfunctional. And now we created a new dysfunction! Derek: Also, we wanted a group where we were free do our own musical projects without it being a huge ego trap. All of us continue to produce our own solo songs too.
I see a dinosaur theme with your EP’s and artwork. Robb: Well, that had to do with the idea that those two EP’s were sisters. Oscar: And music is old haha. Derek: Also because the first EP Paleontology is supposed to be the dinosaur as it stands, and Fossil Fumes... it exploded. I suppose we have a very light, naive undercurrent of environmental activism in our music... but, we aren’t. Ha Can you describe your sound? Oscar: Lets all take turns because we’re never going to agree. Derek: Well I’ll go first...If I had to describe our sound I would say it is Kaleidoscopic Improvisatioonaaal... um... uh, yeah. There it is! Sean: Psychedelic Electro Oscar: Slacker Rock... actually, Synthadelic! So Synthadelic Chaos Rock? Derek: Yes! Or as Robb would put it, Psychedelic pop with shoe-gaze overtones. Robb: I don’t know, Genres are dumb! Part of our thing is not CENTER STAGE
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13 Photo by: Mike Petzinger @mikepetzingerphoto
Photos by: Ryan Dangelo-Sylvia
“We uh, just can’t wait to be king!” limiting ourselves to a palate. Like, why can’t we just write a folk song right now. Derek: The word pop is a loaded word anyway because if you ask some listeners, we’re experimental. But if you ask Robb, who listens to electro-acoustic and dissonant noise strings, then we’re pop. We do also jam live. Although we would never consider ourselves a jam band in good conscience because none of us solo, we just play and push each other around. We could also never be called punk in that sense, but you should see us live and you should say... “what’s wrong with them?”
Can you describe your songwriting process? Derek: We’re all songwriters and we’ve all worked with each other in different formations previously and we ended up coming together. The intention was we all brought a couple ideas and then we wrote 3x that on the spot and realized we had a gift for improvisation. The material just kind of flowed from there. Do you bring a song you’ve written to rehearsal, or do you just jam? Robb: Both. Derek: A lot of times when we get together to practice we’ll 14
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accidentally write things. It depends on how specific a vision the person intended. We’ve done it all different ways. We call this our art project (still with colorful tissue paper tied around his head like a crown). Tell me about your name, The Colorines. Robb: Derek came up with it... and nobody fought it. Derek: I took it from The Libertines. I thought Libertines, Colorines, psychedelic punk. It’s also a type of plant. Colorines is the name of a berry from a thorn tree that grows in South America. I found out about it when I was going through this hallucinogenic plant guide that I have from the 70’s that chronicles all different types of psycho-active chemicals that are naturally occurring in plants. I thought- That looks like a band name! Robb: And it has a really pretty flower. What kind of equipment do you use? I see you were using a Squire bass there. Derek: Oh you saw that huh, well technically our friend is letting us use it ha. Robb: Other than that, it’s more complicated than guitar,
bass drums. It’s interactive between the computer and the instruments. We’re analyzing the volume of specific drums and re-using that information to control synthesizers. Derek: We love chaos. Technically our gear is crap. It breaks constantly, were always knocking stuff over. We can’t really afford anything. We’re kind of junkyard. What is your musical background growing up? Were you self taught? Sean: All self taught. Some took guitar lessons for a bit, but never really progressed that much. Oscar was one semester away from being a trained jazz vocalist though. Derek: I always got by, by surrounding myself with musicians who were better than I am so that I can leach off their knowledge and catapult myself to a greater height. Robb: I went to college and I studied music composition and learned a lot, mostly just focused on electro-acoustic compositions. When we’re plotting harmonies we know what we’re doing and we understand what inversions we’re using. Oscar: We know a little music theory but we’re not writing it out. What are you guys listening to these days?
Artwork by: CASCHE
Derek: We all listen to pretty different things. Sean: I listen to Sam Kogon’s album a lot. (General band agreement over Sam Kogon). Also, a lot of noisy rock like Lightning Bolt’s new album. Derek: I like getting the oldest music possible, so on archive.com I’ve been listening to a lot of Brazillian music from the 30s and 40s. I’m really into Samba and Choro. I think that it’s so exciting to listen to this music because it is so different than anything that could possibly be made now. What’s coming up? Any shows or albums? Derek: We’re very close to finishing our full album “Phantasmagorical Jazz.” We don’t have a release plan yet, maybe some leaked video releases and singles until the album comes out sometime in March. We’re trying to book a small tour over the summer, but that’s all in theory. We’ve done everything ourselves so far so we learn and try things until we figure it out. Whats your craziest story? Derek: Haha, well we’ve all kissed each other. Robb: Honestly we probably tell each other we love each other more than we tell our families. Derek: They’re a really important support system, honestly without them...I’d probably be okay, but not happy ha. Anything else the world should know? We uh, just cant wait to be king!
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A BEATBOXERS BEST FRIEND The Thumper TH100 Throat Microphone Written by Angela O’Reilly
Vocal percussionists are able to emulate a vast array of drumbeats and bass sounds by only using their tongue, lips, mouth and throat. While using a regular handheld microphone works perfectly fine for picking up a beatboxers mouth sounds, it doesn’t allow those bass heavy throat sounds to come through. The Thumper TH100 Throat Microphone is the only mic designed specifically for beatboxers and vocal percussionists in order to amplify all of their lower frequencies and throat sounds. The inspiration for this product arose when creator Freddie Feldman, owner of the award winning Illinois based a capella recording studio VOCOMOTION, was hanging out with vocal percussion legend Wes Carroll back in 1998. “He was telling me how he had been experimenting with holding two hand-held mics at once: one in front of his mouth and one up against his throat. It was kind of awkward to do and I don’t think he was getting the results he wanted. He said something like, ‘It would be cool if you could just strap the mic right to your throat’ and I was off to the races,” says Feldman. Made from a backpack strap with a guitar pickup hand sewn into it, the first Thumper Throat microphone was born. Since 1998, the Thumper has gone through some redesigns, alterations, upgrades and refinement and now the Thumper TH100 Throat Microphone is used by countless professional beatboxers, a capella groups and instrumentalists. You may have seen the Thumper used by vocal percussionists on The Sing Off and America’s Got Talent. The Thumper TH100 is designed to strap onto your neck and to be used in conjunction with a handheld mic. “By using a throat microphone to pick up just the low-frequencies, and a hand-held microphone to pick up the higher frequencies, you allow each microphone to really focus on a range of frequencies instead of just one mic for everything. We do this with speakers, by having a subwoofer, woofer, and tweeter. It’s the same idea, just in reverse,” says Feldman. The Thumper TH100 mic is not just for vocal percussionists and beatboxers. Instrumentalists around the world use this strap on microphone in order to accentuate the throat sounds and “weird vocal noises”
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(think Ian Anderson of Jethro Tull) that you wouldn’t normally hear without the TH100. Some common instrumentalists who rock the Thumper are harmonica players, saxophonists, didgeridoo players, trumpet players, and flautists. However, there seems to be no limit for the creative uses of this product. Perhaps the most interesting use of the Thumper TH100 was from performance artist Jarryd Lowder who used his Thumper to amplify the sound of his heartbeat so that you can hear how the tempo changes as his heart-rate changes. The TH100 is not wireless, however, it works very well with guitar and bass wireless transmitter systems. Users can also add their own rechargeable battery packs to the TH100 if they choose. For vocal percussionists this product is a must have. The TH100 allows performers to showcase and amplify every nuance and sound made from the throat, which would otherwise go unheard.
Get your Thumper TH100 Throat Microphone at beatboxmics.com.
Photo by: Robin Rodriguez
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Photo By: Blue Jupiter
Photo by: TimeLine Media
Photo by: Leslie Kekuewa
Photo by: Steve Stearns, Stearns Images
SIT DOWN SESSION WITH... Stephanie McKenna is a vocal and piano student at Adelphi University. She has been singing ever since age four and has been a successful voice and piano instructor for years. McKenna is no stranger to the performance and songwriting world of music as well, winning the Adelphi’s Got Talent show with an original song. McKenna is also a studio musician, recording vocal and piano backing tracks for local bands and musicians. As a teacher, McKenna works with students of all ages, giving them the technical tools and encouragement to help them achieve their goals and aspirations as musicians.
IN THIS SIT DOWN SESSION: Correct posture and proper breathing are very core elements to healthy singing. Supporting a breath from the diaphragm allows a singer to successfully complete a phrase without having to breathe somewhere in the middle, or hurt themselves trying to reach the end of the phrase. Proper breathing for complete phrases is imperative to having good musicality.
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Rathsa m
Dear Kelby,
s by M
ichael
“I am auditioning and performing all the time. There are some days my voice sounds awesome and some days my voice sounds very scratchy. I feel like it has to do with what I eat before I sing. Am I crazy?”
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BACKSTAGE WITH KELBY KHAN -Alexa S.
You’re definitely not crazy, the human voice is a delicate instrument and should be treated as such! Foods with a lot of dairy can lead to phlegm buildup in your throat. Alcohol and caffeine will dry your vocal chords out, as is the same with ibuprofen. Your voice may be scratchy for a myriad of reasons - while food may be one of them, I find that it’s usually improper technique that causes singers to experience problems. Vocal maintenance is a discussion I see reoccurring more among my social network feeds, and more in the general news. With huge names such as Adele, Sam Smith, Meghan Trainor, and John Mayer popping up with singing problems, it’s best if we run the gamut of vocal issues and how they can be resolved. If it’s not poor technique, it’s usually allergies or acid reflux that plays a significant role in poor vocal production. Allergens can cause burning, swelling and dryness of the vocal chords. Medications can help, but check with a doctor (an ENT, “Eye, Nose and Throat” specialist preferably) to see which ones may cause dryness. Other home remedies could be to gargle with saltwater or baking soda, or to use a neti pot. Acid reflux results when the sphincter muscle in your esophagus relaxes too much and lets stomach acid creep up your throat. This results in the “heartburn” sensation, and if it reaches your vocal chords, can burn the hell out of them! Reducing alcohol intake can help. I’ve also heard that apple cider vinegar pills are a good home remedy. Again, check with a doctor to see which medication will serve you best.
u! hear fromndyocomments We want toest ions a stage.
ur qu me time Back Send us yo an get so c u yo d n a c.info Kelby@csm
crash; you can probably fix your car up afterwards, but many times it will not drive quite the same ever again. The best way to avoid these issues is to be proactive in your vocal health. Never sing without warming up, and if you’re not sure about how to use your diaphragm properly, then it’s time to get some voice lessons! Stay hydrated throughout the day keep in mind that to experience hydration benefits, you need to wait at least 20 minutes for the water you just drank to take effect. In other words, don’t go on stage, take a few sips of water, and expect that to work miracles. If you live in a dry environment, use a humidifier to add moisture to the air. Don’t underestimate a good night’s sleep; singing while you’re tired will definitely create tension. If you can avoid it, don’t talk too much the day of a gig; I know that if I give music lessons for 5-6 hours and have to sing at a gig the same night, my chords will definitely not be happy!
Improper technique seems to be the number one killer for even the seasoned professionals voice. Singing without warming up, and singing without engaging your diaphragm, will cause you to sing with neck and chest muscles you normally wouldn’t use, resulting in vocal tension. Tension causes your vocal chords to rub together in an unhealthy way (think of when you scream, it’s pretty much the same thing). Your chords can hemorrhage, causing scarring during the healing process. Scarring can result in polyps, or nodes - this is the worst thing to happen to a singer. While there are treatments to remove nodes, your voice may never be the same. A common misconception is that after months of vocal rest, steroidal treatments, etc., your voice will bounce back 100% with no issues.
While I did mention some famous artists with vocal nodes, it’s important to look at those with proper technique as good role models for vocal health. Take a listen to recent performances of Lady Gaga; her mastery of classical technique is evident in the relaxed and free sound of her voice. Aretha Franklin, at age 73, is crushing her live performances because of flawless technique! In the end, every voice is different, and some of these guidelines can and will be broken - I know if I’m about to sing at a rock club, I’m probably going to go on stage with a drink or two. Should I do that? Probably not. Will it ruin my night? Probably not either. It is important to know your tolerances and to know your body. Little things like vocal scratchiness can snowball into a vocal nightmare so listen to your body’s nuances and take care of yourself before it’s too late! Good luck and stay healthy!
It is usually quite the opposite, very much akin to a bad car
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CASCHE
POWER OF THE VOICE Strange Fruit - Nina Simone Back to Black - Amy Winehouse Hallelujah - Jeff Buckley Somebody to Love - Queen When You Believe - Whitney Houston / Mariah Carey Life on Mars - David Bowie Sound and Color - The Alabama Shakes At Last - Etta James Tears of a Clown - Smokey Robinson Long Gone Lonesome Blues - Hank Williams Lady be Good - Ella Fitzgerald Proud Mary - Tina Turner Chain of Fools - Aretha Franklin It’s A Man’s World - James Brown Sound of Silence - Simon and Garfunkle Circle Songs - Bobby McFerrin Retrograde - James Blake
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