INSIDE SCENE

Louie Castellanos pg. 3
2003 Talent Quest pg. 3
And All That Jazz pg. 4
How Do You Act? pg. 4
Karaoke Tool Box pg. 6
Nobody Has Told The Baby To Be Quiet pg. 6
Yes sirry; pg. 7
Need Help Selecting the Right Mic? pg. 8
Scene Calendar pg. 10 & 11
Back Before Karaoke pg. 12
From Seth Riggs pg. 13
SDS Photo Night pg. 16 & 17
Put Two Horses Together pg. 18
West Coast Karaoke Idol Contest pg. 20
Mapping Your Musical Career Path pg. 20
KJ Talk pg. 21
Katastrophic Karaoke pg. 22

Louie Castellanos
by Connie Castellanos

Louie Castellanos, is a man of many surprises to anyone who knows him. Right now he is probably thinking about the upcoming fishing trip that he and his friends from the Jamul Tuna Club are planning.

When I met Louie, he had been a car salesman for over 20 years, loved karaoke and was always entering karaoke contests. I knew very little about karaoke and absolutely didn't sing. Getting to know Louie was a learning experience from the first day. He enjoyed bike riding, hiking, spending time in Mexico and anything having to do with karaoke. We spent much of our free time doing all these things and I learned to enjoy them with him. I didn't really think of Louie as a family man or someone who would enjoy working around the house or doing yard work, but I was in for a wonderful surprise after we decided to get married and live at my home in Jamul.

After deciding to get married at our house in May of 2000, Louie began visualizing how the front yard should look for the wedding. The challenge began and there was no stopping him. We had talked about his career as a car salesman and it was beginning to get in the way of his working on the property, so he quit his job. He spent days, weeks and months cleaning, landscaping and even built a fish pond that I had always wanted near the entrance of the house. Every day there would be changes made somewhere on the property. As time went on, sections of the old wooden fence in the back suddenly disappeared. I asked him once how he came up with all his ideas and didn't he think he should hire some help, especially when it came to cutting down trees. Oh no, he didn't need to do that because he'd been watching the Discovery Channel and really felt that he could get it done. Amazingly enough when the trees came down, they missed the propane tank and the house. I told him he was very lucky and he laughed. He said he knew exactly what he was doing the whole time!

When he was visualizing a deck in the back yard, I thought he was crazy. He had talked to a carpenter friend of his who said he'd build it for him, so we began to measure and stake out the area and even bought the materials. Still thinking this can't be possible, the day came to take down the fence that I once needed for privacy. I was so amazed because it opened up a whole new world and we could see for miles. We had actually gained a real back yard. However, the carpenter managed to never show up and board by board Louie, with help from his friend Lonnie, built our 24' x 14' deck with a sunken jaccuzi. Now we have this beautiful deck with dirt around it and I do mean hard dirt. (Decomposed granite). I was told for years that grass wouldn't grow there, so we had crushed rock in the back! Louie and his Discovery Channel/HGTV advised me that anything would grow if the ground was properly prepared, so off he went with his shovel to remove the rock. He was so convinced that he could do it that I couldn't bring myself to inform him that tons of rock had been hauled in. After a week of shoveling rock in over 100 degree weather, he thought it was all ready for sod, but then came the decomposed granite! After a few strikes with the pick, he decided to rent a "big" rototiller. Now, I don't know if the rototiller was taking him around the yard or if he had control because he was bouncing all over the place. He decided the ground was too hard and that he'd bring in some real dirt to do the job. He called and made arrangements for 26 yards to be delivered. Louie had no idea what 26 yards of dirt would look like. The next morning two dump trucks showed up and delivered a medium sized mountain along the side of the house. Louie's eyes about bugged out as I was laughing at him. I asked him how he was planning to move all that dirt. He just smiled, grabbed the shovel and his wheelbarrow and said he'd use "Mexican Power". Well, days went by, and with a sore back and a lot of sweat, the dirt was all in place. It looked great even without grass and he was so proud that he ordered the sod for the next day. He commandeered a couple of his friends to help lay the sod the next morning. The job took no time at all and in a few hours we had instant grass. He was standing back admiring what he had accomplished and called me out for approval. I told him he did a great job, but where was the sprinkler system? He looked so disappointed and said he didn't know how to install sprinklers. I asked him what time the Discovery Channel came on? He laughed and said he had a better idea. I have professionals that can show me, so off he went to Home Depot. Well, he did it and the folks at Home Depot now know him on a first name basis since he has put up retaining walls, ponds, sprinklers, cut down trees, dry walled, built a sauna and numerous other projects in the last 3 years. To everyone's amazement, they've all turned out better than expected. The only thing he is asking for now is a couple of horses and I keep telling him that until he starts cleaning up after his dog, he can't have any horses.

He had talked about a karaoke business before we had gotten married and even then began planning what is now "Just Sing It Karaoke". He has several systems and hosts to take over whenever he has a private party or event. This past year he has added DJ Service and enjoys it as much as Karaoke.

We have been involved with the National Talent Quest Karaoke Singing Contest for the past three years and this year Louie was appointed the Southern California Coordinator.

Last December some of the local Jamulians approached Louie about joining the Jamul Tuna Club. He doesn't know exactly what they do except on the first Monday of every month, they all get together for a meeting and then they eat and drink. A fishing trip is being planned, so I am expecting a real slow down with the home improvements. The other day I did catch him casting his jigs into the jaccuzzi. He said he wishes he had a bigger pond to cast in and was checking out the lower lot, so stay tuned and we'll see where that might go.

2003 TALENT QUEST
NATIONAL KARAOKE SINGING CONTEST WITH $20,000 IN GUARANTEED PRIZE MONEY
Sept. 14th - 20th,
2003,Laughlin, NV.

By Connie Castellanos

The Talent Quest National Karaoke Finals will be held September 14th to 20th, 2003, at the Ramada Express Hotel and Casino in Laughlin, NV.
A review of the past winners show that San Diego County has contributed its share of winners to this highly competitive event. 2001 produced the national male champion, MARKO, receiving his share of prize money and being booked to perform for a month at the Ramada Express Hotel and Casino in Laughlin, NV and is now pursuing a production of his own CD. Sadona Myles placed in the top ten in 2001 and was highly competitive at the finals in 2002. Robert Nichols, a top 15 finalists in 2001, had an outstanding performance in 2002, making it to the third round despite a last minute attack of laryngitis. John Treveno placed fifth place in 2001 and continued his extraordinary performance making it to the final cut in 2002. And lets not forget the exuberant performances of SATIN, who placed 6th in 2001 and came back with a 4th place in 2002. We are hoping that SATIN's health will allow another appearance, as we strongly believe that the third time is the charm. SATIN has been the back bone strength of the San Diego team with his presence, not only showing the other contestants nationally how to appear, perform and compete in the highest of standards at this competition. This is a thank you to only a few of many from San Diego who have contributed on going support for this event. As we expand this year as coordinators of Southern California, we know and challenge karaoke singers from the Los Angeles, Orange and Ventura counties to join in and make Southern California shine in 2003 among the outstanding national competition.
We have been contacted by two national television networks to produce one hour specials tracking singers from the club level through the national finals. Details are being put together and we are hoping this will develop as it will be a wonderful way to showcase our great talent.
Presently, we are enrolling clubs in Southern California to host this event. If you would like to participate as a club or if you are a singer and wish your club to host this event, please have them contact us as soon as possible. At this time there are three clubs holding the Club Level competition and they are: Fannie's Cocktails, 9143 Campo Rd., Spring Valley (619) 698-2204/ El Cajon Grand, 437 E, Main St., El Cajon (619) 444-0949 / Mira Mesa Bowl, 8210 Mira Mesa Blvd, San Diego (858) 578-0500. Check with the clubs for contest night and sign-in times. As other clubs enroll to host this event, you may log on to our website at www.justsingitkaraoke.com for new times, locations, rules and additional information.
We encourage everyone interested in the contest to start qualifying now. You may qualify at more than one club and in more than one category; however, at a regional contest, contestants may participate in only one category. A contestant may enter another regional contest in a different music category. A contestant may enter only one music category at the national contest.
All contestants must be 21 years of age or older.
This year $20,000 in guaranteed prize money will be shared among the 12 winners.
Contests are divided into two music categories each for males and females. 1,Country/Western 2. Rock/Pop/Easy Listening/ Rhythm & Blues/Soul. No Rap/Urban music allowed in competition.
If anyone has any questions regarding the contest, please contact Louie Castellanos at 619-669-6437 or 619-300-4348.
Website: www.justsingitkaraoke.com
email: louiec49@cs.com

"And All That Jazz"
by Margaret Williams

The sound of music came wafting down the halls of the Handlery Hotel in Mission Valley on a sunny San Diego day in mid-March. There were people of all sizes, shapes, and colors. One person began singing, soon to be joined in a jam session with guitar, spoons, sax, and harmonic tones of all sorts. There were mimes, singers, comedians, dancers, magicians, guitarists, a blind sax player. Some were in
costumes, or casual dress, or formal attire, and one in a decorated wheel chair.

Energy, laughter, conversation filled this psuedo green room. One underlying commonality encompassed this group of performers who were patiently awaiting their turn. They were all "Seniors," or at least the minimum age was 50. Some were long time entertainers, some "late bloomers." They were there to audition for NBC's "2nd Chance-America's Most Talented Seniors." Auditions were being conducted in numerous cities throughout the country. What with currently popular TV programs such as American Idol, Star Search, and Search for the Most Talented Kids, finally NBC initiated this search for the most talented Senior!

The NBC staff and crew were polite, friendly, and efficient. Andrea Wagner Barton was the producer. I enjoyed being interviewed, as did others in this group of several hundred. I was queried about who I was, personal philosophy about life, and why I enjoyed performing. After my three-hour wait, sadly I had to leave before my turn because of another commitment.

This was truly a fun experience and I'm eagerly awaiting this TV production to be aired, "2nd Chance ­ America's Most Talented Senior." Watch for it on NBC.

A few weeks ago a friend and I visited Nicole's show at the Comstock. Kudos to Edna, the owner, for a grand remodeling job. Walls were moved to make room for more tables and a larger dance floor. As usual, Nicole kept the place jumping and her Karaoke family has showcases booked through July! Congrats, Nicole!!

Last month I celebrated my birthday with family and friends at Johnny Stewart's show at the Tickled Trout in Mission Valley. It's encouraging to see lounge management having walls removed and enlarging space for karaoke performers and dance floors. It can only mean more income for the establishment when customers have other than standing room only.

News from Glen Eden Sun Club (Naturist Resort): KJ and performer, Rod Marshall, has enlisted a Karaoke Committee consisting of friends and supporters who petitioned management to contribute toward the purchase of equipment that would belong to the club/lounge, to be used at the discretion of the KJ. New equipment will be used in his show April 12. During several of his shows Rod has asked Jamie, a talented harmonica player, to join in with several singers, jazzing the performances even more. Any guitarists or drummers in the crowd?

Enthusiasm continues to grow with the involvement of singers and non-singers at this Riverside County Naturist Club. And even in these traumatic times in our country and the world, life goes on with MUSIC, MUSIC, MUSIC! I always appreciate receiving your thoughts and ideas. "You can reach me by --- E-mail" at fritzysox@aol.com.

How do you act at karaoke?
By Suzanne Lanoue

How do you act at karaoke? Do you clap when others sing?

You wouldn't think this would be a tough question, but it has come up from time to time.

The polite thing to do when you're at karaoke is to clap whenever anyone finishes singing, no matter how good or bad they are. It's rude otherwise.

We all know that polite clapping and wildly-effusive clapping are two different things, and we can probably tell the difference when we get the first. But still, it's better than no clapping at all! (And believe me, that's the worst)

Sometimes you may not feel like clapping if someone really sucks because you feel like you're being dishonest. But really, you don't want to just sit there and avoid their face because that is doing a lot worse damage to their self-esteem than being dishonest.

Sometimes you may not notice if someone is done singing. It's really loud and you are with a group of people, engaged in talking. That's okay; no one is going to come over and yell at you for not clapping for them (well, except maybe your friends). But if at all possible, do clap. It's the polite, adult thing to do.

How else should you behave?

Some KJ's have their own set of rules; so you might look in their song book to see if they have the rules listed.

Rules can include:
1) No swinging the microphones (it can damage them)
2) No bringing food or drinks onto the stage (you can spill and make a big mess)
3) Tip the KJ
4) No singing the same song as someone else
5) Don't sing when you're falling-down drunk.
6) Don't hassle the KJ or get in their face.
7) Don't ask the KJ to put your song up sooner.
8) No swearing or vulgar language.

Karaoke Tool Box

By Ken Wilson
Croaky Entertainment

In the last issue we looked at music book publishing programs. Next, we will delve into the world of CDG creation software. Although the programs we will be discussing make this as easy as possible, it is still a tedious task. It's definitely worthwhile just buying the CDG you want, but if you insist on making your own, or the song you want just isn't available, then this article will show you how to make it. The reward is singing a song no one else has! As always, check with the song publisher for their copyright policies first.

The Steps

Devocalize ­ The first thing you need to do is get a regular version of the song you want and strip the lead vocals out of it. For best results save the regular version as a wave file instead of an mp3. Although the software will work on mp3, it is best to do the editing with a wave file, then convert to mp3 later if you want. The software discussed in this article will do a fair job of devocalizing but there are a few things you need to be aware of.

First, it is extremely difficult to completely remove the vocal track, and nearly impossible for songs that are recorded 'live'. You will almost always be left with a faint lead vocal in the background. Kind of like a 'helper' track. Next, if the studio has added a significant amount of reverb to the lead vocals, you will be left with the reverb even after you strip the vocals. This sounds like a faint echo in the background.

Adding the lyrics ­ You will either have to decipher the lyrics (pour some shook up ramenor pour some sugar on me?) and type it into a text file manually, or find the lyrics on the internet and copy/paste into a text file. For my sample song, I used 'On the Robert E Lee' by Neil Diamond because it's not available for karaoke, and I own the Jazz Singer CD. I went to the 'Google' search engine (www.google.com), and searched for 'robert e lee lyrics'. A few clicks later I had the lyrics pasted into a text file. Always use 'notepad' to make your text file. The software discussed here won't be able to read it if you use Word or Wordpad to make the file.

Word Placement ­ Next, you get to 'flag' the words so they appear at the right time. This is the most time consuming process when creating a karaoke song. We will get more into this when discussing the specific software programs.

Compiling and Burning ­ When you have finished all the above steps you will create a CDG file. This file must be combined with the devocalized music file to create a single BIN file for burning. Always name the files exactly the same (except for the extension i.e. .bin, .cdg, .wav). The process is different for each program so we will discuss this more in the specific software sections.

The Software

Dart Karaoke Studio CDG ­ http://www.dartpro.com

This is the most advanced of the programs evaluated and allows for specific placement of words for exact timing. You can choose to highlight a line at a time or each word individually. The first thing you do is import your song file. After that you click on the 'devocalize' icon where you can adjust a few settings and process the sound file. The result will be saved as 'yoursong-devocalized.wav'. You have to close the original song file then open the new devocalized file to start placing your words in it.

Next, click on 'import lyrics' and select your text file. This will bring the lyrics into the edit window for you to see line by line. Select the first line in the lyrics window and choose where to place it in the music window then click on 'set flag'. Repeat this process for the entire song.

Don't be too fussy about where you place the lines at this time, unless you plan on using 'line mode' for your entire song. I prefer 'word mode' myself but it takes A LOT longer.
If you choose 'word mode' then you can now playback the song and adjust the placement of each word so that it appears at the right moment. Be sure to save your project every few minutes.

Okay, an hour or two have passed and you have everything perfect. You have the song memorized because you have played it back about a hundred times while synchronizing the lyrics, but you want to finish anyway. Next you want to click on 'Generate CD+G Track'. Here you will have the option to include starting and ending graphics like your picture or something, choose the font color, font type and size, how many lines you want displayed per screen etc. The end result will be a BIN file which you will use to burn your new creation so you can play it in a karaoke machine. You also have the option of creating only a cdg file for use with PC software players only.

After you have created your BIN file, you can burn it with your CDG compatible burner. As I mentioned in previous articles, most burners won't copy the graphics subcode, so you must have a CDG compatible burner. Click on 'CD Recorder' and select your BIN file from the explorer style window. Add it to your playlist then select 'Record to audio CD'. Make sure you select CDG in the options dialog and then burn away!

Congratulations! You have just made a karaoke CD!

Get the 'Dart Karaoke Studio CDG' Demo at http://www.dartpro.com it's free!

In the next issue, we will look at yet another karaoke disk creation program. MTU's Karaoke Pro. See ya then!

Ken Wilson
Croaky Entertainment
www.croaky.org

Nobody has told the baby to be quiet!

by James Lugo

Hello everyone! My objective while writing this article is to keep it simple
enough to explore the concepts and techniques of singing pop and rock, while covering intricate topics pertinent to voice. Here we go!

Let's start with a simple question. Why are babies so loud? Give up? Babies are free to make noise because they haven't been taught the meaning of being forced to "shut-up". Babies are yet to have truck payments, pushy bosses or traffic to
contend with. So what does this have to do with singing? A lot. Babies are loud because they're free. They haven't been conditioned by society, yet.

In the film, 'The Matrix' ignorance was bliss. And a baby's natural innocence and ignorance to volume allows the baby's cry to be natural and intense.

Nobody has told the baby to be quiet, not to the baby's knowledge anyway. Another contributing factor is the baby has not stood upright, so the spinal erector muscles are not yet developed. This plays a huge roll in the cutting tone that
escapes from an infants' mouth while making a cry. That type of free sound is the same sound you hear in Linkin Park, Alicia Keyes, Papa Roach and Mary J. Blige. The sound we are looking to produce in pop and rock is a raw, uninhibited rage! That my friend is the commonality between the baby's voice and what we are trying to establish as singers. I believe that if we can't transmit to the outside, what's going on in the inside, we'll be waiting tables instead of performing, for the rest of our lives! This especially true of Rock, R & B, Hip-Hop and Hardcore vocals. Thin wimpy need not apply. Want to put some high-octane leaded fuel in those pipes and live out your dreams? Read on.

Back to the baby, because the baby is relaxed, the body functions naturally. As the baby breathes, air is inhaled into the lower belly. Just watch a baby lying on a bed sometime, it's amazing. The lower abdomen rises and falls naturally, the way adults breathe while sleeping. The origin of the baby's voice is very low, meaning that the baby breathes very deeply.

If you want to understand more about how to project a larger sound, think of yourself as an acoustic guitar. An acoustic guitar is an enclosed chamber with a hole in it. People are enclosed chambers with a mouth. Keeping that in mind, the bigger the chamber the bigger the sound. Meaning the deeper you use your breathing chamber, the greater the sound will be that you produce! Remember that just as the larger guitar has a more resonant sound, the singer can increase the size of the chamber by breathing deeper!

Think of inhaling like filling up a glass of water from the faucet. You put the glass under the spout and it fills from the bottom up.

What a concept. After everything you've learned about being quiet and sucking in your stomach, as singers, we're going back to being natural breathers and naturally resonant.

Because of societal stresses and standing upright, you may be "Shallow Breathing". Very bad for singers. Your voice resonates to a great degree in your chest and body, meaning the notes vibrate and the sound is generated there. If you find that you are "Shallow Breathing" you're selling your voice short. You will not pour out your full potential on to your audience until you breath deep.

Shallow breathing can lead to "Over Singing" to compensate far a small sound, which in turn can lead to vocal problems. Trust me you don't want to start having vocal chord problems; they are unforgiving, kind of like skydiving. The vocal chords are delicate. Once they are damaged, they cannot regenerate the way other areas of the body will so there's not a lot of room for error. The key is to relax, breath deep and let your belly drop slightly as you inhale. When you do this, you will lower the origin of your voice and begin to increase your sound.

Here are some good exercises for breathing, and yes, I do them

1. "Lying 10's" ­ This I affectionately refer to as the "Granny Exercise", because if you've ever had a singing lesson with one of those nice old ladies who use to teach choir, you know the kind, out of tune upright piano, 10 cats and she won't let you leave till you have some cookies Anyway, this is the first thing she has you do and for good reason, it works! Lie on the floor on your back and relax, leave your problems and your intellect at the door, you won't need them plus they only get in the way. Put a book on your lower stomach around or slightly below your belly button. Slowly and evenly inhale, feel the book rise as you inhale and lower as you exhale. Do this a few times to get the rhythm. When you feel comfortable with the exercise begin to time it. I want you to inhale slowly and evenly for 10 seconds, hold your breath for 10 seconds and exhale slowly and evenly for 10 seconds. Sound easy, for some people it's very natural for others it takes some work. Make sure as you inhale that you take the entire 10 seconds to inhale and at the end of the time period that you are completely filled up with air. Same goes for exhaling, take the entire 10 seconds to release. The key to this is consistency, as you inhale you will feel the book rise and a few seconds before the end you want the chest to rise slightly, not to much as to cause tension. Same goes for the exhale, I want you to lower the book slowly and evenly and towards the end you will see your chest slightly lower. As you progress with this exercise you can increase the time, 15 seconds each, 20 seconds each, ect
2. "Butterfly Wings" ­ This is a very cool and relaxing exercise so enjoy. Stand up and put your feet about shoulder width apart. Place your hands down by your side and begin to inhale. As you slowly breathe in begin to bring your arms up and over your head, make sure you drop your belly as you inhale. DON'T STAY RIGID! Relax and feel the air rush into the lower abdominal. This is very natural if you just let go. At the top you will be filled with air and your hands up high. Hold it and stretch, trying to touch the sky. I like to put my head back and open my mouth as big as it will get and stick my tongue out as far as it will go. Think Steven Tyler BIG MOUTH! Feel the air in the lower stomach. Then slowly begin to exhale while lowering your arms. WOW big rush. Be careful not to loose your balance and fall over.
3. "Compression Lung Expansion" ­ I will preface this technique by saying, the compression lung expansion exercise is one of the best movements for increasing lungs capacity but be careful not to over due it if you have a weak back. The purpose of the compression lung expansion is to, as the name says, expand your lungs. What happens to a lot of singers after years of shallow breathing is they can no longer access the lower aspects of their lungs. The lungs somewhat deform at the bottom and will no longer fill to capacity. This movement will stretch them out and begin to allow you to reach your true oxygen potential. Remember big air, big voice and big voice, big pay check. OK here we go. Put your hands up high and fill ALL the way up with air. Like a glass of water from the bottom up. When you are totally filled up with air slowly begin to lower your arms and bend at the waist, attempting to touch your toes, while holding your breath. If you can't go all the way down don't force it, let it happen. When down as low as you can go, begin to wiggle your butt as you continue to hold your breath. Feel the lungs and ribs expand. After 10 seconds or so come up slowly as you exhale slowly and evenly. This can get a little spacey feeling, so be careful.

These three exercises work and should be done everyday before you begin singing. Start by doing them for 5 minutes and increase it, as you feel necessary.

The final segment in our Fundamental Section is stretching. After going through the three breathing exercises it's a good idea to do a few minutes of body stretching. The military taught me a great way to stretch, "from the top to the bottom". Start with your neck, face, jaw and throat and move down to your shoulders, back and legs. Remember while you stretch make sure you breathe deep, slow and even. A good rule of thumb with stretching is when you are at the hardest spot in any stretch, the place where you are most stretched, make sure all of the air is exhaled out of your body. Inhale deep as you come out of the stretch. Good luck.

Yes sirry;
by Nicole

We had the pleasure and honor to have B!G DADDY himself, BARRY ALLEN COHEN from B!G DADDY ORCHESTRA!
You were out of this world. We felt so good having you and CeCe
Taylor there. We were all honored. Great Job Carolyn getting everything ready!
When I first got there, over an hour early, our cocktail waitress Louie was
already covering the tables with white tablecloth and placing candles on the
tables. The tables were getting filled already,

Carolyn and Barry were well prepared, they made my job easier than I thought it would be. Back drop, Curtains, rods, microphone with the look of the 40's.
I have one like that too at my office, I almost brought it for your show. I
was glad to see that you had your own. The spot light that was a very nice necessary touch. You even brought the huge "Martini glass" with the Giant olive and a Frank Sinatra hat. It sure
added a lot to the mood of your songs.

You did relive the legends with your "VINTAGE VEGAS SHOW,"" a Tribute to om the Great American Songbook, BARRY carried into the 21st century a genre of music and performance by those legendary performers who started it all and feared to be lost.
You took us back in time. The audience was mesmerized by your charming way of delivering the ballads. You sang with a lot of soul.

I really appreciate you taking the time to perform for us. I want to thank
Carolyn again A.K.A. CECE Taylor, she opened the show with her "BIG TIME" song.

The Comstock was so honored to have you perform at our Club. B!G DADDY himself, BARRY ALLEN COHEN from the B!G DADDY
ORCHESTRA! I personally sure was.
You are a very classy person!

By the way I listened to the recorded CD from the show. I am in awe, this was the best Frank Sinatra voice I have ever heard. You do so many styles (my favorite is Frank Sinatra of course), no words can express my appreciation for your talent!

Keep in touch and let us know where else you will perform and I'll spread
the word around.

Thanks a million again.
Nicole

From Judy Ames

Hello singers and friends,
Some of you might be interested in this class. Please come and have fun with us. If you have any plans to do anything with your talent, this is a must!

THE LEARNING ANNEX
How to Make a Living Singing
with JUDY AMES

Love to sing? From the shower to the choir or bands to karaoke, if you love
to sing, then you could generate a handsome first or second income. You don't have to be Britney Spears to earn a living singing - this exciting and entertaining course reveals loads of opportunities!

International entertainer Judy Ames will show you how to turn your talent
into a money making career. Explore teaching, recording, live performances and songwriting - there's something for everyone whether novice or professional. And Judy's delightful, entertaining style will help you identify your special niche and what it will take to get there.

You'll learn how to: * Develop a winning promo package * Find opportunities in your areas of interest * Follow through and get the job * Network your way to job opportunities * And craft the best deals! Bonus: Get a practice audition, complete with critique and recommendations all in a fun, supportive atmosphere. Enroll today!

Judy Ames is a professional entertainer who's worked in music, theater,
radio, TV and arts here and abroad. She's the founder of StarStruck
Productions, an entertainment and speaker service that utilizes her
musical talent for therapeutic programs, corporate events and musical productions.
Course # 446GSD
Section A -- Wednesday, April 23
06:30 PM to 09:30 PM -- Hotel Circle
Course Fee $ 49.00 / Member's Course Fee $ 44.00
Take $ 5.00 off this course for enrolling on the web!

LEARNING ANNEX Register for this Class Online

You can also register by calling the San Diego office at (619) 544-9700. For information on group discounts, special offers or the status of your
registration, please call or email us at Registration_SD@LearningAnnex.com.
We respond to email Monday through Friday 9am-5pm.

Alternate Sections for Course 446GSD:

Section B:
Tuesday, June 03, 06:30 PM
to 09:30 PM
Course Fee $ 49.00 / Member's Course Fee $ 44.00

Section C:
Tuesday, July 22, 06:30 PM
to 09:30 PM
Course Fee $ 49.00 / Member's Course Fee $ 44.00

Judy Ames-Stephens
Starstruck Productions
www.Starstruckpro.com
619-222-6991

Need Help Selecting the Right Mic?

Microphones for Wireless Systems
Available mic options for all Shure wireless systems.

Everyone knows that you can put any microphone in front of a sound source and pick up some kind of audio. The hard part is choosing the microphones that are really right for the situations you'll find in the real world - to help you produce your sound. These product selection guides, booklets, product User Guides and our KBase of answers to thousands of questions will help you get the information you need to choose the right mic for the job.

Selection Guides

Shure manufactures a wide variety of microphones, many seemingly similar. To help alleviate any confusion, we publish these Product Selection Guides, designed to help you find the right product for your needs.
Each guide offers a wide variety of usage categories. Within each category is a list of recommended Shure microphones for that application, in order of priority (i.e., the best is listed first).

* Performance And Recording Microphones - For stage and studio needs.

SM58
The legendary Shure vocal mic tuned to accentuate the warmth and clarity of lead and back-up vocals. Consistently the first choice of performers around the globe. The Shure SM58® is a
unidirectional (cardioid) dynamic vocal microphone designed for professional vocal use in live performance, sound reinforcement, and studio recording. A highly effective, built-in, spherical filter minimizes wind and breath "pop" noise. A cardioid pickup pattern isolates the main sound source while minimizing unwanted background noise. The SM58 has a tailored vocal response for a sound which is a world standard. Rugged construction, a proven shock mount system, and a steel mesh grille ensure that even with rough handling, the SM58 will perform consistently. Outdoors or indoors, singing, speech - the SM58 is the overwhelming choice of professionals.

Frequency response tailored for vocals, with brightened midrange and bass rolloff Uniform cardioid pickup pattern isolates the main sound source and minimizes background noise Pneumatic shock-mount system cuts down handling noise Effective, built-in spherical wind and pop filter Supplied with break-resistant stand adapter which rotates 180 degrees Lengendary Shure quality, ruggedness and reliability
Cardioid (unidirectional)
dynamic Frequency
response: 50 to 15,000 Hz

The SM58 is available in the following wireless systems: T, PG, LX, UC, ULX Professional, ULX Standard, UHF 50Hz to 15kHz
Suggested Applications
Lead Vocals
Back-up Vocals
Harmonica

Cardioid Dynamic Tailored Response

Model Numbers and Pricing
SM58-CN $ 204.00 Cable included
SM58-LC $ 188.00 Cable not included
SM58-LCE $ 188.00 Without Cable, With 5/8-inch to 3/8-inch thread adapter for mounting on European Stands
SM58S $ 196.00 Includes on/off switch

SM48
Perfect for singers on the way up, the SM48 has many of the benefits of the SM58® at a very affordable price. Available with on/off switch (SM48S shown).

Shure Models SM48 and SM48S unidirectional dynamic microphones are designed for professional sound reinforcement, studio recording, and broadcasting applications. They maintain a true cardioid pattern throughout their frequency range, ensuring high gain before feedback and rejection of off-axis sound. The tailored frequency response is ideal for vocals. A presence rise brightens mid-range performance, and a low frequency rolloff controls proximity effect.

Both models include a shock mounted cartridge, a steel mesh grille, and an integral "pop" filter. The SM48S also includes a lockable On/Off switch.

* Cardioid pickup pattern rejects off-axis sound and provides superior gain before feedback
* Frequency response tailored for vocals, with brightened mid-range and bass rolloff to control proximity effect
* Shock-mounted cartridge for exceptional ruggedness and reduced handling noise
* Built-in "pop" filter that reduces explosive breath sounds and wind noise
* Supplied stand adapter and carrying/storage bag
* Lockable On/Off switch (SM48S only)
* Legendary Shure quality and ruggedness
Vocal Microphone
55 to 14,000 Hz

Suggested Applications
Spoken Word
Lead Vocals
Back-up Vocals

Cardioid Dynamic Tailored Response

Model Numbers and Pricing
SM48-LC $ 143.50 Cable not included
SM48S-LC $ 154.00 On/off switch included, Cable not included

565
The UNISPHERE ® I 565SD microphone is a dual-impedance, unidirectional dynamic microphone with a strong, wire-mesh, spherical front grille that contains a highly effective wind and "pop" filter.

Shipped connected for low-impedance operation, 565SD provides excellent vocal or speech reproduction on lecterns and stages, and is a popular choice for use in public auditoriums, churches, convention halls, and schools.

* Versatile, high-quality microphone with sound characteristics similar to the SM58®
* Selectable dual-impedance operation
* Silent magnetic reed on/off switch with lock-on option
* Cardioid dynamic
* Frequency response: 50 to 15,000 Hz

All Purpose Microphone
50Hz to 15kHz

Suggested Applications
Auditoriums
Houses of Worship
Theater
Classrooms
Conference Centers

Cardioid Dynamic Tailored Response

Model Numbers and Pricing
565SD-CN $ 210.35 Switch and cable included
565SD-LC $ 179.48 On/off switch, Without cable

PG58
A rugged microphone tuned to accentuate the clarity of lead and back-up vocals.

* Tailored frequency response is smooth and extended. Tuned specifically for vocal applications.
* Cardioid polar pattern picks up the most sound from in front of the microphone and some sound from the sides. Less susceptible to feedback in high volume settings.
* Dynamic cartridge has a simple, rugged coil. Handles extreme volume levels without distortion.
* Cartridge includes a neodymium magnet for high output level.
* Internal shock mount for reduced handling noise.
* Durable metal construction.
* On/off switch for onstage control.
* Hardened steel mesh ball grille that resists wear and abuse.
* Integral "pop" filter reduces explosive breath sounds and wind noise.
* Includes 15ft. (4.57m) cable, break-resistant mic clip and storage bag.

The PG58 is available in the following wireless systems: T, PG
Vocal Microphone

60Hz to 15kHz

Suggested Applications
Lead Vocals
Back-up Vocals

Cardioid Dynamic Tailored Response

Model Numbers and Pricing
PG58-QTR $ 104.69 Cable Included (XLR-1/4")
PG58-XLR $ 104.90 Cable Included (XLR-XLR)

PG48
A great performance microphone for spoken word applications.

* Tailored frequency response is smooth and extended. Tuned specifically for vocal applications.
* Cardioid polar pattern picks up the most sound from in front of the microphone and some sound from the sides. Less susceptible to feedback in high volume settings.
* Dynamic cartridge has a simple, rugged coil. Handles extreme volume levels without distortion.
* Cartridge includes a neodymium magnet for high output level.
* Durable metal construction.
* On/off switch for onstage control.
* Steel mesh ball grille with integral "pop" filter reduces explosive breath sounds and wind noise.
* Includes 15ft. (4.57m) cable, break-resistant mic clip and storage bag.
70Hz to 15kHz

Suggested Applications
Spoken Word
Karaoke

Cardioid Dynamic Tailored Response

Model Numbers and Pricing
PG48-QTR $ 66.05 Cable Included (XLR-1/4")
PG48-XLR $ 66.26 Cable Included (XLR-XLR)
© 2003 Shure Incorporated, All Rights Reserved.

BACK BEFORE KARAOKE
By Marlys McEntire

"At a table down at Morey's, at the place were Louie dwells, at the dear old temple bar we love so well, see the whiffenpoof assembled with their glasses raised on high and the magic of their singing cast a spell."

This, plus many other sing-along-songs were popular in bars around San Diego and all across the nation during and after the second world war.

My mother, Helen Ray, used to play the piano and organ at these sing-along clubs and dinner restaurants. A screen was overhead and the words of the songs would appear so everyone could sing along to the music. It was easy to get to know one another at these fun places and have a great time. All joined in to sing old standards even if they couldn't carry a tune. Songs like:

Oh! Johnny Four Leaf Clover It Had To Be You Sentimental Journey
Peg O' My Heart Five Foot Two

Just to name a few. And sometimes there were small song books passed around and the pianist would tell you the number to sing along to (there wasn't a screen to follow.) "Play number 17," "Love Letters in the Sand" someone would yell. Or "I can't Give you Nothing but Love Baby. Words fit the emotions of the times and they still do.

Music at piano bars in the 1940's helped people who were left behind, lonesome or sad, to "Forget Their Troubles." They were there to forget that there was a war going on and honestly, there were few men on the streets unless they were in the uniform of the Army Air Corps, Navy, Marines or Coastguard. Faces would come and go.

Patriotic songs were popular: "Coming in on a Wing and a Prayer," or "Nothing Can Stop the Army Air Corps" and Kate Smith was on the radio every Sunday night to sing them. Music was very important in our lives then and now. If just singing was the whole idea, we would be singing alone in the shower, but it is the need to be with people that is important to our well being. Music draws us together.

I have been a nurse and an activity director in nursing homes and skilled care centers. I have entertained with USO troop shows and can tell you that people who won't even speak to one another open up and sing their way to friendship. I've seen soldiers dancing together and singing together in USO audiences in the far east and in Alaska.

Be it piano bars, karaoke bars, USO's or talent shows, people will invent new ways to put a song across or bring people together. After all, a little happiness can be found even in a sad song, right? And if you can dance to it, all the better.

So sing-out, act-out, blow-up fake instruments put on a costume of just a hat. And as we used to say, "It's not raining inside" so have a ball and do your thing, enjoy the moment and "Don't Worry, be Happy" because the "Times they are a Changing."
Sing "Til the cows come home."

Marlys

In short, just act like a human being.

A Note of Thanks
from Wally

Dear Friends,

Well it's been five years this month that I started doing Karaoke show's professionally. My first show had 300 songs and some really bad equipment. That first year every dime I made went back into the show. I now have 8000 plus song's and all of my equipment is top line and that's the easy part. I had no following, no singer's. Now I'm blessed with some of the best people I have ever met and I've met a lot. I owe each and every one of you wonderful people my thanks and best wishes for all you have do for me. You've been there for me, you watched me grow, and you're the reason I've become a top Karaoke provider. To My Family in that five-years you have stood by me and supported me, you've given up so much thank you. I am truly blessed to have a Family and friends that have given me so much. Again Thank You and I hope the next five-years are as wonderful. Look for my 4th annual softball picnic in August, you're all invited

Sincerely,
Wally

From
Seth Riggs
www. sethriggs.com

Most of the successful voice technique teachers around the world are aware that all singing voices derive their ease, power and extended range (thus, their control and longevity) from an intimate knowledge and pedagogy of how to balance the passaggi. While some singers have a natural, easy balance in their vocal production and manage to achieve good careers with work on repertoire mostly, a majority of singers are forced to try and find an easier technical approach to successful vocalism. As you can see, by checking out the track record listed on this website a well functioning vocal technique can be applied to any choice of vocal music. The listed certified teachers of this method are committed to an ongoing, constant perfecting of their teaching. This practice and sometimes sacrifice is a sign of their commitment to bel canto and its practitioners. Note: Due to the high volume of email that Seth Riggs receives, he is unable to answer each question personally. However, Seth has now started posting some frequent questions that he receives along with his response: Question: What worries you most about today's singers? Seth: That's a broad question, but I'd say I worry most about the so-called "belting" of the lower ranges, without a strong "blend" into the upper ranges. There doesn't have to be a "break", "flip" or "yodel" into another sound or voice. This type of vocalism (loosely called style) is just an excuse for poor vocal training. Don't singers realize that a limited range brings a limited style? This isn't to say there aren't a number of singers making money with limited access to proper "bridging". Too much "belting" (without proper, strong "mixing") can bring vocal "nodules", consistent hoarseness, and inability to even talk after performances. That singers put up with this kind of thing because of friendships with ineffective vocal technique teachers is beyond my comprehension. Perhaps, it's because they don't believe there is a better, non-straining, non-pushing vocal technique readily available in their home area. After 50 years of teaching, I'm still at a loss for an answer to this.

PUT TWO
HORSES TOGETHER AND THERE IS BOUND TO BE A HORSE RACE.
BY Johnny Stewart
(Reprinted)

Horse racing is simple. The fastest horse wins. That's it. It is very obvious who came in second, third and fourth.

We don't judge a horse on how well it runs or what song it is humming as it runs along.

With singers it's different. It is very difficult to compare singers. There are as many opinions as there are singers. Hey, who is a better singer: Celine Dion, Garth Brooks, Ricky Martin or your favorite? Probably your favorite.

You be the judge. Let's say you are judging a contest, the rules are: Ten points for how well the singer sings, ten points for stage presence and ten points for audience response. Thirty points possible.

The first singer sings, Celine Dion gets a ten for singing, a ten for stage presence and a ten for audience response. Celine was great 30 points. Now Ricky Martin gets up to sing, you give him an eight for singing. You think Celine is a better vocalist. The trouble is Ricky brought all his friends with him. He is dancing and shaking his hips, his friends go wild, and so does everyone else in the room. You already gave Celine a ten for singing, stage presence and audience response that's the most you can give anyone, 30 points. Ricky got a much better response from the crowd. In fact, security is still trying to clear the isles. Plus, Ricky was all over the stage. He even jumped down off the stage. He was everywhere.

Now you look at your score you gave Ricky 28 points. You know that two thirds of the contest was stage presence and audience response. What do you do now. This can't be fair!

You can say, "the points should be figured differently." If it is your contest you can figure the points any way you want. If everyone understands this, then it is fair.

Let's say you have your own singing contest. No extra points for smiling and kicking your feet. You don't want to consider the audience opinion, they aren't qualified to judge anyway. Besides, one contestant can bring more friends and win. And what is stage presence anyway? I can see that the contestant is present, there he is... present on stage. Each vocalist is judged on his/her ability to sing only.

You can give points for these categories: 5 points for pitch; 5 points for phrasing; 5 points for voice quality; 5 points for diction, points for individuality of style and 5 points for dynamics. Great idea! Now we have a fair singing contest. Maybe. Some judges may not like country music though, and think the diction was not up to par anyway.

However for the most part this contest seems more fair.

Most singers like to show off their skill with ballads. Ballads are tougher to sing.

Your contest starts. The audience is made up of singers and drinkers. The club makes money on drinkers. No Money no contest. The singers are not drinking. They don't want drinking to affect their ability to sing.

By the end of the fourth song the drinkers are starting to fidget in there seats. They don't know much about singing anyway. They only came because their singing friend asked them to come, or they happened to be there anyway or they came for a show. But after four ballads where is the show? Let's go somewhere we can dance and meet someone interesting.

By the end of the night there are thirty singers drinking water, tea, coffee, soft drinks and asking for refills. The non singers left two hours ago. The club owner is drinking a lot though. Better not talk to him right now. He is wondering where he is going to get the money to award the winner.

I have never liked contests. I felt it was the best way to take away the party atmosphere. And a good way to create animosity between my favorite karaoke enthusiasts. How do you compare apples and oranges? I like both apples and oranges.

Many contestants have stopped going to a club after loosing a contest they thought they should have won.

Remember this is supposed to be fun! I believe contestants should review why they go to contests in the first place.

I have asked contestants if they were there because of the money. Not many responded yes. Maybe it's not the money but I think winning is important to a lot of people though.

Here is why I think contestants should go to contests:
First of all it is a great show. Every singer who gets up on stage has prepared his/her presentation. They are giving the best performance they can give. The audience is made up of other talented people who share the same love for music.
If you want your friends and family to hear you sing your best you should bring them to the finals of a singing contest. You will look and sound better than ever. And while your friends are waiting for you to sing, they will enjoy other very talented entertainers. I think everyone who gets up on stage wins just for getting up there.

West Coast Karaoke Idol Contest

San Diego Scene

Johnny Stewart of San Diego Scene believes it's time for a fair karaoke contest. It is just not fair to say karaoke is for the fun of it, and then pit the best-experienced singers against the new singers. Did you notice the same singers always win. No wonder the poor turn out for the Entertainer of the Year Contest. There were other reasons for the poor turn out for this contest such as lack of marketing and little time spent on this contest. Most of all I think people are just fed up with the unfairness of contests.

This year San Diego Scene will host the "West Coast Karaoke Idol Contest." This contest is open to all who want to participate. People of all ages and abilities.

This contest will be set up with more categories and four levels of competition. The levels will be setup as leagues:

A league
- This level for professional and strong singers and those who have already won other competitions.

B league
- This level not for professionals! For intermediate singers only.

C league
- This level for beginners who just want to have fun. Featuring fun categories and group sings.

D league
- For kids only (12 and under)

More categories will make the contest a lot fairer

with Men's and Womans categories in:
Up-Tempo-R&B/Hip Hop/Funk/Motown/Gospel

Slow to Medium Standards/Jazz

Crooner - Love Songs - Ballads any style - no country

Slow Country - Ballads

Fast-Medium Country

Heavy Metal/Hard Rock
Alternative

Top 40/Pop Rock/Classic Rock/Oldies

Up-Tempo Broadway Show tunes/Standards

Comedy

Multi-National

The Leagues will be built based on past winnings in other contests. And a little honesty from the contestants. This is a little difficult but it is done in other competitions. Tennis for example.

We at San Diego Scene welcome your advice and thoughts. Please go to www.sandiegoscene.com then visit the message area and post your ideas. there will be a meeting with East County JKs hosted by Johnny Stewart to discuss the contest and other ideas at CASA PICANTE
CANTINA, 10757 Woodside Ave., in Santee April the 27th. For more information please check out the "Hot News area at:
www.sandiegoscene.com or call Johnny at (760) 612 5609

Mapping Your Musical Career Path

By Keith Hatschek

How realistic is your pursuit of success in the music industry? It depends on your passion and expectations.

When I speak with people aspiring to develop a successful career in the music and recording industry, most share a common trait-passion. They talk about their love of music and also how much music or singing means to them. However, no matter how great your passion, an accurate understanding of the job realities is necessary before you plunge into developing a career in this field.

Reality #1: Job Supply and Demand
The music and recording industry adheres to the law of job supply and demand, a basic rule of all economic systems. When it comes to jobs and opportunities, the supply of music gigs falls well below the demand of those wishing to enter the industry. This causes a situation that makes every job precious, even those that pay nada. It also means that in order to increase your chances for success, you have to take advantage of every single ethical opportunity to better your skills and status in the industry.

When I managed a large San Francisco recording studio, we would receive an average of four to five resumes a week from job seekers. Many would boldly state, "I'll do anything to get started, from scrubbing the bathroom to running for lunches, and I'll work for free!" This example clearly shows that when others are willing to work for no pay, it makes it harder for you to land a paying gig. That's the first reality you'll discover about getting started as a professional in the business.

Reality #2: Record Sales Revenues
The second reality is that when it comes to succeeding as a recording artist, the vast majority of major label recordings fail to break even for their record label. A well-known manager and label president shared a staggering statistic quoted in Billboard: of the approximately 32,000 records released commercially each year, only 189 sell at least 250,000 copies, which is considered the "break-even" point for major labels.

Don't be discouraged by this statistic. Instead, understand that although it can be done, it's a long shot to hit it big as a major label recording artist. Take heart in the fact that there are thousands of artists like you who successfully record, press and promote their own CD. Selling enough CDs to cover your recording and production cost is within the reach of any savvy artist who builds a fan base. And with the current revolution in technology, it's now practical for an artist to spend $4-5,000 producing a high-quality "home-grown" album that can make back the investment and help build his or her career.

Hobby or Career?
Are you pursuing a hobby or a career as a musician or singer? Why is it important to know the difference? This is an issue that sometimes trips people up as they look to build a career in the music and recording industry. Many come to the industry because of their love of music. But the reality is, you've got to develop bankable skills to deliver, or you're not going to be gainfully employed or grow your career.

A hobby is the pursuit of a field for personal enjoyment. A career is your vocation, the daily occupation in which you must excel. Either a hobby or a career can be rewarding. However, you have to decide which one of these roads you're on.

If you plan to make a career in the music business, you've got to be serious about developing your job search strategies, building your skill set, and researching what competition you'll face in specific jobs or performance gigs. Discover what your earning prospects are.

It's okay to switch from hobby to career. Just make sure you have the required commitment, as the road will be challenging and you will need to stay focused on achieving your goals.

A "Performance Plus" Career
It's a fact that many people cannot earn enough as a full-time performer to pay the bills and maintain a comfortable standard of living. That's why today you might want to consider what I call "Performance Plus" careers in music. Just the other day, I met a woman who works four days a week in a real estate office and performs and practices regularly with a local band. She told me that there was no way she could make it financially right now just singing, but that she loved staying active as a singer. Her "day gig" gives her the security she needs to supplement her performance income.

In today's music world, as you work to build your career, you may choose to maintain one job to help support yourself while you pursue your passion in music on a part-time basis. Doing so makes good sense. If and when the day comes that you do get a break that may catapult you to a full-time career in music, you will likely be ready since you have kept your music career development moving ahead at a steady pace.

Keith Hatschek is the founder of Keith Hatschek & Associates, a public relations and marketing firm, and teaches music business at the University of the Pacific. He is the author of How to Get a Job in the Music and Recording Industry, available online at www.berkleepress.com.

DISCoveries - New releases from Independent Artists as selected by
the editors of Singer magazine

Independent Artists Showcase - Spotlighting the careers and accomplishments of
the most creative and compelling independent and small label artists.

©2002 - 2003 Singer Magazine

KJ TALK
by Coleman Cecil

One fellow KJ shared with me, her frustration about low rates, then last month, another KJ asked me if it was still possible to work for $150 or more per gig. Pay is why we do this. The concerns are real. Now let's talk about it and just what they're offering for this Business "or job that pays you to party yeah cool I could do that." Of course $150 a show (and more) is possible, but less common among local neighborhood bar venues whose very maximum occupancy limits how much business the bar can ring up. On the other hand, you had better be good to command even medium dollar in this town! AND may God help you if you are just breaking in! Once in, there's added frustration over inconsistent rates - But surprisingly the inconsistency lies amongst us KJs. Not the clubs pay. These clubs are just a knee jerk reaction to KJs unprofessional business practices and our dealings and under-dealings. This allows the club owners the advantage by just waiting to see just how cheap karaoke can get.
Lets dial in a larger picture, the common great expectations from karaoke and re-examine that easy money.
For those KJs just starting out... One need only to take a long look at the San Diego karaoke market and competing KJs. You're bidding against them. You can bet your client is comparing your talents and services with the known local karaoke offering. What some of us miss is that, the same client is also sizing up the KJ hosts / companies weaknesses and disadvantages too. Often the KJ with the least weaknesses wins. Set a measure of when to save for the thin times in a seasonal market and when to buy that light system or choose between giving up the day job or karaoke.
First you should know that the San Diego Karaoke Market is made up of more neighborhood bars than larger clubs. To be blunt, San Diego is a resort city, and most Karaoke jocks are far from professionalism and presentation warranted in a resort. Just look at what we KJs drink, or wear or the condition of our equipment.
Online at San Diego Disc Jockeys Association (SDDJA.com) and compare typical KJ practices to their bylaws on member conduct and expectations. Approved bylaws handed from the American DJ Association offer us some advice stating: "Members should foster standardized business practices, solidify friendly relations between members". For a real eye-opener try on their codes of ethics, which state that members will "provide to all, truthful, accurate information with respect to the performance their duties; never miss an agreed show; and my personal favorite, Use only legal and ethical means in all industry activities. Woah Nelly! Does that mean we should be upright, decent and fair? From collecting and playing discs you never purchased, to rotation order, and soliciting tips to continue a show? Never undercut another out of respect? And never ever glad hand to bury the hatchet in thy fellow's back? Are we all just heathen entertainers? No, as much as we love karaoke we're just not professional at times. Now before you get all riled, don't misunderstand me, there are hosts who do excellent jobs and present themselves well, but their numbers are very small compared to the total number of karaoke providers operating in San Diego. We just don't respect each other like we could. Yes I know that KJs even selflessly offer valuable business assistance to further others along. They demonstrate conduct and taste that does not go unnoticed by the more cultured affluent customers. This gets great business. Examples are both good and bad.
While lesser hosts get the lesser gig, the better hosts command better prices because they might offer more talent or better customer services and those continually improving their product. These higher paid hosts are usually gifted in music, voice or perhaps previously entertainers before karaoke came into their lives. Sometimes they're not, they're a sales talent, managing to spot better opportunities, however if services don't produce results they'll be selling themselves again as they hop from one gig to another. I was shocked to personally witness KJ thievery, who on the job, burned a copy of a singers disc while the singer was waiting for her turn in rotation. The singer collects her disc after she sings. Then the KJ informs her that "they now have her disc in the system, and she doesn't have to bring her disc in any more". How convenient! The singer was stunned at the realization that her karaoke music had just been ripped off without her permission.
Other competitors are DJ businesses that expanded to offer karaoke. These host come from a DJ background. The more polished of these hosts tend to not have musical or performing talent, but have that announcer voice and know how to excite people to party with personality and music selection. They also tend to dress better as a group (standard Tux or Vest in black and white) and present a clean venue (no electronics or wires showing) and themselves (they may not sit or bend over) more professionally. Understand that DJs rely much more on referrals from one party to the next. Their reputation must be nearly spotless.
Then there are karaoke jocks that each may have a niche somewhere but the drive for business is stronger. These karaoke providers work harder and work for less, often their shows are the ones we hear the ousted KJ complaining about. So many have come into the karaoke biz that club owners have gotten wise enough to pit these low-ballers against each other, furthering repressed rates. Others want to make it up in volume and sub-let to other KJs and this is not professional practice, yet it's common among KJs, we need to grow up a bit. KJ also drop more original agreements for better paying gigs. Referrals do not work amongst non-professionals. Hence, the party shopping client has fewer requirements for a KJ. Few Karaoke companies stand up to DJ service levels therefore, more gigs are done on handshakes than contracts.
Here's a scenario Jane Doe gets a new bar and remembers she liked the talented KJ, Josie. Jane knows her rate is higher, yet, Jane wants her in her club, but KJ SoSo will charge a lower price than Josie, Jane offers the "going rate of 100 dollars" to Josie hoping that she would take it. Instead, KJ Iyiyi, will do the gig for that price, but KJ Ohno offers even less. The result is Jane Doe tries one KJ after another and settles for KJ OhGod. The KJs who come after have little chance for even negotiating better pay. Jane has decided that karaoke is only worth 100 dollars. (Even though her business could support paying more.) Thus those in the ranks stay in the ranks, and then they wonder why they can't get more for their services. For this reason there is a strong need for stabilization in our industry.
Looking at San Diego County - there are well over 400 established Bars, pubs, lounges, and clubs (service clubs too) operating at any given time in San Diego. Of these establishments 60% to 70% may offer Karaoke entertainment. 135 listed establishments offer karaoke shows over 400 times a week in San Diego. A look down the list of these establishments shows a good portion 67 and 74 about 50% of the135 would not have entertainment at all if it were not for karaoke. This is exhibited by the amount of venues on Friday and Saturday nights. Encouraging is the increasing number of clubs that add karaoke to their existing weekly entertainment line-up. So what does it all mean? Well yes there is always room for another good KJ. Do good business with your associates, Resist clubs looking for a cheap show. Turn down the cheap offers. That helps us all. Imagine, if enough KJs participated, forcing the Club to stop offering Karaoke or pay better. I'll wake up now.
About the karaoke associate that confronted me at her show? In her frustration she declared, "Well I think we KJs ought to all get together and just raise our prices collectively." I pondered her challenge a moment and then I asked, "and what additional services or improvements is the club going to realize from your show for that raise?" She went blank and had no response. I myself, have been making more and more services available and improving my business for the last ten years!
It is time for more collective thinking and discussion in our industry. It's your industry, and your future, best to take charge soon. Your views, thoughts and comments are welcome. Email: KaraokeKlassics@aol.com

Katastrophic Karaoke
or, The Ultimate Survivor Contest
by Bud Young

During the months of June, July and August, 2003, the SDSCENE will be accepting applications for participants in the First Annual "K" Survivor Contest. The maximum amount of entries allowed will not exceed 10 women and 10 men. All singers are urged to enter and to display the power of their vocal ability, audience appeal, and physical stamina. The final winner will be based on where each performer ended up on the Survivor Scale at the conclusion of this musical ordeal. The contest begins and ends on the Labor Day weekend.

The SDSCENE will require signed liability releases from each contestant chosen due to the mental and physical challenges which could possibly endanger the singer's future state of health.

Phase One of the contest involves only women, and Phase Two will have the men compete. The Third Phase will be the final contest which will see the survivors from the first two phases competing for the grand prize of $ 50,000.00, less expenses, and the title of "Karaoke Katastophe Survivor of 2003.

Phase One: For Ladies Only:
Each contestant will stand behind their individual access door to the main pool at Sea World, San Diego. Each will be holding a freshly butchered leg-of-lamb.
When the signal is given, each one will open their door, dive into the pool and swim a total of 6 laps while holding the leg-o-lamb, and singing that all-time favorite, "COOL CLEAR WATER".

Once the first lap is completed, an underwater cage will open to release both a Great White shark and a Mako shark. It then behooves the swimmers to accelerate their strokes while fending off these predators.
Obviously, there may be some who will not finish the race, or may end up as "walking wounded".... depending on whether their legs were on the musical menu. Only those with injuries not too serious will be allowed to continue on to the final phase of competition.

Phase Two: For Men Only:
These entrants will be individually flown by lighter-than--aircraft to the La Brea Tar Pits in the heart of Los Angeles. Once there they will be outfitted with a complete Scuba outfit, less air tank. The goal of this phase is to determine which one can hold the final note of a song the longest-- purely dependant on their lung capacity and their ability to clear their vocal chords fom the tar.
10 microphones have been placed at a depth of 15 feet below the surface of the pit, while the lyrics of their song have been etched onto pieces of slate and hung from the mikes. The title of their song is, "I'm Stuck On You".
At the signal, each man will take a deep breath, jump into the pool, locate a microphone and slate, sing one complete chorus, and attempt to hold the last note longer than the other contestants. Only five will qualify for the finals, but as an extra incentive, each of those five will receive a bonus gift..... a thigh bone from a Tyrannosaurus Rex, who made his last sound in the pit with his mouth open.

By now it must be apparent that only the fastest swimmers (women) and the most pulmonarily endowed (men) will go on to Phase Three------ which will demand the utmost in epidermal resistance as well as directional acumen.

Phase Three: For All Remaining Survivors:
By Tijuana Taxi, the remaining entrants will be taken south to the base of Popocatepetl the very active volcano in Mexico. Once there they will be required to strip down to either a thong or a Speed-do..... color being optional.
They will then be air-lifted to one of the summits not already covered with lava. Once there they will be given their choice of Nike skies, roller blades or sneakers.
When the signal is given each will launch themselves onto a down slope from the summit, and :WHOOSH:, the game is on!

By avoiding protruding boulders, yawning crevasses and boiling pools of lave, the first contestant to arrive at the base of the mountain, and who can sing a rendition of "GREAT BALLS OF FIRE" (no lip syncing allowed) will be declared the overall winner.

The race to Survivor Stardom status has extracted the boundless ambition of "Kers" who place celebrity above mental anguish and physical disability. To those of you who finished the contest, regardless of where you finished, we at the SDSCENE can only wish you speedy recoveries, as well as extending an invitation to compete next year in a "SPECIAL" contest for those handicapped "Kers" from this, your first Annual.

For entery forms, contact the SDSCENE @HMO,Splint........ and
"Good Luck"