A Love Shaken by War: Becky Warren returns to music with a solo record that tells a fictional story inspired by real-life events

Becky Warren Press Photo

Becky Warren Press Photo. Courtesy of Kyle Dean Reinford

Becky Warren, the Nashville-based singer-songwriter returns to the music scene with a 12-track concept record called War Surplus. Although she had been playing music for 25 years, War Surplus – an independent record which has just released – is Becky’s first solo album. To promote her album, Becky is getting ready to hit the road, starting in Baltimore and then traveling to New England, as an opener for the Indigo Girls a second time. During my telephone chat with Becky, the artist recalls the moment in 2004 when she learned that Amy Ray of the Indigo Girls wanted to release an album Becky recorded with her band from college.

“I had a band called The Great Unknowns, and we recorded an album in the basement of this college dorm. Then, I left Boston, and we [agreed to] only give copies of [the record] to our families. But, a friend of ours gave it to Amy Ray from the Indigo Girls, who called us and said she wanted to put it out on her label. That was exciting. So, big surprise. We were all living in different places at that point, but she put the record out. We got to open for them and got some good press.  But then,” continued Becky, fast-forwarding to eight years in the future, “I did not do music several years – which we will probably also talk about. Then, I did another album with the Great Unknowns in 2012. Then, this record which I had done, is my first solo album.”

Becky also plans to tour separately to promote War Surplus, beginning in Atlanta and continuing west to New Orleans, Dallas, and Austin. While she feels excited to return to performance, Becky re-enters the real world of music with a greater objective, raising awareness about veterans’ issues. How does Becky, plan to accomplish this? By joining the storytelling style of country with Americana in front of a backdrop – a fictional story inspired by the real events within Becky’s life; her marriage to a veteran who served in the war in Iraq and experienced post-traumatic stress disorder.

War Surplus tells the story of two Americans, June, and Scott, who fall in love and have their relationship rattled by this war across 12 heart-wrenching songs that will quickly hook the listener to Becky’s sound. What I am most curious to learn is what steps the artist took to transform a fictional story into a record, how the music reflected events and character development, and how this story would end. More importantly, I wanted to understand how War Surplus could help make listeners more aware of the issues that veterans are facing in the United States. It is my pleasure to turn my interview with Becky Warren into an article and share it with you right here on Music Historian.

The creation of War Surplus started in 2012 when Becky had decided to attend the Johnny Mercer Foundation writing program. Here, she met several artists involved in musical theater, and shortly after she released a second album with The Great Unknowns titled Homefront. By this time, Becky was coming out of her five-year stint away from songwriting.

“For all five years that I was married, I was not writing. I just really wanted to get another The Great Unknowns record out. Many of the songs on that album were my personal view on what that time had been like for me: about how much I missed playing music; and what it was like for me to be married to someone with post-traumatic stress disorder (PTSD). There is also another song on there; it is a little fictional, but it comes from the perspective of a soldier coming home and then having his marriage fall apart.

“That was me looking at my personal view of what had happened. Now that I have more distance I just really became interested in how others had gone through the same thing. That’s what had brought me to writing War Surplus. I had never considered doing a concept album, or a series of songs around one story before that [the Johnny Mercer] program.

“Before I started writing this album, I was only writing about myself, and I had not thought about writing from another character’s point of view. That was eye-opening, and it turns out I love that. I can’t believe I had spent so much of my life writing only from the view of women.  Now, I write from the view of men a lot. I feel glad that I have allowed myself to open that door… it’s a new and fun challenge for me to write from somebody else’s point of view, someone different from me.

“One thing I learned, when people write a musical, they usually write twice as many songs as they need and toss half of them. That was on my mind when I worked on this album… I should just write and write, and not worry about which songs were going to be “The songs” until I was sure I had enough to cover the whole story well. They are [also] very focused on the characters in the songs, their wants, what changes in the songs, and why the character sings the song on stage. All of these [things] I picked up from the Johnny Mercer program.

“Before that program, I had written the next to last song “She’s Always There,” and during the program, I wrote the last song, “Anything That Lasts.” I realized both songs were the same guy [Scott]. Being around musical theater people gave me the idea to keep writing about him and his story. It was fascinating to hear how they thought about the songs.”

“She’s Always There” and “Anything That Lasts” are both included as the final tracks on War Surplus. The track that opens the entire album is a song from June’s perception, “Call Me Sometime.” As a first song, “Call Me Sometimes” works well as an opener for War Surplus. The driving harmonic rhythm in the guitar and the beat of drums, and length of the measures in each bar resonate very closely with the genre of Americana. The modulation from a minor key to a major and then resolving back to the tonic in the minor key also helped create a very complete and concise song. Then, there are the lyrics in the chorus that are undeniably aggressive and alluring, But if you wanna drown your heart in gasoline and make-believe/ if you think a good lost cause is exactly what you need/ if you got a taste for poison with your wine, well yeah/ I guess you can call me sometime.”

I wondered why Becky put this song at the top of her track list and what was happening to June and Scott in the story at this time. The songwriter explains, “I knew I needed to write a song where she was introduced and then falls in love with Scott, but I had a hard time with her. I had never written love songs before this album. It’s hard for me to write something that is 100 percent “I love you,” and 0 percent anything else… even when I am in love, there is a part of me that thinks “something is about to go wrong” or “somehow this is not going to last.”

Becky Warren Press Photo. Courtesy of Kyle Dean Reinford

Becky Warren Press Photo. Courtesy of Kyle Dean Reinford

Although Becky modestly laughed while she talked about the lyrics within “Call me Sometime,” I could tell that she seriously thought about June’s character. She continues, “It was when I realized that if I could write her like that, it will make things so much easier for me. Therefore, I pictured her as a person who was living in San Antonio, a town with a lot of military personnel, and military tradition. June is deeply skeptical of love and even more skeptical of dating men within the army. She forms opinions about how ‘good’ they would be as boyfriends, and she does not believe that someone she meets at a bar will be worth her time.

“I wanted to start with that, to give you a picture of that person. Then, when she and Scott fall in love, there must be something pretty special between them; the strong feeling June had – that love would not happen to someone like her – had been overcome. That’s why the album starts [with that song].”

So the story begins. The second track on the album “San Antonio” helps prepare the setting. According to Becky, she wanted this song to have a sense of place, and San Antonio has a connection to the military, it is also a city where one can easily live separate of that community. Therefore, she purposefully decided that June would not live on base; instead, while Scott gets deployed, June would continue living the life she had known.

The lyrics within this slower-paced serve as a narrative by someone who describes this well-known Texas city with a significant amount of familiarity, and the long hard trucker barrels down in his state town, miles left to cross/ but the late night DJ on KMBT always knows what to play for the lost/ The great state of Texas sings something secret for each of its souls tonight/ And you’re the song that’s been stuck in my head my whole life. Becky talks a little more about this song.

“For me, I wanted [to create] a story that people could see themselves in some way… I wanted to wrap up that place, and what June is feeling about suddenly meeting this person; it feels like the song that has been stuck in her head her entire life, after thinking for so long that she would never find that.”

Naturally, one can guess that “San Antonio” is another song that comes from June’s perspective. So far, I learned that the two opening songs on War Surplus express June’s point of view, while the concluding two tracks reveal Scott’s perspective and his story of serving in the war in Iraq. However; some of the songs in the first half of the album also represent Scott’s point of view. Listeners start to hear more of Scott and his experience as a soldier in “Stay Calm Get Low.”

When it came to writing from Scott’s perspective, Becky looked to many external resources, including literature. The artist at the time read many books and poems that took place in Iraq. One book that stood out to Becky was My War: Killing Time in Iraq by Colby Buzzell.

“He started writing about his deployment; he went over [to Iraq] with the first wave in 2003. Colby was one of the first milbloggers[1] in the war, kind of before people were calling it milblogging[2],” said Becky as he gently laughed. “They turned his blog into a book… and that one just really spoke to me because it is so immediate, he is writing it as it [the war] happens.”

Becky felt that the narrative of Buzzell’s book and the character of Scott shared a lot of commonalities, including Buzzell’s “sense of humor and slightly countercultural slant on things.” The singer-songwriter also says that everything that happens in “Stay Calm, Get Low” also happens in Colby’s book. After writing the song, Becky let Colby hear it; an experience that, for the artist, was one of the most exciting parts of writing this album.

While the artist expresses feelings of creative gratification writing through the perspective of a character very different from her and using real-life examples from accounts written by ex-soldiers who served in Iraq; Becky makes sure that the listener receives a healthy dosage of disillusionment about the war in “Stay Calm, Get Low.” In the verse, half-way through the song, Becky sings I am an m240 machine gun, a black and white Hollywood rerun, a ten second mention on the evening news and then follows up with the following lyrics in the chorus stay calm, get low/ this ain’t no picture show/ stay calm, get low/ just tell yourself you know/ we’re all gonna make it home.

Becky explains, “I have never been in combat… everything you know about it comes from movies, books, and television. I believe the reality is that half of the time, it gets very boring, and then it is punctuated by moments of terror and unimaginable horror. That [combat] is a very bizarre circumstance, but you have to adjust to it very quickly.

“I think that’s what is happening in that song (“Stay Calm, Get Low”) – you get to this place, and you [start to] have a very different mindset. That is what I think is happening to [Scott]. I wanted that song to be the anthem that people could sing along with, sort of like “Born in the U.S.A.”

The chorus in “Stay Calm, Get Low,” is very easy to remember and sing along to, especially as there is a distinct downbeat that listeners hear in the pause between “stay calm” and “get low.” However, in my opinion, comparing “Stay Calm, Get Low” to Bruce Springsteen’s “Born in the U.S.A” proves to be more challenging than I initially thought. Aside from the fact that Springsteen’s famous song relates to a war different from the one that Becky sings about; “Born in the U.S.A.” seems to be mislabeled continuously as a patriotic song.

According to what Becky writes about “Born in the U.S.A.” on her website, “while it is a serious song about Vietnam vets, people still have a great time shouting along to it at stadiums” (www.beckywarren.com Retrieved October 2016). Becky elaborates on her opinion of a song we both happen to appreciate.

“The interesting thing about “Born in the U.S.A.” is that for many people, it does sound patriotic because of the chorus. When a patriotic song is about war, it is not about the person; it is more about that person as a symbol for why we are proud to be American. It’s not usually about that individual’s life, their thoughts or feelings, or the details.

“But [Born in the U.S.A.] … tells a very human story about a veteran and his brother. You can’t take a story about one person, as a human, and then turn it into a symbol for a country; those are complicated. It is not something you can build a patriotic theme around. So, I think it is a very different class of song.”

Returning to Becky’s songs on War Surplus and the story of Scott and June, another song in which Scott seems to experience disillusionment about the war is appropriately titled “Seemed Like a Good Idea at the Time.” This song is the catchiest and also has the most straightforward storytelling as the singer delivers a narrative describing what led young men to sign up and serve in the army in the first place – a promise for a better future or a more rewarding career. The song that follows this is “I Miss You,” which, told from June’s perspective. The phrase, God I miss you like you wouldn’t believe, solidly concludes a few verses throughout that song, and beautifully ties up a narrative from the perspective of a woman whose husband or loved one has been absent from her life for a prolonged period.

After listening to the first half of War Surplus, I started to wonder which songs were from Scott’s point of view, and which ones were from June’s point of view. Becky clearly identified which of the songs were told through Scott’s or June’s perspective. However, one component that I found missing from the album was a song that could have easily expressed both Scott’s and June’s experience of how the war in Iraq affected their relationship on the same caliber. There seems to be a lack of unity between Scott and June, and perhaps this is primarily caused by the distance that the war places on these two individuals. I asked Becky whether she saw these two characters coming together on a song in the future.

“I see June leaving in the song “Grenade,”” expressed Becky. “I picture her gone during “She’s Always There” and “Anything That Lasts.” I think [when] Scott ends the album with “Anything That Lasts,” [he’s] in a very dark place. I hope he ends up okay and that they end up together again. But I am not sure. I believe I wanted to finish it in a place where they were both in a precarious situation.”

I then followed this up with another question – did Becky feel that this precariousness is part of the unpredictability of the war which affected both Scott and June? She replies, “I wrote it,” “Anything That Lasts,” “as Scott contemplating suicide, which happens way too frequently for vets. And, I don’t know whether he will… that is a great “if” to leave the album on, that it was not resolved.”

As I come to understand how June and Scott’s story ends, I also inquire Becky about another objective she has with War Surplus, to spread awareness about veterans’ issues. In an interview that Becky did with the magazine, Elmore a few months ago, she said “I want to do everything I can to make them feel like they’re not invisible. And maybe at the same time, the record will lead some people to learn more about veterans’ issues, and take some positive action (www.elmoremagazine.com Aug 2016).”

While I have heard about the problems veterans experience in the United States, I wanted to hear from Becky what she felt people misunderstand the most about veterans returning from Iraq. She kindly explains:

“We have such a divide right now between veterans and their families, and everyone else. The people who fought the most recent war, were a very small portion of the population; I think it is one-tenth of one percent. Therefore, many of us don’t know anyone who served at all, and we don’t know anybody who has been in combat. That was the case for me too before I met the person who became my husband.

“I don’t think we are doing anything wrong; I just believe that it is strictly in the numbers. Many of us do not know that life at all. I think we form pictures of who veterans are… and maybe tend to think of them as different from ourselves. I think that’s part of the reason why there is perhaps not more pressure on Congress to improve things for the better because many of us think of veterans as somebody else.

“That’s why it was important for me to make Scott and June sound like people who you might know and like. Hopefully, you can hear their story and think ‘okay, I do have some things in common with these individuals, they’re not that distant from me.’ I believe that veterans come in all different personalities just like the rest of us. But, especially because of the kinds of patriotic songs we mentioned, we think of them as one particular caricature or couple, and I think that’s not incredibly helpful in getting people interested in veterans’ issues.”

Becky Warren Press Photo. Courtesy of Kyle Dean Reinford

Becky Warren Press Photo. Courtesy of Kyle Dean Reinford

As I incorporated Becky’s interview into a full-length article, I had a memory of a term paper for an undergrad class I wrote many years ago in my pursuit of a degree in Music History. In my report, I had written about how while a lot of musicians wrote songs focused on particular wars, very few artists wrote songs that directly protested the Iraq war. I now wished that I interviewed a musician like Becky Warren at the time. She helps present a new view of how music can contribute to telling a story about the realities of war and its affects soldiers both in combat and at home, away from the battle. Although the story Becky tells in War Surplus is fictional, real life inspires it. Most importantly, Becky Warren brings War Surplus to massive audiences at a time when people are starting to talk about Post-Traumatic Stress Disorder and the additional effects that the most recent war has left on American veterans.

1-2 Milblogging refers to Military Blogging (Becky Warren, personal communication, October 11, 2016)

Works Cited

EXCLUSIVE: Americana Artist Becky Warren Makes Heartache Sound Beautiful on Her Ballad, “I Miss You.” (2016, August 5). Retrieved from http://www.elmoremagazine.com/2016/08/music-news/solo-artist-becky-warren-premieres-a-gorgeous-and-heart-aching-ballad-i-miss-you

Warren, B. (Retrieved, 2016, October 1). About. Retrieved from http://www.beckywarren.com/about/

Top 5 of 2015

Happy 2016! I should have published this post before December 31st. Please excuse my tardiness. Let’s go into the top five Music Historian blog posts in 2015!

No. 5 – The Naked and Famous

The Naked and Famous’ Next Chapter: An Interview with the band’s keyboardist Aaron Short

The Naked and Famous Press Photo I interviewed Aaron in 2014, just weeks before the New Zealand-native indietronica group would perform at The Governor’s Ball Music Festival. I had contacted about ten talent management organizations for interviews with some of the artists attending the festival. CRS Management, who at the time managed The Naked and Famous, was the only talent group that expressed any interest. The effort CRS put in to coordinate an interview between Aaron and I was worth the while.

 

No. 4 – A guest blog post about Holly Henry

The Flip Side of Holly Henry’s Music

The Orchard Cover Art The guest blogger and author of this post, Gary Reese, contributes postings, photos, videos, and interviews about musicians, including those who have appeared on “The Voice.” The “Holly Henry Fan Thread” on Idolforums and the “Holly Henry Fan Page” on The Voice Forums have received several page views. These pages have given Holly Henry the “third most viewed fan discussions of any contestant who as competed on “The Voice.”” I am happy to say that in 2015, Gary’s guest blog was the fourth most viewed article on Music Historian.

 

 

 

No. 3 – An artist who is unafraid to take risks, be self-critical and make changes

Embrace the Chaos, wherever you may wind up: Gypsy George discusses biculturalism, entrepreneurship and how music has brought him to Brooklyn

Gypsy George Press Shot. Published with Permission from the Artist. My interview with George Mihalopoulos, also known by his stage name, Gypsy George, had opened doors to several themes: entrepreneurship; creativity in today’s music business; and being bicultural in America. I initially learned about this artist while researching the music roster for The Northside Festival. His name first grabbed my attention. When I asked the American-Greek artist how he decided to choose his stage name, and call his band – The Open Road Love Affair – I knew I was an for an interesting story. According to the numbers generated by the readership, I might have been on to something.

No. 2 – Lessons from a prolific slide-guitarist: Better to be a trendsetter than a ‘trend-follower’

Arlen Roth’s Slide Guitar Legacy: Everything from Robert Johnson to The Blues Brothers, to Teaching Students and Major Artists

Arlen Roth, Head Shot Throughout his career as a professional slide-guitar player, Arlen performed on television, taught famous performers, and even acted as a director for a popular film. However; he never strayed away from his life as an artist and a teacher. Arlen says that showing an artist’s passion is what he is all about. Arlen’s stories of where he has been, his experiences and the lessons he has learned attracted many readers in 2015.

 

 

 

 

 

No. 1 – The story of how a Las Vegas band started their journey, even after they have made it “big,” remains a favorite

Opening Doors: Imagine Dragons’ Bassist, Ben McKee, talks about the band’s exciting journey

Imagine Dragon's Press Photo When I interviewed Ben McKee in 2012 for a story on Music Historian, I never imagined this story would attract so many readers, nor would I believe that someone would cite my article in their work! I continue to feel so grateful for this opportunity. Also, I feel humbled that so many readers continue to enjoy this post.

Although it is a few days late, I wish you, my loyal readers, a very Happy New Year! Thank you for your readership.

Translating the Grind into Song: Alternative Country Siren Ruby Boots Talks How Hard Work, and Extensive Travel led to Opportunity

Ruby Boots Promotional Photo On one of her tracks on her debut album, the alternative country singer-songwriter from Australia, Ruby Boots, sings Sliding down Hell’s Backbone/ dark as night, heart unknown/ I’m just looking to lighten my load/ I’m scared, I’m scared, I’m scared… welcome to the middle of nowhere. The name of the song is “Middle of Nowhere,” and the name of the record on which it is featured is called Solitude. In preparation for my interview with Ruby – whose real name is Bex Chilcott, and whom I had the pleasure of learning about through Baby Robot Media – I researched her back story. Visit her web page and you will read that she left home in Perth when she was 16 to work on a pearling trawler in Broome, a town on the northern coast of Western Australia.

“I left home when I was 16, but by the time I managed to get out of Perth, I was about 19 years old. I got up there by hitching up some trucks. I went to where all the truckies loaded on and off and waited for a trucker who would take me. I found two; they would swap and take 5-hour shifts. We managed to do [the trip] in 36 hours, with a quick stopover in Newman. There was a carriage where they slept. If you are just one driver, I guess it could take a few days,” said Ruby.

Throughout my interview with Ruby, I was reminded of my semester abroad in Brisbane, Australia (Queensland) in 2008. When I first arrived in the country, I underestimated its size: it is as large as the U.S. Although I never visited Perth during my travels, I did notice how that city seemed to be the only one I had heard of in Western Australia. I then wondered whether “The Middle of Nowhere,” was about Ruby’s road trip from Perth to Broome, or about her days working on a ship and being removed from civilization. I soon learned this song has several interchangeable stories about Ruby’s journey into music and her first album that she is promoting on a tour across the U.S. and Australia. Welcome to my conversation with Ruby Boots on Music Historian.

As we start our interview at Sugar Café, adjacent to Rockwood Music Hall – where Ruby would later perform – the artist shared her story behind the song “Middle of Nowhere.”

“That [song] was about when I went to southern Utah to meet Vikki Thorn, who is part of The Waifs. I flew from Perth to Melbourne, from Melbourne to Sydney, from Sydney to L.A., from L.A. to Salt Lake City. I was then picked up and drove five hours down to Southern Utah. I fell asleep for the last hour of the car ride and woke up in her driveway. She [first] said to me, “Welcome to the Middle of Nowhere.” And I said, “That’s going to be the name of our first song.” Ruby Boots Promotional Photo by Tony Proudfoot Photography*

“I originally met her in Perth, and we played a show together. When I worked on the boats, I heard one of [The Waifs’] songs called “The Waitress” from a distance. That [song] drew me to think that I might want to play guitar and sing. That’s how important [she was to me.] All the songs I played at the beginning were all of their songs. You can imagine how important she is to me. She was my role model and wound up meeting her in Salt Lake City.

“It was a confronting situation,” she concluded. From the moment Vikki told Ruby “Welcome to the Middle of Nowhere,” the Aussie songstress admitted, “I thought, “just write that,” hold onto anything that would save the situation from going bad. We worked on the song for two days. The first verse is really about having faith in our life path and what you want out of life; having enough guts to follow that, to the point where you would make that journey after ten years of holding it in your psyche, and a little bit of self-sabotage and self-sacrificing (in the second verse). [It’s a] long story, but it had to be explained.”

Another song that crawled into my ears is “Wrap Me in a Fever.” The lyrics, I understand are, I thought that loneliness came/ all wrapped up in plastic, cured with cocaine/ I’ll think of you all the same/ if I go without you, at least I’ll have you to blame, then the chorus enters, Come pick me up, honey wrap me in a fever/ I need your love tonight, I’m nothing without you… I recited these lyrics to Ruby, and I almost got them correct. Luckily, Ruby understood the sentiment behind the opening to my next question for her. I wondered whether she found it difficult to put speak very honestly about her feelings. She paused to think about the question for a few seconds. “No,” she responded.

“For two reasons: 1) That is how I like to live my life, I am an honest person; and 2) I think at the end of the day, if you want people to relate to what you say, then it must be true to who you are as a person. If [I] can be honest and lyrical about something, then that’s the key for me as a writer.”

“Wrap me in a Fever” is a more upbeat songs on Solitude. The overall sound and style for this record has an Americana feel and traces the traditional roots of country – a storytelling vehicle about the life of the folk. However; Ruby decided to name her debut after another song, “Solitude.” I asked her why.

Ruby Boots Promotional Photo by Tony Proudfoot Photography* “Going back to when I was first starting writing [music], which was out at sea, I felt there was a lot of that essence… I brought that sentiment from being out there into my songwriting. This is my first full-length album; I wanted to pay homage to where it started for me. It seemed like a good fit, and I think it is a great title,” she explained.

Ruby also told me about her days on a pearling trawler. She would be out at sea with a crew for two to three weeks at a time. In her words, “work was tough.”

“I would lift three to four hundred kilos a day,” Ruby began. “I remembered when I first started; I had carpal tunnel in my hands because you would either hold on to a chisel or a chain. I would wake up with my hands cramping like that,” she showed me how tensely her hands would curl. “I couldn’t even hold a butter knife.”

I immediately pondered how Ruby was able to find solitude, nevertheless, time to write songs, when she worked a grueling and physically taxing job. Ruby assured me that this work was what she needed to help her learn guitar and songwriting.

“On a day-to-day basis, I got to throw myself into work, and a friend of mine started coming and playing out at sea. I started singing on the deck with him late at night because there was nothing to do. Eventually, I learned a couple of chords, and I picked up the guitar. My day-to-day life out there started changing because I was playing guitar and learning.

“Another thing that showed me is I like to work hard. I think, I am trying to learn how to work less; to slow down a little bit. I am lucky enough that my heart led me out of the city. Working on boats was great; it removed a lot of the chaos for me. I am looking back at the time I first started playing, and I think playing out there [at sea], I was processing all of that previous chaos.”

Ruby’s carpel tunnel syndrome dissipated after three months, and she was out there for three years. It was not until her last year on the pearling trawler; she picked up the guitar. During her time away from the work at sea, she would write songs and perform at local venues in Broome. Ruby contemplated being a professional songwriter for several years. She credits The Waifs for being her greatest inspiration during this time. It was for this reason, Ruby traveled about 9,000 miles, or 14,500 kilometers, to meet Vikki in the U.S. to write songs with her. Interestingly, the artist did not take too long to make her final decision. Three years prior to the night she made her decision, Ruby had played on a set with The Waifs only once.

“I was talking to their [The Waif’s] manager and asked whether he knew of anybody in the U.S. who I could write with, and [Vikki] was living here,” recalled Ruby. “We teetered up, and I had met for 30 seconds, and we played three years before that. She said [to her manager], “Yeah, I liked her when she played. Send her out.” And so, he did.

Ruby Boots Promotional Photo, Tony Proudfoot Photography* “I was scared. She meant a lot to me, and to my creative career. I would only be with her for seven days to write songs. She had never written a song with anybody else. I had only written a song with one other person. The beautiful thing about it was, it was close to 10 years prior that I had been thinking about being a songwriter.”

Vikki co-wrote “Middle of Nowhere” with Ruby Boots, and also appeared as a guest vocalist on the track. Additional collaborations on Solitude include Tony Buchen (Tim Finn, The Preatures, Mama Kin), who recorded and helped produce “Middle of Nowhere.” Anna Laverty (Jae Laffer, Paul Dempsey, New Gods) produced “Wrap me in a Fever.” I asked Ruby to expand more on her experiences with her collaborators.

“Tony and Anna were two of my producers, and they are both very different. It was very cool to work with a woman behind the desk. There is a very different energy in the room, a softer energy, it was very enjoyable. Not to say that she did not take control, but it was a different energy. I liked working with her, and when we got into the studios, she helped me flush out my songs, the music, and words. Tony was very fast-paced, and what we got through was very quick, and I felt like we could go in any direction at any time. We went in the right direction for me.

“Vikki…we have become close friends, and we look forward to working more and getting together again to write some songs. I think one of the songs we wrote together ended up on their [The Waif’s] album, on their release. It has been a close collaboration, and it’s been beautiful to have a friendship come out of songwriting. It could be very rare to have those connections, on the road.

“Across the board, I felt it contributed to where I am now as an artist.”

Ruby Boots performing at Dashville Mercedes, 2015* Ruby came close to tears thinking about her journey, the chances she took, and where it had brought her. I felt relief for her that she recognized what she had been through and just how much the decisions she makes now affect her professional, creative and personal development. On the topic of her professional development, Ruby is not the only Australian musician I had heard of who aspired to travel to the U.S. to write songs, tour or create an album. I asked Ruby the difference between being a musician in the U.S., versus Australia.

“Here you can jump into a van and play 250 shows. In Australia, you can’t do more than 30 per year. That is a big difference. [In Australia] there is a lot more flying involved while there is a lot of driving here. My dream is to be on the road for that much of the year. In Australia, it is almost impossible to do that; you burn out your audiences if you visit every city every time, because there is also less of us. Here, there are so many places to play.

“I am not saying it is easy here, to get in and do it; I think you have to work hard. But I think once you have gotten to that point to be able to tour as much as the others, you are on the way. Eventually, I would like to move over here if I can.”

I know the U.S. would love to have Ruby over here, especially with the Americana scene. She has already performed with independent Americana acts, including Kim Logan. Years ago, when she came to Nashville for the first time, she also met the front man of The Blackfoot Gypsies, Matthew Paige. When I had told her that I listened to them, and even interviewed them, chills traveled up and down her arms. However, I know that getting to the U.S. from a foreign country presents plenty of challenges – the travel, the visa and working status, the cost of relocating, finding work – for some individuals they search for a company that would sponsor their visa – and many more. I wanted to know about the challenges, and the rewards that came with those challenges for the artist, Ruby.

“Where do I start?” she says. “I have been sleeping on couches for two and a half years. I’ve never put a cent in my pocket from my music. I work a couple of jobs so I can stay on the road and everything. That is not to say my music is not going well, but as it grows, it costs more to put a band on the road. I think the sacrifices you make – the times you get to spend with your friends and family – I face many challenges but at the end of the day, doing what you love, truly love, outweighs that all. If it doesn’t, then you probably would not last, to be honest.

Ruby Boots, Promotional Photo by Tony Proudfoot* “The reason I love the genre I am in is because there is true storytelling; the lyrics of the song can connect with people. There is this DIY mentality where people… it is all about the realness. It is not a pop-polished genre. You write songs because you have to; you’ve got something to say. I am glad there are challenges. It teaches me things about life. I am certainly not complaining about it.

“The most rewarding part about being an artist is that… the life we live, with all of its challenges, it’s so emotionally nourishing. We have this deep love of life. We have the power to communicate things that people often can’t say. We have the opportunity to connect with people, [and] music teaches us so much, so much about ourselves emotionally. If we can touch someone else with that, then that’s huge. That’s massive.”

Ruby has touched people with her music. During our conversation, a fan emailed her. She took out her iPhone to read that email, and shared with me what she read.

“They are talking about “The Middle of Nowhere”; about how great the song is, and – my eyes are tearing up. [They are saying] there is only one other song that does that to them, John Prime’s “Say I’m Stoned.”

“I get a lot of comments about the first verse of “Wrap Me in a Fever.” They love those lyrics. Other than that, you don’t hear from people who don’t like it. You mostly just hear, “Oh, I love it!”

On this subject, I believe the most honest lyrics touch people the best, especially in Americana. It is for this reason, and another – the composition of the music – I decide whether I am interested in an artist. Whether or not I use this criterion to interview each musician for my blog, the answer is ‘no.’ Now I am honest with my readers.

I then asked another fitting question, who are the musicians who have touched Ruby with their music? Although The Waifs are an obvious answer, she still admits that this question was difficult. She gave it her best shot.

“I love Ryan Adams, Lucinda Williams… then it depends on whether you are talking about songwriters. Then I could list off those two, and about fifty. Then, if you are talking about vocal inspiration, I looked up to Janis Joplin, Linda Ronstadt, and Bessie Smith. It depends on what musical aspect you are talking about.”

This question might have been tough, but Ruby answered it beautifully. As our conversation neared an end, as did the iced latte she bought at the beginning of our talk, I asked her one last question – where would she like Solitude to take her into the future?

“That’s a tough question because it is my first record. I hope that it can take me on a path to write six or seven, or, however, many more [albums]. I hope that it gets me in America. I would like to move over here, and like I said, work hard on the road over here. I hope it gets me into people’s ears and hearts.”

Ruby Boots, Promotional Photo by Tony Proudfoot Photography* Ruby Boots’ sound will fit easily into the ears and hearts of Americana lovers, and even country fans who want to listen to lyrics that are honest, sometimes even blunt, but beautifully sung. This country siren from down under translates hitting the grind, both emotionally and physically into music. You will not hear too much rasp in Ruby’s voice, but rather a sweet and clean timbre. Her style of storytelling will make you wonder, what is going on in the country down under, and can we have some of that sound up here. Lucky for these listeners, Ruby is not slowing down anytime soon.

Until the end of March next year, Ruby and her band will tour Australia. In late September, she finished her tour in the United States.

“I was hoping to ride the wave for at least a year because you put all that work into an album, and then you hope that creates opportunities on the road. I want to be on the road and play for people. I can’t say too much in detail, but I will get back here in April and May, touring.”

 

 

*Photos published with permission

Step Outside of What You Know: A Review of Avi Wisnia’s New Single, “Sky Blue Sky”

Avi Wisnia, photographed onJune 19, 2014 by Chris M. Junior My summer of 2015 included plenty of interesting work and many exciting changes. I helped Avi Wisnia; the Bossa-Nova inspired pop musician who has graced Music Historian as a featured artist and an entry in Event Diary, announce his new song “Sky Blue Sky.” I feel humbled to have contributed some of my time to this project. I have seen a lot of positive reception from radio stations in New York, Pennsylvania, New Jersey and even Chicago.

One music director from a Pennsylvania station said “Sky Blue Sky” reminded him of Stan Getz’s instrumental song “So Danco Samba.” Avi’s new track, however, includes vocals and lyrics. The verses in “Sky Blue Sky” tell a story of the musician’s vivid memories of playing music on the Brazilian Ipanema beach, hiking along the Italian Amalfi coast, sailing in the San Francisco Bay, lounging on the rooftops of Philadelphia, and more. One day, as he laid on the beach in Cape May, New Jersey – at the time, he was also experiencing “songwriter’s block” – these memories floated back to Avi[1]. On the subject of Cape May, I spoke to the music director of a radio station in this town who remembers Avi from when he visited. This director played “Sky Blue Sky” for Cape May listeners earlier this month.

Avi recorded “Sky Blue Sky” this year with bassist and producer from Rio de Janeiro, Bruno Migliari, who has recorded with top-tier Brazilian musicians, Milton Nascimento, Ana Carolina, and Marcos Valle. Although these two met in 2011, Avi found that returning to Brazil for a collaboration with Bruno proved challenging. Both musicians decided to record via satellite and defied logistical restrictions. Avi and Bruno assembled a band renowned Brazilian musicians in Rio, including Marco Lobo on drums, Bernardo Bosisio on guitar, while Bruno recorded his parts in Brazil, and Avi recorded his in Philadelphia.

The song opens with a dissonant melody of five notes on the melodica before getting cut-off by an upbeat and major harmony on the guitar. At the same time, a walking bass enters, along with a breezy rattling rhythm on the drums. The melodica returns in the middle of the song, and scatters those that dissonant melody within a major melody filled with chromatic steps and a dance-like tempo. The way this melodica is placed into the song reminds me of the way David Bowie places the saxophone in his most well-known songs, “Changes.” The saxophone is part of a brass section at the beginning of the song that crescendos in the intro just moments before Bowie sings with a piano and guitar in the verses. Listeners do not hear the sax again until the conclusion of the song.

Music writers have criticized that Bowie’s lyrics in “Changes” focused on the compulsive nature of artistic reinvention[2]. The only parallel I can make from this criticism with my own of Avi’s “Sky Blue Sky” is that the indie singer-songwriter might lead his fan base to believe he is undergoing some reinvention. However; since Avi has only released a single thus far, it will take an album in the future to decide whether he is trying to bridge his older sound with a new genre and style of songwriting.

“Sky Blue Sky” guides listeners down a jazzy path, rather than one of the blues like his previous song on Something New, “Rabbit Hole.” While the title track of his 2010 debut album, along with “Back of Your Hand” and “Nao E Coisa” display some hints of his love for Bossa Nova, these tracks did not showcase how far Avi could trek outside of his comfort zone of American music.

Avi takes a strong step forward in musical expansion with “Sky Blue Sky.” What would be important for the Philly-based singer-songwriter is he does not forget the sound that gained him his following in the first place. “Sky Blue Sky” helps listeners step out of what familiarized them with Avi’s sound and taking a vacation to a new musical landscape is terrific; but having that home, that first place, reminds us of why we love getting away. Print

On the subject of vacations, if you took an exciting one this summer of 2015, “Sky Blue Sky” provides the perfect soundtrack to that memory. If you did not take one, let this song remind you that this perfect trip away from home is just around the corner. Like Avi says, “Whether you are on vacation or dream to get away, this new single captures the promise of possibility as clear as a blue summer sky[3].”

“Sky Blue Sky” will be released everywhere music is digitally downloaded and sold on September 1st. Visit Avi’s Bandcamp to purchase your copy of the single.

Finally, to my Music Historian readers, two things. 1) How was your summer? Please write me a comment below this post! 2) You might have noticed that I had not posted in over two months and have wondered whether there is a reason. If you have, I must say, there is a reason. I was in the middle of job interviews, trying to land a job in marketing. I am happy to say I have finally landed that position.

Since with new opportunities comes new responsibilities, I must announce Music Historian will undergo some changes. I am not sure what these changes are yet, but I promise they are on the way. In the meantime, I have a few new posts in the next few months on the way too. One will be a post by my first guest blogger in September. The second post will be of an interview with the alternative-country artist from Australia, Ruby Boots. Please standby, happy reading, and happy listening! Enjoy the rest of the summer.

[1] A. Wisnia (August 28, 2015). “Sky Blue Sky.” Retrieved from https://aviwisnia.bandcamp.com/track/sky-blue-sky

[2] “Changes (David Bowie Song). (August 24, 2015) In Wikipedia. Retrieved from https://en.wikipedia.org/wiki/Changes_(David_Bowie_song)

[3] A. Wisnia. (August 28, 2015). “Sky Blue Sky.” Retrieved from https://aviwisnia.bandcamp.com/track/sky-blue-sky

Works Cited

“Changes (David Bowie Song).” (2015). In Wikipedia. Retrieved from https://en.wikipedia.org/wiki/Changes_(David_Bowie_song)

Wisnia, A. (2015). “Sky Blue Sky.” Retrieved from https://aviwisnia.bandcamp.com/track/sky-blue-sky

Embrace the Chaos, wherever you may wind up: Gypsy George discusses biculturalism, entrepreneurship and how music has brought him to Brooklyn

Gypsy George Press Shot. Published with Permission from the Artist.Like many bilingual professionals, Gypsy George, a Brooklyn-based musician whose real name is George Mihalopoulos, has learned to manage two lifestyles simultaneously. You might have guessed that his family is from Greece. Though he was born in the U.S., George says he is “firmly rooted in Greek culture.” He describes to me his every day.

“My day to day is quite active and busy. Recently, I’ve added importing olive oil from Greece with my Dad to the mix of things I do. A few years ago, he and I were trying to find ways to bring money back to Greece, due to the financial crisis. My grandfather used to press this fantastic olive oil in our hometown of Nafpaktos, and later, we discovered that everyone in the area just pressed their own oil and never sold it. We met with a local miller there, developed a relationship, and now we exclusively bottle our single varietal (Athinoelia) Premium ‘Agouraleio’ Extra Virgin Olive Oil from Nafpaktos under the brand name 10δεκα.

“So, that has been taking up most of my weekday mornings. After I finish with Olive Oil stuff, I usually move onto music-related matters – responding to emails, organizing shows and working in the studio. It varies from week to week but generally, my daily life has been ‘Olive Oil & Music.’”

Aside from participating in a business partnership with his father, George also founded a publishing company in 2003, Always Already.

“I started this company mainly so I could start receiving royalties on a movie I contributed music to, ‘The Maldonado Miracle’ produced and directed by Salma Hayek. From there, I started to build it around music licensing and composing. Today, I have expanded it to include a record label. It is a boutique music company that pretty much offers all music related services – recording, producing, publishing, licensing, composing, and more.”

He adds, “I run the company very grass roots, family-style, encouraging all the artists I’m producing to be as involved with their projects as possible. I do try to teach them about the business end of things, so they are better armed to tackle the ever-changing universe of music.”

Speaking of an “ever-changing universe,” an entrepreneur and musician who runs multiple businesses might describe the road to their success as unpredictable and messy. At least, that’s how I would describe it as I reflect on countless interviews with musicians, informal interviews with NYC student entrepreneurs, and my professional development.

Like many entrepreneurs, George has learned to ‘embrace the chaos.’ He also incorporates this motto into his definition of a gypsy: “One who lets life happen – the good and the bad – and welcomes it; who can adapt to their surroundings with ease and pleasure; who is unafraid to take risks, be self-critical and make changes.”

While I certainly find this definition of a gypsy inspiring in a creative and artistic sense, I know that in an ethnic and practical definition, it needs more refining. For George, Gypsy is his stage name, one he more or less picked up while being on the road, spontaneously traveling America’s mid-west for his musical inspiration and his identity. Further, George’s affinity to the open road also influenced the name of his band, Gypsy George and the Open Road Love Affair. The band creates what one might describe as Americana music with spurts of Greek flair. The band’s repertoire of music has opened doors to new projects and possibilities. Gypsy George shares his story right here on Music Historian.

Gypsy George Press Photo. Published with permission. Gypsy George received his name from his insatiable desire to randomly hop in a car – without a map – and travel the depths of America. The artist had mentioned that during this time, he was trying to figure out whether he was Greek or American (National Herald 2011). I asked him exactly what fueled this desire.

“A few things contributed to my desire for exploration and travel,” explained George. “Firstly, I moved around a lot when I was younger, eight times in the first six years of my life. So, that clearly laid the foundation. Secondly, it was my family origin. My sister, my cousins, and I are the first generation born in the states. The rest of my family was born in Greece, including my parents. I was raised bi-culturally. I frequently travel to Greece, and I am fluent in the language and culture.

“Initially, my drive to explore America was to experience all the regions that Blues artists had lived in or traveled. I wanted to find the places where Muddy Waters, Blind Lemon Jefferson, Willie Dixon, and Leadbelly had been before me. I wanted to see and feel what inspired them, and this led me up and down the Mississippi River for many years. Since I lived mostly in big cities and urban environments, it was mind blowing to see these places up close and play guitar on the banks of the mighty river. I fell in love with the countryside; it opened my eyes to the true beauty and freedom of this great experiment known as the United States.”

After some time, Gypsy George decided he was 50/50 Greek-American (National Herald 2011). Then, came my next question – where in his music does George’s Greek heritage shine most?

“My music is filled with my Greek heritage,” he begins. “I’ve always felt that my music truly is a culmination of American Blues and Greek music sprinkled with the Lennon’s and Dylan’s of the world. Some specific examples are the songs “Door County Nights”, a blues structure over a 9/8 Zeibekiko time signature; the ‘bouzouki’ style mandolin on “Everyday”; the solo section of “Maude On The Run”; and the list goes on.”

Door Country Nights” is the title track to Gypsy George’s 2003 debut. This album conveyed the artist’s stylistic versatility incorporating Americana, country, honky-tonk, and some funk. At the time this album was recorded (in Los Angeles), George worked as a music supervisor and composer at a music company that had recording studios. The owner encouraged the employees to use the studios and learn how to record during off hours.

“I figured, ‘if I’m going to learn how to record, I might as well record an album of my stuff.’ It was a learning experience, to say the least,” admits George. “It is always interesting when you record your first album; expectations are so high, yet your ability is in its infant stages. Additionally, I worked with an engineer who was even newer to recording than I was. That combination of hope mixed with a lack of experience can be an exciting, frightful adventure. We had a blast though, and I think we pulled it off – at least for our first effort.”

Another song on this debut, a honky-tonk, and a country-influenced number is titled “Open Road Love Affair.” I wondered whether this song inspired the name of Gypsy George’s group. I just happened to be right.

“The band name did, in fact, come from the song title. When I was trying to come up with a band name, I spent months bouncing around ideas. I wanted a name that would convey the ideology of the ‘Plastic Ono Band’[i] with the controlled chaos of a road trip. Also, I did not want it to sound forced. One day, I was barbecuing with some friends, and I complained about how hard it was to come up with a band name. Finally, my friend Stacy blurted, ‘why don’t you call it Open Road Love Affair?’ Everyone, instantaneously, had that moment of ‘uh, why didn’t I think of that?’ And that, folks, is how the band name came about.”

The song “Everyday” comes from his 2011 release The Loneliest Man in New York. In this track, Gypsy’s inner-Greek comes out on a mandolin that plays hints of tremolos. He says that when it comes to arrangements, he pushes the envelope. George explains “I like to take chances and treat instruments differently from their basic intended purpose. Sometimes, this fails. However, I’d rather go for broke than be conventional. With a song like “Everyday,” I was very influenced by Pet Sounds (an album by The Beach Boys); particularly the songs “That’s Not Me” and “I’m Waiting for the Day.” The drum part,” which exaggerates the downbeats within the measures, “was me trying to be Brian Wilson.”

Gypsy George Press Shot published with Permission Lyrically, George is influenced by Lennon, Dylan, Beat poetry and Kazantzakis. Occasionally, he writes in an obscure referential way or inside jokes. “Sometimes, “I like to use words to create a feeling or imagery. Sometimes, I just like the way words fit together regardless of meaning. It depends on the moment, the mood.” One such song like this is “Couplet Gun” a song about love which starts with a very distinct verse – I find a little Marxist red war paint/ And, I don’t want to pray it/ I don’t want to say it/ I just want to step in right next to you. The second chorus includes this rhyme I shoot the stars with asphalt bars/ I creep along a familiar song/ I find a way to stick my nose in the dirt…

“‘A little Marxist red war paint’ was a strange way of me referring the lady of the song, who is a redhead. The second set of lyrics was written to convey the heavy, deep pain and loneliest I felt at the time, hence, trying to shoot starts with asphalt bars, sticking my nose in the dirt. I attempted to convey my truest, deepest thoughts and emotions at that very juncture in my life.”

The Loneliest Man in New York included a band of six musicians, including Jamey ‘Brother’ Hamm on vocals, who also appeared on the 2014 album 30 Songs in 30 Days. Between these two albums, George experienced a professional and personal development that was initially brought on by an impulsive decision. When he started recording Loneliest Man, George had just moved to NYC without knowing a single person.

“I wound up in NYC by accident: I was fed up with L.A. and left town. I just started driving due East to get as far away from the West Coast as possible. I lived in various spots throughout the country; toyed with the idea of going back to Chicago (where he lived throughout most of his life). Eventually, I came to Brooklyn and figured I’d try it out.

“My girlfriend at the time abruptly ended things, and I thought she was THE ONE – at least at the time. Dealing with a deep heartache – combined with living in NYC without any friends – led me to the only therapist I knew – music. I spent a month and a half in my apartment – which at the time, had no furniture or music equipment and hefty bags filled with clothes – and just wrote songs after songs.

“When it was all said and done, I had written around 100 tunes. From there, I began tracking the album. As I went through this process, I met a bunch of musicians at Roots Café in South Slope on an open mic night. After that, I just immersed myself in music and met more talented folks. Eventually, I asked a few of these insanely gifted people to play on the record. What started as my ‘breakup album’ turned into this colossal musical effort.”

“I had a very ambitious plan with 30 Songs in 30 Days,” continues George. “Having accumulated a wealth of songs I had written, I finally decided to release a double album. I also wanted to tap into all the different styles of music that have influenced me over the course of my career. Initially, my plan was to recreate the Beatles’ White Album. Rather than interpret the album song by song, I wanted to capture the general feel and weirdness of the album. As I developed the concept, it turned into the one thing I detest in art – pretentiousness. I felt I was forcing songs on this sort of strict creative platform. What I then decided to do was release 30 songs in 30 days. For the month of October in 2014, I released a song a day for 30 days. It was a maddening, yet rewarding experience.

“A lot of the material I recorded [involved] mixing and mastering on the fly. It was a very curious project that lent to quick, creative decision making as opposed to past albums where I had all the time in the world to figure out whether I liked this, that or the other. It was a fun release and one I am proud of accomplishing. Although I did play the majority of the instruments on the album, I did have some outside vocalists and musicians.”

Aside from Jamey ‘Brother’ Hamm, the musicians who played with George on 30 Songs in 30 Days included Emily Trask and Justin ‘That Moon’ Kilburn. George says that while it is always difficult to gauge what people fundamentally think about his work, he was happy with the ‘all-over-the-map’ reaction from listeners.

“I like to add humor and silliness to my songs. At the end of the day, I just try to have fun and enjoy life. Obviously, there are serious moments, but I’d much rather poke fun at myself and not take it too seriously. I think that silly and loose atmosphere of my music is what people grab onto at first.”

“Charlton Heston” and “Maude On The Run” are some of the songs on 30 Songs in 30 Days that stood out the most to me. According to George, the political themes within these tracks were overlooked in the States but resonated more in Europe. Whether or not a listener can pick up on the political themes naturally is purely left up to opinion. I was curious as to how George incorporate politics into this song. A perfect example is his 2007 record, Joe’s Beginning, which he recorded while living in Los Angeles. George also recorded this album while in an interesting place in his life.

“I had ended a relationship, felt upset with the administration [at the time], and faced a crossroads with my career. I got my feelings out in music. I locked myself in the studio for six months recording the album, and it was the first record where I did everything, including the engineering.

“Thematically, I based the record on [the story of] “Romeo and Juliet.” I interpreted the couple’s fight for love as obstructed by socio-political circumstances as opposed to warring families. I chose [the title] ‘Joe’s Beginning’ as homage to the ‘Average Joe.’ I wanted to make a political statement without being pedantic. Whether I pulled that off with the album is a different story.”

My conversation with Gypsy George so far has helped me notice that emotional events like a heartache, an abrupt move, and the challenges of being your boss – which for this artist, involves getting songs out on schedule – drives him to create music. Also, he has managed to put his talent out in a robust artistic city. Although he has become known for getting up and moving from place to place, Gypsy George has lived in Brooklyn for seven years now. As far as I know, he has no leaving plans.

Gypsy George Press Photo published with permission “I love living in Brooklyn. I have lived in South Slope, and it has been a true home for me, a first for me in my adult life. Brooklyn and NYC have a great energy and a wonderful mix of gifted and talented artists. It is a city that lays the foundation for a creative atmosphere.

“Out in L.A., I felt that it was all about who you know or how you look, but the quality of the music did not matter [so much]. In NY, you have to be pretty good to survive in the music scene. Chicago has a great art and music scene, but it remains a bit more underground.”

This year will mark the second time Gypsy George has been invited to perform at the Northside Festival. He will perform as part of a lineup hosted by Whatever Blog at The Gutter in Williamsburg. Afterward George will return to producing his second record with Justin ‘That Moon’ Kilburn, with the hopes of releasing it in July. Also, George is in the process of remixing and re-mastering 30 Songs in 30 Days and officially release it as Politics, Ex-Girlfriends & the Ayn Rand Shuffle. He hopes to have this record out in the Fall. Finally, he is also the Music Director and Composer for South Brooklyn Shakespeare, a theater company founded by Paul and Dee-Byrd Molnar. This year, the company will perform “Much Ado About Nothing” on July 25th, August 1st, and August 15th.

Whether or not George chooses to stay in this city or relocate wherever his passion for the open road takes him, he will embrace the change, whatever it maybe, and channel it into his music. Whatever life throws his way, especially if it brings him into a rougher moment in his career, George will center his focus on the fact that he has felt blessed enough to continue doing music.

“My Dad told me a long time ago, that wherever you are, whatever you wind up doing in life, no one can ever take away your ability to create and play music. To me, every moment is a proud moment. I always view myself as an artist first and that everything I do is part of a larger dialog beyond myself.

“The music industry has turned a blind eye to creativity and has focused on profit. I mean [the need] has always been there, but I don’t believe a band like The Beatles could ever make it in today’s music business structure. This is why Independent Artists are more vital than ever. While I might sound critical, I am very hopeful for the future of music and where it will wind up.”

[i] Gypsy George says he “sort of stole a page from John Lennon & Yoko Ono’s concept for the ‘Plastic Ono Band.’ They had a philosophy that ‘anyone’ can be a member of the band, and were adamant that there was no ‘set’ lineup (G. Mihalopoulos, personal communications, June 9, 2015).”

Works Cited

“In the Spotlight: Gypsy George – Musician” (2011). National Herald. Retrieved from http://www.gypsygeorge.com/uploads/9/0/3/2/9032999/national_herald.pdf

 

Julie Coulter, Insurance Broker and Consultant Gets Real about where musicians should direct their attention

JCoulter_Company_Logo Julie Coulter, Founder and Owner of J. Coulter & Company, Inc., fell into working with an important part of the music industry – insurance brokerage and consulting for artists. Although she set her sights on becoming an actress during her days at Emerson College in Massachusetts, Julie read Rolling Stone Magazine fervently. One article inspired her to fall in love with the music industry.

“I was stimulated by the fact that there was a man doing this [insurance brokerage for musicians], named Walter Howell. Walter took care of the Jacksons on their tour, right around the time that Michael’s hair caught fire during the shoot of the Pepsi commercial. I remember reading an article about him in Rolling Stone Magazine and thinking MY GOD! Rolling Stone is writing about this guy? Are they going to make this a regular – write about the insurance people to the stars or what?” recounted Julie. “I thought, that the next time I saw something like that again in Rolling Stone, I wanted it to be about me.”

Julie’s father had an insurance business for musicians and was a pioneer in the field for what was then the emerging music business. He insured The Rolling Stones, he acted as the broker on the policy during the time The Who stampede happened in 1979, and also had Peter Frampton as a client. In 1985, Julie started working for her father. From there, she would get licensed for insurance, create a base of clients including Willie Nelson, Patti LaBelle, and continue with Peter Frampton. Throughout her career, Julie would also join several robust agencies, and help several artists along the way. Now, Julie has a portfolio of experience and a goldmine of information that Music Historian readers, especially performing artists, can find helpful. Keep reading, hear and listen to what Julie has to say in my question-and-answer interview.

Music Historian: Tell me a bit about your professional background.

Julie Coulter: I’ve gone from being in the big insurance brokerage realms to being the chief cook and bottle-washer of J. Coulter and Company. I started working for my father in 1985. I was living in Boston and after attending Emerson, took a class at Northeastern University, a Continuing Education class, for insurance and got my primary insurance certification. Then, I came home to New York to attend the Hill school of insurance and got my license. In the old days, I was licensed in all 50 states, but now I am licensed in 23.

I continued working for my Dad’s agency, Coulter and Groner, which merged with another firm called York International around 1987, the time he also passed away. After a few years with York, still servicing my father’s entertainment book of business. Then in the spring of 1989, I started my agency with a woman named Debra Kozee-Sands. Together we formed Coulter and Sands. When I left my father’s business, most of my entertainment clients came with me.

In 1996, I sold my ½ of the business to my partner, and went to work for a business in Chicago called Near North Insurance Brokerage, a nationwide firm that used to be the second largest entertainment insurance brokerage in the country. Here, I ran the music touring division, but I was the only one in that department in their NY office. I again bought my clients along to Near North, and took Near North associates from Chicago & LA offices to music touring conferences, where I introduced them to all of the concert promoters. Slowly, but surely, Near North started insuring these promoters during the formation of SFX Entertainment.

At the beginning of 2003, I left Near North and went to work for MusicPro, which was a different kind of agency. MusicPro was half-owned by a Long Island firm called Sterling & Sterling, now called Sterling Risk, and half owned by ASCAP. I brought most of my business from Near North into there, and I grew to love working with ASCAP, and getting involved with the musicians. That’s where I started to advocate more the little guy. I also started forming a different perspective. I worked with the Performance Rights Organizations and the individual bands and learned about their needs and how to address their needs. I wanted to make them think consciously. For example, on LinkedIn the other day, the lawyer, Wallace Collins posted the following:

“Musician: A person who puts $5K worth of instruments into a cheap broken-down car to drive 500 miles to a $50 gig.”

MH: Those things need to be insured just in case something happens…

Julie: Right. For a musician, that is one of the last things they think about. Unless it is put in their face and say “Oh, man. They’re right! I have $30K worth of equipment here, and if it gets stolen, what will I do?”

One of the reasons I went to MusicPro is because that agency has a musical equipment floater that cannot be beat.

MH: What is a floater?

Julie: A floater is an inland marine insurance policy that covers a specific item(s) that are not connected to one location.

MH: Just to make sure I have the right idea, is a floater specifically for transporting items across state borders?

Julie: Yes, pretty much. We tailored that floater to the musician, whether they played classical instruments, carried high valued instruments, played in a garage rock band, or whether one player slept in the car with their guitar and traveled from place to place.

Working at MusicPro helped me develop a new appreciation for this. Now, I say, I deal with everyone from the wannabe, to the has-been, to everyone in between.

I remember working from 9 to 5 for my father’s agency doing claims, and getting on the phone with Peter Frampton because he just hit a deer. That’s how exciting it got. I also worked with Patti LaBelle, who was a client until probably about five years ago. I had Willie Nelson for 20 years, who was my first big client.

MH: So, musicians don’t ask questions or get involved?

Julie: They get involved on a grassroots level. They’re going to play a local catering hall, and the venue says to them, “We’d love for you to play, but you need to have your insurance.” Normally, it is the business management, accountant, lawyers, or the manager – whoever is really looking after the band – or a booking agent who might have a new band out on the road traveling to play mostly colleges, performance arts centers, and catering halls, who are asked to provide certificates. We live in a very litigious society; it has become so common now to make everybody get insurance.

MH: What kind of worries do musicians usually have regarding insurance?

Julie: They have skepticism. They say, “I don’t want to spend my cash there…” Unless it is personal insurance for them, or their homes they do not get overly involved. Musicians very rarely get involved with their insurance, but they should have concerns.

I also handle promoter. There are [for example] restrictions on bad weather coverage. You must provide at least a ten days notice, or they [the insurance companies] won’t even bother insuring you. Theft, obviously, damage to a venue, any of those kinds of peril, is usually excluded because the general liability policy itself usually excludes properties that are in your custody or control. For a promoter that would be a venue, and they’d have to buy a policy that does address those restrictions.

MH: How has the insurance business within the music industry changed over the years?

Julie: The tech industry took us all. Compared to where technology is for other businesses, for insurance, they are still coming to grips with switching from instantaneous emails and attachments to completing website forms. My bookkeeper and I just discussed this… I call it “other people’s websites”. I went from being on the phone with “Person A,” and I would say “Person B” has done 22 tours to date. I will send Person A the itinerary. Here is the information. I hang up the phone and immediately tend to what I need to get done.

Now, I’ve got to go to Person A’s website, answer all of the questions, or I cannot get any further. It [technology] went from making everybody’s life easier to not. That is technology in general.

The wording started to change as events unfolded. For example, musicians at first worried about being an additional insured. Many thought “Oh if I am additionally insured on their policy, I am okay.” That was not true.

Insurance is also very event-oriented. The rate on insurance depends very much on the band’s genre. Someone getting up on stage with a guitar and an amplifier will not have as high a rate as a rapper, especially a gangster rapper.

MH: How come?

Julie: I said this to somebody the other day, “Rap gets a bad rap.” Nothing happens in the stadium where these musicians perform but, two blocks away from there, someone is getting hurt, and the police or the victim blame the concert. They might say, “Oh, a civilian was shot right by the rap concert.” There are stigmas that can affect the rates in the industry.

Moshing was another problem; people started getting hurt [by the masses at concerts]. If you see your friend from 30 feet away, you start smashing into another person’s body to get to them. Somebody is getting hurt, and the minute that happens, of course, the lawsuits start. Moshing, therefore, became excluded from policies.

The week I started at MusicPro, in 2003, the Station Fire in Warwick, Rhode Island, happened. The heavy metal band, Great White played at a club, where they included pyrotechnics. The guy who pulled the plugs on the fireworks, before they went off that night, worked for a client of mine. I used to tell him constantly; fireworks are not covered.

The station fire was a big game changer for many things in the business. I was being driven to the MusicPro office by my Boss’ driver. He asked, “Is that [the station fire] going to affect what they [MusicPro] do?” I answered, “Absolutely.”

One hundred people died in this club; the entire place burned down, and nobody had proper insurance. The case went so far to get Anheuser-Busch involved. [People] looked to sue who had money, and they had the deep pockets. Sure enough, pyrotechnics (except flashpots) were excluded from their policy. As a result of that incident, trying to get Great White insurance today is not easy.

Now, there has not been a major change in how things get done. What has happened more now, is the insurance industry is making changes within their coverage and policies based on world events instead of something local. I’ve seen companies go crazy in not knowing where to go with ratings or risks. If something happens, and you paid $1,000 for a policy last year, but this year, that same policy is $3,500. This happens, even to someone who has many claims, cancellation and non-appearance insurance.

Michael Jackson was incredibly difficult to insure. He had concerts he would just cancel, and the claim was Hell. When he passed away just about as he was going on tour, his insurers paid a pretty penny to get him cancellation and non-appearance insurance. Then, there was that whole problem about who had that money. Concert promoters lost some money and those dates.

Then, there was the question, “Did Michael Jackson commit suicide?” before ruling out any of the benefits from the policy. Yes, Dr. Murray went to jail for giving him the drugs, but was self-inflicted? Was this the result of negligence? Will your policy pay if it excludes these sorts of things? There is insurance that picks up these problems.

There are many levels to which you are insuring a show, for a musician or an event. I have found that many bands will play all of the festivals instead of [solely] touring. They tour the festivals, and if they play five during the summer because they are headlining, then that too changes the nature of the industry.

MH: Is there a difference between touring and playing at festivals? When you perform at festivals, do you fall under the festival’s insurance?

Julie: Yes/No. In the old days, the band would be covered by the festivals or promoter’s coverage. Not so anymore. Now they do a hold harmless where everyone carries their own insurance and you are responsible your actions, and then the festival picks up the rest of it.

These days since festivals are much more prevalent, a lot of musicians “tour” the festivals as opposed to doing an outright tour on their own.

MH: I’ve noticed that too with many musicians. Why do they only tour festivals?

Julie: That’s where they can headline, get a better dollar. For the ones who have been in the business for several years, they can make as much playing ten dates for ten festivals, as opposed to trucking their stuff around the country for three months. It is attractive. Most festivals offer second stages so that the younger emerging artists can get looked at or get new fans they might not get when they tour around on their own. Exposure is big, and these are places where you can become known.

MH: Returning to the topic that insurance is very event-oriented, would you say that like the music industry, it is volatile?

Julie: The players change, the names change, but the song remains the same. As intriguing as it is to insure different clients, the truth of the matter is, at the end of the day, it is still insurance. I’ve been blessed with good clientele whom I have had for twenty some odd years. The industry itself gets funky, and that’s when I have issues. My clients bring up rate increases and stuff like that. It is the same as any other insurance business except it is ten times more important that you get it done now.

I often hear, “The guys are picking up a van, but we don’t have van insurance for them…” Then I say, “Oh, I see. The guys are picking up the van tomorrow. You didn’t tell me they are on tour yet! Would you like to send me an itinerary, maybe we will cover this one?” It’s always a lot of laughs.

I [also] find a whole other ball game. The event people a week before the show call me and say “Oh, I didn’t realize I needed insurance for this!” Or, they might say, “Oh, I need $10M to cover this,” and then I respond, “You need this much? The band that is playing is only getting $100!” If the insurance is going to be more than the gig, they will not buy it like that.

MH: Do you work with negotiating?

Julie: Yes. I am a licensed consultant as well for insurance in New York. I am always amazed at what people sign before they realize what liability and responsibility they take on. I will often get back to my client and say “You should look at this and that, and why are they asking you for this? What are you really doing there? They want you to have $10M in insurance for a one hour gig involving you and a guitar.”

Many of my clients now, when they get a contract, send it to me for insurance purposes to make sure they have everything they need. Then, I might go back and say, “You don’t have those limits. Here is what it will cost you to get that.” After they hear this, they will go back to their party and talk it over.

MH: Aside from going to get certification for an Insurance License; what else would someone need to do to get involved in your line of work?

Julie: One of the other things I did which helped, I used to go to music conferences, like the one held by Pollstar Magazine. When I started at MusicPro, I went to Folk Alliance because musicians there had a lot of instruments, and we had a program for that. I became a member of Women in Music in the mid 90’s so that I could learn more about the music industry and understand what I needed to insure.

I took another Continuing Education class about the Music Business at Baruch College, to learn about all of the other facets of the industry. The professor who taught this class started SoundScan. It was a very multifaceted class; he brought in different managers. Between that and the professional women in WIM, which had peaked my interest.

MH: I also graduated from Baruch this past December. I got my Masters in Marketing at the Zicklin School of Business.

Julie: Oh, funny! They were one of the only schools – this was before you could get degrees in music industry – who taught classes specific to the industry. I also worked on the New Music Seminar, which was a whole different animal, and one of the bigger conferences. Places like that had an industry gathering.

MH: Do you hear myths that people often bring to the table when they first talk about why they want to get involved in the music industry?

Julie: I find that many come to this with a lot of naivety. I have been to conferences where people say, “Here is so-and-so, and he will be the next, whatever…” I also find that musicians as a general category – not to stereotype any single kind of musician – like anyone else, must research what they are doing, and take an interest in their tools and instruments.

About J. Coulter & Company Inc.

J. Coulter & Co. Inc., a “boutique” insurance agency with a niche in entertainment risks, specializes in coverage for the music and special event industries. This company’s mission is to provide accessible, affordable and understandable insurance coverage and consulting services for our clientele. These services include the following:

Consulting – Review contractual obligations and needs for insurance purposes. Oversee all policies, brokerage activities, claims, and any other insurance needs. Act as management liaison for all insurances.

Brokerage – Through a network of top agents and carriers, help clients find the proper coverage for the best pricing. Coverage involves:

– Insurance offerings for the entertainment industry with niche in Music Industry, Touring and Musicians
– Special Events
– Personal Lines Coverage
– Studios
– Errors & Omissions (all types entertainment related)
– Cyber-Liability & Cyber Security

Insurance Specialty Programs:

– Musical Instruments & Equipment
– Special Events (one offs; festivals, private and public events)
– Individual & Group Trip Travel Accidental plans

For more information, please call (914) 305-2393.

Daylle Deanna Schwartz, Former Rapper Talks Music Business, Empowerment & Self-Love

Daylle Deanna SchwartzLast October, New York City’s first while-female rapper, Daylle Deanna Schwartz passed away. Last Saturday, a beautiful and warm day in April, Daylle’s family and friends held a remembrance for her at The Open Center. Inside a spacious room with large windows on the second floor, everyone gathered to pay their respects to Daylle. They talked about how they have come to meet her, the time they had spent with Daylle, and how she left an impression on their lives.

I had come to know Daylle back in the Summer of 2013 when I interviewed her for the Music Historian. Learning about her background in music, her strides within the industry, and her advocacy for self-love, made this interview and article one of my most memorable. Meeting her family and friends, whom she has touched with her energy, love and positiveness – and who reciprocated the same to her – made me realize there was a backdrop to this artist’s life that I did not, nor could not see the first time around.

Throughout her life, Daylle was a rapper, teacher, entrepreneur, writer, and former Board Member of Women in Music and a committee member of New York Women in Communications. She also dedicated her life to her daughter, grandchildren, and all of her family members. Even when Daylle split with her husband, she always remained a great friend to him. Friends and family members said that regardless of her busy work schedule, Daylle made an effort to stay in touch with everyone closest to her.

While everyone has a public persona and a private persona, I believe there should exist a characteristic common in both. For Daylle, this characteristic was empowerment. Based on what I have learned from our interview years ago, the self-love she talks about closely relates to how she empowers those around her to feel more confident in who they are, braver in verbalizing their needs, and more accepting of what they need to fix within their lives. Reflecting on what I learned from her family and friends, Daylle advocated self-love and empowerment to everybody, like a need everybody required whether they admitted it or not.

In honor of the celebration of Daylle’s life, I republish my easy-to-read question and answer interview with a rapper who broke stereotypes to make her fantasies real, showed the world nice girls can finish first, and spread the word of self-love. I also republish this article as a “Thank You” to Daylle’s family and friends for having me at her remembrance. To my readers, let this article be a reminder of how far the industry has come in including ethnic diversity among genres like hip-hop, and how much attention gender inequality still requires.

——

(First published July 19, 2013)

Prior to becoming the founder of the Self-Love Movement™ and the author of How Do I Love Me? Let Me Count the Ways, Daylle Deanna Schwartz, first left her mark on the 1980’s music scene in New York City as the first white-female rapper. Shortly after, she would become one of the first women to start her own record label.

When I listened to Daylle’s song, “Girls Can Do” I initially thought, “how charming.” Then I listened with my Music Historian ears, and heard a song that encouraged women to value self-respect and break the feminine stereotypes that lingered in both society and the music industry during the 1980’s. That stereotype being that a woman could not achieve everything she desired without compromising her emotional self, femininity or well-being, especially when it involved music or any profession.

As I personally reflect on my own professional experiences from the past few years, many women today continue to think they need to change themselves in order to get ahead in their careers. I also feel that many women still live with the illusion that personal and professional success is measured only by material; a belief that causes them to disregard genuine happiness.

As Daylle furthered her experience in the music business, she started to carve room for another passion – writing about self-empowerment for musicians and women. Today, she advises clients on how to manage their own music careers and focuses on growing the Self-Love Movement™.

In my first Q&A segment on Music Historian, I talk to Daylle to find out what she learned about being a woman in the music business, the advice she has for other female professionals, and why her 31 Days of Self-Love Commitment matters.

Music Historian: Tell me about your career as a rapper.

Daylle: During the late 1980’s, I was a teacher, and I remember feeling so bored and creatively stuck. In those times, my students were doing the human beat box in class. I would feel the beat and start to write my own raps. Article about Daylle by Newsday from the 1980's

My students were always rapping in school, and one day they dared me to rap. They would say “you cannot rap because you are a white lady,” but I told them I could rap as well as anybody out there.

In those days, there were no white rappers. This was before 3rd Bass and Vanilla Ice, and the only female rappers before Salt-N-Pepa were Sparky Dee, emcee The Real Roxanne and Roxanne Shante.

Then they [my students] told me I couldn’t rap because I was too old.

How old were you?

I was in my 20’s.

That’s not old by today’s standards.

Yeah, but I was also a teacher. The students would say “we don’t know how old you are, but you must be too old [to be a rapper] because you are a teacher.”

That’s how they assessed me as too old. Although I was in my early twenties, I was perceived as a grown-up. Most rappers typically start when they are teenagers. While they are in school, they build a fan base, then receive a record deal and obtain fame during adulthood.

I wanted to rap to prove a point. I wanted to show my students not to let stereotypes stop them. I didn’t want kids to grow up believing their sex or skin color could stop them.

Eventually, I would go into the streets and rap. At the time, Davy DMX lived in the neighborhood and heard about this “a crazy white teacher rapping.” He sent someone to recruit me, and as soon as I was introduced to him we started working together.

I met Kurtis Blow and a few other rappers. I soon recorded my first record with Davy, “Girls Can Do.” At that time, Kurtis also invited me to come along on his European tour.

In the U.S., mostly Black Americans listened to hip-hop, and it took some time for this music to cross over to different nationalities. Europe had a very different scene. Most of the audience members at the shows Kurtis played on the tour were white kids.

While I was in the UK, I made some contacts, a few great ones and kept in touch with them afterwards. I met a guy who wanted to manage me when I was sure I was going to [professionally] rap. He was the manager for a rock band that was popular in the late 80’s and early 90’s, Fine Young Cannibals.

My manager helped me get onto a few radio shows in the UK and helped me gain a lot of publicity. Unfortunately, though, I couldn’t get signed.

You had all of these fabulous publicity opportunities but still could not get a deal?

Yes, my manager in England eventually said “I give up. They just don’t want a white woman rapper.”

When I returned to the U.S. and to teaching, my students would tell me “You have to shop a deal here.” So I started paying people to shop a deal for me, but they took my money and did not do anything.

Is that when you decided to do Revenge Productions?

My students followed the story, and they would say “You have to get your revenge on them; they’re ripping you off…” That’s when I started Revenge Productions and then Revenge Records.

Revenge Productions and Revenge Records did quite well. I released “Girls Can Do” under this label, and DJs picked up on it, and the song sold, and I got distribution for my label.

Getting ripped off and losing money eventually taught me that I was doing the business all wrong. Then I started doing it right.

Part of my “revenge” stemmed from the fact that people tried to take advantage of me. I also had a mentor that was a very powerful man. He had told my father he would take good care of me. After that though, he tried to rape me. That made me more determined to succeed on my own without having to give up my body.

[The music industry] was very misogynistic then. Every woman that went to a music conference wore a skirt up to the top of her thighs and a blouse buttoned down to her navel. Many women were using their bodies to get ahead.

Although I am not sure whether I was the “first” woman to start her own label, in those days, I never met another woman that started her own record company. I knew women that created labels with their husbands like Monica Lynch who was married to Tommy Silverman and she started Tommy Boy Records with him. I did it all by myself, and that was another reason I had difficulty being taken seriously as a business woman.

Daylle Deanna Schwartz's novel, "Nice Girls Can Finish First" Since being nice did not get me anywhere I started to be aggressive and tough. People did not like me, and I did not like myself either. I had to learn to manage myself in a way where men could take me seriously without having to act like a perennial bitch. In fact, many of my lessons in my book Nice Girls Can Finish First come from my experience learning to carry myself in a way in which people would like me and also know that I meant business.

Many young professionals today continue to struggle with finding a position that will make them feel empowered. Sometimes they think that in order to obtain that appropriate role, they have to change. What do you say to this?

I focus on this a lot in my writing. Women often feel like they have to play on a man’s level and usually that does not work. Men don’t like women that act like men. While several men might easily be excused for behaving abrasively and aggressively, yelling and screaming, and using inappropriate language; a woman that behaves in this manner is not accepted. A woman has to walk that fine line between asserting herself and making sure people still like her.

Women also have trouble separating doing favors for people and charging money for their services. A young professional, for example, may know how to build a website, but everybody wants to have one created for free. Many women struggle with saying “this is my livelihood and I get paid for it.” I see this happen all the time.

In my personal experiences, I hear from individuals trying to break into the music industry or write a book, and they will approach me and ask me to read their manuscript. I will say “all right, here is my fee…”

Women must always remember their needs to understand there is a personal and business side of themselves.

In addition, many young women who cannot obtain that one position that will empower them actually start their own opportunities. However, even the most entrepreneurial individual might be afraid of not making enough money, being creatively restricted or coming to a dead end job. What do you say about these fears?

If you face your fears, they go away. It is a matter of passion, drive and desire. You have to want it [that position, job, record deal, raise, etc.] bad enough to face your fears.

In my book I Don’t Need a Record Deal, I ask many people “Do you truly want to do music or do you want to be a rock star?”

Sometimes you cannot always do what you want, especially in the beginning. I will advise musicians “play a couple of weddings and Bar Mitzvahs because it’s really good money.” I received responses like “I don’t want to play covers” and I [rhetorically] ask “isn’t that better than waiting tables?” RecordDeal

Musicians can still do music and make some money, and most importantly, they can make contacts along the way. Doing this also gives them the freedom to make original music when they are not working.

Whether it involves singing back-up at someone’s gigs, going on tour, being a music teacher, or playing on someone else’s tour, musicians have many opportunities to earn money. They might not be making their own music, but they are still getting paid to do music, practice, sing or play, and they have the chance to meet people.

This also applies to people searching for any careers. Some company presidents start in the mailroom of that company. For them, that’s where they learn about the business, and that’s where it all begins.

Many of the musicians I interview on Music Historian have second jobs to support themselves; whether it is teaching, singing at weddings, or a second profession.

Music has always received a reputation as a tough career choice. But now that I think about it, there is something difficult about every career path.

Absolutely, you have to earn a living. I never tell anybody not to earn a living. You must willingly give up certain things in order to enjoy the things you love, and you have to make time for what you actually want to do.

If you want to tour, you have to give up your free time to do that on the weekends, even if you have a day job. You might dedicate your vacation to touring instead of simply enjoying yourself.

Since writing is my passion, I make time to write. Every time I travel, I take my laptop along. I schlep it everywhere I go. On vacation, whether I am at the beach or in the mountains, I take that time to write peacefully. There is nothing else I want to do except off-shoots of my writing, like speaking.

Since we are on the subject of your writing, tell me a little more about the 31 Days of Self-Love Commitment on your site HowDoILoveMe.com.

Book Title: "How Do I Love Me? Let Me Count The Way", a book that Daylle is giving away I founded The Self-Love Movement™. I grew up a doormat and felt immensely unhappy and disempowered. I hated myself growing up [for several reasons]. I didn’t think I was good enough because I was not slim.

When I was in middle school, and elementary school, every student had to be weighed in gym class. That to me was traumatic because the teachers would call out everybody’s weight. Since I am big-boned, my weight sounded gigantic to everyone else. Everyone teased and laughed at me the moment they heard my weight.

That started it, I just felt so big and fat, and this made me set limits for myself. I never talked to the cute guys because I didn’t think I was worthy enough.

I never honestly liked myself for years. Then in my adulthood, I started building good self-esteem by doing music and being successful. I began to be kinder to myself, and that motivated me to take care of myself.

I built self-love through showing myself kindness, and doing nice things for me that made me feel good. This included exercise or doing something I have always wanted to do. By saying “no” to someone, you are saying “yes” to yourself. As a result, I created the 31 Days of Self-Love Commitment, a pledge to do something kind for yourself for 31 day.

I launched The Self-Love Movement™ in the Fall of 2012 and have given away almost 10,000 copies of my book, How Do I Love Me? Let Me Count the Ways, so far.

Do you hope to take on any additional projects in the future?

My eventual goal is to get The Self-Love Movement™ program into colleges. I have many Self-Love ambassadors. Now I’m looking to recruit young self-love ambassadors that are involved in sororities and student unions at their schools. I believe they can encourage other students and their colleagues to sign the 31 days of Self-Love Commitment.

These young self-love ambassadors will go to a representative stationed next to a computer, and they will sign their name digitally. Afterward, they will receive a pass code within an email. They can then go onto the website, HowDoILoveMe.com and enter this code to download a free copy of the book.

I feel that self-love can really help the many students experiencing depression, eating disorders, or thoughts of suicide.

I am also working on the plans for a video that will spread the word about the movement. I plan to use Hoobastank’s song “The Reason.” At the moment in the video when the following chorus is sung I found a reason for me/ to change who I used to be/ a reason to start over new/ and the reason is you, the actors in the video pick up mirrors and see themselves. I’m working on getting sponsorship, and I am really excited about finding someone that will make the video for me.

Based on your research, why do you think people have a difficult time loving themselves?

Oprah Winfrey and Daylle Deanna SchwartzWe don’t learn to put ourselves first or to feel worthy. A majority of this stems from childhood. They receive a lot of criticism when they are young and don’t feel accepted. They might not feel good enough, or they might not get what they want because their parents withheld what they desired.

Dysfunctional childhoods come in many forms, and children usually grow up not loving themselves. In my case, body image issues played a role. And many women experience this issue.

I have women in my workshops often saying they need to lose weight even though they are slender. I’m just astounded. I see women that constantly exercise at the gym or resort to eating disorders to stay thin.

I actually interviewed a model for my book, and she expressed to me, “If you want to know how lousy you could feel about yourself, try being a model and then having your picture airbrushed because your body is not good enough.” You can be slender and think you look really good. Then, they [the editors] air brush you. [Often] we compare ourselves to images that are not even real.

Many women feel happiness is based on having a lot, whether it is money, food, many beautiful physical features, a ton of things…

It’s a band aid. Feeling the need to make a lot of money, overeat, or overspend is a band aid. They look to soothe themselves with food, or overspend on retail therapy. And the same applies for guys too.

I knew this one man years ago who would work from 8 in the morning until 8 in the evening. One day, he came to my office very late because he was busy all day completing jobs for other people. While he was working on my computer, he was constantly answering his phone and making appointments for later in the evening.

I asked him “is this your every day?” and he said “yes. I just run from one place to another.” I asked “why?” He made decent money, and he was exhausting himself.

Then, he opened his bag and inside he owned every tech toy. “I need to have the latest smart phone, laptop, iPad, I need to have it…” he explained. Again, I asked “why?” He just looked at me and said “because I have to.”

I thought to myself, “You are one unhappy guy.”

Finally, how do you define success?

If you are happy with what you are doing, that’s success. It also means doing something meaningful and satisfying for you.

Personally, I think I will feel successful getting the word out and the message across further about The Self-Love Movement™. Having a happy life is success.