TAXI Meter

JUNE 2006

TAXI Road Rally: Hit Songwriter Panel, part 2

How can you write a hit song about a SWAT team?

Barry DeVorzon

Mark Selby

PANELIST S Kara Dioguardi – cuts by Jessica Simpson, Hilary Duff, Lindsay Lohan, Enrique Iglesias, etc.

Mark Selby – cuts by Jo Dee Messina, Trisha Yearwood, Mindy McCready, etc.

Tia Sillers – cuts by the Dixie Chicks, Alan Jackson, Wynonna, etc.

Barry DeVorzon – cuts by Mary J. Blige, The Carpenters, The Eagles, etc.

Ron Miller – cuts by Ray Charles, Stevie Wonder, Celine Dion, Diana Ross, Barbara Streisand, etc.

Michael Laskow, Moderator Barry, it feels like outlets for songwriters are largely limited to Pop, R&B, and Country these days. You found a different area in which to excel, TV themes—a tiny little niche—and you’re a powerhouse at it. How did you learn how to write themes?

BD: It’s really different than writing for the record market, except with a motion picture or television show you definitely have a theme, an idea that you have to get across.

I saw Aaron Spelling and said, “Give me a

Tia Sillers

Kara Dioguardi

shot at one of your television shows, and I’ll give you a hit.” I was kidding him, right?

Because who can guarantee anyone a hit? And he called me about four weeks later and said, “Alright, come down. I’m going to show you my new show. I’m all excited. This is the first television show I’ve ever done.”

I go down to the studio and they show me “SWAT.” So I walk out of there and I said, “How can you write a hit about a SWAT team. [laughter] This is impossible. Everyone hated SWAT. It was during the riots in downtown LA. So I went back to Santa Barbara. I was totally depressed. Couldn’t he give me a detective, a pretty girl, something? He gives me a SWAT team.

I sat there and suffered with it and after about a week I said, “Okay, you can’t write a hit about a SWAT team.” So I’m just going to give him the most exciting theme I can give him.

These guys are piling out of that truck, and I’m gonna make the audience feel the excitement of that and the electricity of that. And that’s how I gave birth to “SWAT.” Now don’t get me wrong, I worked just as hard on that as any song I ever wrote because it had to be right. And it had to be right when I went into the studio. What happened is, Aaron loved it; it made his main title; it sold what he was trying to sell with “SWAT.” And to everyone’s surprise, it went to #1.

Ron Miller

So, once you’ve figured out how to write TV themes, how do you go about pitching in that market? Do you go knocking on doors?

BD: That is difficult, but that door is really opening up. At the time I was writing for film there wasn’t, believe it or not, a lot of contemporary music happening. Television was very jazzy and big band. Now the door is open, and there are a lot of Rock & Roll, R&B, and many other kinds of contemporary scores happening.

I think the key is probably the music directors at the various studios. And, Lord, if you have any kind of in with a producer or a production company, that would be a good way to go. And you take three or four of your best songs and give it to them, and hope that they listen to it and are intrigued by it. But don’t give them too much.

Are there rules to follow when trying to pitch thematic music? Do you just give them a 60-second piece? Do you make it largely instrumental? Can you have vocal stuff in there? Obviously, it’d be tough to write vocals for a show you don’t know the content of.

BD: Honestly, you’d probably have a better chance to get a song in a film or a television show. But the problem with the theme is that usually the guy who gets the theme is also the guy who does the score. So you really have to be continued on page 2

Songwriter panel continued from page 1 capable and have some kind of credentials to be able to write a dramatic score. So you see, that’s what you really sell when you go to a television show. They hire a composer. Now, here is a trick. A lot of composers are really arrangers, they are not songwriters. If you can hook up with a composer and say, “Look, you’re gonna do the score, but would you like to co-write with me on the theme with a song?” That’s a great way to get in for the theme or for the main title.

TS: I just want to interject, as a songwriter. I’ve tried for 15 years, and I’ve never gotten a single song in a movie. I’ve tried to hard, and it’s absolutely my #1 fantasy to have a song in a movie. I can’t imagine anything more fulfilling than getting to actually work with a composer on something like that. That would truly be thrilling.

BD: Listen, you have great credentials, and that might be something you want to think about.

There are a lot of composers—in fact, let me tell you something—most composers for film are not songwriters.

Is it that they don’t have a good sense of melody, but they’re great technically?

BD: Well, they’re wonderful musicians. But remember, Michael, the gift of songwriting is a gift. You can be the The gift of song- greatest guitar player, the greatest musician, writing is a gift. or the greatest arranger in the You can be the world. That does not greatest guitar necessarily mean you have the gift of creplayer, the ation of song.

greatest musician, or the greatest arranger in the world. That does not mean you have the gift of creation of song.

That leads me to my next question I’m gonna throw to Ron. Are people born great songwriters, or are they born with a propensity and they have to learn the craft?

RM: At 5 years old I wanted to be a songwriter, yes. But first I wanted to be a shortstop for the Chicago Cubs. [laughter] And then I went in the Marine Corps., and when I got out, I realized I wasn’t gonna be a shortstop for the Chicago Cubs, so I started writing songs. But when I seriously started to write songs, I never had any doubt in my mind that I would make it—that I would someday get to the point where I would hear my songs on the radio, and I would get paid for it, or I wouldn’t have done it. I was only concerned with one thing—creating quality. I didn’t care about anything else. I didn’t care about records, I didn’t care about people performing it. I just wanted to write

2

TAXI Meter July 2006

good songs, and I believed if I wrote good songs, it would eventually happen. [applause] Did you just write?

RM: I wrote a million bad songs when I was learning how to write. You learn from your own work and your own mistakes. You have to be totally honest with yourself.

I meet a lot of people who have a hard time being honest with themselves. And their family and friends are impressed because the stuff they’re writing in the basement is way better than what their family and friends could write.

RM: That’s the wrong criteria. The only criteria is your own taste and your own intellect and your own humanism and your own ability. You have to decide what you want to say and how you want to say it, and you have to believe in it.

You have to do what everyone else does. You have to write it and rewrite it and chop it and edit it and work it and make it right. Everyone has that ability. We just have to have the discipline and the guts to do it.

How old were you when you got your first cut?

RM: You mean my first record? Barry Gordy brought me to Motown when I was about 31 years old and told me I would be a millionaire in four days. And about three years later I had my first record come out by Stevie Wonder called “A Place in the Sun.” That was in about 1965. [applause] How often do you rewrite a song? How many times do you go back to the woodshed on a song before you think it’s done?

RM: I don’t sing it for anyone until I’ve written it.

Once I get to the point where I’m willing to display it, I’ve already finished it, and I very seldom go back and rewrite. I rewrite it in my mind.

Every song is rewritten while I’m writing it. You know, I’m an old guy, man. I’m 73 years old. I’ve got six kids, two ex-wives, 14 gold records, a golden haired retriever named Overdub, and a beautiful girl named Janice somewhere out there in the audience. No, I’ve been doing it for so long that it’s really edited before it gets on the paper. I might get an idea and think about it, and subliminally it’s working, and then consciously it’s working. But when I start writing it on paper, it’s basically done.

Kara, do you do a similar process? How quickly does a song come out of you? Do you partially do it, then go back to it months later?

KD: I’m trying now to scrutinize my work more, because in the beginning when I started to get a lot of cuts, you get taken over by the whole… It’s almost like you’re so excited that you don’t think at times if you should have spent more time because the pressures of the people who are demanding the stuff from you are on a different timeline. I really can appreciate what Ron is talking about because now that I’m a little bit more secure in my career and I’m

cool with what I’m doing, I’m taking more time and I want to be more selective about what I do.

There are songs that I’ve written that I’m not 100% on, and I wish back then I’d had the power to say that I think we should not change that word to this because you can’t say that on radio or it’s just too adult.

So there are very different styles of writing going on here. The songs that Ron You have to writes—and even write itand Tia’s—these are like moments-in-time rewrite it and standards. To write chop it and edit those, it’s amazing. I may have hits, but it and work it that is the bar, those and make it standards—whether right. We just it’s “I Hope You Dance” or “A Place in have to have the the Sun.” Something discipline and I’m looking at in my career now is that I the guts to do it. don’t want to be pushed by the market, because that’s really how I came up. I was more, “They’re looking for his kind of song. All right.” But that’s not to say that you shouldn’t have quality control, because you should. So now I am rewriting things. I’m looking at them more carefully. And my record is nothing like what I do in my everyday job. It’s way more meticulous.

How many times did you pitch before you got your first break?

KD: My first hit was a very strange situation. I had this indie record out, and Paula Abdul had heard it and asked to write with me. So we wrote this song called “Spinning Around.”

Then she got dropped by her label. Then Kylie Minogue cut the song. I didn’t know who she was, but I remember seeing the video, and it was literally her ass everywhere. She was in hot pants and spinning around. I was like, “I think we’re on to something here.” [laughter] Mark, what is your process? Do you start with a lyric, the melody, or does the song kind of dictate how it gets written?

MS: Usually it’s a little bit of the two together.

Usually I feel like there’s a certain amount of music attached to a lyrical idea that I see. But it can be either way. I think anything is valid. Anything that gets you started is valid. I do jot down lyrical ideas, and I tend to do it where it seems like a title or a hook, and I’ll write it in capital letters. If it’s maybe just a line that would be cool somewhere, I’ll write it in lower case.

I want to add to what Ron was saying, by the way. I completely agree with him that when you know you’ve pleased yourself, I think a lot of times that’s when you’re really done with a song. That’s the way I feel too. I have a little ritual now that I don’t write the title at the top of continued on page 8 www.taxi.com • 1. 800.458.2111

Q&L Questions & Letters to TAXI

Are TAXI screeners taking shortcuts with my songs?

Answered by Michael Laskow, TAXI CEO Typically, songwriters make more Could you shed a little light on the screening We insist that all songs are listened money! Sure, if you have a quadruple platinum process, particularly as pertains to the Broadjam album every couple of years, you’ll make a bunsubmissions. I received four non-forwards today, to at LEAST as far as the bridge, so dle of bucks, but if you only sell a half million all sent within the same moment. Did the screener the A&R person can speak intelligently CDs, chances are the songwriters will make really review at least four tunes in less than 60 more than the artist. Why? The artist has to pay seconds? on all aspects of the song. back all the money the label advanced him/her I know there are some tunes that are clearly to make the record, go on tour, fly on planes, eat in restaurants, etc. If the not acceptable or appropriate, and obvious in 10 seconds, but I question songwriter owns all of his or her own publishing, and the song is a hit, whether that’s typically true. he/she can make a boatload of dough.

Sour grapes? No, I’ve been forwarded a reasonable percentage. I just want There’s a lot more to this, but I don’t have room to do a whole chapter to know how it works. Few tunes do much developing in 15 seconds, especially here. I strongly recommend that you read the books by John Braheny, those intended for film.

Donald Passman, and Todd and Jeff Braebec on our recommended readAt the Road Rally, we listened until the chorus, or a section shift. Seems ing list. These books are the best I’ve read on the subject, and I think reasonable. Is that happening here? What is happening here? you’ll be delighted at what you’re going to learn.

—Respectfully, Jonathan Stratman Here’s a link to check them out! http://taxi.com/abouts/reading.html Hi Jonathan, and THANK YOU for asking that question!! It never dawned —Hope this helps, Michael on me that having our servers do BATCH sends of the forward and notforwarded e-mails might lead people to think that we’re only listening to 10 seconds of music. You’ll be relieved to know that we insist that all songs are listened to at LEAST as far as the bridge, so the A&R person can speak intelligently on all aspects of the song.

I can’t tell you how glad I am that you asked!!!

—Thanks, Michael For particular genres (ex. Hip-Hop or heavy Rock), is placement more likely with a song that has edited or cleaned-up lyrics? Does it depend on the company looking for submissions, or is it first considered by the TAXI screeners? I know forwarding is usually based on total package songwise, but I still wonder if it affects the decision. There isn’t a category on the critique sheets that addresses this issue. Thanks for your help, I really enjoy my membership and feedback.

—Eric Allain My feeling is that for label pitches, the more R-rated stuff is probably okay, as they’re used to hearing it. But for film and TV pitches, I would have to guess that the cleaned-up version might increase your chances of getting a placement (and then, making it past the censors). ;-) —Warm regards, Michael Is there a kind of publishing deal that doesn’t require you to also become performer? For instance: I have just under a hundred songs, and I would like to publish them and make some money off of them. I would also like to be able to send in any new stuff I write and have it be marketed. Is there anything out there for the person who doesn’t want to be the artist, just write the songs?

—Paul Ruoff I think you’re confusing record deals with publishing deals. A publisher pushes your songs to artists who need them, and movies and TV shows that want them.

I’ve always been a huge advocate of being a songwriter versus a performer for a couple of reasons.

Age and physical appearance don’t matter when you’re the songwriter, but they DO matter when you’re trying to get signed as an artist. www.taxi.com • 1. 800.458.2111

Please send questions to: 5010 N. Parkway Calabasas #200, Calabasas, CA 91302, or submit them by email to rachel@taxi.com

B ULLETIN B OARD

By Kenny Kerner The Warner Music Group has created the Independent Music Group which will be comprised of Asylum Records, East West Records, and Cordless Records, respectively. Todd Moscowitz, current Asylum President, has been named head of ILG. “Suge” Knight and Death Row Records filed for bankruptcy to avoid having to pay more than $120 million in debt. Ouch!

Look for a new George Michael CD to hit the streets by the end of 2006.

Michael, signed to Epic Records worldwide, is scheduled to release his first studio set since 2004’s Patience.

Velvet Revolver is working with Hip-Hop producer Pharrell Williams on their second CD for RAC Records … New Country CDs from Rascal Flatts and Toby Keith continue to sell like wildfire. Don’t be surprised if the Rascal Flatts CD tops the four million mark.

How have recent graduates from Musicians Institute been doing over the last year or so, you ask? Well, Alessandro Cortini was plucked out of school to play keyboards for Nine Inch Nails, Pop singer Heiarii graced the cover of LA’s All Access Magazine after being voted Best Pop Artist of 2005, and most recently, VIT graduate Kalen Chase (also a member of Crucifix Doll) is the newest member of KORN. When you’re hot, you’re hot!

Bet ya dollars to donuts that Barry Manilow follows up his ’50’s songbook with a ’60’s songbook and Rod Stewart leaves his songbooks behind for a new Rock CD—of cover songs, naturally!

TAXI Meter July 2006

3

PASSENGER P ROFILE Kim Esty

Her journey from #1 “Squeezetoy” to Queer Eye theme

By Kenny Kerner Canadian Kim Esty scored her first #1 record in her late 20s,then went on to write a successful children’s CD and the Queer Eye for the Straight Guy theme.

Residence: Toronto, Ontario, Canada and Hollywood, California Age: 33 Occupation: Singer/Songwriter-Composer Year Joined TAXI: 2004 Number of Forwards: 30-40 Deals made through TAXI: 4

board magazine— Canadian Singles chart. The only other female artists who debuted at #1 were Alanis Morrisette and Shania Twain at the time. Our video was playing continuously on Much Music and we were nominated and won for Best Dance Video at the Much Music Video Awards. So it really was incredible —it was a bit strange getting recognized at first wherever I went because I have never been in this industry for fame. I love writing/singing/creating music and the fame part was sometimes a little scary, but I did love all the fans and still do.

More and more, our members are taking the advice of TAXI and getting their own careers started and then looking to TAXI for ways of further exploiting their music—ways the artists hadn’t thought of. This month’s Passenger Profile feature is a trip down that glorious road of successful hit songs and TV placements. It’s very inspirational to say the least. Here is Kim Esty’s story.

Judging from your bio, you’ve had many successes in the music business. When did you first decide to get into music as a career?

I started singing and writing at the age of 16, composing demos and sending them to various Indie labels, getting a lot of rejection letters. I persevered and finally got a record deal at 18 and had a few singles out with a label. They did OK around the Toronto club circuit but I still couldn’t buy a Porsche! I didn’t give up. I loved music too much and knew then it was a way of life for me. Music is something creative I need to do!

What was your first professional success story?

Frustrated with the Indie label, I left them and had written a bunch of songs—collaborated with a DJ friend of mine (Barry Harris-Thunderpuss 2000 and Kon Kan fame). He remixed a song I wrote called “Make You Mine” and we sent it to every Canadian radio station and it did receive a lot of airplay on the charts.

So I thought I would strike while the iron was hot and put out another song which was a cover titled “Summer in the Streets.” It was a cover song from the ’80s and it did extremely well with several dance mixes. It became the summer/beach anthem. They still play it today on sunny days, so that was my first legit hit.

I was also doing a lot of TV shows and dance club appearances, so I really felt that I

4

TAXI Meter July 2006

made a bit of a mark in the Canadian Pop industry at that point.

How old were you when you scored a #1 record with “Squeezetoy” and how did that feel?

I was in my late 20s … and it felt great! I was struggling for a while, singing at every dive in Toronto, touring with Barry (Kon Kan) to Asia, North America, so to have my own hit was a milestone for me.

I did have a bit of success before with “Summer in the Streets,” but this success was with a major label (Virgin Records). “Squeezetoy” was playing on every station, debuted at #1 in Bill-

How did you get to write the theme song for Queer Eye? One of my collaborators (Rachid WebhiWidelife) wrote the theme song “All Things Keep Getting Better.” We have collaborated on various tracks together and have been friends for a long while. It’s funny we are this Toronto clan of writers and throughout the years we have all made our own success stories and we all live a few miles apart. Also, the singer of the Queer Eye track is a friend of ours from Toronto. She sang in the group Love, Inc., with renowned DJ Chris Sheppard and writer for ’N continued on page 8 www.taxi.com • 1. 800.458.2111

M UMBO J UMBO Your words on the page

Lyric reprints in books generate extra income

By Jeff and Todd Brabec Book

Song Lyrics

State of Fear

By Michael Crichton

“You May Be Right”

The Power of the Dog

By Don Winslow

“Pancho and Lefty” “Small Change”

Mystic River

By Dennis Lehane

“Pirates” (Ricki Lee Jones)

The Beach House

By James Patterson

“Memory Hotel” “Statesboro Blues”

Hearts in Atlantis

By Stephen King

“Black Slacks,” “Tallahasee Lassie”

Another source of income for the songwriter and music publisher is the use of song lyrics in nonfiction books or novels.

All fees are dependent on the number of lines being used; the context in which the song is used; the importance of the song; the number of other song lyrics used in the book; whether hardcover, paperback, or both are included in the request; whether audio books are contemplated; the total budget for such clearances; the territory in which the book will be distributed; and whether English or both English and foreign translation versions are being requested.

Normal fees for hardcover books are between $100 and $1,500, with additional fees for paperback and book-club editions.

Normal fees for hardcover books are between $100 and $1,500, with additional fees normally required for paperback and book-club editions.

In addition, information on the plot of the book, the publisher, and the context in which a lyric is to be used is normally requested by the music publisher prior to approval and a price quotation being given.

One example of such book use is Joseph Wambaugh’s best-selling novel The Secrets of Harry Bright (William Morrow and Company, Inc.), which contained portions of the lyrics to 12 songs, including “One for My Baby,” “I Believe,” “Ain’t She Sweet,” “Strangers in the Night,” “Once in a Lifetime,” “Hound Dog,” “I’ll Be Seeing You,” and “Make Believe.”

Another example is Nancy Sinatra’s Frank Sinatra, My Father, which was published by Doubleday & Company and contained portions of the lyrics to many of the songs that the singer made famous.

Jeffrey Brabec is an entertainment law attorney specializing in evaluating and negotiating music publishing acquisitions.

His twin brother Toddserves on the boards of the Los Angeles chapter of NARAS, the National Academy of Songwriters, and the California Copyright Conference.

As in the case of all lyric reprints of copyrighted songs, inclusion of the correct copyright notice is required either on the page containing the lyric or in a separate section devoted to copyright acknowledgments, normally located at the beginning of the book. © 2006 Jeff Brabec, Todd Brabec This article is based on information contained in the new, revised paperback edition of the book “Music, Money, And Success: The Insider’s Guide To Making Money In The Music Business” written by Jeffrey Brabec and Todd Brabec (Published by Schirmer Trade Books/Music Sales).

D ESTINATIONS Well, summer’s here and the time is right for dancin’ in the streets… no, wait… the time is right for getting out to a convention or seminar. Here’s what June has in store for us: JUNE 8-10 NXNE Toronto, Canada 416-863-6963 www.nxne.com • info@nxne.com This is the mother of all conventions held each year in Toronto. Literally hundreds of live bands, industry pros, forums, meetings, and an amazing networking opportunity. If you’re close by, get to this one.

JUNE 14-17 4th Annual SUMC—Southeast Urban Music Conference Atlanta, Georgia 866-232-4954 www.smiurban.com Hotlanta is the scene for this sizzling annual conference about everything Urban—from radio to marketing to promotion. The SUMC always seems to draw the very best experts in the field and this should be no exception.

And there’s nothing like Atlanta in the summer! Worth checking out. www.taxi.com • 1. 800.458.2111

JUNE 14-18 Nashville Songwriters Festival Nashville, Tennessee 931-296-4067 www.songwritersfestival.com If you know anything about songwriting, you know that some of the best writers in America come from Nashville. It’s been said that today’s Country music is really Pop music. If you plan on a career as a writer, you owe it to yourself to check this festival out. Plenty of performances and discussions about the craft of songwriting.

DATE TBD Music Strategies San Francisco, California 951-303-9506 www.musicstrategies.com One of the great things about this industry is that there really are no rules—however you succeed—that’s the right way to succeed for you. And that’s what makes this conference so daring and creative. New strategies in the industry are uncovered and discussed. For innovative minds only!

Please call to get the exact dates for this one.

TAXI Meter July 2006

5

T IPS Songwriting

Screenwriting may be your key to great lyrics

By Michael Anderson Lyric n.

1. Intense, personal poetry– lyrical – passionate, enthusiastic 2. the words of a song, especially a popular song (often used in the plural) 3. a short poem expressing personal feelings or thoughts

Definition Lyrics are the words to your song. They can seem similar to a short poem but they serve a definite function within the pop song form.

Lyrics tell the song’s story. But within that simple definition are conventions as well as countless variations on telling your story effectively.

The word “lyric” originally comes from the Greek idea of personal poetry accompanied by the lyre, a stringed instrument. From the Greeks, to David in the Bible composing songs (Psalms) with lyrics on a stringed instrument, the romantic troubadours of the middle ages, the lone cowboy on the range with his guitar, the itinerant Mississippi bluesman jumping trains in the ’30s, through Woody Guthrie and Bob Dylan, to MTV unplugged, the singer/songwriter with an acoustic guitar derives from a long tradition. And technically, even though it is “plucked” with hammers activated by a keyboard, a piano is a stringed instrument.

These archetypes are the ancestors to our contemporary idea of singer/songwriters and their acoustic guitar or piano writing songs.

That image is very much alive today, especially in Nashville

Basic Writing Suggestions Books and Screenplays I have learned a lot about song structure in writing screenplays and books. All three expressions work within the conventions of their respective forms. For any songwriter, I recommend reading a book on the structure of screenwriting. You’ll find a world of information and good advice for getting to the point in dialogue, which is essentially what a song lyric is.

Writing in long form for stories or books is also good practice for the songwriter. It feels good to be able to stretch out and not be limited by a timed form like a screenplay or song. And it

6

TAXI Meter July 2006

You don’t have to keep an official ”notebook” but it’s a good idea to jot down lyric ideas whenever and wherever they come to you.

Harlan Howard who had a hit song every year since 1958 kept nots on bar napkins and restaurant receipts.

can also help you appreciate the economy of the song form, the focus of expression, the nuance—similar in focus to haiku poetry, the three chord blues, or a Shakespearean sonnet.

Notepads Some people recommend keeping a notepad with you at all times for writing down ideas. I won’t discourage you from doing that. But I should let you know that I’ve read through some of those notepads and I’ve found very little of any interest in them.

I have found that if I get a really good idea, one of two things happens. The idea is good enough to remember until I get to where I can write it down, or I decide it is so good it is worth the effort to find something I can use to write it down with right then and there.

When I lived in Nashville you could go anywhere in town any afternoon and find songwriters sitting at tables alone, over coffee, seriously writing in their notebooks.

I remember meeting Harlan Howard (look him up) one afternoon at the Sunset Grill in Nashville. He and I were alone in the bar. We talked about songs. He knew the history of country music; he wrote most of it. He’d had a hit song every year since 1958 (and he also coined the phrase “three chords and the truth” in describing country music). He knew more about the sales and chart positions of my hit

“Maybe It Was Memphis” than I did.

I had read an interview once where he discussed all the lyric ideas he got from waitresses and women in bars, and how he had scraps of paper—restaurant and bar napkins, backs of envelopes, and so on—with ideas on them.

With all his hits I found myself thinking he could have had an official notepad if he thought it important. He didn’t have a notepad in his hand. He had a drink. It wasn’t coffee either.

There is nothing wrong with keeping notes and files, and organizing your ideas and songs.

But I don’t think notepads are necessarily a key to the process.

On the other hand, when I am actually working on lyrics, in the process, I like to use one of those extra long yellow legal pads—give myself a lot of room to write down a lot of stuff and edit it down later.

Theoretically a computer word processor should work the same way. I’ve been fine tuning that process for a few years now—but it still not quite the same. It has been said that in theory, theory and practice are the same thing, however, in practice, they are not.

Songwriting is like that.

This article is excerpted from “Michael Anderson’s Little Black Book of Songwriting” available at michaelanderson.com. www.taxi.com • 1. 800.458.2111

T IPS Personal managers

When do you need one and where do you find him?

By Kenny Kerner As a personal manager, the first thing local artists want to know is, at what point in their careers do they actually need to enlist a personal manager and, perhaps more importantly, where can they find one?

When?

Part One is a lot easier to answer than Part Two. As an artist, you have many creative responsibilities like writing songs, rehearsing your vocals, scheduling band rehearsals, booking gigs, promoting your live performances, recording demos, and so on.

But, as an artist, there is also a fair amount of business you must take care of: interfacing with the A&R community, perhaps selecting a music attorney, putting together and soliciting your demo packages, making follow-up calls, etc.

My formula is a simple one: When the business side of things begins to take up as much time (or more time) as the creative side of things, you need help! [For additional management and career information, you might want to check out my book, Going Pro published by Hal Leonard.]

Do it yourself The answer is not one you’re gonna like: It’s called self-management. Simply put, it means that a band manages itself by delegating certain responsibilities and duties to each band member. Instead of the band “leader” trying to carry the world on his tired shoulders, he doles out the jobs to the other mates who pitch in. Here’s how it works: One person handles the bookings of shows and the follow-up calls to the clubs.

One handles the printing of flyers, the phone calls and e-mails to the fans. A third member is in charge of mailing out the press/demo packages, writing the cover letters and making the calls to the labels or attorneys. Then, once a

Where?

The second question is a bit more complex. Personal managers are by paid with commissions that they get from the gross earnings of the artists that they manage. Therefore, a brand new artist that has no earnings at all will not be contributing to the manager’s income. What all this means is that if a reputable manager takes on a new artist, the manager will be working for nothing for several years until such time as he can secure a recording contract or some other advances for that artist. In a small number of cases, a manager will work with a “baby” band based exclusively on belief.

When I signed my current artist, singer/performer Heiarii, I was overwhelmed by his vocals and passion and knew it would be worthwhile.

It’s already paying off big time!

The problem is that nobody likes to work for nothing, including managers. Especially managers. So what’s a new act to do? Clearly, they can’t let the business side of things overwhelm their creativity. And also, they certainly can’t neglect their business responsibilities which could be detrimental to their careers. www.taxi.com • 1. 800.458.2111

The problem is that nobody likes to work for nothing, including managers. Especially managers.

So what’s a new act to do? The answer is not one you’re gonna like: It’s called self-management.

week, at a regular band meeting (you guys DO meet to discuss business, don’t you?) each band member reports on what he’s done during that week and new chores/responsibilities for the following week are discussed.

This method seems to work well for a year or two until the band becomes a little more successful and has to start dealing with offers and contracts. But once the managers smell the possibility of either success or money, their doors swing wide open for you.

Keep it in the family In some cases, a friend or relative of the band might also be perfect to act as the band’s representative and make some telephone calls on behalf of the artist. Sometimes, a more businesslike, adult voice is just what the doctor ordered in terms of getting things done.

Always keep in mind that the more successful you become, the more power you have to both call your own shots and to attract professional industry people. In the case of a new band, having great songs, an exciting live show, a couple of strong reviews and a large fan following will do the trick. Easier said than done, I’m afraid. These goals all require very hard work, a total focus on your career and a strong plan of attack. Not to mention about two-three years of your life.

But don’t be discouraged. There are many local bands that went on to international stardom by starting their careers with a gig at 1 a.m. on Sunday night in front of two people. As they became tighter and more intense, their audience grew. And once there was a “buzz” on the band, industry types began attending their shows—unannounced. Power and success are the best overall ways to attract professionals.

In the meantime, take control of your own careers and get the job done to the best of your abilities. All of the initial work you need done at the early stages of your careers can be done by band members themselves. And be sure you add an extra hour to each rehearsal strictly for taking care of business matters.

Remember, this is the music BUSINESS. Kenny Kerner is the author of the best-selling book, “Going Pro: Developing A Professional Career in the Music Industry” published by Hal Leonard and available at bookstores everywhere.

TAXI Meter July 2006

7

Songwriter panel continued from page 2 my lyric page until I think it’s done. Sometimes it’s fun to have little rituals like that in your writing. Tia has a bunch of them that are really cool. She has these beautiful journal books that she writes her lyrics in, and she puts it in there when it’s done. And for me, sometimes it’s so tempting because the song is almost done, I want to write the title at the top of the page— especially if I have to wait till later to finish it.

But I don’t write the title until it’s done.

Tia, what would you say to relatively new songwriters who say they don’t want to be formulaic; I don’t want to write songs in form. I am a creator.

I’m an artiste. I just want to let it flow. I hammer on this theme so much because I go to Nashville often enough to know if a song doesn’t have an obvious chorus you’re laughed out of the room.

How important is that stuff?

TS: Well, I know that I said that I’m unable in certain ways to really aim a song. But I will say this much—I believe Jason Bloom said it two days ago—it’s the music business, and the word “business” is larger than the word “music,” right? And for better or for worse, there are ten thousand people in the music business, and maybe two thousand songwriters. There are all different people that are in the business writing songs. There is already a disproportionate number of people actually creating the music as opposed to people who are cogs in the wheel, or the people that are the gate-keepers of the songs. So that’s one thing you have to be aware of. The second thing is, if you really want to make a living at songwriting as a songwriter, remember that your song becomes at some point a product—like let’s say Coca-Cola. Well, if you want a publisher to ever support and give you money and put their faith in you, they have to feel like they have a product, even if it’s the equivalent of a Chanel product or a Pampers product. They’re still two products. One is very

TAXI Meter is a monthly newsletter published

by TAXI The World’s Leading Independent A&R Company for it’s 10,000 members. To learn more about TAXI visit www.taxi.com or call 1-800-458-2111. Letters to TAXI Meter should be addressed to TAXI Meter, 5010 N. Parkway Calabasas #200, Calabasas, CA 91302, or emailed to rachel@taxi.com

expensive and one isn’t, but they’re still viable and they’re commercial, and they see ways for them to get through.

So if you want people to stake their own reputations on you—no matter what you’re trying to do—you have to pay attention to certain rules and certain parameters. They exist for a reason, and the biggest reason is because music… When we started off as children, we learned songs like “ABCDEFG” because they were pneumonic devices; they were learning devices. When we have music and words together, that’s how we memorize things and learn things. That’s part of the reason why a song is a song and If you want not just poetry. I mean, if you turned people to stake on the radio and it their own was just people reciting lyrics all day, I reputations on don’t think it would you…you have have the same pull. to pay attention Just like if it was all instrumental music, I to certain rules don’t think it would necessarily have conand certain sistently the same parameters. pull. The reason why there are music and lyrics together is because people like that journey and they learn those songs and they make them feel certain ways. So that’s what you have to be aware of. I always say, “Contemplate your belly button all day and write belly button grazing songs,” which is what we call certain songs that don’t have chorus, and don’t have a hook, and things like that.

That’s great, but what you’ve done is written a “belly button grazing song.” Congratulations. I hope you enjoyed it, and that was a fine day, and now go on a write another song.

MS: Most of what we perceive as rules for songwriting or classical music in various periods, they come about in hindsight. Basically, people can look at a body of successful songs and say that most of them have verse/verse/chorus/verse/chorus/bridge, etc.

It’s not that they originated or that somebody said, “Here are the rules for writing a successful song.” It’s kind of in hindsight that we identify certain things that tend to work on average— just like making a good jump shot. There’s a form for that that usually works, but there are always exceptions of people who can do an incredible jump shot with really weak form.

TS: And, let’s say there are 50 rules to writing a song. As long as you follow about 40 of them in a song, you can break 20 of them. It’s not like you have to write a song and follow every rule.

MS: I think it’s better to break rules when you know them than to break them because you don’t know them. [applause] That’s a great point. Now I see why you married him. He’s smart! Make sure to read Part 3 of this panel in next month’s newsletter.

8

TAXI Meter July 2006

Kim Esty continued from page 4 cess of “Squeezetoy,” I had a lot of young fans. It was incredible—really young 6, 7, 8 year-olds as well as teenage fans. So I felt the song “Squeezetoy” was a bit mature for them and in homage to my young fans I wanted to create a CD that has the levels of Pop and the innocence of fun lyrics. So I created the “Kartoon Kids,” an Archie type gang whose songs are aimed at children two to eight years old.

Some of the characters are Piggy the Duck, Kimmy the Squeezetoy Girl, Poopey Zoo the Dog, Cindy Loo, Fame Blonde, Tommy Magoo, and Marty the Martian.

I used a lot of dance beats mixed with acoustic guitar and my cartoonish voice. Children love the CD and now we are working on volume 2. To me, it is very gratifying when small children e-mail our site (www.kartoonkids.com) and tell us how much they love Poopey Zoo or Marty the Martian.

It’s a side project that I love doing and will continue doing. We are currently looking for distribution in North America so it can be available to more children other than just on our site.

With all of this incredible success, why become a TAXI member?

I recently got married and first of all preparing a wedding took all my time for most of the year! I heard about TAXI and thought it was a great, easy way to get your music out there. We thought we would try it the year we were getting married because I couldn’t devote as much time to my music career.

We were lucky getting a song licensed right away to a large publishing company and then we heard my song got air play on various television shows. I was thrilled! How great was that?

Send TAXI/Broadjam a song, they forward it, I get it licensed. I got exposure and some money!

I was hooked. TAXI is a great way to stay in touch with the industry. It keeps you motivated as an artist.

Especially in this business, you are only as good as your last song. Plus, with the Internet having destroyed radio, getting music into TV/film is the way to go. As an artist, I don’t want to tour anymore. I want to start my own family, so TAXI is perfect. I love it!

Are the TAXI critiques valuable to you? If so, how?

Yes they are. Being in this business for while now you become thick skinned and listen to criticism and it’s amazing how it helps. People will always hear your songs differently than you do and it’s nice to get an honest opinion whether it’s good or bad.

Whether she’s writing for children or composing the theme to a cable VV hit, one thing is for sure—Kim Esty still relies on TAXI to help open doors and get her music out there. Because that’s what we do better than anyone else! www.taxi.com • 1. 800.458.2111