P. Murray Music Blog

The Ballad of the Invisible Children

2012-03-07T11:47:00.003-05:00

What Jason Russell May Have Missed

As I am a musician whose main focus with my social media is the perpetuation of artistic development, I repeat my claim of refraining from posting real-time blogs with extended information concerning my personal political opinions or world views if they do not have direct correlation to my work or the work of my colleagues. However, as it was several musicians who brought this particular story to my attention, so I pass it along to you, with a large dose of objectivity. It is my goal as an artist to make a committed attempt to keep as much bias out of any information I relay to my supporters, but more importantly, I have striven and continue to strive to present at least 2 of the 3 sides to any story. The third, of course, would be the full Truth, and that is a concept reserved for God and the Universe; with this said, here is a brief breakdown of what I've come across about Joseph Kony the Invisible Children's campaign, KONY 2012.

SIDE 1:

The Campaign.

If you were moved by this, then Mr. Russell and his team have done their job. However, I would now like you to read the following passage in its entirety, written [allegedly] by another individual doing work & taking footage of this and similar issues in the region. It was a comment posted thru an Op-Ed Post on wrongingrights.com, a blog dedicated to the objectivity and fact-checking of keynote global and social issues and/or conflicts:

SIDE 2:

The Critics.

Morgan Kline on February 20, 2012 at 2:53 pm said:

I have spent the last 3 years in Uganda, filming individual testimony from civilians about the war. While there is clear evidence that the L.R.A. committed gross human rights violations, the war is far more complicated than child soldiering. After all, Joseph Kony was not the original resistance to Museveni’s rise to power. The UNLA, UPDA, Alice Lakwena and others objected to rape, [torture] and murder committed by the NRM against the Acholi people in northern Uganda.
Invisible Children’s film clip on who the LRA is that they posted on their website is [a misinformed account] of the war in Uganda. While the LRA has clearly resorted to looting and violence against civilian populations, it is clear that Museveni’s objective was never to end the war in the north. When he mandated encampment (only made possible by international aid organizations) he sentenced the Acholi people to years and years of cultural and economic degradation. During the war, Museveni’s own administration issued a report that over 1,000 deaths were taking place in the camps a week. This is far more people than the LRA could abduct. In other words, people were safer in their own homes, subject to rebels than in the camps.
The disservice of IC is this… every time a group of civilians takes up arms as a reaction to political marginalization, occupation or worse, the news is manipulated to make these people out to be apolitical fanatical terrorists. In no way do i agree with violence committed by the LRA or by Museveni’s government and the LRA has been committing atrocities for too long without any purpose now. But the narrative which IC frames the conflict in is so demonizing and fantastical. The LRA was originally supported by the Acholi people. The history of Uganda since colonialism set a political stage which is far more complex than IC acknowledges.
I am hurt ICs evaluation because when we condemn any group to be beyond political reason and not worth negotiating with we are condoning violence. violence by any side is still violence. after all, most armies are just misled civilians armed and pitted against others through the language of fear.
IC is promoting a misunderstanding directly correlated to violence and I hold them responsible for the misinformation they have posted. They tell the story of the war in Uganda with a hostility that leaves no room for real peace.

If several of the names, locations, and facts are causing you to scratch your head, or better yet, go back to the video and see if you missed anything, then Morgan Kline has proved my ultimate point, and you may not have to read what I have to say. But I hope you will.

As I've noted to Morgan Kline via their comment thread, I say now, that I firmly believe no one who has any sort of compassion for our Human Family or respect for basic Human Rights would like to "just make this story go away." In agreeance with Russell, no child should EVER have to be subject to the sort of unconscionable acts put upon them by the LRA. However, we, the so-called "educated" citizens of the so-named "Free World" should also not be so quick to jump on cause bandwagons without first doing complete, comprehensive, and conducive research into the encompassing information of the cause itself. In the same way that the realm of US Politics is comparable to little more than an MTV Celebrity Death Match, due to its unnecessary viciousness and staggering lack of informed voters, so, too, are many of the campaigns led by younger generations to charge after the social ills of the rest of the planet comparable to little else besides a well-fought College debate. We have been conditioned to be ill-equipped to handle the kind of massive full-scale operations it would take to actually deal with the entire scope of problems attached to Joseph Kony's crusade, and, sadly, the tongue-in-cheek quandary begs to be stated:

If the Kony 2012 Viral Media campaign succeeds in both bringing full worldwide awareness to the issue and bringing Joseph Kony to stand trial for his War Crimes against Uganda & neighboring regions, what happens next?

It has been the experience of this young man, having admittedly only seen a 1/4 century of the World's history firsthand, that Euro-American demographics have an egregious case of socio-political amnesia with stories like these, ready to flit to the next righteous cause without making use of one of our most important (and most neglected) tools for permanent social change: FOLLOW-UP.

Would I be surprised, then, if after the hypothetical success of this venture, to hear of post-KONY2012 atrocities occurring in Uganda, as a backlash to Euro-American militaristic involvement in the region, and worse yet, a complete disregard by the citizens of the "Free World" to stop it, simply because there was no viral video or flashy media to drum up support for the cause?

If 'post-war' Iraq & Afghanistan are any indication of how natives tend to respond to the Euro-American occupation and democratization of their countries, then it seems we have a much larger problem on our hands than any instructional Vimeo clip can provide.

I'm not saying that we should do nothing. This is not what I'm saying. What I am saying is that we need to do more in the areas of finding out what exactly is going on before we go around wearing slogan T-shirts, covering civic structures with trendy posters, and wielding our ideas (and artillery) in places where the internal situations run far deeper than many of us would ever care to explore, even with the best intentions in hand.

Consider this analogy: Chipping a treacherous iceberg with a pick-axe may make some headway in breaking it up, and who knows? It may end up doing the job.

I'd prefer to research a way to heat the water and be rid of it completely so I didn't have to worry about it anymore. The key word is research.

Inspirations Old & New

2011-10-31T07:10:00.000-04:00

As you can tell, time & gigs have prohibited me from doing more text blogging. I will try my best to get in more of them when I have a free moment or two.

Many of you have asked which artists & composers provide the most inspiration & help create the basis for my ideas. I figured I'd post the list of the many people who have shaped my sound so you have a better understanding of where I'm coming from and where I'm trying to go. Believe me, there are scores of folks I'm leaving out, but only because I'm pretty sure Blogger has a character limit on their posts *grin* - Enjoy!

Classical (BIG Influence in my life for those who don't know):

Palestrina, Machaut, diLasso, Caccini, Monteverdi, the Bach family, Scarlatti, Handel, Gluck, Haydn, MOZART, Beethoven, Schubert, Schumann, Mendelssohn, Rossini, R. Strauss, J. Strauss, Rossini, Bellini, Tosti, Debussy, Verdi, Brahms, Berlioz, Scriabin, Wagner, Orff, Bartok, Bernstein, Britten, Weil, Copland, Simpson, Nestor

Musical Theatre:

Lerner & Lowe, Rogers & Hammerstein, Rogers & Hart, Lippa, Kander & Ebb, Sondheim, Andrew Loyd Webber, Stephen Schwartz, Jason Robert Brown, William Finn, Adam Guettell

Jazz:

Train, Miles, Monk, Marsalis, Billie Holiday, Ella Fitzgerald

Pop/Rock:

Michael Jackson, Carol King, The Beegee's, Linda Rondstadt, Bette Midler, James Taylor, Judy Garland, Simon & Garfunkel, Jefferson Starship, The Cranberries, Smashing Pumpkins, Bryan Adams, Celine Dion, Chicago, The Beatles, Eric Clapton, U2, Bono, Tina Turner, Janet Jackson, Elton John, Billy Joel, Shakira, Christina Aguilera, Carly Simon, Karen Carpenter

Hip-Hop/Rap:

B.I.G., 2Pac, Eminem, Nas, LL Cool J, Dr. Dre, Snoop Dogg, Bone Thugz n Harmony, Game, Big Pun, The Fugees, Busta Rhymes, Lauryn Hill, Da Brat, The Lox (Individually and as a group), Wu-Tang Clan, Redman Mathod Man, Missy Elliot, Lil' Kim, Foxy Brown, DMX, The Roots, Jay-Z, Kanye West, and and ALL old skool rappers, !TENSE!

R&B/Soul/Gospel:

Michael Jackson, AGAIN! Aretha Franklin, Diana Ross, Etta James, The Emotions, Nat King Cole, Yolanda Adams, Lauryn Hill, Lena Horne, the Clark Sisters, Earth Wind & Fire, Daryl Coley, Shaka Kahn, Richard Smallwood, Brian McKnight, Whitney Houston, SWV, Mariah Carey, Idina Howard, Jodeci, KC & JoJo, Ideal, Oleta Adams, Babyface, Usher, Dru Hill, 112, Boyz II Men, Case (certain work), Faith Evans, R. Kelly (pre-court cases), Blackstreet, Darnell Jones, Aaliyah, Total, Craig David

P. Murray and The Fertile Ground Two-Year Anniversary

2011-10-31T07:00:00.000-04:00

You are invited to the following event:

Fertile Ground (Harlem, NYC): In Good Time

Thursday, November 10, 2011 from 7:30 PM to 11:00 PM (ET)

Dr. Barbara Ann Teer's National Black Theatre
2031 5th Avenue
New York, NY 10035

View Map

For two years, the Fertile Ground: New Music & Art Series has been bringing incredible talent and energy to the stage at The National Black Theatre in Harlem. It has consistently provided artists - both new & seasoned alike - a chance to present material in a space that is warm, inviting, and encouraging. The Fertile Ground House Band has risen to the occasion of providing these artists with quality music & an incomparable aesthetic bed of sound for their work every time they get together to perform. And the consensus continues to be that Fertile Ground is unlike any other variety showcase in all of New York City.

It is with this confidence that, as co-coordinator, P. Murray & PMG proudly invites you to the extended two-year artistic celebration on Thursday, November 10th, on the NBT stage. We will be inviting back some Fertile Ground favorites to reacquaint our audience with their work, and we will welcome new creators & artists to present their talents alongside them. It is going to be a truly incredible evening, and you do not want to miss out. Thank you to everyone who has been supporting the Fertile Ground movement; see you on the 10th!!!

We hope you can make it!

Cheers,
The National Black Theatre's Communication Arts Program

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Lyrics that hit the mind: Shades of Grey - Jaiden

2011-09-03T12:46:00.000-04:00

Singer/songwriter JAIDEN "The Cure" has recently dropped his latest mixtape, "Shades of Grey." The project is really dope, and the title track speaks to some of the very philosophies I cosign. Check out these lyrics (artfully reposted, LOL), and listen to the song as well (at the bottom). Enjoy!

SHADES OF GREY

J. Roston

They probably should've said,

"Thou Shalt Not Kill (Except for
Food
Land
Enemies
and Anybody With Oil)"

Unconditional Love sounds pretty
BUT
- You'll learn -
The only One who loves you without 'em is
GOD above...

Life is never Black or White
Only Shades of Grey...
Never quickly turns to night

Some times to every day
(We're living in Shades of Grey)

Oh yes, we are....

I met her at the afterparty / I said "You ever been wit a girl?" / She said "NAW nigga, I don't get down like that. / But when that PATRON got in her / She said, "well...there was this one time.." / And by the end of the night / We were takin' home somethin' that we both liked...yeah.../

Life is never Black or White
Only Shades of Grey...
Never quickly turns to night

Some times to every day
(We're living in Shades of Grey)

Oh yes, we are....

I s a i d I w o u l d n e v e r s m o k e ; t h a t ' s t i l l I f e l l i n l o v e w i t h t h e s w i s h e r . I ' d p r o b a b l y p u t i t d o w n t h o u g h , i f e v e r y b o d y s t o p p e d f u c k i n ' w i t m e.

I try anything once
(Hell, ya only live once)
I don't never say never

'Cause that's a word you'll be forced to eat...

Life is never Black or White
Only Shades of Grey...
Never quickly turns to night

Some times to every day

&lt;p&gt;&amp;amp;lt;a href="http://jaidenthecure.bandcamp.com/track/shades-of-grey"&amp;amp;gt;Shades Of Grey by Jaiden &amp;amp;amp;quot;The Cure&amp;amp;amp;quot;&amp;amp;lt;/a&amp;amp;gt;&lt;/p&gt;

Do What You Do.

2011-06-05T11:22:00.003-04:00

As the Summer of 2011 approaches, I'm finding that my life is truly on a path to success. I feel this because where I am right now is exactly where I asked to be (i.e. back to work, booking gigs, and working on my music). The specifics of these fulfilled requests are certainly not what I expected, but I reiterate to myself and my readers that God is not interested in putting you where you want to be, only where you need to be. Thus, I am confident that the work I put in this month is going to render some amazing results and new experiences that only get better as the temperature rises in the city. This kind of work-mode I'm in has given me a fresh perspective on the industry, particularly in how those who are involved in the music business tend to comment on it & reflect on its finer points - myself included.

Because I am an avid social network presence and self-promoter, I come across alot of iFodder from folks who work in the business. Such chatter is always important in the progression of music & art. However, what I've seen recently is a kind of cult-like complaint board. Folks are taking to the blogs, micro-blogs, and status message phenomenon to repeatedly express their discontent with what has happened to the state of mainstream music. Mind you, I have no problem admitting my contributions to this pool of anger & resentment, but looking back now, I'm seeing that there is a paper-thin line between such talk going from important to impotent, and I think we as a creative culture are crossing that line with less and less reservation or fear of retribution.

Knowing this to be true, one may wonder if there is a resolution to this newly found epidemic. In my humble opinion, the tongue-in-cheek response seems to fit nicely - on the surface at least: if you don't have something good to say, don't say anything at all. Looking more closely, my conclusions have led me to understand what our predecessors in music knew long before we got upset about the latest Pop trends: if you want something better for yourself or wish to be part of something greater than yourself, stop talking about it and get to work. In other words, shut up and do it.

Like many of our distractive Post Information-Age devices and social forums, simply ranting about what is happening to music via our technology isn't enough. In fact, it's virtually (pun intended) fruitless unless actions are being taken to make up for what so many of us feel is a lack of integrity in the Game. It has been said that real businessmen move in silence. Similarly, real musicians, artists, and creators, often do better and make more headway by letting their work speak for itself. This, of course, does not apply to the necessary promotion & networking that goes into building or maintaining a creative brand, but it directly applies to the frustration and outspoken nature of those who feel that music has somehow died or is dying. Music is an energy; and like the properties of energy, it cannot be destroyed, only passed from one medium to the next. If we keep on treating music like a dying animal, its only response will be to move on to a more appreciative space.

In any case, I would personally rather do less lamenting over the state of things and build more on what my gifts have allowed me to put forth into the world. I would like my work to speak for itself, and seeing as how it already has, I know it will continue to do so as long as I keep working. Will I continue to point out some of the less amicable points about the music industry and be staunchly critical of artistry & brand-building? Of course. But only because I expect nothing less than the same for me from both my Pals and my peers.

Will I revert to my older self, violently jaded and contentious about the business, eager to hate on something that I don't understand artistically, sacrificing time that could be spent on writing a new song or letting new fans know about my work? I pray that those days are over, and I pray that others on a path to the aesthetic will do the same. The time has long since come to leave the bitching at home & go out and do great things with our art. Stand out or sit down.

Later Pals :-)

Lyrical Holy Rebellion? : "Judas" - Lady Gaga

2011-05-03T08:31:00.002-04:00

If I may be so bold (am I ever not?), only someone who has committed intellectual suicide would lambast the iconic Lady Gaga on her most recent record, "Judas," trying to say that she is a heretic or sacrilegious with her lyrical content. One need only look a bit deeper to see the meaning behind the storyline; namely, the age-old, universally human struggle of Good & Evil, and the poignant but undeniable fact that we often times tend to lean towards the dark. She herself has come around to saying that while she is a skeptic Catholic - aren't we all - she is a believer in God, and is merely using the Biblical references as a microcosmic metaphor for the much greater human struggle. See for yourselves...

JUDAS
Music & Lyrics: S. Germanotta

INTRO:

Oh-oh-oh-ohoo
I'm in love with Juda-as, Juda-as

Oh-oh-oh-ohoo
I'm in love with Juda-as, Juda-as

VAMP:

Judas Juda-a-a, Judas Juda-a-a, Judas Juda-a-a, Judas GaGa
Judas Juda-a-a, Judas Juda-a-a, Judas Juda-a-a, Judas GaGa

VERSE:

When he comes to me, I am ready
I'll wash his feet with my hair if he needs
Forgive him when his tongue lies through his brain
Even after three times, he betrays me

I'll bring him down, bring him down, down
A king with no crown, king with no crown

CHORUS:

I'm just a Holy fool, oh baby he's so cruel
But I'm still in love with Judas, baby
I'm just a Holy fool, oh baby he's so cruel
But I'm still in love with Judas, baby

Oh-oh-oh-ohoo
I'm in love with Juda-as, Juda-as

Oh-oh-oh-ohoo
I'm in love with Juda-as, Juda-as

VAMP:

Judas Juda-a-a, Judas Juda-a-a, Judas Juda-a-a, Judas GaGa

VERSE:

I couldn't love a man so purely
Even darkness forgave his crooked way
I've learned love is like a brick, you can
Build a house or sink a dead body

I'll bring him down, bring him down, down
A king with no crown, king with no crown

CHORUS:

I'm just a Holy fool, oh baby he's so cruel
But I'm still in love with Judas, baby
I'm just a Holy fool, oh baby he's so cruel
But I'm still in love with Judas, baby

Oh-oh-oh-ohoo
I'm in love with Juda-as, Juda-as

Oh-oh-oh-ohoo
I'm in love with Juda-as, Juda-as

BREAK:

EW

BRIDGE:

In the most Biblical sense,
I am beyond repentance
Fame hooker, prostitute wench, vomits her mind

But in the cultural sense
I just speak in future tense
Judas kiss me if offensed,
Or wear ear condom next time

I wanna love you,
But something's pulling me away from you
Jesus is my virtue,
Judas is the demon I cling to
I cling to

CHORUS:

I'm just a Holy fool, oh baby he's so cruel
But I'm still in love with Judas, baby
I'm just a Holy fool, oh baby he's so cruel
But I'm still in love with Judas, baby

Oh-oh-oh-ohoo
I'm in love with Juda-as, Juda-as

Oh-oh-oh-ohoo
I'm in love with Juda-as, Juda-as

VAMP:

Judas Juda-a-a, Judas Juda-a-a, Judas Juda-a-a, Judas GAGA

Why I Use the term: "The Black American" - Smokey Robinson

2011-05-03T08:16:00.003-04:00

I recently did a featured write-up about the plight of the Urban Male in the Music Industry. You can read up on in yourself by clicking HERE. During the article, I chose to use the term 'Black American' instead of the colloquial standard 'African-American;' I went on to explain that my reasons for doing so came from a moving poem by Smokey Robinson, one of American music's most prominent and influential performers & artists. Now that I've had a moment to sit & blog, I wanted to make sure I posted the poem here, so that you, too, can understand why I will more than likely refrain from the term 'African-American' evermore. I think Black American is far more fitting. Allow Mr. Robinson to explain why:

--

The Black American Poem

Smokey Robinson

I love being Black. I love being called Black. I love being an American.

I love being a Black American, but as a Black man in this country I think it’s a shame that every few years we get a change of name.

Since those first ships arrived here from Africa that came across the sea there were already Black men in this country who were free.

And as for those that came over here on those terrible boats, they were called niggah and slave and told what to do and how to behave.

And then master started trippin’ and doing his midnight tippin’, down to the slave shacks where he forced he and Great-Great Grandma to be together, and if Great-Great Grandpa protested, he got tarred and feathered.

And at the same time, the Black men in the country who were free, were mating with the tribes like the Apache and the Cherokee.

And as a result of all that, we’re a parade of every shade.

And as in this late day and age, you can be sure, they ain’t too many of us in this country whose bloodline is pure.

But, according to a geological, geographical, genealogy study published in Time Magazine, the Black African people were the first on the scene, so for what it’s worth, the Black African people were the first on earth and through migration, our characteristics started to change, and rearrange, to adapt to whatever climate we migrated to.

And that’s how I became me, and you became you.

So, if we gonna go back, let’s go all the way back, and if Adam was Black and Eve was Black, then that kind of makes it a natural fact that everybody in America is an African American.

Everybody in Europe is an African European; everybody in the Orient is an African Asian and so on and so on, that is, if the origin of man is what we’re gonna go on.

And if one drop of Black blood makes you Black like they say, then everybody’s Black anyway.

So quit trying to change my identity.

I’m already who I was meant to be
I’m a Black American, born and raised.

And brother James Brown wrote a wonderful phrase, “Say it loud, I’m Black and I’m proud! Say it loud, I’m Black and I’m proud!”

Cause I’m proud to be Black and I ain’t never lived in Africa, and ’cause my Great-Great Granddaddy on my Daddy’s side did, don’t mean I want to go back.

Now I have nothing against Africa, it’s where some of the most beautiful places and people in the world are found.

But I’ve been blessed to go a lot of places in this world, and if you ask me where I choose to live, I pick America, hands down.

Now, by and by, we were called Negroes, and after while, that name has vanished.

Anyway, Negro is just how you say ‘black’ in Spanish.

Then, we were called colored, but shit, everybody’s one color or another, and I think it’s a shame that we hold that against each other.

And it seems like we reverted back to a time when being called Black was an insult, even if it was another Black man who said it, a fight would result, cause we’ve been so brainwashed that Black was wrong, So that even the yellow niggahs and black niggahs couldn’t get along.

But then, came the 1960s when we struggled and died to be called equal and Black, and we walked with pride with our heads held high and our shoulders pushed back, and Black was beautiful.

But, I guess that wasn’t good enough, cause now here they come with some other stuff.

Who comes up with this shit anyway?

Was it one, or a group of niggahs sitting around one day?

Feelin’ a little insecure again about being called Black and decided that African American sounded a little more exotic.

Well, I think you were being a little more neurotic.

It’s that same mentality that got “Amos and Andy” put off the air, cause they were embarrassed about the way the character’s spoke.

And as a result of that action, a lot of wonderful Black actors ended up broke.

When we were just laughin’ and have fun about ourselves.

So I say, “fuck you if you can’t take a joke.”

You didn’t see the “Beverly Hillbilly’s” being protested by white folks.

And if you think, that cause you think that being called African American set all Black people’s mind at ease…

Since we affectionately call each other “niggah”, I affectionately say to you, “niggah Please."

How come I didn’t get the chance to vote on who I’d like to be?
Who gave you the right to make that decision for me?

I ain’t under your rule or in your dominion And I am entitled to my own opinion.

Now there are some African Americans here, but they recently moved here from places like Kenya, Ethiopia, Zambia, Zimbabwe, and Zaire.

But, not the brother who’s family has lived in the country for generations, occupying space in all the locations New York, Miami, L.A., Detroit, Chicago… Even if he’s wearing a dashiki and sporting an afro.

And, if you go to Africa in search of your race, you’ll find out quick you’re not an African American, You’re just a Black American in Africa takin’ up space.

Why you keep trying to attach yourself to a continent, where if you got the chance and you went, most people there would even claim you as one of them; as a pure bred daughter or son of them.

Your heritage is right here now, no matter what you call yourself or what you say And a lot of people died to make it that way.

And if you think America is a leader on inequality and suffering and grievin’, how come there so many people comin’ and so few leavin’?

Rather than all this ‘find fault with America’ fuck you promotin’, if you want to change something, use your privilege, get to the polls!
Commence to votin’!

God knows we’ve earned the right to be called American Americans and be free at last.
And rather than you movin’ forward progress, you dwelling in the past.

We’ve struggled too long; we’ve come too far.
Instead of focusing on who we were, let’s be proud of who we are.
We are the only people whose name is always a trend.
When is this shit gonna end?

Look at all the different colors of our skin…

Black is not our color. It’s our core.
It’s what we been livin’ and fightin’ and dyin’ for.

But if you choose to be called African American and that’s your preference, then I‘ll give you that reference.
But I know on this issue I don’t stand alone on my own and if I do, then let me be me.

And I’d appreciate it if when you see me, you’d say, “there goes a man who says it loud I’m Black. I’m Black. I’m a Black American, and I’m proud”.

Cause I love being an American. And I love being Black. I love being called Black.
Yeah, I said it, and I don’t take it back.

Lyrics that hit the bulls-eye: "Perfectly Lonely" - John Mayer

2011-03-18T16:22:00.003-04:00

Leave it to someone like John Mayer to pretty much sum up the extent of my personal life. LOL - read for yourself:

PERFECTLY LONELY

Music & Lyrics: John Mayer

VERSE:

Had a little love but I spread it thin
Falling in her arms and out again
Made a bad name for my game round town
Tore out my heart and shut it down

PRE-CHORUS:

Nothing to do, nowhere to be
A simple little a kind of free
Nothing to do, no one but me
That's is all I need

CHORUS:

I'm perfectly lonely
I'm perfectly lonely
I'm perfectly lonely, yeah
Cause I don't belong to anyone
Nobody belongs to me

VERSE:

I see my friends around from time to time
When their ladies let em slip away
And when they ask me how I'm doing with mine
This is always what I say ...

PRE-CHORUS:

Nothing to do, nowhere to be
A simple little kind of free
Nothing to do, no one to be
Is it really hard to see?

CHORUS:

I'm perfectly lonely
I'm perfectly lonely
I'm perfectly lonely, yeah
Cause I don't belong to anyone
Nobody belongs to me

BRIDGE:

And this is not to say
There never comes a day
I'll take my chances and start again
And when I look behind
On all my younger times
I'll have to thank the wrongs
That led me to a love so strong

[INSTRUMENTAL]

CHORUS:

I'm perfectly lonely
I'm perfectly lonely
I'm perfectly lonely, yeah
Cause I don't belong to anyone
And nobody belongs --

That's the way, that's the way
That's the way that I want it
That's the way, that's the way
That's the way that I want it
That's the way, that's the way
That's the way that I want it
That's the way, that's the way
That's the way that I want it

Lyrics to remember: "Tears In Heaven" - Eric Clapton

2011-03-14T04:25:00.003-04:00

I had the wonderful opportunity of singing this song as part of the Olamide live set at the Bitter End in NYC. The song was written by Eric Clapton to commemorate the untimely death of his young son 20 years ago. With all the tragic events happening in the world, I'm sure you'll agree that songs like this are absolutely needed to help memorialize and heal.

TEARS IN HEAVEN
-E. Clapton, W. Jennings

Would you know my name
If I saw you in heaven
Will it be the same
If I saw you in heaven
I must be strong, and carry on
Cause I know I don't belong
Here in heaven

Would you hold my hand
If I saw you in heaven
Would you help me stand
If I saw you in heaven
I'll find my way, through night and day
Cause I know I just can't stay
Here in heaven

Time can bring you down
Time can bend your knee
Time can break your heart
Have you begging please
Begging please

(instrumental)

Beyond the door
There's peace I'm sure.
And I know there'll be no more...
Tears in heaven

Would you know my name
If I saw you in heaven
Will it be the same
If I saw you in heaven
I must be strong, and carry on
Cause I know I don't belong
Here in heaven

Cause I know I don't belong
Here in heaven

Lyrics Revealed: "Born This Way" - Lady Gaga

2011-01-27T18:29:00.001-05:00

Well, she's done it again. With a few keystrokes and a select group of tweets, Pop megastar Lady Gaga has managed to put the internet & world at large in a flurry with the lyrics to her new single, "Born This Way." Read for yourself.

What do I think? Of course, I f'ing LOVE it.

BORN THIS WAY
WRITTEN BY: LADY GAGA
PRODUCED BY: LADY GAGA, FERNANDO GARIBAY, DJ WHITE SHADOW
MIXED AND ENGINEERED BY: DAVID RUSSEL

INTRO:

It doesn't matter if you love him, or capital H-I-M
Just put your paws up
'cause you were Born This Way, Baby

VERSE:

MY MAMA TOLD ME WHEN I WAS YOUNG
WE ARE ALL BORN SUPERSTARS

SHE ROLLED MY HAIR AND PUT MY LIPSTICK ON
IN THE GLASS OF HER BOUDOIR

"THERE'S NOTHIN WRONG WITH LOVIN WHO YOU ARE"
SHE SAID, "'CAUSE HE MADE YOU PERFECT, BABE"

"SO HOLD YOUR HEAD UP GIRL AND YOU'LL GO FAR,
LISTEN TO ME WHEN I SAY"

CHORUS:

I'M BEAUTIFUL IN MY WAY
'CAUSE GOD MAKES NO MISTAKES
I'M ON THE RIGHT TRACK BABY
I WAS BORN THIS WAY

DON'T HIDE YOURSELF IN REGRET
JUST LOVE YOURSELF AND YOU'RE SET
I'M ON THE RIGHT TRACK BABY
I WAS BORN THIS WAY

POST-CHORUS:

OOO THERE AIN'T NO OTHER WAY
BABY I WAS BORN THIS WAY
BABY I WAS BORN THIS WAY
OOO THERE AIN'T NO OTHER WAY
BABY I WAS BORN-
I'M ON THE RIGHT TRACK BABY
I WAS BORN THIS WAY

DON'T BE A DRAG -JUST BE A QUEEN
DON'T BE A DRAG -JUST BE A QUEEN
DON'T BE A DRAG -JUST BE A QUEEN
DON'T BE!

VERSE:

GIVE YOURSELF PRUDENCE
AND LOVE YOUR FRIENDS
SUBWAY KID, REJOICE YOUR TRUTH

IN THE RELIGION OF THE INSECURE
I MUST BE MYSELF, RESPECT MY YOUTH

A DIFFERENT LOVER IS NOT A SIN
BELIEVE CAPITAL H-I-M (HEY HEY HEY)
I LOVE MY LIFE I LOVE THIS RECORD AND
MI AMORE VOLE FE YAH (LOVE NEEDS FAITH)

REPEAT CHORUS + POST-CHORUS

BRIDGE:

DON'T BE A DRAG, JUST BE A QUEEN
WHETHER YOU'RE BROKE OR EVERGREEN
YOU'RE BLACK, WHITE, BEIGE, CHOLA DESCENT
YOU'RE LEBANESE, YOU'RE ORIENT
WHETHER LIFE'S DISABILITIES
LEFT YOU OUTCAST, BULLIED, OR TEASED
REJOICE AND LOVE YOURSELF TODAY
'CAUSE BABY YOU WERE BORN THIS WAY

NO MATTER GAY, STRAIGHT, OR BI,
LESBIAN, TRANSGENDERED LIFE
I'M ON THE RIGHT TRACK BABY
I WAS BORN TO SURVIVE
NO MATTER BLACK, WHITE OR BEIGE
CHOLA OR ORIENT MADE
I'M ON THE RIGHT TRACK BABY
I WAS BORN TO BE BRAVE

REPEAT CHORUS

OUTRO/REFRAIN:

I WAS BORN THIS WAY HEY!
I WAS BORN THIS WAY HEY!
I'M ON THE RIGHT TRACK BABY
I WAS BORN THIS WAY HEY!

I WAS BORN THIS WAY HEY!
I WAS BORN THIS WAY HEY!
I'M ON THE RIGHT TRACK BABY
I WAS BORN THIS WAY HEY!

Lyrics for the New Year: Changes - B. Slade

2011-01-17T15:40:00.002-05:00

Taken from the new B.Slade album, "Stereotype: collector's edition," this song really coins much of where many of my fellow musicians are right now in regards to the state of the world and our artistic journey. Read and marinate.

I.

People it's time for some changes
People it's time for new faces
I just don't know about we are going
but something inside me say change
and I'm gonna
yes, I'm gonna change
yes, I'm gonna change

ooooh
everyone goes through changes
people and animals changes
changes
trees in winter summer and fall we go and..

people they switch on you
people they leave you with changes
it's so lovely
if you ain't changing you are dead
dead…

II.

People we need to do better
People it ain't getting no better
Mysteries , legends and truth of reality
Transcendental meditation
please go and study, son
hear the Talmud song
research your Torah

ooooh

everyone goes through changes
people and animals changes
it doesn't make sense in the physical realm
In the Universe changes
Dawn of Aquarius changes
Can't you see ?
the planets are aligned for you.

III.

God is a spirit
Don't limit Him
He made the Rainbow
Yes He did

and I'm sticking with Him
I gotta get into creation

I'm sticking with Him
wherever He blows He is the wind
and that's where I'll go
I'm going
I'm packing my bags
A genius
powerful He is
He's in you too
He's within you
God is within all of us
you just gotta search a little bit deeper son
the alpha and the omega

Time doesn't matter to me
because I'm not in time I'm in eternity
changes
Plants and animals changes
anything ain't changing is dead
anything not changing
faith without works is dead, dead, dead….

Follow the Beam

2010-12-20T06:58:00.003-05:00

A few blogs back, I talked about how my love for horror movies tied into my independent music hustle. After watching some YouTube behind-the-scenes documentaries on two of my favorite B-Movie franchises, I came to an even fuller realization that everyone with a passion starts small, goes through stressful times, and needs to put their nose to the grindstone to the point of bleeding in order to see their dreams truly manifest. With the new year fast approaching, I've found that once again my taste for the spooky and sinister is an ordered design, this time in regards to macabre literature. Namely? The work of Stephen King, and his 'Dark Tower' series.

For those of you who've only heard of Stephen King through the movies based on his books, he is actually a brilliant and prolific author whose genre happens to be suspense thrillers and horror stories. What I love about his writing is that while the plots themselves involve some pretty terrifying (and gross) themes, he still skillfully manages to connect our human experience to the terror. It's King's ability to really delve into our thought processes and emotional state via the printed word that makes so many of his books bestsellers and cult classics. Only someone with a gift is able to write a story about a woman's quest to find salvation through her late husband's ability to travel to an alternate dimensional plane while simultaneously overcoming the male antagonist by feeding him to a meat-eating worm-monster in that dimension and make it all sound like 19th century American prose.

Yes, I'll give you a minute to breathe and marinate on that storyline (the title of that work is "Lisey's Story').

But the story that my blog title speaks on is a longer serial novel known as "The Dark Tower." This collection of works is a 20-year project surrounding the fantastical and terrible story of Roland Deschain, a royal cowboy of sorts. Known as The Gunslinger, Roland spends his life (and some several additional lifetimes) searching for a location known as the Dark Tower, which the books explain is the nexus of his world, as well as the center of all possible worlds, dimensions, and galaxies. Along the way, he meets & befriends several remarkable characters from our world who become gunslingers themselves and join him on his quest. Without giving too much away, I will say that while his journey may or may not end with success, there is definitely a twist ending that will leave readers gasping in shock, simply because it's that perfect as well as that painful.

One of the most important aspects of Roland's journey towards the Tower is revealed a few books into the series; that is, in order to properly travel towards the nexus, he must find & traverse along a divine path known as The Path of the Beam. This Beam, created long before the novels' timeline by the deities of King's mythology, is actually a six-fold set of cosmic roadways that cut through all worlds and lead directly towards the Dark Tower. The travelers will know they're on the right path, simply because all energies in their world bend toward the Tower's raw essence; if they stray, the world will appear as normal and it will take them several times as long to reach their destination, if they reach it at all. To add to the suspense, the evil forces set against Roland and his crew have created scores of indentured servants in the form of elevated minds (e.g. telepaths, telekinetics, clairvoyants, etc.) to try & destroy the Beams, which would ultimately lay waste to the balance of the cosmos and make getting to the Tower impossible.

Freaky stuff, right?! And you're still asking how I can bring this all around, I know. I'm getting there.

As 2011 approaches and I look back on the successes of the past year as well as the failures, I'm finally starting to pay attention to the signs that God & The Universe have laid before me. In recent weeks, I've been witness to what can happen when one really spins out positive energy and good music into the Universe - opportunities and people are being put before me without me even trying. My normal grind & networking hustle has definitely been on a bit of a break within the last month or so, and here, all of a sudden, are some amazing prospects for all types of musical advancement. Blessings abound, these surely are, but I'm also seeing now that such awesome events are happening because I'm where I'm supposed to be, leaving my heart & mind open for the ride of a lifetime. My admitting that I'm truly part of a beautiful larger picture has granted me the ability to work on that picture with an infinite number of tools to reach my personal goals. Like Roland & his friends on the Path of The Beam, I truly believe I'm close to walking down my own path, if I'm not on it already, and should I make music or associate myself with individuals not of the same ilk, the results will only be of a B-grade caliber, even with my attention to detail and commitment to artistic excellence.

Now that I can live in this space, I'm almost on the edge of my seat to see what God has in store. It's not even me sounding uber-religious or prophesying the fantastical, it's really just me being thankful and excited about my future, the future of music, and the future of the world. There's no denying that the coming years will be filled with heartbreak, loss, death, disaster, and the dissolution of much of what we've known. But the transitioning of the Ages always brings with it seemingly-cataclysmic events. Our job (my job) is not to try & prevent them; we can't. What we can do, as a human family, is be there for each other when it all goes down, and use our gifts & talents to help each other. I've been blessed to have a gift that is more tangible than some, but I have no doubt that all of us will be shown our abilities very soon.

While you're enjoying your holiday festivities and taking time off, take a look around, and I mean REALLY look & listen. We are coming together in a way that is unprecedented, simply because we are in a deeper state of uncertainly than ever before. I am pledging to use my music to be part of whatever answer to that uncertainty is made known to me, and I know now that by doing this, I will see the great things my desires have spelled out come to pass. This road - my road, your road - will always be about hard work & focus, but like Roland on the Path of The Beam, so long as we stay on it, and do our best to throw & keep the negative forces off of it, we are due to see some phenomenal changes very, very soon.

I wish you all a very Happy Holiday season, and a New Year filled with Music, Light, and LOVE.

All My Best To You & Yours,
Joseph P. Murray

Lyrics written with love: "Promises" - India Arie

2010-12-20T06:39:00.003-05:00

I was listening to this song (along with the entire album) recently. India Arie's ability to tell beautiful stories alongside her own and have them all touch your heart is uncanny and truly a blessing. Also, the lady just sings DOWN!

VERSE

When I think about the turn my life has taken,
I know it's because of You, that I receive so many blessings;
I had a home but no privacy, I didn't know a thing about my legacy,
When I realized You were there for me, I called on Your name and You came,

And you did, just what You said, for that I'll love You forever.
You kept, Your word to me, for that I'll love You forever...

CHORUS

A promise, is a promise in my eyes;
Can't say you're gonna just to compromise.
The very thing that keeps two hearts intertwined;
A promise is a promise you can't deny, there's no way...

VERSE

I think of when there was a young boy, not even two years old,
Blessed with a mother who loved him so, she abandoned her dreams to nourish his own.
It wasn't easy for the two of them, but she knew she had to give him a chance
At a better life, it was only right, so she worked and she prayed,

And she did, just what she say, for that he'll love her forever.
She kept her word to him, for that he'll love her forever...

CHORUS

A promise, is a promise in my eyes;
Can't say you're gonna just to compromise.
The very thing that keeps two hearts intertwined;
A promise is a promise you can't deny, there's no way...

A man's only as good as his word...

VERSE

Her wedding day, and she's thinking 'bout the way he won her affection.
She was so cynical about love 'cause she didn't want to be heart broken (again...).
He looked her in her eye with sincerity, said he only wanted to protect her, so she
Took a chance on him and she's glad she did because he came for real

And he did, just what he said, for that she'll love him forever .
He kept his word to her, for that she'll love him forever...

CHORUS

A promise, is a promise in my eyes;
Can't say you're gonna just to compromise.
The very thing that keeps two hearts intertwined;
A promise is a promise you can't deny, there's no way...

A man's only as good as his word...

First Draft: Second Edition (FINALLY!)

2010-12-04T15:21:00.000-05:00

Well, here it is, the single and the full set of tracks for the 2nd EP in the "First Draft" movmement. There was so much hustle that went into this whole process and there were so many people involved. It's hard to believe that I've come to the end of this chapter in my career, with two bodies of work to show for it. In the last 24 months I have seen blessings come my way that were totally out of my realm of expectation, and it all had to do with having faith & the old cliches of staying true to myself and working hard. Thank you, everyone, from the first fan to the most recent follower, thank you for rocking with me on this journey; believe you me, it's far from over, but I am happy to say that I am turning a page and putting to rest this portion of my artistic endeavors. God bless yall. I love each and every one of you.

Just Another Card

2010-11-10T10:09:00.002-05:00

Today I was browsing the Twitterverse and actually came across a very stimulating twit-debate about race & interracial relationships. The subject was breached by media personality Big Tigger, and naturally it generated a plethora of response. However, the conversation turned into a bit of a firestorm when a young Caucasian female Tweeter from Brooklyn named Rosemarie typed this statement:

"people need to stop with that 'its hard to be black.' Maybe 200 yrs ago it was!! The only thing holding u back is yourself!"

Yeah, she went there.

Now, in her defense, she spent the next hour or so explaining her position behind the statement. Without re-posting the several dozen tweets, Rosemarie stood by the objectionable sentence by pointing out the importance of individual success and universal love. My favorite statement that almost counters the abrasive nature one above was this:

"People who try to hold others back cause of race are small minded and ignorant, but people who choose to be held back are weak."

This was the tweet that really made me stop and think. As I've said, I believe in signs & Divine Providence, and I believe I was meant to see this argument, if only to express my thoughts and how such a topic pertains to my music. Over the past few months, I've made a point of ensuring that the people with whom I work & create are on the same or similar level as me when it comes to determination and focus. Consequently, I've cut out a good deal of collaborative musical ventures, and I'm sure I will be denying myself the opportunity to make great music with great people. Unfortunate as it may be, it's a choice I've made; I can't be around people who don't believe in themselves enough to put in the time & work it takes to pursue artistic greatness (whatever that greatness is for the individual).

The whole race debate that happened this morning ties in directly with my personal realizations, mainly because I am a Colombian living in New York City and the majority of people I work with are talented Black & Latino Americans. Though it is unspoken, there is an undeniable racist undercurrent that exists within the music industry, and that current flows both ways. The obvious prejudice & bigotry that is presented in the business is the treatment and absorption of Urban media personnel or content in the wider spectrum of popular culture. I always use the example of Hip-Hop music, because I have seen first hand how Caucasian Americans consume & often deride what goes on in the Hip-Hop community. Granted, there is a healthy bowlful of foolishness and ignorance that goes on, but even the more serious, aesthetic music & art gets looked at as something unfamiliar or humorous, and is thus reciprocated as such.

Still, the sword cuts both ways. Only recently in the creation of Pop music (I'd say within the past 30 or so years) have we seen a real publicized 'blurring of the lines' when it comes to who is making & performing the music that is presented in mainstream media. We've seen how, at one point, you couldn't get a chart-topping hit without having a top-selling rapper as your feature artist. We've also seen producers and writers go completely outside of what society would expect from them in regards to their artistic collaborations (ex: Danjahandz & Britney Spears, Timbaland & Keith Urban, etc.). While I love the fact this is happening, I despise the fact that there is even a muddle of whispering going on about how these people are "abandoning" what got them to this point by seemingly limiting their work with "their people." That is, to me, nothing more than a textbook case of prejudice.

Knowing all this, plus the underhanded nature of the business in general, a 'minority' music creator like me could be pressured into simply staying within the box of Urban music & culture, for fear of criticism or reproach that often can come from doing "crossover" music. I have been told by close friends that the Urban-themed music I create & perform is where I should stay and "come in through the back door" by doing that type of work. My response to this proposal was to reiterate that I enjoy the full spectrum of Pop Music & Culture and am determined to make my mark wherever I can in that spectrum. To limit myself to a certain sound because a select few know what's best or because that's the 'vibe' I give off (as opposed to developing my own sound over time with hard work & discovery) would be a prime example of the "weak" notions that Rosemarie spoke on earlier today, and I refuse to stereotype anything about my art simply because it "works" for folk.

On a larger level, while I do believe that Black & Latino artists/creators do face a different and arguably more strenuous set of obstacles when trying to establish their careers due to their race, my sympathy for this concession ends there. I have seen numerous Black & Latino individuals in the biz who are either incredibly talented but lack the drive to reach their goals, or have great work ethic but a lacking product. In both these cases, I have often times heard the race card or the struggle card get pulled in the conversation; my view is that those cards are still just that - cards, in a nearly infinite deck of global problems. Reading Rosemarie's tweets have really solidified my beliefs that trying to constantly blame the global powers-that-be for the individual absence of workmanship & grit is a baseless point. From my personal spiritual perspective, I could say to those would object to this belief that God is the only Power that requires reverence & who can be addressed for such matters. However, I'll utilize a more universally agreeable point and remind everyone about the power of the human will.

We as human beings all have problems, issues, struggles, current consequences stemming from ancestral transgressions, socio-economic hardships, and whatever other obstacles that come to your mind. These things exist for every man & woman on the planet, alive or dead. We do so much generalizing and compartmentalizing of problems to try & lessen the pain of such things that we forget about the inherent power that we have to change the very fabric of what may be holding us back from exceeding our goals. Yes, it is important to find solidarity in identifying such horrible evils as racism, but it is equally as crucial to identify & try to find solutions to one's own personal problems instead of throwing up our hands and using a universal scapegoat to cover up our own lack of purpose. I have witnessed and am a living testimony to the concept of strength of will and bending cosmic energy to suit our needs.

And fine, let's put it out there that it's harder for me to get to where I need to go in music because there are people who will take a look at my skin & facial features and instantly have "no" in their mind. Let's own up to the fact that I will walk into meetings with White media execs and they will peg me for an "R&B" artist by default. Let's even go higher up & deeper in and speak on the fact that there is a race war in the media industry that non-'minority' oligarchs are bent on winning. Who in all of creation says that my story has to end there? When does it ever become OK to give in to the desires of such ignorant men? Better yet (and the most troubling point), what would ever possess me to NOT want to fight my way thru these obstructions and PROVE that I have God & free will on my side?

In closing, I think that Rosemarie certainly overstepped her understanding of the Black American struggle with her first tweet on Big Tigger's subject, but her subsequent iDisserations on it deserve kudos. I believe that we really can do/be anything so long as we have faith and patience to accomplish the work it takes to really "do it big." And I do believe that Urban music would see a complete, successful 180-degree shift towards the aesthetic if its creators would handle the making of the music with these things in mind. But of course, I'm only one person with a few songs and a blog or two, it's probably not my place to say, right?

Marinate on that.

Till next time ;-).

Horror Movies gave me hope...yeah.

2010-10-26T17:21:00.003-04:00

With the Halloween season upon us, and a hiatus from my performance and personal songwriting on the horizon (more on that in another blog), I couldn't help but take more than my usual passing glance at the TV to catch some of the great B-rated horror movies and franchises on the various cable channels. I was definitely one of those kids who had a passive-aggressive love of the genre, finding myself enraptured with movies like "Friday, the 13th," and then being unable to leave the TV room for fear of some unknown undead assailant lurking near the bathroom. Needless to say, it only got worse (or better, LOL) as the years wore on; my nightmares did too, but I was able to control them. I think.

I've always had a penchant for all things macabre. The fact that one of my favorite authors is Stephen King should give you a basic idea of where my head is at when it comes to preferred literature on my downtime. With movies, it's the same. Maybe it's my love of music & the imagination that draws me to the scary and fantastical, who can say? Whatever the reason, that fetish reared its head over the past few weeks via movies & Pop culture pseudo-psycho killers. But the reason this blog came about is because of two specific behind-the-scenes documentaries, and their impact on my music.

Me being the nerd that I am, alongside watching the movies being shown, I did a little YouTube research about the origins of two of the biggest horror franchises in American film history; specifically, the stories behind the making of "Friday, the 13th" and "A Nightmare on Elm Street." I love hearing about the nitty-gritty that goes into turning an artistic idea into a tangible product. But I was taken aback at several points of the documentaries. Not only taken aback, but inspired.

Without going into too much detail, what struck me about these first films was the guerilla-style work that went into getting them budgeted, financed, filmed, and distributed. Anyone who knows anything about these horror titans and their movies knows that they are currently owned and handled by New Line Cinema. What lesser-learned filmgoers might not know is that New Line, at its heart, was a low-level fledgling production company that happened upon Wes Craven's script for "Nightmare," and later acquired the "Friday" franchise. There are accounts of Bob Shaye, New Line Cinema's former CEO and the man behind the first "Nightmare," being so stressed about getting money for the movie and then getting it finished, that he bit his nails past their ends to the point of bloodiness.

Likewise, the kind of conditions that the actors and crew went through on the set of "Friday the 13th" were probably some of the poorest and roughest of any set. Betsy Palmer, the brave woman who played disillusioned maternal killer Mrs. Voorhees, took the role simply to help pay for a new car (a Volkswagen Shirako), hoping against hope that the film would fall into B-movie obscurity. Over time, she learned to accept the fan-dubbed title, "Queen of the Slashers." "Friday" was a hodge-podge of over-acting post-teens, fake blood, cheap spring-loaded camping bunks...and yeah, Kevin Bacon. The result? One of the US's hugest and most popular horror films off all time.

The reason why these accounts translated to my work in music boils down to these memories of their conception. I think it's easy for many of us struggling on the "C & D Lists" of the industry to get discouraged, put-off, and blindsided by the images of music celebrity success. On a more visceral level, those of us on the creative side of the fence can become dissuaded to continue our work when we see writers, producers, and personnel flaunting their ease at getting work and subsequent fame in the business. Let's face it, I can't lie about feeling slight twinges of envy when I see folks like Rodney Jerkins tweeting about his back-to-back sessions and chart-topping hits. But now, having watched these horror film documentaries, I've gleaned a little more hope for myself.

Seeing the accounts of these movies and their histories has reminded me that none of us, wherever we are with this passion in music, starts out with super-prodigy-like artistic genius (OK, OK, Mozart & Beethoven are exceptions, LOL). Nor do they start out with astronomical budgets, award-winning music, or a stocked curriculum vitae. We all start small, with an idea, a dream, and a drive. Many of us who write or produce begin with a home setup and work out of it for extended periods of time before we ever see the inside of a professional studio (and at the rate that the pro studios are closing, who knows when that will be for the next wave of creators?). As a college-trained classical vocalist, I didn't receive a full operatic role until the Fall semester of my fourth year, and in most conservatories, major roles are usually only given out to graduate students.

The end of this story, if anything, is to give you, faithful reader and/or musician, the same hope that was passed to me through this journey through the horror idiom. Whatever your dream, whatever your passion, do not feel bad that you're on a lower rung of the ladder of success than someone else. You have my guarantee that that person above was once where you were in some shape or form. If what you do has integrity and you are willing to put in the work, then enjoy these "C & D-List" moments; they will be some of the most treasured experiences in your journey towards your goals. And who knows, maybe you'll be the person featured on the soundtrack for "Freddy vs. Jason part IX!" Hey, one can dream, right?

Happy Birthday John Lennon

2010-10-08T12:58:00.002-04:00

Were the circumstances different, musician & revolutionary thinker John Lennon would've been 70 years old today. The dream of a world at peace is one I won't ever give up. Happy Birthday John.

IMAGINE

Imagine there's no Heaven
It's easy if you try
No hell below us
Above us only sky
Imagine all the people
Living for today

Imagine there's no countries
It isn't hard to do
Nothing to kill or die for
And no religion too
Imagine all the people
Living life in peace

You may say that I'm a dreamer
But I'm not the only one
I hope someday you'll join us
And the world will be as one

Imagine no possessions
I wonder if you can
No need for greed or hunger
A brotherhood of man
Imagine all the people
Sharing all the world

You may say that I'm a dreamer
But I'm not the only one
I hope someday you'll join us
And the world will live as one

An Open Reply to an Open Letter

2010-10-07T13:33:00.005-04:00

Recently, Hip-Hop artist and staple, Nas, sent an open letter to the executives at Def Jam, expressing his disgust and frustration with their lack of attention to his project and his brand.

You'll need to read it to understand my response, so to do that, CLICK HERE :-).

This was the comment I wanted to post, but it was obviously too long. So here goes.

As someone who has been a fan of Nas since my introduction into Hip-Hop Music in '98, I'm sad to see something like this open letter be the last straw for him in 2010. I've said in posts of my own that traditional controversy should end with a press release, and it seems that Nas is at his wit's end, hence this letter. The real question that needs some research is: Why has it come to this point?

I feel that what is taking place is an "Everybody's Fault" situation. On the executive side of the table, we have LA Reid and his band of music business pundits, trying to steer what is the essentially sinking ship that is Def Jam records. Mind you, this ship is sinking in a sea of toxic waters known as the music industry. Having realized all this, the upper brass at the labels and media corporations are doing whatever they can to salvage their profit; the difference here is, unlike non-entrainment companies & the financial sector, they refuse to cut their losses (i.e. cutting down their roster, reeling in miscellaneous spending, etc.) and instead have chosen to eke out whatever money can be had with whomever is working for them & whatever product is up for purchase. Everyone knows that artists on a record label roster are a tax break for the company, and so we have a contractual and financial deadlock, one that the personnel at the labels are unwilling to break, even if it was for the betterment of the industry as a whole.

From the perspective of the artist, Nas is faring no better with his career decisions. What he seemingly fails to realize - or is unwilling to utilize - is that Def Jam or no Def Jam, he himself is still a brand. Nas the Rapper is one of the most prolific and well-known artists to come out of Rap, and has been arguably considered one of the best in the past 15 years of an almost 35-year genre. Instead of bemoaning & griping about the obvious underhanded business practices of the music industry, FIGHT FOR YOUR BRAND. Prince, an artist who is a champion for freedom of musical expression and good business, has shown that one can prove to the labels the power of the artist & what they can achieve outside of the confines of corporate music contracts. As someone who has helped to define Hip-Hop music, Nas needs take similar steps at playing an active, administrative, and effective role in doing the same thing, REGARDLESS of whether the label is in agreement with this role. The effectiveness of internet promotion, viral campaigns, photo campaigns, viral music releases, and artist-to-peer-to-fan marketing has proven to be something that one can not only do for FREE, but can also be exponentially effective at creating an artistic & business success. If all of this is already going on and not working for Nas and his camp, then this dude needs to gather up his crew & come up with a new game plan. Now.

Ultimately, I wish all parties well and hope that some solution can be worked out, but I doubt it. Without knowing the details of his contract, I'm sure Nas is locked into a situation that only a rash legal battle will resolve, should he choose to step away from the Def Jam family. But what everyone needs to realize is that these are the types of results we are going to get if we continue to let a business that is supposed to be about music (a gift, not a right) be consumed by it's own poor business. I most certainly agree that Karma and universal reciprocity will provide the true justice that some of these industry thieves deserve, but that same Karma will not work in your favor until you make a move to call that favor to you.

Just some thoughts.

P. Murray

A Bit of a Rant

2010-10-03T20:47:00.002-04:00

Sorry guys, couldn't help myself with this one! Read from the bottom up. For those on my Facebook page, this one is easier to read. LOL.

Speak On iT!

2010-10-03T13:30:00.004-04:00

I rarely post something non-music on the text blog, but this one stood out. Whoever this was couldn't be more right. My Uncle is a Catholic Priest and would tell you the same thing. Let's stop committing intellectual suicide and listen to our instinct as well as our beliefs.

Everybody knows he's a &^%* monster! (We do?)

2010-09-23T13:21:00.004-04:00

Well, I was trying to bypass it, but here goes my brain again, unable to stop my hands from typing out the thoughts swirling though my head. I'm sure if folks hadn't put me on their black-list yet, this just might make them add my name. Funny thing, I'm just being unbiased and honest about how I view things. Sigh...well, it's been a year since I posted my Facebook status on it, so maybe this time I can be more descriptive and less pissy. Yes folks, I'm talking & doing a blog on Kanye West.

Would you like to not read this? Go ahead and click the X-button, it's all good. I'd rather you retain whatever view you have of me if that view is an honest or warm one. Just saying.

Anywho, for those who didn't know, I AM following Mr. West on Twitter. Like I said when I pressed that 'follow' button, at the very least, I knew it was gonna be entertaining. Let's be honest, many celebs on Twitter are using this for spits-and-giggles. It seems, though, that Yeezy has decided to use his Tweets as a way of giving fans, friends, and foes, a chance to get an idea of what goes through his head on a daily basis. While an admirable action, it gives pause and makes me wonder: why now?

A year ago, I firmly stated that I was officially and professionally through with Kanye West, his music, and anything he may or may not laid his hands on personally or creatively. I was so completely floored by the incident at the MTV Video Music Awards, it was almost impossible NOT to want to renounce his existence in the industry, and at the time, most of mainstream America felt the same way. Thanks to the diplomatic efforts of Beyonce Knowles-Carter and Matthew Knowles, the night was saved by some choice words and a classy display of industry solidarity. Some say the Bey-Taylor moment was a staged event, thanks to publicists behind the scene with a flair for drama.

Let me tell you why I could care less, even if it was staged.

I consider myself, even as a younger professional musician, to have met some pretty awesome milestones already. I am a graduate of a professional music institution. I have attended some of the most prestigious schools of music on the East Coast. I have traveled to Europe to perform. I have sung at Carnegie Hall, the Kennedy Center, the New York State Theater, and the United Nations. I have shared stages with the worlds most celebrated artists & players, been coached by some of this country's most prodigious singers & composers, and had my own works premiered at The Juilliard School in New York City.

As far as my music business experiences go, I can say already in the short time span I've been tackling this beast, I have professional paid placements under my belt. I've had the opportunity to network with some of the dopest writers & producers out there. These people have recognized my talent and their interest becomes more tangible by the day, and it's looking like I will be under the mentorship of a few of them soon. I've released my own music independently with a great response and fans old & new anxious for more. My upcoming work will be via collaborative efforts with award-winning actor & artist, Chester Gregory (Dreamgirls, Nat'l Tour, The Lion King, Hairspray), and Award-winning producer, SteffNasty (prod. of Trey Songz's, "In The Middle"); and this is just naming two.

Am I saying these things to big myself up? Absolutely positively NOT. I consider all of these accomplishments to be blessings from God. I thank God everyday that He has allowed me to experience these things, because He didn't have to let them happen and still did. My point of saying all of this is that alongside Divine Providence, the most important factors behind getting to these milestones were PATIENCE, HARD WORK, SKILL and PROFESSIONALISM. These are things I've had to learn by experience, but those were lessons I thankfully only had to learn a few times over. Once I got it, believe me, I got it.

Musically, when stripped to the bare essentials, much of what Kanye has done has either been done before in some purer form, or was a simple concept of putting two concepts together. Let's face it, chocolate and peanut butter was a pretty freaking good idea, and no one had thought to capitalize on it for years. The Kanye West brand of old-school looping seemed fresh at the time because it had been awhile since someone had come along and so blatantly pulled samples from famous songs out of the past and rapped over them the way he did. As he progressed, it's clear that he wanted to break out of this brand and be respected as an artist, but even then his sensationalism and obstinacy is what carried the work. While beginning as a more conscious-themed rapper, West has tried to reinvent his sound and style, leaning towards more retro-electro influenced music, and this still does not escape the fact that these are all sounds or ideas that have existed for time out of mind (and are most likely being done better by more talented, less publicized artists). He is, like the chocolate-P.B. idea, simply capitalizing on an area of the market that had not been touched by the likes of him. Does that make him a trailblazer? I would say that it makes him a smart business man with talent. Do I put him in league with Urban/Popular Music creative greats like Stevie, Dilla, Quincy, Jimmy & Terry, or DeVante?

Absolutely not. Sorry. I just don't see it.

I have no doubt that ultimately, Kanye West will go down in history as one of the most prolific and profound artists in Urban Pop music culture to have come along in the last 25 years or so. When that day comes, while I may not stand up about it, you can be rest assured that I will not be among those co-signing that title. Why, you ask? Because while I concede to the fact that Mr. West is clearly a talented individual, for me, his unprofessional & admittedly mentally unstable nature has always and will always precede any of his work. This is not even a personal opinion; it is media-documented fact.

Kanye has chosen the life of the controversial artist. He feels that in order to be heard, he has to shout, stomp his feet, whine, complain, insult dignitaries, break people's equipment, and interrupt speeches to make his own. Truthfully, with the sorry state in which this business finds itself, I can see why he would want to do that. It seems that unless you throw a Ming vase against a wall and YouTube yourself vomiting all over it while being whipped with a riding crop & playing your Auto-Tuned version of "Happy Birthday," getting attention as an artist is a truly difficult thing to do. However, regardless of this type of climate, IT DOES NOT AND WILL NOT JUSTIFY UNPROFESSIONAL BEHAVIOR. EVER.

It can be agreed that once an artist goes fully public, he unconsciously signs an invisible contract which hands over his privacy, lifestyle choices, and family affairs to that public. Like Connie Nielsen's character's famous line from 'Gladiator,' "Rome is the Mob," the US public wants your life in exchange for your taking their attention away from their life to listen or watch your music. I may be old-school at heart, but I feel once this is the case, you have an obligation to yourself, your family, and your fans to at least TRY to carry yourself in a manner that doesn't completely make you look like a total douche. And there is but so much distortion the media can do to a career faux-pas without there being some grain of undeniable truth. And the truth is, Kanye has more issues as a human being than he has hits on Billboard. Which would be fine if he had found some way to deal with them personally and not constantly jeopardize the careers & livelihood of people around him or the demographics he represents (i.e. the Black American male artist/creator).

Business and industry-wise, there are many who have argued my point and said that Ye is simply saying or doing the things that we don't want to because we're too scared or P.C. Has it ever occurred to those people (some of my friends included) that there's a really, REALLY good reason those things haven't been said or done? Believe you me, I'm no stranger to being outspoken on important issues, musical or otherwise, but there comes a time with those issues where you have to shut up and do one of two things: 1.) Actually DO something about whatever it is your complaining about, or 2.) DON'T.

Either way, silence and actions can be extremely effective when properly planned. I am sure that Kanye, through his music & ministrations, has broken down color & artistic barriers that were in place. The question to ask is: was the hoopla and media-storm really worth it - correction: is the hoopla and media-storm that HE created worth it? Even noteworthy & praised activists like MLK had lawyers behind the scenes who were just as important for the civil rights movement, simply because they did their job, and did it well.

We all know that the music business is a business of politics. What people like Kanye tend to forget is that in a well-played game of politics, there never has to be any "controversy" or "scandal," because the parties in question have hashed & screamed out all their differences privately, settled matters over a bargaining table, and moved on from the issue. It used to be that 'going to the press' about a controversial story was the last stop on the Fighting-For-A-Cause train, regardless of whether or not the media got on board early. Now, it seems, the Kanye's of the world are the only people allowed on that train, yelling and crying all the way to the yard & not getting off until someone takes their luggage.

Can we blame him? Yes and no. But we can't make excuses for him either. While a true artist's goal may be to give a piece of his/her life to those who would listen in the form of the art, it does not overturn his/her actions in the world he/she lives in. They are one, and yet exist as separate and equally accountable entities. I will continue to play Kanye West songs in my iPod. Hell, I'll cop a single off of iTunes if I think it's worth the $1.29. And I can never stand from a point of judgement of anyone; we're all human and make mistakes constantly, I have sinned just as much as any Kanye West has ever sinned - this is not about condemning who he is. But I cannot in my professional & personal conscience fully cosign a man who hasn't learned how to control himself when the time calls for it, especially when the talent he has been given is a gift.

Great Lyrics: "Firework" - Katy Perry

2010-09-21T15:52:00.005-04:00

FIREWORK
(Album: Teenage Dream)
Music & Lyrics: Tor Erik Hermansen, Mikkel Eriksen, Katy Perry, Sandy Wilhelm & Ester Dean

[I really enjoy these lyrics because along with the song, it shows that Pop music can have an uplifting message and still be mainstream friendly. The entire album is really one of the year's best when it comes to Pop/Rock, and Katy should be commended for an excellent studio project. Follow her on Twitter @KatyPerry. ]

VERSE:

Do you ever feel like a plastic bag
Drifting throught the wind
Wanting to start again

Do you ever feel, feel so paper thin
Like a house of cards
One blow from caving in

Do you ever feel already buried deep
Six feet under scream
But no one seems to hear a thing

Do you know that tehre's still a chance for you
Cause there's a spark in you

You just gotta ignite the light
And let it shine
Just own the night
Like the Fourth of July

CHORUS:

Cause baby you're a firework
Come on show 'em what your worth
Make 'em go "Oh, oh, oh!"
As you shoot across the sky-y-y

Baby you're a firework
Come on let your colors burst
Make 'em go "Oh, oh, oh!"
You're gunna leave 'em fallin' down-own-own

VERSE:

You don't have to feel like a waste of space
You're original, cannot be replaced
If you only knew what the future holds
After a hurricane comes a rainbow

Maybe you're reason why all the doors are closed
So you can open one that leads you to the perfect road
Like a lightning bolt, your heart will blow
And when it's time, you'll know

You just gotta ignite the light
And let it shine
Just own the night
Like the Fourth of July

CHORUS:

Cause baby you're a firework
Come on show 'em what your worth
Make 'em go "Oh, oh, oh!"
As you shoot across the sky-y-y

Baby you're a firework
Come on slet your colors burst
Make 'em go "Oh, oh, oh!"
You're gunna leave 'em fallin' down-own-own

BRIDGE:

Boom, boom, boom
Even brighter than the moon, moon, moon
It's always been inside of you, you, you
And now it's time to let it through

CHORUS:

Cause baby you're a firework
Come on show 'em what your worth
Make 'em go "Oh, oh, oh!"
As you shoot across the sky-y-y

Baby you're a firework
Come on slet your colors burst
Make 'em go "Oh, oh, oh!"
You're gunna leave 'em goin "Oh, oh, oh!"

END:

Boom, boom, boom
Even brighter than the moon, moon, moon
Boom, boom, boom
Even brighter than the moon, moon, moon

Up All Night w/no foresight

2010-09-19T21:10:00.002-04:00

Today was a day about the things that matter for me: music, family, and love. I went to go see my Uncle, who is recovering from a recent fall in a New Jersey physical rehab center. He has lost the ability to move his legs and will most likely remain in a wheelchair for the rest of his life. Keep in mind that he is a Catholic Priest who is one of the country's foremost scholars on Christology and the Liturgy according to the Holy See. He has been an inspiring figure for myself and many of my family, as well as presided over countless weddings, baptisms, confirmations, Communions, and funerals for my family & friends. It's going to be a long road of healing for him, but I was glad to be with him and lift his spirits.

On the way home, I listened to some of my favorite music and held good conversation with my father & sister, not to mention baby-talk and smiley-faces with my little niece. I'm realizing now more than ever that in consonance with my art & its creation, this is what life is really about. These are reasons why I can't submit myself to the will of Corporate Music. Not in the way it would have some of us submit. There's too much love & good songs at stake to make choices based on exponential financial profit. There's too many amazing things to be had from the gifts God has given me to pervert or distort them for a 6-figure check.

Does this mean I'm abandoning the music business? Well, I know the haters would love that; sadly, haters, no, I'm not giving it up - I'm simply doing good business with good music and good people. On my own terms. If I can't do it that way & see success the way I want to see it, then there is nothing left for me in this industry, and I will most certainly move on.

When I returned home this evening, I was hit with several pieces of media pertaining to 1.) the coming changing of the Universal guard (i.e. the shifting of the Ages which is happening in our World), and 2.) how MONEY, in all it's corrosive and deadly power, has driven us so very far away from what's really important in our lives: Love. While so many of us who claim religion or some form of divine worship would whole-heartedly deny that we have made the pursuit of wealth a demi-god (at the very least), the truth is even though it may not be entirely our fault, it is what it is. While brooding over these thoughts, I couldn't help but be smacked in the brain with a line from Drake's song, "Up All Night." The line was thus:

"Niggas with no money act like money isn't everything..."

When re-read and absorbed, Aubrey "Drake" Graham couldn't be more right. When you aren't focusing precious energy on the "Hustle," you can come to realize how insignificant it really is. My father used to always say, "It's just paper;" somewhere down the line I took that to heart, and in more recent years this creed has manifested itself fully in my gut. With continued research on the history of paper money, I now understand how true it really is. I guess at this point I have to point out that while artistically nuts (wink), I'm not crazy. I promise you I'm fully sane & in control of my faculties. But with the Drake song and the other things I watched & read today, I saw how Drake's verse in "Up All Night" plays into my own personal revelations, if only adversely so. Here's the full verse, with numbered bullets:

Kush rolled, glass full, I prefer the better things
Niggas with no money act like money isn't everything
I'm having a good time, they just trying to ruin it
Shout out to the fact that I'm the yougest nigga doing it
Cap on, brim bent, Denzel, everytime
She ain't trying to pop that shit for pimp okay well never mind,
I I I tried to told you, Drizzy still ain't nothing nice
Bracelet saying you should quit, cars saying fuck ya life
Okay now we outta here
Toodles to you bitches
And if you dolled up
I got the voodoo for you bitches
I'm busy getting rich, I don't want trouble
I made enough for two niggas boy stunt double
Famous like a drug that I've taken too much
I never ever trip
Just peace happiness and love
I got money in these jeans, so they fit me kinda snug
Plus the game is in my pocket, nigga this is what I does

The numbers are there to help me break this down in a simple & clean way. And I'm not pointing Drake out, which is why I've used all of us as an example. Follow me on this one:

The better things won't ever be found in weed or alcohol. With weed, some enlightenment, maybe, but that depends on how you toke it.
As I've said, money isn't everything, and my experience has shown me that those folks in the industry who have gross amounts of it have amassed as many problems as dollar bills. The question then stands to reason: is it worth it?
People with great wealth always feel that those on the lower end of the totem pole are trying to grasp at their piece of the proverbial pie: they're right. When one has taken nearly half the pie without asking, spit on the rest, and shit on the serving knife, some folks are going to feel salty. Not me, I'm just saying.
Age does not directly equate with skill, maturity, or experience.
[N/A]
[N/A]
[N/A]
It is implied here that our possessions now speak for us, which means we've put material wealth before many other things. I'm not really sure how I'd feel about that.
[N/A]
[N/A]
[N/A]
[N/A]
There is no way possible that the quest for great wealth, especially if successful, is not going to destroy someone else's life in some fashion, so to say we don't want any trouble holds little weight, since we may have facilitated it by default.
[N/A]
[N/A]
[N/A]
The peace, happiness, and love spoken of here is a fallacy. Peace can't happen in a world of violence that is fueled by greed; true happiness cannot be found in album sales or plaques (it can HELP, but it's not the end-all-be-all); and love is not the byproduct of wealth - in fact, Love in its true essence has nothing to do with money whatsoever.
[N/A]
Have we as humans ever really sat down and asked ourselves what it is we're doing?

Now at the end of this, please understand that I do know that what Drake does is all just entertainment. It's part of the business. That's why I reiterate that this is NOT a diss blog to Drake. Even as I type this, I know some ignoramus will think differently, and even some of my friends will probably ask, "Yo P., why did you go in on Drake like that man?"

My answer? I didn't

This was, as previously stated, a breakdown of the ethical value of the VERSE. I was literally analyzing what was said and putting it into context with my life experiences in the hopes that some of you who read this will understand where I'm coming from. Why I'm so adamant about making sure that was I do isn't tainted by the lust for wealth or that the "Grind" is truly a grind to make good music & be successful with that good music. If Drake or his network ever see this and become personally offended, I'm sorry because that's not the intent. But I doubt that someone will get upset enough to respond. That being said, I really DO hope that you, my faithful pals, will see how important it is that we put LOVE first in life. Whatever that love is, so long as it's genuine, it will carry us though.

So on that note, peace, Pals, and Love is Love.

P.

A Short But Powerful Quote.

2010-09-18T02:00:00.010-04:00

"If someone wants to be a part of your life, no matter what is going on in [theirs], they'll make an effort [to be a part of yours]. ESPECIALLY if you put forth effort to be a part of their life, [even] when it appears they're pushing you away. It's high time we all stop chasing after & begging for people & things that have shown us they really want no part of our lives."

Score one for the pudding

2010-09-09T11:02:00.004-04:00

On my cyber-travels, I've come across alot of free advice as it pertains to the music business. I think all artists should take full advantage of the fact that while many folks in the industry are online simply to promote & talk about themselves, there are a healthy handful of creators and entertainers who are more than happy to relay some nuggets of wisdom to their supporters. Sometimes, though, I wonder about the value of this advice. This curiosity stems from two places: 1.) My understanding that everyone's path to success in the arts will be decidedly different, no matter the formulas that have been set before us, and 2.) My practically uncontrollable habit of taking all advice with several grains of salt. One such nugget in question was posted by an A-List creator, which said this:

"Kiss ass before you can kick ass. Be humble."

Now if we are to really lay that statement out on the operating table, it is short enough that it can be interpreted in a myriad of ways. And while I'm 85% in agreement with its meaning, the remaining 15% is glowing a hot neon red, which is why this new blog presented itself in my brain. A few weeks before this post, I did a video blog talking about my constant struggle with my own pride, a battle which still goes on today and will probably continue up and through my death; the ego is a damn good opponent when he wants to be. In this vlog, I explained how I am striving to be a more humble, appreciative, and respectful artist. Having experienced first-hand the bitter fruits of industry shade and silent blacklisting, as well as been the facilitator of that type of reprehensible behavior, I wanted to make a public apology and try to move on to better social interactions with fellow artists. The one thing I did say, however - and I stand by it still - is that I am NOT an advocate for ass-kissing, a statement upon which I can gladly elaborate.

In previous blogs I have talked about networking being the key factor in a successful business venture. For folks who might not know, that type of socio-commercial interaction requires a huge level of respect for (cue the trumpets here) PROTOCOL. I know I did a blog last year about being professional; it all ties in. I don't care who you think you are musically or otherwise, if you can't display a proper level of respect for your superiors, you can kiss any hope of a promotion or advancement in your field goodbye. Acting as if you have no one to answer to PROFESSIONALLY is 'un idea terrible.'

HOWEVER...you knew that was coming...I also understand that in a business as malleable and ever-fluid as the music industry, it can be difficult to determine who really is your superior. The titles given to people in corporate music often times don't carry the weight that people think they do, and folks are constantly going in or out of the proverbial revolving door. So what is an up-and-comer to do? Like I've said, simply keep a high level of professionalism in all your artistic and business ventures; this way, the consensus across the musical board will be that you know how to handle your shit without dropping the ball or coming out your face.

My guess is that you're asking, "But HOW does this all tie in with the ass-kissing issue you were talking about?" I'll tell you.

I do not advocate ass-kissing (or being a sycophant, as that is the proper term), because in my opinion this type of disposition simply shows that you are desperate for the attention of your artistic elders, or looking to get a leg up without the proper boost, as opposed to being a creative individual simply seeking to increase your network. You are also showing that your good-natured behavior is selective, thereby creating a social disconnect with others who may be interested in what you have to offer artistically or business-wise. Remember, this is a society of talkers. People WILL relay to other people about their experiences with you, if only to compare mental notes. At that point, if influential person A's experience with you was not as favorable as their friend, influential person B, you could in essence have ruined your chances of working with either of them in the future, and unfortunately this type of social report card gets passed around faster than a free music download from Lady Gaga.

Ultimately, love and respect are what the world needs, so why not present a small reflection of that in how you go about creating and promoting your music? Remember, that respect that you give to your peers or superiors should be the same respect you give yourself. If you're in this to win it, you have to treat yourself as the professional personnel you aspire to be. This idea links in with your creativity. It is the experienced opinion of this creator that the only two factions that need proof of your talent or skills are God and yourself. As I've tweeted, YES, the music industry is a show-and-prove game, but that really just pertains to whether or not you can hang business-wise; skills, talent, or chops only factor in once the foot is in the door, and that foot will have a better chance of keeping the door open if you do it with a smile & a handshake. You can certainly bust it open with a Glock, but there are alot of repercussions, sacrifice, and heartache that come with forcibly earning your place in a business such as this. For me, those sacrifices, artistic and otherwise, are not worth making. I love my music too much.

Hope yall marinate on that. Love is love...

P.

No Falsies

2010-08-24T14:07:00.004-04:00

It's funny how last year, I was a Twitter boycotter, and now I'm using several different applications and programs to manage my tweet campaign. For me, this micro-blogging miracle has become one of my strongest tools to promote, educate, and give fans or colleagues a chance to glimpse into the world that is P. Murray. Of course, allowing such a transparent method of communication to spearhead my artistic campaign has it's dark side - you never know what kind of crazy folks are watching you. Still, I decided to take that risk and never look back.

With that said, I find it so interesting how people can act on Twitter. In the post-modern info age, we've learned, almost subconsciously, how to funnel our feelings into short messages and blogs, so as to try and accurately portray ourselves. Most times that portrayal is an honest one. But with sites like Twitter, you find that alot of folks (particularly music folk) have made the decision to use the platform as an opportunity to go "Hollywood' on us; that is, Tweet things about themselves or their situations that are partially or entirely untrue. What people who do this tend to forget is that the business is only but so big, therefore your bearing false witness about your daily biz will more than likely be turned out in the end if you keep pushing the facade. Just sayin.'

In addition, I've seen how fellow music tweeters decide that once they have a few key celebrity followers, their entire 'Twittatude' does an abrupt 180'. Suddenly the brazen, no-holds-barred artist you saw tweeting before is a demure, Christianized performer who loves everyone and has issues with no one. Now the person who was once so communicative with their fans only replies to people that are 'in their circle' or on the same rung of networking they are. It can be a bit nauseating. Usually I end up unfollowing those folks.

I believe that the key to the success of any aspiring artist that is independent is some level of honesty and transparency. Changing your whole style up because your positive now that 'important people' are keeping an eye on you is just making you look like a butt-kisser. It may be that those same important folks were watching you from the sidelines and you didn't know; playing to their appeasement is only a way to make you look more desperate. I decided that, while I have made the choice to be far more aware of what I write, I'm still the same P. Murray that opened up his public Twitter account, and that is the P. Murray I want everyone to know (including Brandy, Dru Hill, Swizz Beat, Kevin "A&R" Shine, and Steff Nasty - those are just a few of the folks who are part of my follower group).

Bottom line? Do you and be you. it's the best thing you can possibly do or be ;-).

An Open Letter to the UC Lounge & LES Productions

2010-08-23T10:06:00.001-04:00

[Sent on August 20th, 2010]

Greetings:

I am sending this as an open letter to your company and establishment to express my acute anger, disappointment, and resentment at the series of events that transpired yesterday evening in regards to what was supposed to have been my third performance of this year.

Earlier this summer, I received what I deemed to be an automatic response to my newsletter from your staff, letting me & my team know about open dates and times available to perform at the UC Lounge on Ludlow Street. Though normally I am a proactive artist and search out venues myself, I took this message as an opportunity to conveniently book a day for the performance I was planning in August as per my marketing & promotional abstract. I responded to the message with a specific date & time: August 19th, 7pm to be exact. The response came back that the time was available and my slot was confirmed, along with contact information should I have any questions.

As the date got closer, I took it upon myself to reconfirm the date, time, and space for my show, entitled, "Pop-Hop." I was sent back that reconfirmation, along with details of the backline and what particulars I would need to be aware of to ensure a smooth evening and show. I took it on good faith that if any problems were to make themselves present, I would be notified beforehand. I even went so far as to visit the UC Lounge two nights before the actual show to get an overview of the space. The gentlemen I spoke to seemed confident that there wouldn't be any technical or logistics issues, and so I left, confident that Thursday the 19th would be another successful event. Evidently even this "detective work" wasn't enough to have things play out the way they were supposed to.

When I arrived at the UC Lounge at around 6pm, I was told by staff that because I had done the e-mail booking with 'Bruno (whom I have yet to have met or speak to),' that there was a complication with timing. Apparently, I had been double booked with another, more involved performance from a music school. I was then informed that I would actually not be able to use the stage or equipment until 9pm, possibly later. While I remained nonplussed, I assure you I was livid.

Please be aware that I understand completely how back-to-back shows can run into and over each other. But I was guaranteed the 7pm time slot for this date, received REcomfirmation, and was not made aware of any scheduling issues until an hour before the night of my gig. I would have even been willing to concede to an hour delay, knowing how situations like this can occur. However, completely shifting my start time to OVER an hour-and-a-half behind my slated time WITHOUT notifying me in advance is unprofessional, unethical, and absolutely unfair. It is for these and professional reasons that I had to officially cancel my performance at the last minute, to the disappointment of my colleagues, family, and fans. Keep in mind that I had musicians with other professional appointments that evening who were ONLY available for the 7-8:30 window of time, as well as corporate representatives and music industry executives who had promised their attendance because of the accessible time frame.

In short, this has put a serious damper on several of my networking opportunities and business relationships, simply because no one on your end thought it wise to call and let me know about this problem in enough time to deal with it in a timely manner.

Were I a more vindictive individual, I would have use my connections to the NYC Fire Department to have your establishment inspected; seeing as how poorly the staff operates, I have no doubt there are several unsafe building code issues that more than likely have been overlooked, which I assure you would not be passed over this time. However, I will pacify my need for reprisal by editing this personal e-mail and creating an open letter for my fans & colleagues to see. Please note also that I will be forwarding this e-mail to any and all of my close musician and industry associates as a warning to stay away from booking anything with your company and this establishment; believe me when I say that my words have no problem reaching very influential eyes & ears. In addition, should I find out from even the smallest group of artists who have had similar problems with LES Productions & The UC Lounge, I will promptly be filing a complaint with the Better Business Bureau.

It is my sincere hope that others like myself do not have to experience such poor professional conduct with folks like you. I do wish you well in your business endeavors; as this has been a hard learning experience for me, I advise that it is the last time you let something as egregiously improper as this happen to you.

--
Regards,
Joseph P. Murray

II, Dos, Two, Due, Deux, Dois, Twee

2010-08-20T13:21:00.005-04:00

"Flawed is beautiful..."

My thoughts on a Diva: Jane Pesci-Townsend

2010-08-09T08:09:00.007-04:00

THIS IS A LONG ONE!

[NOTE: The following contains my thoughts on actress and faculty member Jane Pesci-Townsend, who sadly passed away August 6, 2010. Please be advised that in a time of grieving for many, these thoughts are not to eulogize Jane, but rather my honest account of my experiences of her over the past eight years. As such, the thoughts and views expressed here are my own and will contain memories both good and bad. To all those in mourning for her death, I wanted to make sure I said this before you read below; it may even be a sound decision to wait to give this blog a skim until some time has passed. Let me be clear in saying that I grieve along with you all, but I am more overjoyed that Jane is finally at peace. She is with God, and for that I am forever thankful.]

While in college at the Catholic University of America, I came across many people who would change my life & the way I viewed the world forever. Some for good, some not-so-good, but all of it was an ongoing five-year lesson in how to survive as a working musician in the 21st century. While the administrative aspect of CUA is one that I can't say I endorse, the faculty, in their brilliance and experience, does make up for alot of the lack of efficiency in their various departments. As a graduate of CUA's Benjamin T. Rome School of Music, I found myself in the midst of a cornucopia of accomplished students & teachers, and quickly discovered the reason as to the odd juxtaposition of the many wonderful talents & performances against the irksome and often-times abrasive behavior of all who passed through the building: we were a family.

In larger and more famous schools of music, you will find that while attendees and professors do model a high standard of excellence, there is a lack of fellowship and bonding. This can be attributed to many things, but it usually comes down to a simple truth: the institution is not designed to harbor such camaraderie, only to educate you, take your money, and throw you out into the world of music as a fresh-faced performer or creator. For many, this is all that matters, and so the best students audition and try out for the Juilliards, the Manhattan Schools of Music, and the Berklees. CUA's music school certainly provided any student with an excellent level of training if you sought it out, but it also provided an invaluable level of togetherness that only a family would understand. Thus, like any family, we either adored or detested each other. We fought, argued, loved, despised, held family members in contempt, supported their efforts, and did it all together; one musical family, one sense of solidarity.

I wouldn't trade this aspect for any full-scholarship to a prestigious Conservatory anywhere in the world.

The late Jane Pesci-Townsend was one such member of this family. Looking back, one could surmise that she was very much the protective godmother of many Music Theater majors. To me, she was like a distant Aunt with a "Mama Rose" complex. I got the gist of her popularity at Benny Rome in our freshman faculty orientation when many students whooped and cheered as her name was mentioned. During my first few months, I came to learn that she was a character that was both adored and equally deplored. There was no middle-ground with Jane; either you were with it or you weren't. At first, I decided to play Switzerland and keep a neutral stance on it all, since I was a Vocal Performance major anyway, having little to do with the curriculum or stagecraft of the Music Theater Dept.

Friends of mine who were friends and students of Jane were some of the closest I've had, and I gravitated towards them because they did seem to give off a bright, addictive energy. It was reminiscent of the popular kids I wanted to befriend at LaGuardia High School, but at LaG it was a combination of wanting to belong and desiring to match their talent. At CUA, I already knew my worth as a prodigious music student, so it was more about surrounding myself with fun people. Still, my involvement with the inner MT sanctum was nill for a good while. Until colleagues and friends began to inadvertently pull me in.

Another thing for which I am thankful.

As college wore on, I began to note the duality of JPT's comportment. Through my experiences as accompanist for my friends' end-of-semester evaluation juries, as well as being part of the stage crews for several music theater productions, it became clear to me that while Jane was certainly someone worth having as a mentor and ally, it could be surmised that those on the opposite side of that pole may have been seen as troublesome. The major faculty shifting in the MT department and subsequent retirement of former chair Maureen "Reenie" Codelka during my 3rd year was a time that nearly tore my friends apart. No one wanted to fight or be openly bitter over the changes, but everyone who knew about it took a side. It was one of the darker moments in my group of college memories, and I openly voiced my concerns against it all. Funny how things seemed to end up coming around full circle in my interaction with her later on.

For those who didn't know, through all of this, Jane was in the throes of an ongoing battle with cancer, something that she and her circle tried to keep quiet at first, but then became another moment of solidarity for many Music Theater students. I remember the men of the department all shaving their heads around the time Jane began her radiation treatment and chemotherapy. Whatever you felt about her, you couldn't help but be touched by this moving public display of love & friendship; if only everyone could do something like that for someone in their time of need. Here again is the example of family ties and how they bind.

My own personal experiences with Jane truly began after I auditioned (and got turned down, rightfully so) for the title role in "Jesus Christ: Superstar." I went into that audition, vocal guns blazing, and ended up only doing a mediocre, poorly acted audition. Real talk? I was pissed. In my quiet frustration, I asked Jane later (laying on one of the couches in the Rome School lobby), "what did I do wrong?" Her response? "You closed your eyes. We couldn't see what you were feeling." It hit me like a ton of theatrical bricks then; all my belting, falsetto, crazy riffs & runs, and vocal technique meant absolute shit if i couldn't properly act out the emotions of a song. I knew then and there that whatever feelings or guesses I had about Jane would have to be put aside, and I'd need to see what she was about in the classroom.

The steps into Jane's teaching studio were small and uncalculated at first; seeing if she would help with the emotional content of my voice recitals, the occasional small conversation, visits to her Body Movement & Stage Deportment classes - these were all things I attempted to get a feel for the Jane way of teaching. Mind you, I had already been called upon by her to perform in several events at CUA, including the opportunity to sing in front of world-renowned counter-tenor, David Daniels; I'll never forget feeling like I was going to melt into my leather shoes and her coming over to me with a huge grin on her face, asking, "So are you like, totally nervous?!" Thinking about that makes me smile every time. However, my full-fledged JPT learning experience came from a mutual set of problems we both faced in my final year at the Rome School.

In the fall of my 5th year, Jane made the decision to have the fall musical be "Grand Hotel," a music theater version of an earlier movie about an imagined famous Hotel in Europe and the lives of several men & women staying in it, each with their own problems, but all somehow connected through their time together in the hotel itself. I remember Jane sitting me down in the courtyard of the music school and explaining to me that the show had roles for two Black men. As the MT department only had one in their roster (a wonderfully talented and kind brother named Jase Parker), she was in need of another man of color to fill the role. I happily obliged; it was my first full role in a college musical, you couldn't have told me not to do it.

My rehearsal time with Jane and the Music Theater majors was amazing & so much fun. I specifically recall having our first run-through of the music. Co-chair and music director Tom Pedersen was concerned that Jase & I wouldn't be able to take our number, "Maybe My Baby," at the brisk, hot-step tempo in which the song was written. What he didn't know is that Jase & I has already spent ample time in the rehearsal studio going through the song multiple times and had it down to a science. We gave Tom & accompanist Gabe Mangiante the OK sign, and began the number. Through the first 8 bars of the opening jazz scat, I distinctly recall hearing Jane's piercing "HA!" and the laughter from my friends & fellow students. We ice-skated through that song, and after the applause and chatter, Jane went on to state (in that same piercing voice), "THIS is what it means to be PREPARED for rehearsal!!"

I couldn't have been more proud.

The show went off extremely well, with alot of great times in between. It was my first time ever singing and dancing (at the same time) in a musical, and believe you me, it was NOT easy (you're talking about someone with clinically diagnosed A.D.D. trying to multitask on stage! LOL). At dress rehearsal, Jane gave the succinct note to Jase & I that summed up what she wanted from us dramatically: "BE BLACK AND HAPPY!" Anyone else who would've said that in my presence would've seen the backside of my jeans as I walked out of the theater, with an angry e-mail to the Dean and a followup phone call from my parents. But with Jane, a woman whose cries of desperation during rehearsals have [allegedly] included, "[bleep] ME WITH A CHAINSAW, it's COMEDY!," what was I to do but throw my car keys down the aisles of the theater and double over in laughter? There was never any racial tension, and I would NEVER say otherwise; she was just being Jane in a dress rehearsal, and I loved it.

My final semester at school found me once again in under Jane's tutelage, this time in two of her classes: Senior Music Theater Workshop (a substitute for the acting classes the Drama Department refused to let me take - douchebags), and the ever-so-popular freshman academic music theater gauntlet, Body Movement (or Stage Deportment, as it was so called in the Spring Term - this was to make up for my missed Stage Movement class). It was here, through Jane's teaching, that I truly learned how to properly emote a song, rather than just sing it with raised eyebrows (classical vocal faces). My triumph, if you will, came with the end-of-year performance of "Hero and Leander," a song from the "Myths & Hymns" collection by composer Adam Guettel,grandson of Richard Rogers (of Rogers and Hammerstein). It felt so good to be on a stage and really get into the guts of a song, and have it be appreciated as such.

At the end of my college days, it would suffice to say that Jane & I came to a mutual understanding and yes, a friendship. What I came to understand about Jane Pesci-Townsend was that through all the rumors, strange behavior, great times on & off stage, and the moments in between, she was just like the rest of us at The Rome School of Music: a human being, trying to make sense of a talent given by God in a world that will never fully understand it. She fought hard and sometimes harrowingly for things she believed in, as we all would for things we want to have happen. In her most disagreeable moments, she was no better and no worse than any of us in ours, though there are those who would believe otherwise. Like all of us, she was imperfect, but tried damn hard to achieve some sense of perfection in the world she lived in, and who out of any of us can say that we haven't gone to great lengths and even hurt people to do the same? If you are reading that question and think you haven't, you are wrong, my friend.

What I feel is most important to remember about Jane - and what I identify with most - is that for good or for ill, she made you feel something. The JPT's of the world never go quietly into the darkness, even when they've lost a battle, because they were never meant to. I firmly believe that Jane was put here to be a fulcrum, a spring-loaded lever, if you will, for peoples lives. For some, it was Jane who opened their eyes to love & real friendship; for others, it was Jane who made them realize that a career in performance was not their calling; for others still, it was Jane, through actions benign or questionable, that lit the fire under their ass, making them work twenty times harder at becoming a successful working actor, if only to prove her wrong. We absolutely need those people around to do that. Without them, we are doomed to life of mediocrity and poor choices. By virtue of this observation alone, it can be aptly stated that Jane truly was a blessing to those around her, because God's blessings aren't always the ones you expect, but they will always, always be the ones you need.

In closing, I'd like to note that Jane Pesci-Townsend leaves behind a husband and two children (George and Rosie). If nothing else about all that I've written here resonates with you, I hope that this fact will. In the middle of everything else going on in her life, particularly as it pertained to her CUA family, Jane was able to be a good wife & mother to the real one she helped create. I have no doubt in my mind that man and those children will carry memories, music, and love that will last throughout their lifetime. We can only hope & pray that we will be able to do the same when God calls us home.

Thank you Jane. For everything.

See you when I get there. And say hi to Fred Ebb for me ;-).

Everybody wins...or loses. You decide

2010-08-03T11:59:00.003-04:00

I've been inspired once again to give some insight into some interesting industry inner-workings today. If you liked that alliterative sentence, then you'll LOVE what I have to say *big grin*. This tweet came across my timeline earlier this morning via @Jkits:

"Why do Major Labels put Terrible songs on Albums becuz they were produced and written by A-Listers? Wow..."

Now, P. Murray 1.0 would've gone off the handle answering this question. Said answer would've most likely contained lots of resentment, expletives, and a whole lot of shade. However, P. Murray 2.0 has gone through alot of positive changes, and can respond to this query in a way that is honest, realistic, but still hopeful. Let's attack some basic common-law music business practices first.

At the heart of any business, the key to big-time success is (drumroll please) NETWORKING. At least that's what the case has been for the past few decades or so. Hard work, hustle, and talent - regardless of the field - will pale in comparison to the right connections. It was, at one point, understood that the hard work, hustle, and talent would get you to those connections. Such is not the case anymore, thanks to over-extended nepotism, hard-held executive positioning, and plain old greed. Ergo, the music business, a business already based on inter-personal relationship and the commerce of art, exemplifies this case-point several-fold. It truly is all about "Who You Know."

With this in mind, let's examine the plight of the break-out mainstream artist. If you are new, and signed to a major label and your A&R team is shopping around for material to place on your debut project, chances are they will do one of two things: either trust in the power of good music & search out that music by way of their network (this is highly unlikely), or seek out the Big Name writers/producers to procure a single from them at a nominal fee (this is VERY likely). Any credited creator who is actively placing with the majors right now can tell you that album content means crap if there is no super-hot-big-named-give-you-a-pop-wedgie single to front the project. In the business' current climate, the labels have been banking on the single to be something that can take off and be played ad nauseam, so as to ensure that the masses will be certain to at least buy the single and hopefully gravitate towards purchasing the album. This means that even though C-List producer w/no big credits may legitimately have the hottest new set of songs that could launch his career and be great additions to any pop project, A&R's will pass him/her over if they know Swizz Beats is willing to provide the label artist's breakout single, simply because he is...Swizz Beats (cue claps on the 'and' of every count of the track).

Let's be clear: the A-List creators really have no vested interest in the new artistry coming forth from the labels; some may argue it's because the talent and brands are lacking - I'm pretty sure and have on good authority that it's because of the pricing issues and poor financial practices of corporate music. Why would Danja Handz (I dig his work, PS) have a care or thought for someone like a P. Murray if he's already placed hits with Britney Spears (to the tune of thousands of dollars in upfront checks and mechanical royalties), and can be guaranteed similar slots on other established artists' projects? The answer is: he's not - hypothetically - and if him or someone like him DOES get called in to be part of an album from an unknown major label kid, chances are his interest will be diminished, leading him to take less time on the quality of whatever comes out of the studio; i.e., the "terrible" song. The truth is we can complain about this cyclical musical mudslide, but it's not something that's about to stop any time soon. Folks in the business are too bitter and far too concerned with their own security to break out of the pattern. I mean hey, we've all got a job to do...right?

You might be asking yourself, "Well at least we can expect good stuff from these guys when they're working with the veterans in the game right?" Wrong. In the case of the established artist taking to the A-Listers for their music, even the most prolific and creative artistic minds need to submit their will to the A&R guidelines if they are to ensure their placements. It may be a case where the artists themselves are in full creative control - though rare in corporate music - but in any case, whatever sound, style, feel, or songs are desired, those A-List creators seeking to get a credit on the project will need to fall in line with that. I know for certain that folks who wrote some of the less...insightful music on the Xtina album are fully capable of composing beautiful and profound sonic masterpieces; but the album was called "Bionic," Aguilera's foray into the Euro-Electro-Bubblegum-Dance/Pop world, so while super-writers like Linda Perry (writer of "BeautifuL") could be promised an amazing ballad slot, OTHERS would've had to make sure their records matched up with that hyphenated genre, A-List or not. In the words of Wendy Williams: "It is what it is."

My personal solution to much of this can be boiled down to the simplicity (and subsequent complexity) of the following statement: start with good music and build around it. The complexity of that statement can be found in asking, "Who decides what is good music?" Well I know one thing for sure: as aptly tweeted by my godbrother Ryan-O'Neil, letting lawyers, budgeteers, and other such non-musical persons have majority say over the content of the material will usually never make for a high-quality music project. Sorry. You can't expect for an executive accountant to be able to make the final decisions in the operating room of a high-risk brain surgery; it wouldn't be their place to do so. Such is the case of the legal & financial sector of the industry and their having far too much input on the art itself. Alas and alack, it seems that it will end up taking the full implosion of the business as it's been known for the real changes to occur.

In the mean- and in-between-time, I'm gonna keep on making good tunes and doing good business with those tunes. I advise others to do the same.

P.

Un fait méconnu sur moi

2010-07-25T13:43:00.003-04:00

I love the ability to express my traits in a way that is accessible to many people; it is so important to me as an artist & musician to have this freedom of expression so you, the faithful Pal, have a good idea of what goes on in this crazy brain of mine. As I've been working my way through my network of amazing creators & musicians, I've discovered something interesting and a bit troubling in their collaborations with me. It really came to light recently when I started working with several close colleagues of mine. It was their impression that it was 'beneath me' to want to sing or perform with other artists, due in part to the fact I have so much going on with my own project and co-productions in place, but mainly because I've evidently been giving off an air of extreme self-reliance in music & art. This air is the troubling part of the previous musings; therefore, let me once again state my feelings on working with others, specifically as it pertains to vocal work.

First, I L.O.V.E. singing. As I stated before in blogs prior, of the several gifts with which I've been blessed, singing & performing is at the top of the list. If I could do nothing else artistically or creatively, I would still be satisfied so long as I could open my mouth and have beautiful sounds come out; it's why I try to take the best possible care of my voice and encourage all other vocalists to do the same. I love singing, I love hearing other talented singers, and I love hearing new voices as well as new songs for those voices. Just wanted to state that.

Secondly, I REALLY, REALLY LOVE to sing with other people. Whether it be a duet, a background vocal, a chorus, an "ooh" or an "aah," it's always great to sing alongside folks. I've found (as I'm sure many vocalists have) that collective vocalizing carries its own specific & special energy. My High School teacher & composer, Jerry Ulrich (amazing musician, FYI; he's now at Georgia Tech teaching), would always quote, "singing is one of the most intimate things two people can do with each other." I couldn't agree more, and I think it is essential that ANY solo artist venture into some form of collaborative or ensemble singing as part of their development and musical growth.

Having typed that, let me state again that so long as the people I work with are focused, talented, and respect my time & education, I have NO PROBLEM WHATSOEVER singing with/for you. If you need a background vocalist, I got you. If you're looking for someone to help with your vocal arrangements for a live show, I'm definitely down to do that. And of course, if you're interested in doing some duet work for your upcoming performances, just let me know! I state again that all I ask is for you to keep a good schedule & be a good singer; we can take the rest from that point. Believe me, those requirements alone help to eliminate alot of people, heheheh...

Thanks always for hitting up my blog-thoughts, feel free to comment, and if you'd like to hit me up, you already know I'm a tweet-head for real!

http://twitter.com/pmurraymusic

LATAZ!

Here comes another show! Presenting: POP-HOP

2010-07-21T09:07:00.005-04:00

**Jay-Z Voice** YUP!

We're doing it again, P. Murray pals, less than a month from now, I'm going to be giving you a 45-minute mashup of some of Pop music's biggest records, skillfully placed over, inside, and under a handful of Hip-Hop's most praiseworthy beats & hits. Believe me when I tell you THIS one's gonna be alot of fun. I've been commissioned via Tweets by Lil' Mo to make sure that no matter what happens, that the songs are SLAIN and served to you as only musicians can do it. I'm ready...are you coming?

DATE: Thursday, August 19, 2010

TIME: 7pm EST (We will be starting ON TIME)

LOCATION: 87 Ludlow Street (btwn. Delancey & Broome St.), NYC

COVER: $10

You can click the links, or visit http://PopHop.Eventbrite.com/ for more info

ANNOUNCEMENT: My Music is on iTunes! YEAH BABY!

2010-07-15T09:19:00.005-04:00

So who is more excited than me today about my big news?

NO ONE!

I'm so happy to announce that after working with the great folks at Tunecore.com and some prayer alongside some crossed fingers, my debut EP, "First Draft," is on iTunes! Frankly, I was very surprised that the process was as smooth as it was for me. Kudos to Tunecore for really coming through for independent artists. I know there are folks out there who, like me, are religious about using iTunes as their music purchase site and will not download from anywhere else. While I'm not THAT anal about it, now all you people who are have to at least check out the store! I hope that what you hear will bring you to click that "Buy Album" button :-) .

If you'd like to hear a full HD-quality preview of the EP, it is always available at http://firstdraftonline.com/

SO...if you wanna get that iTunes EP poppin RIGHT NOW, simply click the conveniently created icon below this text. Whether or not you've purchased, make sure to rate the music on the iTunes store, as well as comment on the music so we can get the buzz factor up. You Pals have been more than awesome about taking the initiative to spread the word about the "First Draft" movement. All that love you show me I send right back to you 1,000 times over! Take care, until next time...

Self-Evident Truths.

2010-07-08T08:23:00.002-04:00

[This was a commentary response I made to an article in the NY Times about my generation regarding a young man who allegedly turned down an entry-level job w/a $40K salary in the hopes of something better. You can read the article itself by clicking HERE. After writing this tome of a reply, I figured it was blog-worthy. I would love your thoughts.]

Folks, I hate to be the bubble burster for everyone, but I don't mind doing it. Before I say anything else, let me state that I do fall into this 'millennial' category, being in my 20's, unemployed, and at home. Now if people were to take a scrutinizing, very detailed look at the shape of the economy, you would discover two things:

1.) The system, as it stands, was never meant, nor will it ever be meant, to help a 'so-called millennial' achieve anything but enter and remain a part of the seemingly endless cycle of debt that is to be fostered by these dead-end jobs and non-mobile employment opportunities.

2.) Said system, as time progresses, is only becoming progressively worse. The value of a college degree has fallen to that of a High School diploma, and those continuing on with their education looking for higher wages will find themselves unpleasantly surprised, when the fruit of their labors leaves them in a position similar to those of us who stopped the college-train at a Bachelor's Degree. And with decidedly more debt.

I suppose I can't speak for other millennials, but my personal experiences have led me to believe that earning money and providing for oneself are two entirely different agendas. One can very easily find themselves in a cushy six-figure job with benefits and still be living a terrible life or lifestyle. On the other end of that double-edged sword, one could be like me, confident in my goals [as an aspiring musician], working towards something greater and with more value. In my case, that thing of value is the pursuit and perpetuation of the arts.

I don't deny that we as citizens of a capitalist society are programmed to be on the hunt for financial stability; it may as well be the other American creed next to the opening lines to the Constitution. What society in general has lost, in my opinion, are the values behind that type of stability. I refuse to demean myself or lower my set of standards chasing the 'Almighty Dollar;" to me, that is a deplorable kind of chase, best suited for dogs and their chew-toys. Many of you will read this and surmise that I'm ungrateful and riding a very high horse; I've thought of you all too.

I know how very lucky & blessed I am to have a family who not only supports my dreams, but allows me the space to pursue them. I do not feel that I retain a sense of entitlement, and if such a feeling does exist, it is grossly overshadowed by my desire to do something better with my life (i.e. music). I do understand that a musician's life falls into its own special category, but the same goes for any millennial wishing to create a life for themselves that has purpose and meaning. We desire more because we know that so many before us have settled; we have more patience and planning skills because we don't want to fall into the money-traps and career-pitfalls our parents and grandparents have fallen into; we know that we can do better because even though tomorrow might not be promised, the future still looks brighter than we could ever imagine, and I for one am not about to give up those possibilities, or trade them in for a sweet 401K or hedge fund.

With all of this said, I have no problem holding down a job to cover necessary expenses incurred as a young American citizen; I am in the midst of heading back into the work force within the next 90 days. I have no problem creating a sustainable lifestyle so as to be a functioning member of society. I likewise have no problem passing on that ideal to my peers or my descendants; simply put, sometimes you do what you gotta do. But all this is serving a higher purpose, which is to create a life that is fulfilling, meaningful, and provides society with something more than just a tax ID number.

The American Dream is indeed elusive, because all it will ever be is a dream. Property, wealth, and prosperity are all material and temporal ideals; such things do not equate with being content in one's living. The reality of life is that it is filled with hardships and trial. The truly 'elite' of our society live lives knowing that the best moments are found in the good times sought in between those hardships while in pursuit of common truths and veritable happiness.

On my own two feet...yours too.

2010-07-05T11:39:00.002-04:00

SO...evidently, the trend in the past 5 years (approximately) is this compilation of major label artists taking big spills on stage. I'm not talking about pouring out liquor for a lost homie either. I'm speaking of the various slips and falls that we've seen swimming around cyberspace. From Beyonce, to Kelly, to Michele, to Jazmine, to Drake, to Rihanna, to Lady GaGa, and the most recent Alicia Keys back-buster, for some reason, many of our mainstream folks can't seem to keep it together. Either that or we've just recorded alot more of these folks' mistakes than we used to. However, I'm more inclined to lean towards the fact that Pop culture has forgotten to teach alot of the newer artists basic stage movement before throwing them into a worldwide tour w/full-out choreography. As they say, you have to crawl before you walk, and in this case, before you dance or strut across a proscenium. So, as someone who has studied Body Movement, Stage Movement, and Stage Deportment under professional tutelage, allow me to import some common-sense pointers for anyone looking to step foot on a stage any time soon.

We'll break this down by sex, but all of these could apply to both genders. I just noticed these traits amongst men & women respectively.

MEN

1.) USE A NORMAL WALK: Stop attempting to use anything but your normal gait (that means stride, folks) on stage. In other words, if you don't already have a West Coast pimped out swagger-walk, your show or tour is not the time to start one up. Physically, once our bodies get into a movement routine when traveling, breaking out of it in some asinine way is only asking for trouble, particularly when we're already having major distractions thrown at us (e.g. the crowd, the band, the DJ, etc.). Assuming that you're that nimble on your feet will only have you end up on your face.

2.) KEEP YOUR KNEES BENT: This may sound stupid, but it's true. If for some reason you're at a point in your show/gig where you have to stand still and straight for an extended period of time, locking your knees while doing so can cause your legs to weaken, and in the occasional case, make you fall out. Keeping a slight bend in the knee forces your leg muscles to stay attentive and retain your good balance. Like I said, it's common sense, but clearly it's not that common.

3.) WEAR APPROPRIATE CLOTHING: I don't care what genre your working out of, your show is not the time to attempt physically restrictive or obstructive clothing. This means your pants should NOT sag below the cuff of your shoe, the cuffs themselves should be properly cut or taken up, and your shoes should have a SOLID grip on the ground. Just because your Louis Vuitton sneakers are fresh out of the box, doesn't mean they won't give way during a step-turn or short-stop.

4.) EYE-OBSTACLES: OK fellas, I get that maybe before your show you might've had a drink or five, and possibly taken part in some medical drug use, and that this would prompt you to put on your 'stunna' shades. While ultimately I thoroughly detest obstructive eye-wear for many reasons, if you're going to put on sunglasses, make sure that they fit comfortably on your head and have the best/clearest visibility possible. The same precaution goes for hats; pushing your brim down halfway in front of your eyes is your way of saying, "Well, I can kinda see, and I really don't care if I bust my ass." Give yourself a chance guys, seriously.

WOMEN

1.) BE A STICKLER ABOUT YOUR WARDROBE: Ladies, chances are you all will be getting the more involved end of the stick when it comes to stage fashion. As such, now is the time to be that b***h (politely, if possible though) about making sure that every article of clothing or accessory that is put on you for your gig is generally comfortable (and that's a BROAD term I'm using, I know how it is, LOL), and that you're COMPLETELY comfortable in it (THAT'S the more important part of this). The point of this advisory comes down to this: if you're on stage performing and simultaneously worrying about your couture spangled belt slipping off, your brain is no longer focused on your performance or your balance. It's an open invitation for a slip-and-fall disaster. If ever there was a time to be a diva during your career, wardrobe and costuming selection/fitting is definitely it.

2.) WEAR YOUR HAIR, DON'T LET IT WEAR YOU: Gals, whatever style they have your mop in, again, make sure it's something that you can deal with during a full show. Many of you will be dealing with hair extensions, weaves, wigs, and various hat wear. Take some time to really work out your hair/hat choices, and if you have time to rehearse in them, do so. There's nothing worse than getting a flyaway track in your eye, only to remove it AFTER you've plopped your butt on the stage because you were trying to remove it while performing.

3.) LIVE IN YOUR SHOES: This is probably the most important point I wanted to make for the women. Whatever shoes & footwear will be a part of your set, **REHEARSE IN THEM**. If you can't get a hold of those specific shoes (due to their high cost or availability), do yourself a favor and purchase a few pairs of character shoes. Start walking in them in and out of rehearsal to increase your comfort level of being in heels during a performance as opposed to your day-to-day routine; I promise you it's a far different experience. If they are closed-toe heels and you can swing it, pick up a pair of Dr. Scholls inserts: you may not have any foot problems to begin with, but no one said it was illegal to provide yourself with some added comfort during your show (they ARE heels after all). Finally, if you are NOT comfortable in your shoes...and this may shock some of you...DON'T WEAR THEM. PERIOD. Your foot care and posture are not worth you dealing w/excruciating pain or toppling over in some 6-inch Loubitin spiked-heel platforms if you don't have that kind of foot control.

Overall, the main sticking point to ensuring a fall-free gig or tour set is being aware of your body and your surroundings. Even after your full dress rehearsal, take a moment to yourself to walk around your stage area and observe everything that will be a part of the set. I can't tell you how many times I and so many others have bumped into a piece of scenery or wing that we could've SWORN wasn't there during rehearsals. As noted above, it is NOT uncommon for the modern-day entertainer to enjoy a pre-show drink...or whatever. But getting completely boshed, toasted, zooted, wasted, trashed, twisted, faded, to the point of incoherent movement doesn't help anything about what you're trying to do in your show. Finally, if during your show, you find that your senses are telling you that you're in danger of bodily injury due to a missed step, missed cue, or faulty props, STOP and REMOVE yourself from that danger. Singers in particular, please note that: If you miss even 64 counts of your choreo because your legs felt like they were giving way, but kept on vocalizing properly and delivered the song, it would be hard pressed for someone to really complain about it (other than maybe your choreographer, but you can fire him)...so long as the song is delivered. We know the show must go on, but not at the expense of your health, well-being, or embarrassment.

I hope this helps some of you, and I wish all my colleagues and fellow entertainers safe shows and amazing performances. I guess it would be really tacky to say, "Break a leg?' Oh well, I just did.

Womp womp.

The Passage...and then some!

2010-06-06T11:14:00.007-04:00

Wow. It's been so long since the last post, I know. I guess that's what happens when the ball starts rolling. For those of you who read this on the regular, I will try and be more frequent with updates. But so much has happened in the past three months, which means this will be a blog chock-full of good reading material, LOL. But where to begin?? Hmm...

WELL...first and foremost, I am happy to let the world know that my debut EP, "First Draft," is FINALLY out & up for sale online! It's been one of the longest roads of my musical career, seeing as how I technically started the journey at the beginning of 2009. Since that time there have been several obstacles, not the least of which was the complete obliteration of my old PC, the loss of a job, the redesign of my studio, and the usual personal and family bumps in the road. But through it all, God saw me through and kept encouraging me to finish the music. Of course, everything happens for a reason, and I am so glad that the majority of the material was NOT recorded on the PC (otherwise I really would've been depressed).

The other big news - before I go on about the EP and forget - I now am a dot-com boy!! Yes, faithful Pals, I'm the owner of my own website! I've been told by several industry pros that it was definitely time to invest in one, particularly with the music out in the cyberworld. SO...you can click the pretty icon below and be taken to my official hub, pmurraymusic.com!

Visit P. Murray

My colleagues and I wrapped up promotions at the end of April; I must say, for someone with little to no budget, a Mac, and a only few good friends to help me out, the response to the photo & video viral campaign was amazing, with alot of influential people taking note. At the conclusion of it all, we held a cozy listening party at Billie's Black in Harlem, NYC; the turnout was great, and everyone seems to really enjoy the tracks! Sales have been good, and I'm anticipating a boost once the EP is on iTunes. In the meantime, you can check out the music right here, and there is a download link right in the music player. Enjoy!

Since the release, I've been on the warpath, so to speak, about getting the music past the tri-state area and to the world. I'm VERY glad I live in the post-modern information age, as sites like Twitter and Facebook have really helped spread the word about the "First Draft" movement. My slogan for the Summer of 2010 goes something like: "I need everyone booked and gigged." It's really encouraging to see that the folks I work & collaborate with are all doing shows, performing, and getting exposure for their talents, and I will hopefully be following suit. With that in mind, if you're reading this before June 11th, make sure you come out to my next show, "The Five-Dollar Jukebox," happening June 11th, 7:30pm at Billie's Black Restaurant! You can purchase your tickets by clicking the link below:

Online Ticketing for P. Murray's Five-Dollar Jukebox (LIVE show) powered by Eventbrite

Some folks may be asking, "So P., what's your goal? What happens now?" Well, right now, I'm making sure to pull off solid performances of the material and garnering the continued interest of influential industry professionals. Currently, my most important task on the To-Do list is increasing my network so I can get the opportunity to showcase my music & work with as many people as possible (within my professional limitations, of course). It may be that within the next 6-12 months I will be on the search for management, but my immediate plans, namely performing and promoting, have me busy enough as it is. Coupled with the great collab's I have in the works with some of the business' newest & brightest, my plate is full, and my cup most certainly runneth over (Thanks to the Big Man!).

To say that I've been blessed is such an understatement, because in my eyes, I truly don't deserve all of the great opportunities that have come my way and the people that have presented themselves as supporters of the movement. But I accept them humbly, and I am extremely grateful. Of course, my family, friends, and fans, are some of the best on the planet. Without them, there's nothing for me to do but play the piano and twiddle my musical thumbs :-). I wish there was a better pair of words than "Thank You" for the way I feel about yall, but they'll have to do - at least until we can all read each other's minds! You all have my heart, as well as my music, and as long as you say "GO," I'm gonna keep going with this.

Stay blessed & focused yall,
P.

Changing the Charge (Negative to Positive Energy)

2010-03-09T08:54:00.004-05:00

It has been an interesting 11 or so weeks for me in 2010. Lots of new music, networking, collaborations, and great events. It all seems to be looking up for the kid, and that's a beautiful thing. I really do believe that everything happens for one reason or another. I was all ready at the beginning of 2009 to go gung ho with the self-promo and music projects. And while I did pull off a pretty decent show in April, God saw it fit to pause my progress (via a major technical overhaul & revamp). As He is my witness, it couldn't have come at a better time. Seeing as how I lost my job & had to rethink my whole situation, it forced me to finally make some investments & rearrange how I was going to go about my career; crazy, right?

The reason I'm pointing this out is because of a few Twitter tidbits I read over the past few days in regards to the Oscars. First, congratulations to Miss Mo'Nique. I am extremely happy for her. Mo said something that really struck me, giving thanks to the Academy for judging the "performance and not the politics." This was a well-received comment, judging from the subsequent applause. Even though it may have seemed a trifle off-color (since she did win), it opened up a world of thinking for me. This was coupled by the different commentary I read online about the win directly after. I wasn't surprised to see that alot of folks were mouthing off about it, refusing to show support in exchange for their opportunity to front their own socio-political views on the situation. I wanted to vomit.

At some point, I tweeted something along the lines of, "Can we all just be happy for Mo'Nique, just for a moment?" I suppose it's a rhetorical question, because mankind in general has a hard time agreeing to any one thing anyway. But it did give me pause and really drove home the importance of support and positive energy. I know I've said before that I'm working on destroying my pride and contempt for alot of what I see in the industry, but this weekend made it all real in a way that other media & news have not. I support Mo, because she, like anyone else in this business, has had to fight for and work at earning her place. It is evident that none of her success was handed to her, and anyone that can wade through the red tape, politics, and pitfalls of media & entertainment gets a heavy round of applause from me.

With these added revelations in mind, I am making a more public & noted effort to A.) Keep my more obstructive opinions of some of my contemporaries to myself if unwarranted & B.) Be as supportive and positive of all the good things going on in the music business as possible, wherever they may be. I am finding more & more that positive energy and focus simply makes for better music. I've had a penchant for wanting to do things 'better' than some of the less favorable material I see in rotation, not realizing that all I need to do is ME. By doing me, my music, my positive energy, my hard work and the like, I will certainly get to where I need to go. I continually quote Wendy Williams when she said of the media industry, "there's room for everybody." And there really is...if you're willing to grind for it.

Give Love, Live Your Music, Manage Your Passion

2010-02-13T09:49:00.007-05:00

On a weekend where love is in the air and those of us in relationships find ways to express our affection for one another, I find myself wondering about how my love has affected me. In my case, of course, my love is music, plain and simple. Aside from the unconditional love I have for my Creator & family, this particular relationship almost seems to break the barriers that hold me back in many other aspects of my life. I admit that I am not the most socially savvy individual. There are times, in fact, where my interactions with people fall so short, that I wonder how those people are even able to deal with me. I don't hide from the fact I'm a man in transition, and that I am bound to make mistakes. But God help me, He has given me something to love which has proven to be an amazing lover; something to which I can always return in my worst moments.

If it seems overtly prose-ridden and deep, my wonderful pals, it's probably because it is (LOL). Recent dialogues with friends/colleagues, as well as great new musical opportunities have once again rekindled the inner workings of the passion that drives me. Some of that dialogue has been angry, some of it sad, and in some cases, I am on the verge of major shifts in my life. Now that I am closer than ever to completing my EP - which leaves me more time to work with others - it's frighteningly clear how much my love really rings true the words of St. Paul to the Corinthians.

After reading through several translations of the famous Epistle, I've found that the words so often used in readings, quotes, and song lyrics (thank you Lauryn Hill) refer to not just a love for God or another human being, but to anything that one can love - and how it loves you back. Paul writes of love that it is "Long suffering, kind, envieth not," and is not "puffed up." As a musician with a focus, what I tend to forget is that this love I have for music must resemble the Love Music has for me. Music doesn't stress that I find time to do other things, or be a son/brother to my family; in fact, it encourages such behavior. My passion, however, tends to justify my wrongs by placing Music as the vanguard against those who would chastise me for those mistakes. How many times have we as artists "puffed" ourselves up to mask our insecurity or uncertainty?

Paul goes on to write that Love is "not easily proked, and thinketh no evil; rejoiceth not in iniquity, but rejoiceth in the truth; Beareth all things, believeth all things, hopeth all things, endureth all things." All of these qualities I have found to be true in Music and how it works through my art. The Love that Music holds for me believes that I can 'make it' with my grind, and constantly pushes me to stay true to my vision. In an industry such as the one in which I choose to work, it helps me to stay strong and resolute, while constantly looking positively forward to new musical & artistic horizons. Sounds like hope to me.

Finally, this:

Love "never faileth: but whether there be prophecies, they shall fail; whether there be tongues, they shall cease; whether there be knowledge, it shall vanish away."

Folks, please know that I am not trying to deify Music as something to worship other than God; rather, I am speaking of this amazing gift He has given us. I cannot think of a time where Music has ever failed to help me get through and press on. Even in the midst of those who would see to it that I lose out in this hustle, the Music itself has helped me to keep working to not only achieve my goals, but to exceed them. I can't stop now, even if I wanted to; when all of the other imbalances in my life have balanced out, the Love that Music has for me & what I do with it stays strong. That's a great thing to be sure of.

In the end, faithful reading pals, what I've concluded here is that to be a complete person who does music, I have to be able to exude this type of love with others & other things in my life. And I have to know the difference between my love for the art and the passion for my grind. That passion, while extremely important, can X out alot of great things in my life, important things that are also an integral part of my identity. Letting that happen would be a discredit to the music I make; as hard as I work, I made a decision long ago to try and live a full life. That life includes more than just making music, and Music's Love for me understands that, so it is on me to manage my passion. We as musicians as artists all have to make a point of living/loving in a way that replicates how Music has loved us; unconditionally, wholly, and with a full heart.

A Bit of Fun: For my Irish Family

2010-02-05T12:47:00.002-05:00

This was sent to me by my mother and I HAD to share:

For all who don't know, I am an adopted child raised by my awesome Irish Roman-Catholic family. If you or anyone you know is of Irish descent, you will love this. Enjoy!

WHAT IT MEANS TO BE IN AN IRISH FAMILY

1) You will never play professional basketball.

2) You swear very well.

3) At least one of your cousins is a fireman, cop, bar owner, funeral home owner or holds political office. And you have at least one aunt who is a nun or uncle who's a priest..

4) You think you sing very well.

5) You have no idea how to make a long story short!

6) There isn't a big difference between you losing your temper or killing someone....

7) Many of your childhood meals were boiled. Instant potatoes were a mortal sin.

8) You have never hit your head on a ceiling.

9) You spent a good portion of your childhood kneeling in prayer.

10) You're strangely poetic after a few beers.

11) Some punches directed at you are from legacies of past generations.

12) Many of your sisters and/or cousins are named Mary, Catherine or Eileen .... and there is at least one member of your family with the full name of Mary Catherine Eileen

13) Someone in your family is very generous. It is more than likely you.

14) You may not know the words, but that doesn't stop you from singing..

15) You can't wait for the other guy to stop talking before you start talking.

16) You're not nearly as funny as you think you are... but what you lack in talent, you make up for in frequency.

17) There wasn't a huge difference between your last wake and your last keg party.

18) You are, or know someone, named Murph.

19) If you don't know Murph then you know Mac. If you don't know Murph or Mac, then you know Sully.. Then you probably know McMurphy.

20) You are genetically incapable of keeping a secret.

21) You have Irish Alzheimer's... you forget everything but the grudges!

22) 'Irish Stew' is a euphemism for 'boiled leftovers.'

23) Your skin's ability to tan.... not so much. (Only in spots!)

24) Childhood remedies for the common cold often included some form of whiskey.

25) There's no leaving a family party without
saying goodbye for at least 45 minutes.

26) At this very moment, you have at least two relatives who are not speaking to each other. Not fighting, mind you, just not speaking to each other.

FIRST DRAFT #1

2010-02-01T19:41:00.004-05:00

We are all imperfect;

Each one of us, an ever-changing being.

Likewise, our work is constantly altered.

We strive for excellence, knowing we will always fall short.

But we present what we have, because it's all we have.

FIRST DRAFT:

We're all under revision...

http://twitter.com/pmurraymusic

Don't Be Bitter. Be Better.

2010-01-27T11:51:00.005-05:00

I was wondering how I was gonna kick off my series of blogs for the New Year. To all my faithful reading Pals, I do apologize for the wait, but you all know half the time one of these is equivalent to 4-5 posts from the other guys, at least in length (heheheh...). Of course, the industry buzz is always a good place for intellectual fodder, and I just came across something that sparked my interest. Per my norm, I will not be too specific, but I will say that these thoughts came from a first listen to a new single from a popular male vocalist. My musical snob side dictated I should close out the window and do something more productive after about the first 20 seconds, but my curious side had me stay and listen to the whole cut, if only to form a full opinion, and it is this: Why so bitter?

In my time as a Pop music recording artist and creator, I have been truly blessed to achieve some of the milestones I set out to achieve in a relatively short period of time. Part of it is hard work & grind, but I know that it is mostly because I'm being guided by the Big Man (aka G.o.d.). Even so, from a NUMERICAL standpoint, these milestones do not compare in any way to the setbacks & disappointments I have faced in this journey. The ratio of "No's" to "Yes'" I've received in this business is probably around 100 to 1. However, in all this rejection & struggle, I have learned more than ever how to appreciate and be thankful for the accomplishments. So I suppose that's where my rub is with this artist and his recent music.

With the industry in its present state, anyone working to be part of it has to know that working with thick skin is practically an understatement. There are SO many terrible things that can happen to you along your path to your dreams. These things can completely warp your perception of success & failure, integrity & dishonesty, and right & wrong. Let's be real, with the game as transparent as it is, we see now more than ever the dark, ugly side to celebrity and fame. This is why it is so important to be grounded in your morals & goals, whatever they may be. It is even more important to not let it get to you, as it has apparently gotten to this artist. The bitterness & jaded mental state in which he resides is clear & apparent on this record, and from my experience, such anger will only seek to consume one's sanity; and that is all it takes to become one of the "lost ones" in the business.

So, with all this in mind, I would say to this artist and others who may be feeling the same way: "I feel your anger, and I've been there. Now it's time to let it go." If you know in your heart that your true passion is to bring music to the masses, then I promise that no force on this earth will be able to stop you. Except yourself. Being bitter and garnering contempt for the industry into which you have propelled yourself will only backfire and make you out to be the bad guy. Now if that's what you want, then by all means be my guest. But my feeling is that none of us really want to be the industry antagonist, and I know my network of creators only want to make good music. SO...when we feel like setbacks are set to make us bitter, use that energy, convert it into hard work, and make yourself better. You'll thank yourself for it when you make it.

All about the what? Oh yeah, that.

2009-12-28T10:54:00.003-05:00

I love that thanks to sites like Twitter and Facebook, I can keep tabs on my fellow colleagues and what they're up to. I'm noticing that as the year comes to a close, the 2010 hustle for many is all about that paper stack. Money. Cash. Cheese. Dough. Those coveted rectangular pieces of minted paper that determine our worth, economic standing, and class. And in one sense, I am happy to see my music-mates start thinking more along business lines.

But only in one sense.

What I'm also seeing, unfortunately, is a marked turn away from the important values that brought us to this business; the passion, the love, the desire, the hunger to make art and have it be received by engaged listeners. OK, CLEARLY, this is nothing new, and I'm not surprised by it, nor am I angry. I think what I feel is just a poignant acknowledgment that due to today's dire economic times, there's going to be alot of my contemporaries who are going to make some hard compromises in regards to their music & artistic vision. This is being coupled with an understandable yet strange boost in ego & arrogance. That is to say, these people are now seemingly all-of-a-sudden the end-all-be-all when it comes to what they do, therefore, a fee should not only be expected, it is asinine to think you'd be getting something for free from them.

Really?

Let's be very, VERY clear about one thing when it comes to me and why I'm here doing what I do: I love it. I don't understand all the reasons why I love it, but I do. Like I've said in many posts & blogs before, if I chose to make a different path in music, such as traditional composition, opera performance, or teaching music, not only would I still be happy, money would come quicker and with far more ease. But for me, pop music is not only a passion, it is a challenge that I wake up every day happy to face. Finding that right formula for a song, a beat, a mix...it's all fuel for that fire. So I'm trekking that path to find those formulas and make great pop music. Not for the cash - I wanna be comfortable in this game, trust - but for the sheer love of it.

So, my fellow music-heads and hustlers, remember, this money-thing some of you are lusting after, it's so temporal it's not even funny. I could go off on a super-tangent about how the dollar bill is actually in danger of crashing completely and will render our paper stack utterly useless, but I don't want to scare you (Do a Google search on: The Amero). But even if our economic system survives and booms again, I promise it will be so much more rewarding for all of us if we keep focusing on the passion that brought us to this place. Seriously, the payout will mean so much more.

Two things I want to leave you with here pals:

1. In this business, you are expendable: if you reach out and grab more than you can hold, you may get slapped on the wrist. Not only slapped, but possibly cut up at the fingers. Your talent is always measured by what the current successful members in your field can do, and this will always call into question your fees. No, you have nothing to prove to yourself, and God has blessed you with talent & skill, but pride and greed are both big sins that can really screw you over.

2. Never rule out the barter system: To be honest, it's one of my favorite ways to work. Yes, I charge where I think it's appropriate, and thanks to my experiences and knowledge, I know how to appropriately negotiate my money. But when working on my level (unsigned indie), it's always a great relationship-builder to do an even exchange of goods & services so as to better both parties involved. We can always find something we need from each other in this business, why not work that out?

Take it as you will, and you may not agree, Oh Chaser of the Paper, but I hope that I made you think, at the very least.

Diversity = Music = Love

2009-12-23T10:34:00.003-05:00

I am so happy to see that my number of fans is steadily increasing. On Facebook alone I'm past 600 P. Murray pals, having only reached 500 not more than several weeks ago. It's such a blessing and an amazing feeling to know that people are interested in what you do, enough to want to actually lock into your web presence. I don't know where I'd be without you guys; you are a major part of the ball of Reason that drives my work, and are invaluable, awesome, and just plain COOL. Thank you is too coarse for what I feel.

In addition to these wonderful climbing numbers, what I love about the pals who are tuned in to my music & updates is the sheer diversity of the fanbase. There are folks on my list that I'm sure, if aware of each other, might run the other way, were it not for something that could bring them together (in this case, my music & randomness, LOL). I've got hardcore conservative Republican fundamentalist Christians in a pool with the agnostic gays, some of whom are about to get married (for which I am UBER excited). I've got some of the most deeply pro-Black indie hip-hop bruthas rocking to my pop tunes right along with pre-teen Irish girls. And this, my friends, is the most beautiful thing about music: the ability to bring us all together.

In the coming months, I will be really upgrading and revamping alot of the personal and stage imagery that goes along with the upcoming EP. I want to be able to create art on stage in ways similar to people like Janelle Monae, where you know the music is going to satisfy the avid listener, but also entertain those of you who crave that great stage show. The reason behind this is because of the things I mentioned above; the mark of a great pop artist - in my opinion - is to be able to find common ground with a diverse fan base. And as someone who is always music-focused, I pray and am confident that I will be able to strike that happy medium between good music and inspiring performance.

So, my wonderful Pals, to you I owe even more thanks, because the hard work that will be going into cultivating the P. Murray live experience can most definitely be accredited to you. Your various creeds, thoughts, backgrounds, and experiences are duly noted and will be used to bring to life "First Draft," as well as all that is to come after. Keep rockin' with me, there's much to do, but there will be lots to enjoy!

I'm performing THIS SUNDAY 12/20! Are you coming??

2009-12-14T15:15:00.000-05:00

P. Murray LIVE THIS SUNDAY 12/20! from P. Murray on Vimeo.

I hope you can come join me THIS SUNDAY as I perform with Dy'Ari Volumes, Seanmichael Rodgers, Cordell H. McClary, Joey J-Harris Fleming, and friends at Soulstice!

Event: SOULSTICE (presented by Dy'ari & C2EANY)
Date: Sunday, December 20, 2009
Time: 6pm SHARP
Address: 271 W 119 Street, NYC

**Tickets: $20**
--Yes, this is pricey, we know. All proceeds are going to help establish & fund the New York chapter of the Campaign to End AIDS.--

A Song of Love & Hope: Lyrics to "Fallen Angel"

2009-12-07T05:55:00.003-05:00

Fallen Angel

Lyrics: SeanMichael Rodgers
Music: M. Rodgers, JP Murray

VERSE I

Some of us are broken...
Non of us are perfect...
We all have misspoken,
Done things we regret,

B-SECTION

Don't ever let a trial keep you in denial;
You're the best thing that's ever happened to me.
In case you didn't know it,
Here's your chance to show that
You are what I see

CHORUS

When I look into the eyes,
The eyes of a fallen angel,
(I can see her cry, I can hear her cries)
Even though her wings don't fly,
She's telling me I should try, tonight.

VERSE II

I know that you're hurting
You wanna run away and never return
I know you think their laughing
I know the ego is burning

B-SECTION

Don't ever let a trial keep you in denial;
You're the best thing that's ever happened to me.
In case you didn't know it,
Here's your chance to show that
You are what I see.

CHORUS

When I look into the eyes,
The eyes of a fallen angel,
(I can see her cry, I can hear her cries)
Even though her wings don't fly,
She's telling me I should try, tonight.

BRIDGE

When I look in the mirror
I see a vision of me nobody seems to see.
They all say they know me,
They all wanna show me...
But when I look at you
I see so clearly this is where you should be.
Yea, you're broken,
But you're no token (Cuz when I look at you)

CHORUS II

I'm looking in the eyes,
The eyes of a fallen angel;
Even though you wings don't fly,
You've lifted me beyond the sky...
(repeat)

And now I'm ready, ready to fly...

VAMP

Because of you
I'm a better man
I am better than
And it's all because of you

'Cause you're still an angel...

Everyone Makes Mistakes?

2009-11-25T21:56:00.003-05:00

I will make this short and to the point...I think. Like many of you, I watched the American Music Awards, and the "shocking" performance from Adam Lambert. I had kind of kept my musical distance from Adam's material, simply because I had been dealing with my own material & hadn't had time to keep a more keen ear out for new pop acts (plus I have a stigma about the 'American Idol' crowd. Sorry Anwar, LOL). But recently I got a listen to the title track from the album, written by in-demand pen Claude Kelly, and was thoroughly impressed. So it was kind of upsetting to see the over-the-top, admittedly risque show Adam put on to close out the AMA's.

What disturbed me more, though, was the widespread backlash and generally malignant reaction the following morning, including the Adam's performance/interview snub from Good Morning America. It seems that in the Western Hemisphere's gradual acceptance of art & culture, we tend to always take two steps forward and one big step back.

As I've noted on Twitter and Facebook, I hold no qualms in saying that Adam's performance was an unnecessary one, being that he is a genuinely talented man with alot to offer pop music. And from an artistic viewpoint, I feel that a solid band performance with less glitter-stoked sexuality would have opened up the doors much wider for him as opposed to hammering a hinge onto the hypothetical coffin so many artists seem to do on their first time out. Keep in mind I said just a hinge; I don't think that we've seen the last of Adam Lambert at all. In fact, because of all the hooplah, I can't help but desire to take his side, particularly after his interview on CBS's Early Morning show.

I feel what's important to note here is what so many of us have said before when it comes to mainstream music & its consumption: with this craft, for those of us who truly work at it and do it on a daily basis, we are seeking satisfaction in creating art that is to be respected and appreciated. But just because this is the case, it does not dictate that such appreciation was ever meant to be on a level that would be understood by everyone. Nor is it the intention of many of us to cater to a "light" or "Easygoing" audience. Some of us, yes, but many of us, not so. Like Adam put so succinctly: we're not "babysitters," we're performers.

It's always difficult for an artist to be cutting edge without overshooting that goal. But when it happens, if we respect the artist's work as a whole, it is an honorable and fitting thing to be able to let the artist fall down & get up, and be ready to help him/her when he/she is ready to come back on the scene. Such is the case with Adam. If you supported him before the AMA performance, then let him deal with the media fallout and just show him love & support till he can figure out what his next move is. I really do believe everyone deserves a 2nd chance, and if we can't give it to others, how can we expect anyone to give it to us?

Just a few thoughts...

The Fate of a Living Legend...?

2009-11-18T10:07:00.003-05:00

Because I spend so much time at the computer - I love my Mac, PS...LOL - I am constantly clicking into the world of entertainment media news & blogs. Truthfully, I'm not a fan of gossip when it delves outside the realm of the music or business aspects of the industry. But who wasn't freaking out when it leaked that Beyonce & Gaga would be working together? I most certainly was, and I'm not ashamed to admit it. By the way, their final cut for the "Video Phone" remix is out as of this week, so make sure to check it out. It's alot of fun, and they look great together.

Still, with all of this "Fast-food style" information (as the phrased was so aptly coined recently) I wonder about the fate of our music veterans who are used to periodic inquiries into their lives & work, who now have to deal with constant questioning and exposure thanks to sites like TMZ, Concrete Loop, Facebook, & Twitter. There was a time when stars like Whitney, Luther, and Prince could at least try and seclude themselves from the prying eyes & ears of the media so as to perpetuate some small modicum of privacy. These days, if you're a hot item, consider it lucky if you don't have photographers hiding in the bushes of your compound. To be honest, it's all kind of deplorable, how we - myself included - have accepted this kind of spoon-feeding of information without respect for the lives into whom we spy. But, it is what it is.

My question comes down to this: How do the stars of yesteryear deal with this relatively new form of public accessibility without either going over the top or being too internal? It may stand to reason that if it ain't broke, don't fix it; if the semi-private world of an artist is what the fans are used to, why change? But that's still a 50/50 shot. We've seen that with certain stars, not being in touch with the fans and basing a release off historic reputation doesn't cut it anymore. But we've also seen that it CAN work if the cards fall the right way (e.g. Whitney Houston, "I Look To You"). So it's really a toss up - possibly the biggest toss up of a living legend's career. I certainly don't have an answer for them, but I do wish them all the love & success they deserve.

$1,000,000,000 vs. 171,476

2009-11-11T11:12:00.004-05:00

Today my friend & colleauge AntBoogie posed an observation & question that I couldn't resist to repost and try to answer:

"Hip Hop- A large part of it was built and excelled from composition and battling. I noticed after Jay-Z lost a very big battle to Nas., he has not entered the battle scene the real way since. What I wonder is. IF you make millions or have great bodies of work over the years. Does that excuse you from battling? Since when does making tons of money make you better then the art? ...I love Jay-Z music but I Iove the Culture more, BUT if OG Bboys in their 40's can still get down in battles, what [puts] Rappers above that?"

--

A sound observation and very valid question, I'd say.

Well, Ant, I could never speak for Sean "Jay-Z" Carter, but I will say this: from my perspective, I think part of the answer lies in numbers, hence my titling this blog $1,000,000,000 vs. 171,476. Per my research, right now the Oxford English dictionary contains roughly 171,746 words with full definitions and references. As hip-hop is originally an art form all about wordplay, poetics, and sentence structure, it's interesting that the art form has been able to create so much out of such a finite number of words; this is, of course, to say nothing of the slang and colloquialisms that hip-hop culture has bred and incorporated into its content. Still, 6 figures is not alot to work with, at least from an aesthetic standpoint. Now let's call into play the other number: $1,000,000,000.

This 1 billion I speak of refers to the potential net worth in US Dollars of Mr. Carter's empire in the next few years (so they say, so he raps about). It is certainly true that through his music, fashion, entertainment, and media enterprises, Jay has managed to amass a nearly staggering amount of wealth. He has recently created Roc Nation, a media/management/music company & partnership with Live Nation, which claims - among its many services - to be birthing a new wave of artists and entrepreneurs for the younger generations. His marriage to Beyonce Knowles has sky-rocketed his buying power as well as his mass appeal so as to be able to further his business expansion. And while all of this is clearly due to his keen eye for success and scrupulous (albeit questionable) practices, he would still say that it all started with rap. Hip-hop. The culture which you, Ant, now say he may now be somewhat abandoning due to these facts & figures, as well as the Nas beef.

The point of these observations is to put forth the idea that it is highly possible that Sean Carter may very well believe that in light of all this success (which now includes a very formidable body of work in "The BluePrint III") there is little to no point in having to prove anything to anyone about his art, being that [he claims] it was his art that helped elevate his status to it's current level. To be honest, part of me agrees with that. All of us who deal with the arts have to at some point be confident enough in our talent to ascertain two truths: 1.) That we can be successful and happy with what we love to do, & 2.) While there will certainly be people out there better than us, we are still pretty damn good. This second truth may hold the key to your questioning: why battle, why go through a gauntlet through which you've already gone multiple times just to prove to yourself and others that what you do is something to be revered, especially if your rich resume and work has long since spoken to that effect? It seems almost useless.

I should think that Jay-Z the rapper knows that in a battle with some of the very best of his contemporaries (major label, indie, or otherwise), he may very well lose. Not because he's not good at what he does, but simply because there are rappers out there who are obviously better than him; it's circumstance, I'm not hating. I also believe that his "I will not lose" attitude and branding may prohibit him from entering into an arena where that can happen. Here is where the $1,000,000,000 vs. 171,476 theory really comes into play. Is anyone who has gotten to the point where a 10-figure financial benchmark is within reach willing to risk that $1,000,000,000 of success in entertainment for 171,476 words and their subsequent hip-hop permutations in the pursuit of fine art? Let us never forget and always remind ourselves that 'Hova' started out as a hustler, and was coaxed into working on music; it's almost as if the drive for prosperity is ingrained in his being, thanks to his beginnings and background, so I'm not sure if "not entering the battle scene" can be held against him.

I recently attended a concert in NYC starring Common with special guests Q-Tip & Queen Latifah. It was so refreshing and good to see these living legends rap, freestyle & battle on stage. It is what the culture is all about. But I think it's safe to say that someone like Common will most likely not touch the level of wealth that Jay-Z has...and I think he's OK with that, because he understands that what he does is part of a higher calling, and so money & fame only are a means to an end for someone like him.

So NO, Antboogie, I don't think that success excuses one from competition in hip-hop, I feel that choices are made in the best interest of one's well being. NO, money will never be better than the art, but I'm sure that Jay-Z and those like him know that. And NO, rappers should never be above testing their skills, but Jay-Z isn't just a rapper anymore; he never was just a rapper, and he never will be just a rapper.

The art will always be there, and the right people will step up to the plate to battle, test, and perpetuate the importance of hip-hop's true qualities.

WWJD...in radio? A great commentary, read on!

2009-11-10T10:19:00.003-05:00

--I usually don't re-post other blogs or articles here, but this commentary struck me as something that needed to be seen. I agree with much of what was written, and I think you will too.--

From the blog of Charlamagne Tha God (Edited by PMG):

If Jesus were around today he would have been a radio personality/DJ. I want you to understand exactly what I just said so I will repeat it again. Jesus would have been a radio personality/DJ.

How did I come to this conclusion? Well, Jesus was a public servant. He is an example of a man who truly came to serve. The Honorable Minister Louis Farrakhan says, “We should not want public office or positions of power so that we can become big shots. We should want public office and positions of power so that we can serve.”

Jesus himself said, “He who would be great among you, let him be your servant....”

...Let’s be clear, we all know the radio personality/DJ game is a thankless business. The hours are long and the money is short. Most of us probably wouldn’t be doing it if we didn’t have a genuine love for what we do....

Think about the headaches you go through when dealing with program directors who don’t even live the lifestyle....

I ask Mass Communication majors all the time, “Are you getting involved with radio because you have a genuine love for the game?” “Do you want to be involved because you have a genuine need or desire to make the lives of others better?” If not, then I would strongly suggest another profession; something that does not have you directly affecting the lives of the people that hear you on a daily basis.

I know there are some radio personality/DJs out there right now saying, “Man Charlamagne sit your ass down somewhere, I’m just here to collect my little piece of a paycheck and keep it moving.” Well, my friend, that is why your ratings suck....That is why you can’t get any more than $200 to spin at a party and that is why the streets of the city you are in don’t f**k with you...because you have not embraced the...position that God has put you in, the position of public servant.

A lot of times we get caught up in our own hype and we stop serving the needs of the people...DJs play what they want to hear or what they’re feeling instead of really checking the pulse of the city and seeing what the people want to hear. I know DJs that won’t play local records that are smash hits...because the artist hasn’t [supported them].

Message to those DJs: Your purpose in life will only be found in service to others and in being connected to something far greater than your...ego. And you wonder why local artist want to fight [you] now. It’s called karma...

...when these DJs don’t play the records because they can’t swallow their...pride to serve the needs of the people what does that listener do? They switch stations. That listener goes somewhere where their needs can be served.

Law 20 in the 48 Laws of Power - “Do not commit to anyone, it is the fool who always rushes to take sides. Do not commit to any side or cause but yourself.” If you are a truly a public servant committing to yourself or your cause is not a problem...

...Malcolm X was a public servant and so was Martin Luther King Jr. You [rarely] saw them [publicly insulting] each other even though they didn’t agree with each other’s approaches...Because...they were fighting for the same cause...a cause we are still fighting for today. Instead of throwing shots at each other and fighting for positions in the ratings, radio stations should be coming together and devising ways to make the city you are in the best city it can possibly be....

...I encourage all radio personalities/DJs to get on your job. The people in the city you are in need you...You have the power to change lives. There is a reason they call it radio programming...

...You can single handedly change someone’s life by simply playing a record enough times!

“What would Jesus do if he was a jock?” The answer...lies in service to the public.

Charlamange tha God

Full article is HERE

I love it, and this is why!

2009-11-07T12:05:00.004-05:00

I suppose that there are those of you out there who want to know why I'm traveling down this road of music business and art. Why, P. Murray, would you choose to find stability in such an unstable industry? Is it worth all your ranting, long nights, hours of studio time, prayer, and contemplation? Better yet, will it last, once you've made it to where you hope to be?

Why indeed.

Well, while some of those questions would probably need a dissertation, I figure I could do a small breakdown of some of the things I do and why I do them. It's only fair to you guys to have a better understanding of some of the feelings and reasons behind the music (LOL, I sound like a VH1 special, wow!). I guess that I'd have to put them in order. Let's be real, I do have priorities with me music, folks. So here goes:

Singing - Of all the things I do, singing is my absolute favorite. I love to get up on a stage (or even just with friends) and make noises with my body, what can I say (LOL)? From the moment my church kid's choir director heard me and I saw the look in her eye that I was more than just a boy with nothing to do on a Saturday/Sunday, I knew something was different and I've been pursuing that "Different" ever since. It's one of the most liberating experiences one can have, I think.
Piano - This was the first thing I was able to do as a musician. My local private teacher found out that I could play by ear, and that was it. She threw exercises and tough pieces at me and I worked on them like it was food for the soul. Piano-playing, as one of my college professors told me, is easy to learn, but hard to master. But it's an awesome thing to be able to get through something beautiful and complicated like a Schubert impromptu or a Bach invention - nothing like it! In high school was where I came into improvisational pop/R&B/gospel playing and accompaniment, and that's just as awesome.
Composition - I know, surprise right? Many of yall thought I might put writing or production next, but it was composition proper that was able to cultivate my writing & production in the popular music fields. Again, LaGuardia was my breeding ground for this, and once I started, I couldn't stop. I have to publicly thank Mr. Ramon Reeberg, Gospel Chorus teacher at the time, for making me transcribe numerous pieces for the semi-annual concerts: it helped hone my ear and forced me to become comfortable with computer composition programs (Finale is still my top pick, sorry Sibelius fans!). I have a taste for neo-classical works set to either Latin sacred/secular poetry or prose. But I love working on musical theatre-tinged material as well.
Songwriting/Production - Though last on this list, these aspects of my musical makeup are far from the love I have for all of the things I do. It's more empirical than numeric, I promise! But I couldn't put one above the other. With writing, I find a type of comfort and enjoyment that is its own entity. I feel very blessed to be able to tackle different styles of writing and be satisfied with the end-result. My production is probably the weakest of my traits, and I'm happy to admit that, because it makes me want to be better at it. Still, when the right track comes together under my fingers or at the application of my ideas, it's SO awesome.

And what of the other things I do, you might ask (Music Direction, Engineering, etc.)? Well, I can't say I have a passion for those things, but they are certainly fun and part of my experience, and I've been told I'm pretty decent at them, which would make me want to work harder at them as well. But the list above is as real as it gets if you're looking to get a better understanding of the gears behind the goings-on ;-). Let me know what you think, love your comments always, and thanks for the love!

PMG and MJB! Take a listen to a Throwback Remix!!

2009-11-02T13:02:00.003-05:00

This is my version of the Mary J. Blige/Method Man Classic, "You're All I Need." Check it out, hope you enjoy!

Download the remix for FREE! Click Here

P. Murray=1 | Pride=0...I hope ;-)

2009-11-02T05:54:00.000-05:00

Over the last few days I have been in talks with colleagues regarding my behavior & how it pertains to the industry. Not surprisingly, the remix I did was sort of the catalyst for this. What was brought to my attention is that I was letting hubris eat away at my reputation for good music. While I was making sure that I said EVERYTHING I felt about the business & it's pitfalls, I wasn't seeing how Pride, in its worst forms, was blocking my blessings.

This weekend, consequently, was one of the most depressing and expository I've had. I sat with my own mistakes, and for the first time in a long time, really examined them, seeing how the ramifications of my actions could've been (and still could be) more far reaching than I cared to admit. While I was confident that members of the industry would be like me in addressing their problems w/me outright, what I forgot was that people - in any form of socio-business interaction - don't have the time to deal with such confrontation, and will opt for a less time-consuming option (i.e. limiting their dialogue with you & placing your name on the black list). I'm sure I'm on a few of those already with things I've said & done, and I've only had a handful of successes with my work. That's a scary thing, looking at it now.

I'm happy to report, faithful pals, that at the end of the weekend, I was able to laugh at myself, and with a final conversation w/a great producer-friend, hit the bed knowing that I had somewhat conquered my Pride. In a scene from one of my favorite movies, "The Divine Secrets of the Ya-Ya Sisterhood," actor James Garner's character. noted something that makes even more sense now than before: "Pride covers a multitude of sins, and...the road to hell is paved with good intentions." He went on to explain that the road back is paved with Pride's arch-nemesis, Humility. And it is this Humility that I think has finally won over my heart; this is an awesome thing.

SO! What happens know? Well, my fans & friends, you already know that good music is going to keep happening in my little corner of the world. The difference? Now I can see that it's better to just "shut up" and make it, rather than blab about it ALL the time, LOL (thanks Giles). OK, we all know I LOOOOVE to talk about stuff...and I mean, let's face it, I probably will keep blogging and blabbing about stuff. But now I get that talking about stuff and talkin' SHIT don't have to be in the same blog entry. And you guys who are supporting me deserve a better artist & creator; I'm no role model, I know this, but I can do a better job of giving you all what it is you like about me, which is - hopefully - good music. So thank you, from the bottom of my newly cleaned heart, for continuing to rock with me...here we go again!!