Wonderful classical sound to the vocals on this song. The flowing & very fast and artistic shots lend a feminine & masculine vibe. Wonderful close up of her make-up shot. Sounds like the lyric, partially audible is actually a long poem set to melody. Met this band at MySpace & am trying to sign a couple of their songs into our music catalog. They are Factory Of Dreams.
Composers and lyricists make pitch to join TeamstersSeeing demand for movie and TV music growing and take-home pay shrinking, about half of a group of 400 sign up to band together with an unlikely ally.
 Alan Elliott, from left, James DiPasquale and Bruce Broughton, shown in Broughton’s home studio, are among those working to organize TV and film composers and lyricists. (Lawrence K. Ho / Los Angeles Times / November 10, 2009) |
David Carbonara has a gig many of his peers would covet: He writes music for the critically acclaimed AMC show “Mad Men.”
A former jazz trombonist, Carbonara loves his job and is grateful for the work. Yet even after he labors on 13 episodes for a full year, he says he won’t earn enough to support his family. A one-hour basic cable TV show like “Mad Men” pays $7,000 to $13,000 an episode, but at least half of that goes toward hiring musicians, paying for studio time, copying music and other costs that composers like Carbonara increasingly absorb as studios look to lower their expenses.
“You have to work 26 shows in a year to earn a living,” said Carbonara, a graduate of the Berklee College of Music in Boston who recently began work on an ABC drama without any idea as to when, or how much, he would be paid. “People don’t understand what we go through.”
Unlike most other workers in Hollywood, Carbonara can’t complain to a union about his pay rate or working conditions. That’s because he doesn’t have one.
In a heavily unionized industry, composers and lyricists are an anomaly in Hollywood. Along with production assistants, theirs are among the few remaining crafts not covered by a union contract.
Although conductors and orchestra musicians are covered by the American Federation of Musicians, composers and lyricists for television and movies are not represented by the AFM or anyone else. A group of them is determined to change that and is hooking up with an unlikely ally: the Teamsters.
About 400 composers and lyricists met in Burbank this week for an “information meeting” about joining Local 399. Artsy composers and lyricists would seem to have little in common with the brawny Teamsters, better known for representing studio drivers, location managers and, most recently, casting directors.
The tunesmiths had tried to join the Writers Guild of America a few years ago, but the union was then preoccupied with organizing workers in the animation and reality-TV sectors, and it suggested to its writing cousins that they approach the Teamsters, who are regarded as having more bargaining clout than the AFM.
“We are here to take advantage of a once-in-a-generation chance to rebuild our community and to redress the long-term health of our individual selves, our community and the craft of music for television and motion pictures,” Alan Elliott, a veteran composer and one of the key organizers of the union push, told his peers Monday night.
The Society of Composers and Lyricists, a nonprofit trade group that represents 1,200 composers and lyricists in the industry but does not have the authority to negotiate contracts, has not taken a position on the union drive.
Some composers and lyricists acknowledge that the proposed marriage with the Teamsters might appear odd. “We thought of the Teamsters like Jimmy Hoffa and crooked noses,” said James DiPasquale, a former president of the Society of Composers and Lyricists and a longtime TV music composer.
“We’re artists. Why do we want to be with that? We realized this is not your father’s Teamsters anymore.”
Although some at Monday’s meeting questioned the timing of the effort and whether it would succeed, half of those in attendance signed cards to join the Teamsters, the beginning of a process that could take at least a year. Two-thirds of working composers must agree to join the union before the Teamsters will take up their case. If employers dispute the claim, the matter could ultimately go to the National Labor Relations Board.
The board had previously determined, in 1984, that composers were “independent contractors,” blocking efforts to revive the former Composers and Lyricists Guild of America, which negotiated contracts in the 1950s and 1960s but dissolved after a disastrous strike in 1971 and a protracted and costly lawsuit by composers seeking greater control over their music.
“This is not going to be easy, but these people make such an important contribution to the making of motion pictures and television shows, and what are they asking for?” said Steve Dayan, business agent for Teamsters Local 399. “What everyone else gets on the set: health and welfare benefits and some sort of minimum pay standard and some basic working conditions.”
The Alliance of Motion Picture and Television Producers, which negotiates labor contracts on behalf of the Hollywood studios, declined to comment.
Although demand for music has actually grown in the last three decades, since synthesizers and later computer technology have made it much easier to score music, composers and lyricists are taking home less money as a consequence of shrinking music budgets and a change in how they are paid.
The average amount of music in a one-hour prime-time TV show has doubled from 15 to 30 minutes per episode over the last three decades. But the total music budget per episode has been cut by more than 50% to $14,000 from $35,000, Elliott said.
Compounding matters has been the rise of so-called packages that became more pervasive in the 1980s and 1990s, in which studios began to ask composers to cover costs they previously absorbed, dramatically shrinking their take-home pay.
That has made it tougher for composers to earn a living in the business, says Alf Clausen, composer and songwriter for “The Simpsons,” who says the show is one of “the few remaining TV shows that picks up all of my costs and that treats composers with that old-time dignity. . . . I’m more worried about my son and all the young composers out there.”
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The live events at SXSW are amazing. Because of the limited time allotted to most bands (which I think encourages bands to “pull out all the stops”), and the fact that the barrier of entry is pretty high, you’d be hard pressed to find another convention anywhere in the world with as much concentrated talent in one location.
Complementing the live music scene at SXSW are panels held throughout the week at the convention center. From Jim Griffin talking about his Choruss idea, to Ian Rogers moderating a panel on “Making a 360 Deal with Yourself,” the overall theme of the panels I attended this year revolved around the ways that artists and music business companies can identify and optimize alternative revenue models as the music business shifts away from traditional record sales. Music licensing, while nothing new, is a hot topic right now among content owners (songwriters, labels), managers, and artists. Licensing offers the possibility of incredible visibility to artists, and depending on usage, it could also provide a fairly solid revenue stream.
Here is my takeaway from the “Placing Your Music in Film and TV” panel with Jennifer Czeisler (VP Licensing, Sub Pop Records), Marianne Goode (VP Music, Lifetime Networks), Season Kent (Music Supervisor, Relativity Media LLC) Alexandra Patsavas (Owner, Chop Shop Music), Alicen Schneider (VP Music Creative Svcs, NBC Universal TV Music), and Madonna Wade-Reed (Music Supervisor, Whoopsie Daisy):
It’s a Good Time to License Independent Music
The panelists all agreed that it was a fantastic time for independent artists to look for licensing deals, simply because of economics. Producers are more open to indie music, as A) indie music is typically cheaper to license, and B) many producers consider themselves tastemakers, and want to be known for breaking bands. Alicen Schneider spoke about the fact that 75% of the music used by NBC is now independent music.
How Much Can Artists Expect to Get Paid?
There is a wide range in the amount of money artists can expect to get paid from a licensed track, much of which depends on usage. Variables include the length of the use, the thematic placement (is the song in the credits or in the background of a scene?), the budget of the production, if the song is for a one-time use or used as a recurring part of the promo for the production, and more. The more that is requested of the song, the more the song will be worth. It’s important to also note that when a song is used in TV or film, two licenses are needed: a synchronization license from the copyright owner of the music, as well as master recording license from the copyright owner of the sound recording. These are two separate agreements, and typically, artists that control both their master rights as well as their publishing will do “All in” deals that cover both “sides” of the composition. According to Jennifer from SubPop, artists can expect to receive anywhere from $1,500 to $15,000 for the master rights alone for one-time placements.
Dos and Don’t: Rules for Submissions
Similar to traditional press, blog, or radio outreach, there are specific rules that artists should follow when pitching supervisors. Once you find the name of a specific supervisor that you want to target (the Music Business Registry is a good option for finding contact info), your package should follow these guidelines:
1) Although they take Mp3 files in emails, supervisors still primarily work with full art CDs. They prefer their music in proper jewel cases with a spine that lists the artists name and title. Madonna from Whoopsie Daisy (who has worked on “Smallville,” “One Tree Hill,” “Alias,” and “Felicity,” and others) said that she receives upwards of 150 submissions a week, many of which she files away. Artists have to make it as easy as possible for them to file your music, and find it later.
2) If you are burning a CD, be sure you have added all the track info to the individual songs (particularly artist and song names). If a supervisor burns your music into iTunes, you don’t want to be in their library as “Track 2.”
3) Clearance problems are always an issue. Make the publishing and master info as prominent as possible, especially if you control both.
4) Be sure you are targeting the right show. Supervisors hate emails that ask: “What are you looking for?” Know your show’s demo, and send them appropriate music.
5) Do Not Call. Supervisors have no time to spend on the phone. Quick email reminders are appropriate. Successful pitches are those that do not expect anything, and do not put too much pressure on the supervisor. Keeping in front of them is great; stalking them is not.
6) Do not ask them for opinions on your music. Supervisors are not A&R reps. Good music will stand out and get placed at some point.
Use Songpluggers
All supervisors have a trusted stable of songpluggers that they can go to in a pinch. Songpluggers (or independent licensing companies) have relationships with all the supervisors in LA, know what their taste is in music, and can provide cleared music to them, which they can run with immediately. Indie artists should look into building a relationship with licensing companies that have these direct connections with the supervisors. However – do your homework on them. Like any promo area in the industry, there tends to be some false claims and embellishments. Learn more about songpluggers here.
Music Licensing is Insanely Competitive
The labels are keenly aware of the importance of music licensing. Alicen Schneider related a story about Dave Matthews’ label sending Dave himself to play a one-on-one concert for her to showcase some of his new license-friendly music. But the bottom line is that if artists can find fans of their music in the supervisor, (or sometimes even a key actor, as was the situation with Death Cab for Cutie and their placements in the O.C.), indie bands have as much of a chance as a major label artist (if not more, with the smaller budgets) with success in music licensing.
SECTION FOUR: SITES WHERE YOU CAN UPLOAD YOUR BAND’S MP3s OR VIDEOS
Double Stereo
PO Box 4397, Austin, TX 78765
PH: 512-825-9108
Sal Silva III sal@doublestereo.com
www.doublestereo.com
A free digital music platform for bands, and record labels (no sign up or membership fees). Our core business is music promotion, digital music sales and merchandise order fulfillment.
MoFro Music
Dave Creel david@mofromusic.com
www.mofromusic.com
It is a place to share bands, reviews, compositions, mash-ups, re-mixes and anything else music related. Anyone and everyone is encouraged to submit whatever it is they have to share.
Music Forte
931 W. 75th St. #137-261, Naperville, IL 60540
PH: 888-659-2867
Greg Percifield greg@musicforte.com
www.musicforte.com
As a social network, we’re unique in that we cater to only musicians and music enthusiasts. We’ve also taken a very intricate approach in seeing that our network is powered by the musical soul. This means that you’ll discover music and services that are relevant to you in a myriad of ways.
WaTunes.com
info@watunes.com
www.watunes.com
A revolutionary music service that helps independent artists get their music into online music stores like iTunes and eMusic entirely free.
CreateSpace
100 Enterprise Way Ste. A200, Scotts Valley, CA 95066
info@CreateSpace.com
www.createspace.com
Join our Community for help, advice, or to throw ideas around and collaborate with other musicians. Distribute your music on Amazon.com and other sales channels as an audio CD or MP3 download. Set the list price for your audio CDs and choose from a selection of royalty plans for your MP3 downloads. Use our online tools to set up your titles — they’re free! Since copies of your titles are manufactured as customers order, you’ll never worry about inventory and set-up fees.
PRS for Music
http://www.prsformusic.com
Exists to help businesses and community groups get access to some of the world’s best loved music, while making sure that songwriters, composers and publishers are rightfully rewarded. We’re proud to work for the future of one of the UK’s most vibrant creative industries. Let’s help the creators keep on creating.
Passionato
145-157 St. John St., London, EC1V 4PY UK
repertoire@passionato.com
www.passionato.com
300,000 Classical music tracks. More CD quality downloads than any other site.
BANDIZMO.COM
contact@bandizmo.com
www.bandizmo.com
The free music site dedicated to the exposure of unsigned bands and independent artists. Allows songwriters and bands to be found through detailed genre-driven search engines. It’s free to join, free to use and has relationships already built with numerous record companies.
myZOOZbeat.com
feedback@zoozmobile.com
www.myzoozbeat.com
ZOOZbeat is a gesture-based mobile music studio, simple enough for non-musicians and children to immediately become musically expressive, yet rich enough for experienced musicians to push the envelope of mobile music creation. myZOOZbeat.com enables users to save the music they create with ZOOZbeat on the iPhone and iPod Touch as MP3s, and share them using Facebook and Twitter. Users can also listen to songs uploaded by their friends, and to special featured and recent songs from users around the world.
ZOOZbeat Latin
feedback@zoozmobile.com
www.myzoozbeat.com
ZOOZbeat is a gesture-based mobile music studio, simple enough for non-musicians and children to immediately become musically expressive, yet rich enough for experienced musicians to push the envelope of mobile music creation. ZOOZbeat Latin allows the creation of songs with Samba and Tejano rhythms.
Musicload
T-Online-Allee 1, D-64295 Darmstadt, Germany
hotline@musicload.de
www.musicload.de
German MP3 download service.
SongCast
2926 State Rd. #111, Cuyahoga Falls, OH 44223
info@songcastmusic.com
www.songcastmusic.com
One of the World’s largest distributors of independent music. We have deals with iTunes, Rhapsody, Amazon, Emusic and Napster, allowing us to put our artists’ music in front of millions of music buying consumers. With SongCast, you can start selling your own music on these major retail sites right away. We also provide you with customized code to link your MySpace and other websites directly to the stores. Your fans will easily be able to find and purchase your music online. Combined with the power and social phenomenon of sites like MySpace and Facebook, it is no longer necessary to give away your musical freedom to a major record label.
MyMusicSite.com
339 5th Ave. #405, New York, NY 10016
PH: 646-670-6611
Brad Turk bturk@mymusicsite.com
www.mymusicsite.com
An online music community helping independent artist sell, promote and create ringtones with their music.
Music Gorilla
12407 Mopac Expressway N. 100-312, Austin, TX 78758
PH: 512-918-8978 FX: 212-258-6394
Alexia info@musicgorilla.com
www.musicgorilla.com
Exposure to major labels, indie labels, film studios and publishers.
Boost Digital
Level 6 220 Pacific Highway CrowsNest, NSW 2065 Australia
PH: +612-9460-1400 FX: +612-9460-0044
Graeme Logan graeme@boostdigital.com
www.boostindependentmusic.com
MP3 music downloads store for independent & unsigned artists & bands to sell, host, promote & download all MP3 music online. A MP3 store to buy & sell all independent & unsigned music online
JukeBoxAlive
311 Montford Ave. Asheville, NC 28801
PH: 828-232-0016
Will Cumberland cumberland@jukeboxalive.com
jukeboxalive.com
Our Advanced Jukebox Player protects your music from being digitally downloaded, yet allows fans to hear your music online. This creates exciting possibilities for you to present yourself to new audiences without being ripped off.
For More Info: http://www.bigmeteor.com/newsletter/may2009.shtml
Here is an article from Ruth Ratny’s ReelChicago e-newsletter. What gets me is the claim - networks are dead. The Internet is the new media outlet. WOW! And there’s lots of Internet. Lots of people/companies/Indie projects needing songs.
We need a group of go-to songwriters who can create song material quickly. Songwriters/artists with radio quality recording equipment that can lay vocal tracks over backing tracks in hours. If that’s you, shoot us an e-mail and we’ll chat. ~ R
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‘Always accept a beverage when offered’
Laurie Scheer advises on how to ace a pitch session
| Laurie Scheer connects the Heartland to Hollywood |
There will be thousands of visual media outlets in the next few years, said “media goddess” Laurie Scheer, talking to filmmakers eager to learn first-hand from this Hollywood insider in our midst at last Saturday’s IFP conference
With the proliferation of outlets providing so many opportunities to sell content, “you must think beyond the traditional 60- to 90-minute format,” she asserted.
“Networks are dead,” she proclaimed. “You must think online, because that’s where it’s going to be.”
Scheer, who has been teaching at Flashpoint Academy this year, is preaching the gospel of multiplatforms — matching content ideas with multiple outlet opportunities in order to sell your project.
“Know that your content is needed,” she said. “Know that whatever cable show is doing well, say on the Discovery Channel, be assured the producers are looking for companion pieces.”
In order to pitch like a pro, you have to know what’s going on in the ever-changing marketplace, Scheer’s strongest advice is to research.
“It’s all there on the internet. Read the weekend box office grosses, learn who the leaders are, what topics or stories are selling right now,” she urged. “Your idea must resonate with the current culture.” A good place to look for trend is, in all places, the Wall Street Journal.
The reason for all this homework? “So you won’t look like an idiot when you get a chance to pitch.”
And when you are in the producer’s office pitching your idea, “Present yourself as the only one who could be attached to this project. You’re the expert.
“Tell them what your involvement in the production will be. Do you want to sell the idea? Direct, produce? You know what you know, and they know you know what you want.”
Your pitch must be down pat,” she said. “You must speak with authority, anticipate questions about the project and have different versions of your pitch ready.”
In addition, at the session you will need a one page synopsis and a short 3-5-minute trailer on what your show is about.
Scheer then offered a piece of advice you don’t get in books. “When offered a beverage, take it. Then be very specific about how you want it. ‘I’ll take a decaf latte with soy milk,’” as a way to display your confidence.
Scheer’s advice comes from many years in the forefront of cable programming. She was VP/programming for WE Women’s Entertainment, and developed and produced shows for other cable companies.
Scheer is the pitching coach at NATPE’s convention and L.A. TV festival and will speak at the upcoming NAB on multi-platform and digital marketing.
In addition to teaching at high level colleges, she is a mainstay of Media Bistro seminars. You can catch Scheer in action May 6 at a Media Bistro seminar on “How to Write for Online,” at the Theatre Building, 7-10 p.m. See mediabistro.com/courses/cache/instr176.asp. —Ruth L Ratny
Category: Music
From a Bob Lefsetz letter on Soundscan:
Focus on awareness, not sales.
Forget the Pirate Bay trial, forget P2P piracy and cease and desist letters. They are now the sideshow. We’re moving from ownership to streaming. Spotify is king here, but it’s not the only one. There’s MySpace, there’s iMeem and the pay granddaddies, Rhapsody and Napster. Streaming is better than ownership. All of the foregoing are licensed by the major labels and numerous other rights holders. Can these outlets generate enough capital for the rights holders to garner the revenues of yore? Doubtful. iMeem is on the ropes right now. But that’s irrelevant. Bottom line, people are becoming accustomed to being able to access everything whenever they want. The old model of buying individual items will not evaporate overnight, but it will start to fade, just like the CD, which was the last physical vestige of this paradigm.
But, philosophy aside, sales just suck. In eight weeks, Bruce Springsteen has sold 483,803 albums. An absolutely horrible figure. Bruce is fine, he’s got a guaranteed contract. The man who made this deal, Andy Lack? He was neutered and then left the company. Sony is holding the bag, it’s Sony’s problem that they’re upside down on Bruce’s new album. Nothing seems to make a difference, the Super Bowl, all that press, people just don’t want Bruce.
But he can sell a bunch of tickets.
U2 is doing better than Bruce. They’ve got a cume of 693,310. But this last week, their third on the chart, showed another 42% drop, they sold 76,317 albums. Not exactly chicken feed, but there’s no way they get to ten million, there’s no way the label takes everybody out to CUT and orders thousand dollar bottles of wine on this revenue.
Kelly Clarkson is still number one, but she only sold 90,393 albums, after selling 254,671 last week. Her sales are declining. Everybody’s sales are declining. To look to music sales to make your income is to be absolutely horrified. They’re going in the wrong direction.
We can delineate why, but you know, it’s not a secret. You can get the stuff free and you’re not beholden to just a few acts. No one can dominate. It’s every man for himself. Green Day is debuting their new video on MTV. Do labels still make videos? Does MTV still play them? Isn’t that like saying they still make Beanie Babies, or Hula-Hoops? Videos are a passe fad, late twenty first century relics, now it’s about the music once again. And the trappings are not enough to sell the music. Otherwise, Scarlett Johansson’s album wouldn’t have stiffed. Running a record label is bad business, which is why companies want 360 deals. But the label is no longer the dominant player, the focus is now on the act itself. How does the act itself break through?
I’m not saying the act, the musicians themselves, have to do all the work, but they’re no longer slaves on the plantation, they’ve got to take their destinies into their own hands. Rather than look for a fat cat to dump a bunch of money on them, they’ve got to start from the ground up, by themselves, no one’s got that kind of money anymore, you’ve got to start with AWARENESS!
Don’t see it as free music. That’s referencing the old game, where music sales were the main source of revenue. That hasn’t been true in years. Most acts make the lion’s share of their money on the road. How are you going to get people to come to see you?
Sure, radio still has some power, and television too, but they’re waning in influence. You reach fewer and fewer people, many of whom don’t care. And if you’re trying to get them to buy your record to check you out, you obviously don’t surf the Net, because everything is available free, to hear online!
Think about this. You used to have to purchase the record to know what you were getting. Now you can test drive everything first. But why bother to buy after test driving? If the dealer lets you keep the car every day, why bother to own it? That’s what streaming is. Granted, now you can only stream efficiently on the lot, in front of your computer, but that’s going to change, as 3G wireless penetration expands, as 4G makes its debut. You’ll be able to stream your music anywhere. And then the game will change. It’s how are you going to get someone to LISTEN to your music?
After a label sold a CD, it didn’t care if the buyer played it. The label didn’t care if the buyer threw the damn thing away. But in the future, it’s going to matter exactly how many times someone plays your tracks. THAT’S how you’re going to get paid! It’s not about a good come-on, it’s about ultimate delivery!
How can you get someone to spin your tracks so much, so many of them, that they’ll bond with you and not only want to come see you perform, but buy your merch. Online streaming payment is now low, if it grows dramatically, it will be slowly. Piracy will not be the problem, but overall revenues will. So see the game not as getting someone to pony up the bucks for your tracks, but to listen to them!
In this transition period, let everybody stream all of your music, whether it be from a third party site or your own. It’s your only hope of breaking through the clutter. Sure, you can sell your music too. Some people still want to own it, others want a souvenir. But don’t get hung up on recorded music as revenue stream. True revenue comes way down the line, when you’ve established a body of work and a fan base.
Are you getting this? It doesn’t pay to be a one hit wonder. All that money the label spends? It reaches so very few people, only a fraction of whom want to own, and a tiny slice of whom want to see the act live, usually once.
You lamented the decline of artist development at the label? Don’t worry, artist development has come back! It doesn’t pay to jam.
Don’t worry about driving your SoundScan numbers, worry about getting people to listen. It’s not about money, but time. How can you convince someone to burn three or four minutes of their time checking you out. That’s why you’ve got to be really good, because with so many options, both musical and other entertainment varieties, people make decisions very quickly. Good isn’t good enough. Your track has to be GREAT! Otherwise, people will click over to something else, their time is too valuable. Don’t ask for patience, deliver something so appealing that people will be drawn to it, and will tell everybody they know all about it.
And people are looking for great things. And one person can start a conflagration. One unpaid fan will tell everybody how great you are, if you truly are that amazing. They won’t want compensation, they won’t sign up for a street team, they’ll do it because their lives have been enriched.
That’s the game. How can you make the life of the listener better. Not how can you extract dollars from his wallet.
The major labels have been preaching their model, speaking of their woes to an ignorant mainstream media for a decade. All the while, the game was changing, off the radar. The tipping point has been reached. The major labels have lost so much of their power, they’re never going to regain it. It’s about a bond directly between the artist and fan. The fan pays you, not the label, not the bribe-able gatekeeper. Be nice to the fan. Make it easy for him to check you out. Deliver something that will get him through the night. And the day after.
Monday Inspirations—Here are 3 weekly ideas for song lyric, poems, instrumental titles, photos, video, short story or anything they inspire you to create. Use the title if you like & make something!
10. Creepin Decibles
When the volume in your head or outside your head starts getting louder, and louder and louder and pretty soon, you need to turn it off. OFF. Silence. Stop the creepin decibles before they blow my eardrums my mind my future. Then a little lullaby song starts up ever so softly, and you’ve got more creepin decibles.
11. Radical Rampage
Teen angst, pre menstral syndrome, bad boss blues, my baby done me wrong and I’m on a radical rampage song. You can twist it up positive if you like. “I’m finally taking a stand for …. against…. This is me and you better listen up bucko!” I feel a little, radical rampage coming on+++
12. Our Mary Poppins
You can be our Mary Poppins. Float on down and lift our spirits. You can be our Mary Poppins. Teach us how to fly… Do you have a Mary Poppins? I do. She taught me how to dance.
A year ago this month we made a MobiFlick with the team of Christopher R. Coppola’s PAH Fest, at Columbia College in Chicago. The name of our movie is Harry’s Shipwreck and you can view it at www.pahnation.org under Theater - Chicago - MobiFlicks - Harry’s Shipwreck. It was a very exciting project & we split our first scene doing it.
Because of Chris’s energized digi movement, we are now into High Def videotaping of musical events as well as any big or small subject that catches our attention. Digitalized autobiographies so we can look back and say “Remember the day…” 
Thanks Chris, for your willingness to share your love of digitalized videography with the world. You have a kind and generous spirit and it’s an honor to have met you. Thank goodness our paths crossed up on the 8th floor. Salute!!!
