Created with Sketch.
39 minutes | 20 days ago
Peter Broderick On Doc Distribution Pt 2- To Sundance or Not to Sundance
Peter Broderick, one of the world’s leading experts on documentary distribution, continues his discussion with OWC Host, Cirina Catania. In this episode, he focuses on FESTIVALS. He explains how, when, where and why you might want to submit to festivals (or not), and gives us a primer on the new hybrid systems, including virtual screenings. Peter Broderick, distribution strategist Peter Broderick consults with independent filmmakers and companies needing to hone their strategies. He helps design and implement customized strategies to maximize revenues, audience, and impact. Read his articles and subscribe to his Distribution Bulletin at www.peterbroderick.com. Visit Supercharge Your Distribution for more information on his highly-rated workshops with his partner Keith Ochwat. For more information about our amazing sponsor, Other World Computing, go to MacSales.com or OWCDigital.com, where you’ll find hardware and software solutions and tutorial videos that will get you up and running in no time. For more about our host, filmmaker, tech maven and co-founder of the Sundance Film Festival, Cirina Catania, visit cirinacatania.com. If you enjoy our podcast, please subscribe and tell all your friends about us! We love our listeners. And, if you have ideas for segments, write to OWCRadio@catania.us. Cirina is always up for new ideas!
51 minutes | a month ago
Peter Broderick’s Crash Course in Doc Distribution
Peter Broderick, formerly with Paradigm, is one of the world’s leading distribution strategists, specializing in the documentary genre. He talks in unprecedented detail with OWC RADiO host, Cirina Catania, and answers many of our questions about how to monetize our amazing films! Peter and his partner, Keith Ochwat, design and implement customized strategies to maximize revenues, define audiences, increase impact, and put films on the path to profitability. If you want to know more about distribution for your projects, this interview has many of the answers. Welcome to the New World of Distribution! Read Peter’s articles and describe to his distribution bulletin at www.peterbroderick.com. You can also get more information and register for the classes that he conducts with Keith, at https://www.superchargeyourdistribution.com For more information about our amazing sponsor, Other World Computing, go to MacSales.com or OWCDigital.com, where you’ll find hardware and software solutions and tutorial videos that will get you up and running in no time. For more background about our host, filmmaker, tech maven and co-founder of the Sundance Film Festival, Cirina Catania, visit cirinacatania.com. If you enjoy our podcast, please like our show, review it, and subscribe We wold love it if you would tell all your friends about us! And, if you have ideas for segments, write to OWCRadio@catania.us. Cirina is always up for new ideas!
43 minutes | a month ago
Award-winning Composer, Simon Franglen Geeks Out About Gear
OWC Host, Cirina Catania, talks with world-famous composer and producer, British born, Simon Franglen, who started out as a musician and record producer, and soon began working with composers such as John Barry on the soundtrack to “Dances with Wolves,” David Fincher’s “Se7en,” and David Cronenberg’s ”Crash.” He produced the vocals for “Moulin Rouge” and programmed on the “Bodyguard” soundtrack. And his collaborations with artists over the years include the likes of Whitney Houston, Michael Jackson, Quincy Jones, Celine Dion, Luciano Pavarotti, Toni Braxton, and Madonna. James Cameron’s “Titanic,” sailed him to a Grammy Award for Record of the Year as producer of “My Heart Will Go On,” and Golden Globe, Grammy Award, and World Soundtrack Award nominations for the theme song from that same film, “My Heart Will Go On.” He worked alongside James Horner for many years as arranger and score producer. When Horner tragically died in 2016, it was Franglen who completed his score to “The Magnificent Seven” All in all…he has over 400 major credits in genres ranging from English Grime rap, to classical and everything in between. And his latest works are equally stunning, with ground-breaking 3D audio mixes for installations in the U.S., Europe, and China. Cirina caught up with him during a recent trip to his studio in Hollywood and they geeked out about his gear and his workflow, including his love for all the OWC equipment that has stood loyally by him for many years! It was an enlightening conversation! For those of you who are interested in creating music, Simon shared his process we are happy to pass it on to you! Stand by this is going to be fun! For more information about our amazing sponsor, Other World Computing, go to MacSales.com or OWCDigital.com, where you’ll find hardware and software solutions and tutorial videos that will get you up and running in no time. For more about our host, filmmaker, tech maven and co-founder of the Sundance Film Festival, Cirina Catania, visit cirinacatania.com. If you enjoy our podcast, please subscribe and tell all your friends about us! We love our listeners. And, if you have ideas for segments, write to OWCRadio@catania.us. Cirina is always up for new ideas.
50 minutes | a month ago
Roger O’Donnell-The Cure, 2 Ravens and Ballet
OWC RADiO Host, Cirina Catania, interviews Roger O’Donnell, an English composer and keyboardist best known for his work with The Cure, as well as bands such as The Psychedelic Furs, Thompson Twins, and Berlin. We talk about his latest album, 2 Ravens, his early days in East London, The Cure, and ballet. Roger O’Donnell captured by Mimi Sheytanova He gained his reputation as a world-class keyboardist and Moog synthesizer expert, and O’Donnell’s body of work includes several styles and genres, some collaborative and some solo, with many written for the piano and others conceived for strings and chamber orchestras. In April of 2020 he released his solo album, 2 Ravens, made in collaboration with vocalist Jennifer Pague that was inspired by the intense beauty and quiet melancholic solitude of the countryside where he was raised in rural England. He wrote it just after returning from a whirlwind non-stop tour with the Cure, landing him back home facing his own solitude. Roger has said he was born next to the piano in his parents’ living room, and he first learned to play when his eldest brother taught him some 12-bar blues numbers. He loves tech and enjoys using the most cutting edge innovations in the creation of his music, including equipment from OWC! Follow Roger at www.rogerodonnell.com Note: Copyright (c) in any and all music in this interview remains with the creators. In This Episode 00:18 Cirina introduces Roger O’Donnell, an English composer, and keyboardist best known for his work with The Cure, as well as the bands The Psychedelic Furs, Thompson Twins, and Berlin 04:43 – Roger shares a mishap from a company that pressed his record, 2 Ravens, and how he sorted it out. 10:05- Roger talks about how he met Jennifer Pague, an LA-based sound designer, composer, and songwriter. 15:19 – Why did Roger leave art school and switch to music? 21:52 – Cirina and Roger talk about musical instruments’ revolution in the years of the 60s to 80s. 27:37 – Roger tells the story of how he joined The Cure and the incredible albums they created while he was with the band. 33:48 – Roger talks about his album Love and Other Tragedies, where he played with cellists Julia Kent and Alisa Liubarskaya at the Grand Kremlin Palace in Moscow. 39:00 – Roger describes how OWC equipment works flawlessly and fit seamlessly into his workflow. 44:33 – Roger shares how he wants to buy a house in Maranello in Italy, where he a lot of his friends live. 45:49 – Check out Roger O’Donnell’s new album, 2 Ravens on Apple Music, Spotify, or buy the vinyl record on Amazon to listen to his music. Jump to Links and Resources Transcript This is Cirina Catania with OWC Radio. I’m speaking with Roger O’Donnell of The Cure, and I want to talk to him about his most recent work, 2 Ravens as well. There’s a huge story here, a long career, and I’m thanking OWC for sponsoring OWC Radio to allow me to speak with amazing musicians like Roger. Roger is a keyboard player, a composer, best known obviously, for his work with The Cure, but his solar orchestral work is amazing. And the 2 Ravens was performed with a string quartet and cellos. He also likes tech, and that’s appropriate because OWC radio is the marriage between technology and creativity. Although I think that Roger and I probably have something very much in common in that we’re a little bit old school. And we still love vinyl. Hi, Roger. Hi. Yeah, I think we still love vinyl. Oh my gosh, I love vinyl. I love vinyl. I had hundreds and hundreds of albums that I had collected over the years because I was raised in the military, and I could buy albums for $2.60 at the PX when I was growing up. But a lot of them were stolen. But I tell you, I went to buy 2 Ravens, and I’m ordering it on vinyl. Oh, cool. It should sound good. We had some minor, well, I guess major technical issues on the first pressing plant we used the record company, I think we’re trying to cut corners and went to a cheaper plan. And as soon as I had the test pressings, I knew it wasn’t gonna work. And then I got a sample of packaging, and it was just not good quality. And the thing with vinyl now it’s not a standard product. It’s a premium product. And it really needs to be the best that it can. So I refused to sign those off. And we went to another plant in Germany, a very, very high-level plant that used to deal with more orchestral music because there’s necessarily a lot more space and air in that kind of music. I think you can get away with pressing a big black rock album, you got more leeway with vinyl, but if it’s a choir, it really needs to be good. It just needs to be special, and it turned out that way, so I’m happy with it now. That’s awesome. I love vinyl because you can just hear everything. Digital recordings, as much as we all still love them, it’s just not the same for me. I love putting that album on. I love listening to every song on it in succession because I’m sure there’s a reason why you pick that order, right? Yeah, and the spaces between tracks. I always spend hours with my mastering engineers, a very close friend of mine, Guy Davey, electric mastering in London. And we spent hours doing the gaps because it needs to feel like it either flows or you need a pause before one song and before the next song begins. And I think it’s really important of course you lose all that with digital. So many people just listen to single tracks these days, and as you mentioned, in the old days when you put on an album, and you went on a journey with the artist, and you heard the songs that they wanted you to follow the previous song. And I thought about that quite deeply about this record, about which songs should follow which, on what song should be on side A and which should be on side B. And we vinyl, generally you don’t get up and skip around because it’s such a pain. You don’t want to scratch it either. Yeah, exactly. So you genuinely got to capture the audience for at least one side, anyway, so So what do you think happened with the first one? I think it was just a poor quality plant. And I mean it’s a bit of a dark art growing a positive from the acetate from the cut. And I just don’t think they did a very diligent job. So I just sent it back. When you send something back, and they say, we can’t hear anything wrong with this, this our standard, then you know that you’re not even in a fight and a losing battle, you’re not even in the battle line. I don’t think they’ve surrendered. We’re not going to fight this. So then you either accept, or you have to take it somewhere else, which is what we did. And luckily, my label, they were okay with that. What’s the label on the album? Well, strangely enough, it’s kind of a bit of a full circle because back in 1979, when The Cure first released a record, they were released on Fiction Records. And that’s gone on through many different permutations. But the 2 Ravens was released on Fiction, it was on my own label, but through a licensing deal with Fiction Records and Caroline Distribution. And they’re great people. Jim Chancellor, who is the president of Fiction, Caroline, I’ve said this before, he’s just a music fan. He’s like from the old days of record company guys. He’s not corporate, in fact, he is terrible on the corporate side of things. But he’s just got so much enthusiasm for music. And also love the record and was prepared to go with it. And it’s not an easy record to market or put out there. But because this is a crossover kind of, it’s difficult to pigeonhole anything but this record, it being kind of orchestral but then with a kind of rock element with the vocals. It was a tricky one to market. But Jim believes. It’s wonderful when you can find people that you can work with that can help you release something that’s so precious. It’s precious; this comes from a very deep place. And when you have a company that says, “Oh, it’s good enough,” that doesn’t work. Good for you for sticking up for yourself. Sometimes it’s not easy. It’s not easy to do, especially these days when the music business is changing so much, right? Yeah, well, I’m in a lucky place that I come from. To make this music is my security and my place within The Cure. So, I can say no to people because it’s not everything to me because I have my work with the band to fall back to. And when I make a solo album, it’s purely out of love and passion for the music that I’m making. So if somebody says, oh, we’re not going to do this, I’m like, Okay, I’ll walk away and leave it until I find somebody that does. I’m not in a place where I have to secure a release. I’m only interested in working with people that share that passion. But of course, I’m lucky, and I’m very aware of that. You could be lucky and not very good at what you do but you wouldn’t get that far in life. Yeah, you are lucky, but you’re also incredibly talented. So a lot of that goes into it. You could be lucky and not very good at what you do, and you wouldn’t get very far. There are a few people like that. Yeah, we’re not gonna name names. Talk to me about Jennifer Pague. She’s saying on the album, and the music video is just taunting. I was introduced to Jen through my publisher, who also publishes her band Vita And The Woolf. And my publisher is actually a very old friend of mine, Daryl Bamonte. I have worked with The Cure for ten years. So he puts together, and I’ve completed the record as an instrumental record. And then he suggests, he said, “How’d you feel about putting female vocals on similar tracks?” and I was like, “Yeah, I’m open to it, and we’ll see if it works if it doesn’t, nothing gets lost.” So we sent her one track, and then she sent back about a minute and a half of vocals on that. And it was on An Old Train, that first one that we released. And it was just a revelation. It just really worked on many levels, and in ways that I hadn’t expected. My aesthetic is very European and British and rural, and then she comes along with this kind of American aesthetic for all kinds of American references, which we love. And it just worked. It was a really interesting contrast. If she’d been singing about flowers in the field, and birds and whatever, I think it would have been a bit twee, but this really worked. And it was a really interesting combination. I didn’t give her any pointers. I just let her do what she does. And I didn’t give her any lyrical ideas. And then she came over to London, and we recorded it in a week. Nice. It’s a wonderful music video. Do you want to talk a little bit about the making of the music video? That one in the train station? Yeah. My girlfriend lives in Berlin, and I was there for my birthday. Happy birthday. Yeah, thanks. In October. Well, it will be again this year. And I said, “Let’s go on the U-Bahn and see what we come up with. And that station, in particular, is very colorful. It is in old East Germany. Which station was it? I spent a lot of time in Berlin. I’m usually there half of each year. But with this pandemic, I’m stuck in the house in San Diego. Do you remember which station it was? I think it was Alexanderplatz. Oh, there you go. Okay. So we just went there with a camera, with an iPhone. Actually, we shoot it on our iPhone, one of those gimbal mounts. And we just wandered around and shot some video. It kind of came together. It took a lot of editing. That is my next question. Did you work directly with the editor on it? I did it. You did the editing yourself? Yes. We approached a video director, and he came up with some ideas. And I was like, It’s not really working. It doesn’t really make sense to me. And I was like, “Well, why don’t we just try?” It’s just pointing a camera, and editing is a bit more difficult. But I’ve done lots of stuff like that, and I enjoyed doing it. What did you edit it on? Final Cut Pro. Oh, awesome. They came out with a new version yesterday. Did you hear that? There’s a brand new version of Final Cut. As of yesterday, 10.4.9 has a lot of amazing new features. And you’re gonna like this too because you’re probably working remotely with other people now. Working with proxies is a lot easier in the new version of Final Cut, so that’s gonna be kind of fun. Oh, cool. Yeah. The problem with Final Cut Pro is I make my videos about once every five years, and it’s an intense period where I remember or relearn everything. And then, of course, the minute I stopped making videos, I forget everything. And then five years later, I’m like, Oh, I’ll have to go through all this again. And how do you do this and what’s that for? Well, I have a theory about that. I think that because the creative process comes from such a deep and important place inside that, you’re focusing on that. And technology is a tool for musicians. But you studied art, and you actually attended art school. So why did you switch from art to music? What happened in your life? Yeah, that’s kind of a story episode. I was studying graphic design, probably the finest graphic design school in London, at the time at London College of Printing, and it was fiendishly difficult to be accepted and get in. And I really loved it. But then I started playing in bands. And at the time, there was no blurring of lines. Now, I think one of my friends, Ian, who actually did the artwork for the cover, he went on to be a teacher at art school, as well as an illustrator. And he said they would actively encourage students to be in bands and being involved in theater and film, whatever. But when I was there, it was so rigid that there was no room for us to do anything else. And unless we were 100% committed to the course. I kind of dropped off, and I started playing in bands and missing tutorials because of rehearsals. And then the love of music kind of together. But they’ve always been equal, design and music have always been pretty much equal to me, and they run kind of strangely parallel. When I talk to my friend, Ian, we’re always kind of striving for the same things creatively. Me and my music and him with his art. So it stayed there with me. I just regret having left, I think, because, for the following three years, I didn’t do anything in music that made any difference. I could have finished my degree, but I didn’t. It’s wonderful when you find people who you can work with and can help you release something that’s so precious. It truly is a gift. I’ll bet, though, looking back on it. If you studied it for a moment, you would figure out that there were connections there, and there was a reason why all this happened in the sequence that it did. Isn’t that kind of the way it happens, right? It’s interesting. You have a daughter who’s an artist; she’s a graphic artist. So she must have inherited that part of your brain. Yeah, she didn’t grow up with me. And she saw a drawing, and I said to her, “You know I went to art school, don’t you?” and she said, “No.” She didn’t know it until that. This is one of the very interesting things about having children about what they inherit, and what the things that come through in your DNA, and that was really interesting. She loves it. So she loves cats as I do. She inherited some good things from me. Luckily, she didn’t want to be a musician because that’s a bit of a killer. I don’t know what advice I would have given her. It’s funny, I have children as well, and they grew up on movie sets. And neither one of them went into my business; one’s a doctor, one’s a lawyer. And I don’t know what I would have said to them had they said they want to make movies. I probably would have actually said go for it, but it’s different. So go back to when you were a little kid living in London, you were in London, right? Yeah. So your parents were musical too. Talk to me about what your household was like? What was life like for you as a little boy? Well, I’ve got two older brothers and an older sister. And there was always a lot going on. My mom came from a big eastern family, and my dad’s two sisters lived next door. So there were a lot of people around. And the focal point of the house was probably the piano, which was in the dining room. And everybody, as they pass by, would sit down and play a song. My dad was in a youth orchestra when he was young, and my mom played completely by ear, but she could sit down and play any tune that you ask of her. And I probably from when I could walk and sit at the piano. And it gradually became a more and more important part of my life. Growing up in the 60s and 70s, when rock and pop music was really beginning, it gave you those kinds of opportunities or those kinds of horizons opened before you. Whereas in the 40s and 50s, not so much. But now it was accessible to be a pop musician or rock musician. And although I remember being at a scout camp, and one of the boys in the scout said to me, “I want to be a pop star,” and I looked at him as if he was from another. Just couldn’t conceive of what that meant, or why anybody would want to do it, and how you would do it. But then it goes, I started hanging around with bands, like in my teenage years and going to see bands and then becoming friends with them and realizing, oh, yeah, I can play the piano, I can join in. And the biggest problem was the pianos were not that easy to carry around. Life in the 60s, 70s, and 80s was a magical time. It’s an era we’ll never get to relive again. You can’t carry the piano with you. So I eventually decided that I needed an electric piano. And at the time, there were only about three choices. And I said to my dad that I wanted to do this. And he said, “Okay, well, if you get a job and half the money, I’ll give you the other half.” So he encouraged me from the beginning, even though I don’t think he ever realized what would happen. So I used to set it up at home. And it was all very encouraging, but I think nobody really understood what it meant. It was like, beyond the realms of that world, I think. I think life in the 60s, 70s and 80s was unbelievable. It’s hard to describe it for people who weren’t there. It was the heyday of music. Yeah. And horizons and things were getting bigger, faster, more colorful, you could do amazing things, and it seemed like it was limitless. Growing up in East London in the 70s, it wasn’t exactly Hollywood. It was tough, and we didn’t have a lot of money. But even so, you didn’t worry about that. There were things like Concorde being invented and flown, and musical instruments, especially for a keyboard bag. Going back to technology, it was an incredible time. It was like instruments were being invented. It seemed like every week, and there was something coming out. And I really love technology, and my go-to answer will always be the piano. But what you can do. I have a very close relationship with the guys at Moog. And just talking to the engineers, I’m very good friends with Cyril, who is the engineer and chief designer. And it’s just amazing to have that relationship with those guys and be able to talk to them. Half the stuff I can’t understand. He says to me, what do I want in a synthesizer, and I say, “I want any.” And he says, “What about if I gave you this?” And I was like, “What? You can do that?” And then it just blows you away. So yeah, that year of recording a MIDI and computers, the thought that you could play into a computer, and then it will play it back out to you. It was just incredible. So it was an era of I’m not sure we’ll ever be seen again. Yeah, I’m a little sad about that, actually. Honestly, I want more of it. I don’t want it to be gone. There’s an aspect of those kinds of memories that tend to be a little bit melancholic. Exactly. Talking about Concorde, and when that last flight landed, I cried. It was like that really underlying the end of that kind of technological development. And now we’re faced with all kinds of constraints, environmental, and things that do with health and money, and I don’t know where we go from here, but let’s not get too depressed. No, actually, I don’t often look back, but when I do, it is a little bit melancholy that comes in. But then I start to say I’m so lucky. I have an ashtray in the living room that I’ve kept all these years. Remember they used to give you these porcelain presents? When you were on the Concorde, you’d get these little presents. You go to New York, and you’d fly–I forget, what was it? Two and a half hours or something? Crazy like that to get to Paris. Three and a half. It was three and a half, and it was so quiet. The plane was just like gliding above the clouds. And yeah, those are wonderful memories. But I do believe that there are other things on the horizon for us. And you’ve talked about you’ve done some of your great work and that you don’t listen to happy music. Why is that? I want to know, you have to tell me, why do you not? You don’t dance in the kitchen? No, I can’t be seen to be dancing. There’s a famous quote from somebody who only ever said one famous thing, and I can never remember his name, but he was a French philosopher. And he said, “Happiness writes white on the page.” Oh, wow. Yeah, it’s great. You can use that whenever you want. There’s a great richness in sadness and despair that I don’t think there is in happiness. I can’t write happy music. I just, I’m like, okay, whatever. Yeah, I’ll listen to it. But the emotion that comes from great, dramatic works. And when you think about what the composer was going through, and you can feel it. And for me, the greatest achievement is for somebody to say to me, explain to me what I was doing in a piece of music. Explain what my mood and sentiments were. And if I can convey that simply in music, then that’s an amazing achievement. The greatest achievement is for somebody to say to me what I was doing in a piece of music.Click To Tweet It is. You did last year, what? Over 50 shows with The Cure? Yeah. How on earth? We got love happy song. Yeah, so talk to me about your years with The Cure. You’ve been in and out of it. Yeah. Okay. Well, when I joined The Cure in 1987, it was a part of, like the, I guess the final step in a development that had gone on in my career. And I was playing in Psychedelic Furs, and then I got asked to join The Cure. I finished American tour with the Furs and flew to Dublin, and started rehearsing with The Cure. Two weeks later, I was back on stage in Vancouver or somewhere with The Cure. It was a crazy period, talking back about the 80s that you can go in from one massive band to another. And it was an amazing time back then because The Cure was really on that upward. From The Head on the Door had been released, like two years previously, and they just finished Kiss Me, Kiss Me, Kiss Me, which is the album I joined to perform. I got a pre-release cassette of Kiss Me, Kiss Me, Kiss Me, and I put it in my cassette player. And I knew within three seconds that I had been playing that band because it was so fantastic that I’d never heard the like of before. And then from there, we went on to write and record Disintegration, which was like a huge record, I think not just for us, but for the music in general. And that was an amazing time. I look back at that period, I think, yeah, I was making this incredible album. We thought it was good, but I had no idea. I was chatting with Robert recently, and I said, “We were just making the record. We had no idea it’s gonna be that fantastic.” Because he said,” I always knew it was good.” I had no idea. I just thought we were just making the next year’s record, but it turned out to be a career defining record. And then I was kind of overcome after that record, and it was like, I’d spent my entire career trying to achieve that kind of success not just monetarily, but creatively as well. And then I was just kind of lost, and that’s primarily why I left the band then because I just didn’t know where else to go. I was just like, okay, I’m here, where do I go from here? So I left for, what was that? Five years at that time? And then when I came back, I was ready to come back. It was like Robert wanted me to come on play on the next record, and I flew to England, and I said, “I’m back, I’m not leaving.” And we were recording that record in that period, and it was ten years. And then I guess, after that ten year period, I needed to find myself again, in a different way, but this time creatively. I needed to express myself as a solo artist. And having learned everything that I had built up over the years, I started a record label and a publishing company. And I wanted to get into that side of things, and then finally when I came back in 2011, it just sort of felt natural. And we talked to each other, and we said, “Look, if we can’t get on there at our age, we never will, and we’d known each other half our lives.” We’re like a family, and it’s very comfortable, and we knew each other so well, and the performances last year were absolutely amazing. Last year started off kind of weird with the Rock & Roll Hall of Fame, which is, English musicians are pretty self-deprecating and not prone to slap each other on the back and say, “Wow, that was great!” There’s not a lot of whooping goes on backstage after we play. So to be awarded some kind of, it was just very weird for us. But that was interesting, the way it affected us. And then we played at Glastonbury in the summer, which is a big, big thing for British bands. It’s our biggest festival, to be honest. It’s like a national institution. And we played so well at that show. And it was on BBC TV, which is our station. I’ve looked across the stage and see these guys that I played with for 30 years, and it just all felt right, and it continues too. I've looked across the stage and seen these guys that I played with for 30 years, and it just all felt right, and it continues to.Click To Tweet Well, that’s nice. It’s kind of like being in love, isn’t it? When it works, it’s really, really good, and when it doesn’t work, it’s pretty awful. It’s more like being married than being in love, not you need to be mutually exclusive. So do you have plans to move to Berlin? I love Berlin. No, it’s not one of my favorite cities. Oh, it’s not. Why? I find it so kind of punk; I’m past that. I was in that forty years ago. But it’s fun. I like going and Mimi, my girlfriend, loves it. Yeah, I think the thing I like about Berlin is I think you can find a corner of Berlin to fit whoever you are, and people don’t judge. That’s the one thing I do like about it. Well, you survived last year. But talk to me about, there’s this wonderful work, Love and Other Tragedies. Talk to me about Tristan, Isolde, on this big stage with cellos. It’s beautiful. Oh, the ballet? So I released an album in 2015, Love and Other Tragedies, which is based on his three movements in each suite, which is three classic love stories. And I did that with a friend of mine, a cellist, Julia Kent who’s absolutely an incredible cellist. Yeah, she’s wonderful. And then I’ve been toying with the ballet world for about eight years now. And we’ve written an entire one-act ballet based on the story of The Picture of Dorian Gray by Oscar Wilde. So that’s kind of in the background. And then and I ended up spending quite a lot of time in Moscow, and I have an incredible mentor there called Andris Leipa, who is the son of Māris Liepa, who was a hugely famous Soviet era ballet star. Andris has really helped me navigate through that world and taught me so much. We sit for hours and drink tea and just talk about anything. And I asked him the most naive questions about ballet, and he never bats an eyelid and just tells me everything. And then I’ll stand on the side of the stage with him. And he will talk me through everything that’s going on on stage and explain what’s going on between the dancers. And so an opportunity arose for me to do one thing at a gala that he was putting on at the Kremlin Palace in Moscow. And so we used one of the pieces of music, from Love and Other Tragedies’ Tristan and Isolde and we performed it with piano and four cellos, and they were students from the Moscow Conservatory. And we performed it with two of the cellists from the Bolshoi. And one of the most amazing parts of that little story was that we rehearsed in the Bolshoi in the famous rehearsal rooms. And that was like a dream come true. I worked with choreographer Nikita Dimitrioski, who is really talented. But the most interesting thing was, we’d be performing the music live, and in my world, I have room for interpretation. So, things generally come out a little different every time I play them. The ballerina, Masha Maniachenko, was a little fazed by this, but in the end, she really loved it. Because they never get to work on stage so closely with live music. And so we did a run through the piece, and then we stopped. And then I was playing apart with one of the cellists just to show her something. And now she just got him started dancing. And it was like one of those incredibly special moments that I’ll never forget, in one of the famous rehearsal studios at the Bolshoi. So that was a night to remember. And then we played at the Kremlin Palace to 5000 people. And luckily, the piano was facing away from the audience, so I wasn’t quite as nervous as I can get in most situations. And I was more concerned with keeping the four cellists on track. And of course, there’s this single, long, sustained note at the beginning on one of the cellos. And the music fell off a music stand, and she stopped to pick it up. But luckily, I was able to edit it in Logic. Oh, my goodness. I cleaned that out. But yeah, that was an amazing experience. See, there’s the beauty of having that kind of tech, backed up to pretty much orchestral classical kind of world so that I was able to do that. And I dropped in a sample of another cello to cover that dropout. That’s the beauty of being able to work in both analog and digital together. So you use Logic, and you have some OWC equipment too, right? Yeah, I’ve got some hard drives, which are amazing that I got in Austin last year when we’re playing on tour there, and a little interface, which should be really nice. The most important thing we’ve taken from it is that it does its job, I don’t have to read a manual, and it does it seamlessly, quickly, and flawlessly. You cannot have any doubt about a hard drive because of your life’s on it. As many backups as you do, there’s always one last tape but doesn’t get backed up. And you need to depend on that equipment, and these have been faultless. I’d recommend them to anyone. They’re nicely designed, and they’re really nice people at OWC. I met the President. Larry? Yeah, Larry. Larry O’Connor really cares about what he does. He is a world-class engineer; the man has a brilliant mind. But he’s like many people who are incredibly gifted. He doesn’t flaunt it. It’s like you were surprising when you got into the Rock & Roll Hall of Fame and didn’t quite know what to do about that. I think Larry must look around and everything he’s accomplished, hundreds of millions of people around the world using his equipment. And you wouldn’t know it by speaking with him. But that’s good, that’s really good. I’m glad that they’re keeping you happy because that’s how I met them. I’ve been using their equipment for years, many, many years. There’s a piece called the Underworld that looks really difficult. But it’s worth it, right? Tell me it’s worth it. Oh, boy. We when we played that live. So Alisa, the cellist, played it with me. It just goes across all time and bars. So when we played it live, we were just staring at each other just to try and keep it right. And that was hard to play, really hard. And when we did that album, we played at a famous church in East London, St. Leonards in Shoreditch, and I did too much that day. I produced the show and in charge of everything, and then after the band turned off, and that’s always intimidating. And I didn’t enjoy it, and it was too stressful. If I ever do that again, I’ll have a producer to put everything together. You need a producer. But that song nearly killed me, and Alyssa playing it on a cello is pretty heavy duty. I love that you said you don’t even know what time signature it’s on. It just kind of goes across everything. That’s one of the confining things in music is when you sit down, and you play freely, and it goes across all time signatures, and then you kind of have to drag it back in some to make it understandable to other musicians and to the listener. And it’s kind of like a writer when you’ve got this massive creativity in your head, and you then have to funnel it down into something that’s understandable. I find that quite a struggle because I like the freedom of when it’s in your head, but then there’s that rush to get it down onto the computer screen. And a lot is lost there but of course, what’s gained is that other people can hear it and understand it and play it. So it’s roughly in 4/4 anyway. Playing music is kind of like writing where you have this massive creativity in your head. You then have to funnel it down into something that's understandable.Click To Tweet Roughly, but I listen to it, and I thought, I wonder if this is a metaphor for your life in some ways. Or the Underworld. Well. No, not the name but the music itself and the fact that you don’t know what time signature it ends. Yeah, it could be. I like the Italian translation of the Underworld is Il Regno Dei Morti, which is the kingdom of the dead. I love that title. That’s nice. It reminds me of the Dia de Los Muertos. There’s a lot going on in that world. Yeah. Let’s hope so because we’re gonna end up there. We are. Are you in isolation there? No. Well, I’m in the middle of nowhere in the countryside. So life really hasn’t changed apart from the fact that we can’t travel anywhere. We’re thinking of going to Italy on September 2. I’d like to buy a house there. I’ve lots of friends around Modena and Maranello, but now it looks like they’re going back into lockdown. And it’s just such a struggle. For the most part, life hasn’t really changed here. We went to London recently, and boy has life changed there. It is deserted. It’s apocalyptic. So I don’t know when things are going to change. I’m lucky I’ve got things that I do. I fly, and I like cars, and I have lots of toys here. So I’ve got things to do, but it can’t go on forever. We need to get back playing again. Absolutely. What’s your favorite car? I have to ask. I love cars, too. Oh, I’m a big Ferrari fan. Oh, there you go. Nice. And where do we go to get your new album? Tell people. Well, you can listen to it on all the major platforms, Spotify, I’d recommend Apple Music. All of those streaming services. And if you want to buy the vinyl, I think that Amazon has got 90 signed copies, and those are the last 90 that I think are available. So if you want to find a copy, there you go. There you go. Go on Amazon and search for 2 Ravens from Roger O’Donnell. Get your vinyl copy. You want to listen to this on vinyl. You’re not done yet. You’ve got a lot of years to go, but what do you think is the one thing you have learned that is going to propel you into your future? If there’s one memory that you tell the family that will live after you, what would it be? There’s another saying, and I don’t know where it came from that I try and carry with me, which is “Don’t spend all your life making somebody else’s dreams come true, and make your own dreams come true.” And you’ve done that. I leave you with that. That’s wonderful. Well, there’s a few things. I’d really like to put this ballet together with Dorian Gray. That’s such a huge endeavor. And I like to do things that I can control myself, and that’s way out of my control frame because there’s so many people involved and so much money. I’d like to think that that could happen. That we’ll see. Well, maybe you just get a producer to work with you that you can trust. I really need to work with a ballet company. It is too difficult to do as an independent. The music is finished, and the libretto is done. And I know who I’d like to dance Dorian. And in fact, he said he would. And you can’t talk about that yet. I’m gonna have to check back with you in about a year and see where you are with everything. Roger, thank you so much for taking the time to do this. It’s been wonderful and for being so frank about who you are and sharing your life with us. I think you are not just because of The Cure, but because of who you are with everything you’ve done and inspiration to a lot of people. And so I do wish that you continue to go on living your own dream. And thank you so much. That was Roger O’Donnell. He is an amazing keyboard player, composer, performer, and everyone you know what I always tell you get up off your chairs and go do something absolutely wonderful today, even if it’s in your own home. This is Cirina Catania with OWC Radio. I’m signing off, and I’m saying goodbye to Roger until the next time. Thank you. Important Links Roger O’Donnell Roger O’Donnell – YouTube Roger O’Donnell – Twitter Roger O’Donnell – Facebook Roger O’Donnell – Instagram 2 Ravens 2 Ravens – Spotify 2 Ravens – Apple Music 2 Ravens – Amazon Love and Other Tragedies An Old Train The Head on the Door Tristan and Isolde Il Regno Dei Morti The Cure The Psychedelic Furs Alisa Liubarskaya Andris Leipa Cyril Lance Daryl Bamonte Jennifer Pague Jim Chancellor Julia Kent Larry O’Connor Māris Liepa Oscar Wilde Bolshoi Theatre Caroline Distribution Fiction Records Glastonbury Festival Kiss Me, Kiss Me, Kiss Me Moog Music Rock & Roll Hall of Fame The Picture of Dorian Gray Concorde Final Cut Pro Logic Pro OWC Checklist Explore the world of music and let it help you discover more about yourself. Honing one’s skills in music has many benefits for a person’s cognitive skills. In the music industry, make sure you’re working with the right people. Having a team you can trust plays a huge role in your career’s progress. Materialize your vision. Write it on paper, create the notes, get up and record a song in the studio. Without implementation, ideas are just dreams. Keep creating music. Be consistent with your passion and understand that success is more hard work than vision. Collaborate with other artists. Sometimes trying out something different can be good for you. Start early but know that it’s never too late to chase after your dreams. The best time to start is now. Express yourself through music. It’s an excellent medium to share your thoughts and feelings so your message can reach more people. Find a mentor who can guide you through the crazy world of the music industry. Having someone who can teach you and keep you grounded is a gift. Trust the process. The journey is going to be a long and winding road but everything is worth it. Check out Roger O’Donnell’s latest album, 2 Ravens on Spotify, Apple Music, and Amazon.
45 minutes | 2 months ago
Richard Fortus Guns N’ Roses
Richard Fortus, guitarist with Guns ‘N Roses, takes a break from composing to chat with OWC RADiO host, Cirina Catania, gives us a tour of his amazing gear, reminisces about life as a gifted and passionate musician, his most recent hit, “Made of Rain,” the collaboration on “Tower of Strength,” and studio life in quarantine. Richard offers good advice to others who want to succeed in the music business and warms our hearts when he talks about his family. Listen in to a candid and inspiring conversation with one of the great musicians of our time. In This Episode 00:03 – Cirina Introduces Richard Fortus, guitarist with Guns ‘N Roses. 05:09 – Richard and Cirina talk about how the people in Mexico City are lovely and exceptionally resilient. 10:16 – Richard talks about creating sessions at his home studio using Pro Tools. 15:07 – Richard shares the numerous equipment, gear, and instruments he has in his studio. 19:40 – How young was Richard when he knew he wanted to become a musician? What was the first instrument he learned how to play? 24:39 – Richard gives some encouraging words to aspiring musicians and creatives. 30:06 – What is Richard’s approach in preparing for a recording session? 35:45 – Richard describes how OWC’s customer support has helped walk him through situations where he needed a solution. 39:38 – Richard talks about The Psychedelic Furs’ album that he produced, Made of Rain. 44:16 – Visit Richard Fortus’ website at richardfortus.com to learn more about his life, work, and gear. Jump to Links and Resources Transcript You know Richard Fortus as the guitarist for Guns N’ Roses, but he also has a long history with The Psychedelic Furs and was in Thin Lizzy, Love Spit Love, The Dead Daisies, and Honky Toast. He toured with The Crystal Method, BT, Enrique Iglesias, Nena, and many others. But after talking with him today, I keep picturing him as a little five-year-old playing his violin. No wonder he has such a prolific music career. I spoke to him about making music in the time of COVID. His recent hit with the Psychedelic Furs called Made of Rain, the collaboration on a Tower of Strength, and his masterclass at Sweetwater, a place we both loved. He also offers some great advice to those who want to get into the music business. And he gives us a tour of his gear collection and so much more. This is a Richard Fortus that we rarely get to see. So stay tuned. It’s time for another OWC Radio. This is Cirina Catania with OWC Radio. I am speaking with Richard Fortus in the middle of a crazy schedule that he has. He’s taking a little bit of time off to talk to you guys. So we’re just gonna dive right in here and say, hi, Richard, how are you today? I’m well, thank you, and thanks for your time. That’s great. So it’s COVID. We’re all under some kind of wrap. Where are you at the moment and who’s quarantining with you? I’m actually at home in St. Louis, Missouri, with my family. Nice. And fortunately, I have a studio in my house. So I’m able to work, as we were just talking about it. A lot of my friends are not in that position and have not been able to work. I’m fortunate that I have an engineering background, so I’m able to engineer my own sessions, and I’ve had a studio for the last 25 years. So it’s been great for me, and I’m fortunate enough to have the work coming in. A lot of my friends are touring musicians or are studio musicians that don’t do their own sessions. They go to recording studios. And so I’m very lucky in that regard. When was the last time you were on tour? Our last show was in March, as the world was closing down. I think we probably did the last stadium show in the world. We were in Mexico City, and it was the first show of a South American tour that we were doing. And that was going to be about six weeks, and then we went to Europe for a couple of months, and then we went straight to the US and started the US. And I would have finished that tour of the US yesterday. So I was supposed to be gone in the last six months. So we did the last show in Mexico City. Everything was canceling. We knew that the rest of the South American dates were not going to happen. And we were speaking with the promoters in Mexico City were like, “Look, you guys, this isn’t safe.” and they’re like, “No, no, there’s no problems here. We’re all good.” And it became a contractual thing, and we sort of were in a place where we needed to do it. And they weren’t going to cancel it no matter what we said. So we expected to walk out to 80,000 people in masks, but there were no masks. Everything's changed in the music industry in the last few decades. Playing music and promoting it is different now, but the passion remains the same.Click To Tweet Really? Yeah, it was interesting Mexico, with the new president, he didn’t want to. They made some mistakes with the last virus that hit, and they shut things down, and that administration got a lot of bad publicity for that. For erring on the side of caution, and people didn’t like that. So this administration was gonna bury their head in the sand and pretended nothing was wrong. There are two sides to every coin, I guess, but they wanted to go ahead with it. So we did the show and then flew straight home. Oh, thank heavens for that, though, right? Mexico City, is it still as polluted as it was a few years ago? I spent six months there working on a film and actually loved it, but it’s a dangerous, polluted city. Yeah, it is. But there is a real charm to it. I love Mexico City. Yeah, the people there. I cried when I left. I had this wonderful house. I was running in Coyoacan and going out for freshly baked bread and hot chocolate in the mornings when we weren’t shooting. It was great. And the people are so wonderful. They’re so resilient there. I don’t know if you’ve used local people on your crew. I’m assuming in addition to the roadies that come with you, but I found that the crews in Mexico City could do anything, no matter what happened. Even if something critical broke, they’d be in there. They would be MacGyvering it and making it work. Did you find that? It’s that way throughout South America. In Brazil, it’s sort of a different thing in Brazil; they will tell you, “Oh, yeah, we can do that.” “Yeah, I can do that. I’ve got this.” And they’ll tell you they can do anything. A little bit of a different story, but yeah, they’re resourceful. Yeah, they were wonderful. I mean, I can’t speak enough about the people from Mexico. My experience was a really good one. I’ve always had great times in Mexico City. You’ve been there quite a bit, I’m sure. Have you been to every country in the world with Guns N’ Roses and Psychedelic and all the other groups you’ve been involved with? Just about. There are countries in Africa I’ve never been to. I’ve traveled extensively. I mean, I think I’ve been to Mexico City to play with Guns since the, not in this Lifetime Tour started, which has been five years. I’ve probably been there like five times. Five or six. So being a road warrior, and now you’ve primarily been at home. What did you first start working on? Were you working on the Psychedelic Furs album? Or what was your first sort of mission-critical when the COVID hit? I guess I came home, and we were sort of still figuring out what was going on because we had all these tours planned. And everyone was sort of waiting to see what was going to happen. I guess I just started putting the word out that I was available for sessions. And everyone sort of paused for a month or two. And then people were like, we got to carry on. And a lot of people got bored and thought, okay, now I guess we’re going to make a record. And same with doing ad work and things like that, people pause for a second and then rethought their position and then went back in. And so I had been finishing things up with the Psychedelic Furs; I think that was pretty much wrapped on my end by the time I left to go out on tour in February. So when I went out to Los Angeles to do rehearsals. Actually, I think the record was supposed to come out originally in March. And they pushed it back, and they kept delaying it as a lot of record releases are. People are pushing them back because it’s a different time in the music industry. When I started in this business, we used to put out records, and then you tour to support the record that helps sell the record. And now it’s sort of changed 180 degrees where now you put out a record to promote a tour. Remember the heyday of the 80s when music videos were so hot, everybody was making music videos and putting their music in films to try to promote. Everything’s changed. The whole business has changed. They still want to place their songs in movies and TV because that drives people to shows. You put it out that you wanted to do some sessions; how are you recording those? Are you going on location at all, or are you recording it virtually from home in your studio? No, I have a studio in my house. So I’m able to do everything here. So people will send me files, and I’ll open them in Pro Tools and then create a session. I have a large collection of vintage gear here, and guitars and amps, and different musical instruments. Actually, the first thing I did, I think, was a session for the mission UK. And they had reached out, and they were doing a remake of one of their hit songs, Tower of Strength for a benefit, as a benefit for COVID relief. So that was one of the first sessions that I did, and I really dove into that and did all the string arrangements that were originally done by John Paul Jones from Led Zeppelin. And he had produced that original The Mission album, so I did my version of his string themes. So that took up a lot of time, and I really spent a lot of time orchestrating and playing. Because I was by myself, so I played the cello and violin parts and then layered them with samples. And that was a fun project. It’s funny how sometimes the things we want the most are what we’re afraid to verbalize. So you’re probably in your studio recording this right now. Everybody always wants to ask you about your gear. I hope you don’t mind. I really want our listeners who may not have heard about some of the equipment that was used. Do you mind telling us to look around and telling us what you have there and what you’re using specifically? For example, what microphone are you talking to me on? Oh, I’m talking to you on my phone. Isn’t that amazing? Are you on your iPhone? Yeah, I’m actually on it. I have an earpiece in. But looking around… Yeah, look around. Tell me what you got there. Looking around, I’m right in the midst of the project, and I’m trying to get it out by Sunday. And I tend to work where I’ll just let things pile up around me until the session is over. And then I have a minute, a chance to breathe, and then I clean out everything and start again. So looking around, I’ve got tons of amplifiers. There’re 13 amplifiers sitting in my control room right now. Okay, I think you just won the prize for the most amps in one small room. I have a vault that’s full of stuff, so I pull out what I need for that particular session. And then in the next room, I have my live room if you will. So that’s where all the recording gets done. And that’s where my mics are, and the amp cabinets and combos are out there. And right now, microphone wise, I’ve been using mainly a Royer 122 and tab 57 with the chase transformer, and then also a set 47. And there’s this collection, and there’s a couple of Stager mics out there. Depending on the amplifier that I’m using, or if I’m recording acoustics, or whatever. And then I don’t have a proper mixing console. I have a rack of preamps, 500 series in an API lunchbox. There are mainly Brett Avril stuff, the BAE stuff, and then a couple of API pieces, and some Retro. Some Joemeek stuff, Ampex preamp. And then I run Pro Tools, so I’m running an HDX rig with a Mac tower, and that’s pretty much it. And your guitars, you got to talk about your guitars too. Oh god. Okay, so right in front of me, I’ve got a 1953 Les Paul, a 1960 ES-335 Dot Neck, a 1953 Fender Esquire, and there we’ve got a Gretsch 5120, that’s from 1968, Les Paul Signature, 62 Jazzmaster, just like ten guitars. And you’ve also used Paoletti, right? Yeah, I do have a Paoletti in here, and then I also have a Trussart in here. And I also have one of my Signature Gretsch right here, which is coming out in January, which I’m very excited about. Nice. I want to see that. Hopefully, you can send us pictures. That would be great. Absolutely. So what about your pedals? Oh god. I’ve got racks and racks of pedals not in the control room area, but I do have a board right in front of me. And that’s something that I do have to clean up daily. Right now, I’ve got an R2R Treble Booster that I just got that is incredible. I’m in love with that. Also another important piece of gear is the SoloDallas preamp that I use before amplifiers a lot. There’s a Vox Tone Bender MKII, there’s also an MKI, WAH pedals, that type of stuff. I’m just envisioning you directing people about what you want to take with you when you’re on tour. You have other equipment that’s already packed up in cases for when you go on tour. How many guitars, for example, do you travel with? There’s, I think, I’ve got about 12 in each rig. So we have two touring rigs for Guns N’ Roses that live in Los Angeles. An A rig and a B rig. So each rig has about a dozen guitars, three amps, and then a backup. So usually, there are five amps in total. And then identical rigs, identical racks of pedals and stuff, all that stuff, those 24 guitars and both racks of gear that live in Los Angeles, so I have none of that here. Okay, I have to ask you this. Are you a sentimental person? When it comes to gear? Yeah. I mean, these gears have memories, right? There are some pieces that I’m attached to. Like, maybe Les Paul or something? There are always other guitars, and there’s always now, but there’s nothing really that I’m sentimentally attached to, I don’t think. I’ve had enough guitar stolen over the years to where I’ve sort of gotten over that. Oh, geez. Really? Well, yeah, I mean things happen on the road. Trucks flip over, there are monsoons that hit, there are tornadoes that happen. We’ve had all sorts of it. And then there’s also riots you have to contend with. I don’t take my vintage pieces out much anymore. I think the last vintage guitar I toured with was when I was with Thin Lizzy, and I took the 55 Les Paul Jr. and a 68 Les Paul Custom. Well, I tell you, the life you have lived, I want to take you back to when you were a little boy. And what did you like to do when you were five and six years old? When I was five years old, I was playing the violin. I remember being five years old, sitting in Sunday school, and the teacher was going around asking everybody what do you want to be when you grow up. And I specifically remember, I remember thinking, I want to be a musician. But I didn’t say that I said whatever the kid before me said, fireman or whatever. But I distinctly remember that. Back in the day, the live shows get people to listen more to your music. Nowadays, it's your music that drives people to live shows.Click To Tweet Isn’t it funny how sometimes the thing we want the most we’re afraid to verbalize? I’ve seen a lot of people do that. Yeah. Because it opens you up, doesn’t it? When did you declare it? When did you take ownership of it? I don’t know that I ever did. I mean, this is a strange thing. Because my father instilled in me that this is a great hobby, but it was always my passion. I don’t think you analytically sit down when you’re getting ready to go to college and think, Okay, what am I going to do with my life? I am going to be a musician. It is a poor career choice. I just was incredibly fortunate. But I didn’t really have a choice because I was so driven and so passionate about music that it just never seemed like there was an option. If that makes sense. So I don’t remember ever declaring it to my parents or to the world that this is what I’m going to do. Because in the back of my head, my father’s voice was always there saying this is great, and eventually, you’ll need to get a career and but you can do that later. I started going to college, and my band sort of was becoming more and more popular. And it was taking up more and more my time to the point where I couldn’t really stay doing both. So I always thought, well, I’ll come back to school when I need to. So I’ve always felt like I was living on borrowed time, in a way, career-wise if that makes sense. What did your dad want you to do? He didn’t care. It wasn’t like he was pushing me into something. Actually, he was an accountant, but he was part owner of a music company, a wholesaler, that made musical instruments. They made Alvarez Guitars, and Electra, and Crate amps and Ampeg Amps, and they distributed it to retailers. So I grew up surrounded by music. I fell in love with music at a very young age. And it’s sort of always been my passion. And you just kept doing it. And here you are. Yeah, every so often, I think, man, how long is this gonna last? For a long time, you got many years to go, you’ve got a long time ahead of you. It’s funny. I mean, at this point, I don’t have much choice. No, I mean, looking back on all those years, I’m sure a lot of kids come up to you at concerts, and they go, Oh, I want to be you. I want to be a musician. What do you tell somebody who is incredibly creative, but the world is telling them no? What would you tell them to keep them going? When I can actually sit with somebody and talk to them, you suss out pretty quickly whether or not they have a choice in the matter. As I said, I didn’t really have a choice. It consumed me. Music was everything. I just breathed it. So I didn’t really have a choice, and that is how it is. So, I mean, as I said, if you sit down and you think about realistic career paths, it doesn’t make sense. It’s such a long shot, and no matter how good you are, there is an element of buck, and– there’s also a big element of resourcefulness. I mean, putting yourself out there, knowing how to step aside from the art of it, and really looking at how you can exploit your talents, and separating that from your creativity. You sort of creating something, and then you have to step back from it and go, Okay, now, this is what I do. Now, how do I sell that? How do I get attention for it? How do I get this out to people to see if they like it? That’s the part that I think, where a lot of people fall short. Yeah, and they want to know how they can make a living doing it. You’re lucky; you’ve got both the left and the right side of the brain going. And I think, well, I don’t know you, we are not friends, but I’m assuming that that has really been part of what’s kept you going because you understand the business side and you understand the relationships that are necessary from what I’m gleaning to keep that going, but you also have this amazing creative side. I mean, you as five years old, playing the violin. Come on, that’s a great image. I mean, what a cute little kid. I think a lot of that was my parents’ sort of giving me that opportunity. But essentially, I mean, so many kids are given that opportunity. It’s what you choose to do with it, really. It’s that passion that just consumes you, and you either love it with everything that you have, or you enjoy it, and you do it as a hobby. I think both are equally valid. The goal is to get your music out to as many people as you can. So you’ve taught a master class at one of my favorite places, Sweetwater. Sweetwater, those guys are great, aren’t they? They are. They’re wonderful. It’s a great set up they have there. It’s amazing. And that they’re just so dedicated to helping anyone in the creative arts that needs any kind of equipment from them. They have one of those corporate, how do you describe it? It’s just a corporate personality that says, oh, what do you need, and how can I help you? So when you’re teaching the master class, what’s the biggest challenge for you? And also, what did the students expect to get out of it? And will you be doing another one? I do a lot of different clinic type things. Usually associated with the MI industry. So promoting some type of gear. And I’m very passionate about equipment, as you probably gleaned. So I enjoy speaking about it because I’m really inspired by gear. A lot of musicians are not that way, they have their instrument or a couple of instruments, and their amplifier, they’ve got their sort of setup. And I’m constantly searching for new things that are going to inspire me, just like with listening to music, and I’m constantly listening to new things to inspire me. That’s why I think I’m really attracted to vintage guitars. Every guitar has songs in it in away. It’s going to bring something different out of you. And different sounds inspire different songs or different ideas. And I love that about gear, and that’s why I’m so passionate. So I love being able to go out and talk to people about that and what I get from different pieces of gear. I tend to focus more on that stuff than I do on the technical elements of music because I don’t know; it just seems more interesting to me. I also enjoy talking about answering questions and things about my style and technique and things like that. But it’s more interesting for me, and I think to talk about sort of the step after that which is whether it be recording or using gear. So talk about recording and how everything that you do in post can affect what you’ve done when you’re first recording. So can you give some tips about how to be better at that? And what is your process when you’re going through post? I’m constantly learning. I feel like things I did two months ago, and I want to go back and redo because I’ve got a new way of doing it. I love that journey, I love constantly learning, and that’s what’s been great about this whole COVID thing and being home and working. I’ve been collecting gear for the last–especially over the last five years–I’m constantly buying new things. And now I come home, and it’s like, Oh, great. Now I get to really dig in and learn this stuff and use it. And so that’s been a lot of fun doing sessions every day and just come downstairs and start working. I’ve really gotten into different mic techniques. Are you talking about mixing or? Yeah. Because post-production, to me, it responds more to video. No, I’m talking about mixing. Sorry, I come from a film background, so sometimes… Yeah, obviously when you say post. Yeah, I’ve worked on like over 160 movies of one sort or another. And you’re talking about the voice that your guitars have, to me, it’s those; everybody says, “What’s your favorite lens?” Well, I don’t have one. It’s like, what kind of mood am I in that day, and what do I want to achieve with what I’m shooting? And I’m kind of what you’re saying with your equipment is resonating with me. It’s exactly the same. Yeah. So you can look around, you can say, “Okay, I’m in a melancholy mood,” or “I’m feeling frickin awesome.” or “I’m going to change the world.” and then you pick up that guitar. I’m putting words in your mouth, which I shouldn’t do, but this is my imagination going. Look at the job ahead of you, you sort of assess the job ahead of you for the day, and you think, Okay, how am I going to approach this? And before I come into my studio, I have an idea of where I want to go and how I want to attack it. So today, for instance, I’ve got to create this theme in this one song. So I’m thinking about sort of lyrical quality and what amps I’m going to pull to, and what guitars I’m going to use to get there that is going to sort of getting me on my way to creating that. Yeah, kind of match your internal symphony, right? Yeah. And I would imagine it would be the same with choosing a lens and how that’s going to bring up different; it’s going to inspire you to see things a certain way. When you’re writing your music, everybody has sort of a different process. I know for me, if I’m writing a script, sometimes I get stuck, or I know I have to create, I have a scene I want to write. And I’ll just sometimes sleep on it, but then I’ll get up in the morning, and I literally have to run to the computer to get those words out. Do you do that with your music too? Absolutely, absolutely. It’s a very similar thing. And that’s a great feeling. I cherish those moments because when you wake up, and you’re staring at a blank page, that’s the worst. And you have no idea. It’s daunting. It’s hard to stare at a blank canvas. Yeah. But sometimes you have to take a step back and then trust that the flow is gonna come. Absolutely. But sometimes you’re not granted those luxuries, and you have to create something, and sometimes that’s the best thing. It’s being forced to create, it’s like, okay, I have to finish this today like, I don’t have a choice, there are people waiting on me. It forces you to get something done. And a lot of times, some of my favorite things happened in that way. Like you just have to hunker down, and you have to say, I don’t have any choice. This is coming out. And then in the middle of all that, you have this strange woman from OWC Radio that wants to talk to you. I’m sorry. No. You know, this whole week has been that. It’s like, every day has been like the same time around, I’ll have a different interview. I’m sorry. No, I’m not sorry. I’m glad we’re talking. But I am gonna send the creative angels over to you today. So that whatever you’re doing is just gonna absolutely just rocket, you’re gonna get it done. Thank you. I was really anxious to do anything for OWC because their support has been wonderful. I love their drives. I love their product. And what I love about them is their support when I need help with something. They’ve been really great to me and helping me in situations where I needed something right away. They were really great to walk me through things. Well, they have great customer service. So are you using their RAIDS for storage? Do you use a travel dock at all or like docks? No, I don’t have a travel dock. I have those smaller drivers that fit in my computer backpack. Like the Envoy Pro? Are you using a Mac laptop? Yes. We gotta get you a travel dock. Oh my god, it’s tiny. They have an SD card slot, they’ve got a couple of USB slots, they’ve got HDMI, and they’ve got Thunderbolt 3, all in one tiny little thing smaller than the Envoy Pro, actually. And I can’t go anywhere without it because I work on a MacBook Pro when I’m traveling. And you know what a pain it is if you’ve got like something that needs to have a USB or an HDMI connection. How do you do that with the MacBook Pro? We’re gonna get you a travel dock. We’ll talk offline. They’re cute little things. You’re gonna love it. Oh, wow. That’s great. I love the Envoy. I mean, to me, it’s been great. But the RAID that I have in my studio, that system is incredible. Because I have worked with these really large sample libraries of orchestral things, and, man, it’s just been a lifesaver. That was a total game-changer for me. And that’s why I feel indebted to OWC because when I bought that RAID system, they were great with getting me going on. Like I said, the support has been great. Music was my everything. I just breathe it.Click To Tweet Yeah, I bought their ThunderBay 8 because storage is a problem when you’ve got as many media files as we do. It’s crazy, but you also need reliability. It’s reliability and speed. Yeah. Oh, gosh, they’re screamers. I mean, every time I travel, it would take me overnight to move media on to whatever I was taking with me. And now it’s crazy fast and really reliable. That’s wonderful. Well, I’m going to pass that along to them. And Larry O’Connor, who owns the company, is going to be really, really happy. I wanted to congratulate you too on… He’s wonderful. I met him at the NAMM Show. Oh, there you go. Yes, he’s a great guy. He has a brilliant mind, and he’s the kind of person that when you first meet him, you’re struck by how nice he is. The first time I met him was in Austin, I believe, at ACL, Austin City Limits, that big festival. And his family came up. That was great. Nice. What did you want to congratulate me on? Well, Made of Rain for one thing. Oh, right on. That was a labor of love for me, and I’m really happy I have been involved with The Psychedelic Furs for so many years. I saw them for the first time when I was 15. And they were always one of my favorite bands. And then my first band toured supporting them in the US. And I became friendly with them and started playing with them for a few songs because they found out that I played violin and cello, and I started playing, sitting in with them every night. And then at the end of that tour, Richard asked, the singer asked me to come to New York to work with him on a solo album that he was going to do. And that became Love Spit Love, which was a band I did with him. And it was the two of us, we did two albums, and then started the first back up, and then I joined Guns N’ Roses and first continued. So this is the first full studio album they put out in like 28 years. I mean, it’s all over the charts. Yeah, it’s doing really well. I’m really happy for them. And it’s something I’m very proud of. I put a lot of work into it. You should be. Thank you. Any parting words for people who are feeling a little down about their creativity or their work during this time of COVID? You seem to be really genuinely thriving, even though it’s got to be a whole different life from thousands of people in the audience to at home with your family, but what do you tell people to keep them going in this difficult time? I think now is the time to really focus on things that you wanted to focus on that you’ve been thinking about. Like one day, I’m going to go back to school, I’m going to take online classes and learn orchestration, or I’m going to learn Pro Tools on. And I think that’s something that you can really use this time for. And I know that I’ve been doing that. I’ve really been studying orchestration and diving into that world. But fortunately, I’ve been trying to do that, but also I’ve been really doing a lot of session work. And so I’m really grateful that I have that. I think that’s what you need to use this time for if you’re a touring musician, Everyone has the chance to be given an opportunity. It all depends on what you choose to do with it. So you’re a father, you’re a husband, do you ever think about your legacy? Like, what do you want to leave behind you? What would you say to your family that would be most important for you and your life before you leave? And I know, you’ve got a lot of years to go, but somehow I like thinking about that once in a while. What’s our legacy? What is your legacy? I never really think about my legacy. All I think about is wanting my kids to do better than I have done. I want them to do–and not that I haven’t done well, you want the next generation to be that much better. So I think, invest not just talking financially, as much as humans. I want my kids to be the biggest asset to society that they can be. I think, influences the world in a very positive one. That’s nice. And so far, I think I’ve done well. They’re on course. Oh, that’s wonderful. Well, there’s a reason why you survived that awful crash in 2015; you still have a lot more work to do and a lot of things to give to the world. I wish you all the best. I am going to send the creative angels over there today. And I promised you that we wouldn’t take too long on this. So what I will say is maybe we could do this again in a year or two and look back on what you’ve done since we talked today. How about that? That sounds wonderful. All right. Well, it was nice to meet you. It was a pleasure talking to you too. Thanks for taking the time, and best of luck to you. That was Richard Fortus of Guns N’ Roses, Psychedelic Furs, an amazing musician creating work for a lot of people in the world and raising our hopes for a great future here during COVID. Thanks, Richard. You have a wonderful day and everybody, remember what I always tell you, get up off your chair and go do something wonderful today. This is Cirina Catania with OWC Radio. I’m signing off. linksImportant Links Richard Fortus Guns N’ Roses BT Enrique Iglesias Honky Toast John Paul Jones Led Zeppelin Love Spit Love Nena The Crystal Method The Dead Daisies The Psychedelic Furs Thin Lizzy Made of Rain The Mission Tower of Strength Sweetwater Masterclass 1953 Fender Esquire 1953 Les Paul 1960 ES-335 Dot Neck 62 Jazzmaster Alvarez Guitars Ampeg Amps Ampex Brett Avril Electra Gretsch 5120 Joemeek Les Paul Signature Paoletti R2R Treble Booster Retro Instruments Richard Fortus Signature Gretsch Royer 122 SoloDallas Stager Microphones Trussart Vox Tone Bender MKII Larry O’Connor OWC Envoy Pro OWC Thunderbolt 3 OWC ThunderBay 8 Avid Pro Tools HDX Austin City Limits NAMM Show COVID Sweetwater Checklist Don’t be afraid to reinvent and evolve throughout your music career. If longevity is your goal, you must find balance in adapting to the changing music industry while still being loyal to your brand. Record an album in a studio and invest in good quality equipment and a trusted team. Playing music is an art and passion, and it also means business. Be professional every step of the way. Own your talent. If you believe you have something worthy of sharing with the world, by all means, don’t try to be a best-kept secret. Determine if your hobby in music has the potential to become a career of your own. Music is not something society deems as a stable career. If you see yourself doing it professionally for a very long time, it might be worth the shot. Ignite your passion and stay consistent with your craft. Keep improving your skills and be better than who you were yesterday. Just keep going. Don’t stop and be easily discouraged. There will be setbacks along the way but remain true to yourself and stay on the path you’ve worked hard for. Promote your music on various media outlets and work on getting it out there so that more people can listen to your songs. Understand the business side of the industry. Music will remain an art, but the industry is composed of contracts to sign, deadlines to meet, and fans to please. Be prepared for that. Learn more about the technical side of music before playing with style and form. It’s good to know the basics first, before getting creative. Check out Richard Fortus’ website to learn more about his work, Guns N’ Roses, and more.
7 minutes | 2 months ago
OWC Announces Thunderbolt 4 Hub
Today on OWC RADiO, it’s all news! OWC recently announced a new hub for Thunderbolt 4 PCs! Our host, Cirina Catania, and OWC’s Mark Chaffee give us the details of this new and very welcome solution. Through one TB4 port on this dock, OWC says, “you can connect and charge any device with a USB-C or USB-A connector. And you’ll still have three more ports for other peripherals.” About OWC: For more than 25 Years, OWC has had a simple goal. To create innovative DIY solutions to give you the most from your technology. For OWC, it’s as much about building exceptional relationships, as it is about building exceptional products. Our Host, Cirina Catania, is the Founder and Lead Creative at The Catania Group, and as a filmmaker has written, directed, produced, DP’d or marketed over 130 film, television and new media projects for the big screen as well as for networks such as National Geographic, Discovery, etc. She is one of the co-founders and former director of the Sundance Film Festival and former senior executive at MGM-UA and United Artists.
39 minutes | 2 months ago
Get Ready to Dance to The Radio Gunners!
Music for our happy souls! In this episode of OWC RADiO, host Cirina Catania talks with Paul Shreve and Jeff Weber from The Radio Gunners. The Radio Gunners – Jeff Weber, Pete Nalda and Paul Shreve combined musical roots include Western Swing, Basque, Folk, Country, Rock, Americana, Sinatra’s Rat Pack, Musical Theater and New Wave. This high-The Radio Gunners – Jeff Weber, Pete Nalda and Paul Shreve combine musical roots that include Western Swing, Basque, Folk, Country, Rock, Americana, Sinatra’s Rat Pack, Musical Theater and New Wave. This high-spirited soulful trio brings their unique melodies to audiences with guitar, accordion, and mandolin arrangements. Their diverse backgrounds join together to play music that touches our souls. Jeff Weber, a Texas based singer/songwriter, actor and former rodeo cowboy, learned to sing and play guitar, while on the rodeo circuit. In addition to his cowboy skills, this licensed pilot and published author appears in a variety of national and regional television commercials as well as feature films. During his solo career in the early 2000s Jeff opened for some of biggest names in country music. Pete Nalda’s contribution to The Gunners is rooted in Basque, Cajun and Hispanic music with a touch of New Wave influence. Nalda, who grew up seeing impaired, learned to play the accordion and keyboard early on. He’s been performing most of his life. Paul Shreve moved to Austin five years ago to play, compose and produce music. His instruments of choice — guitar, mandolin, bass and harmonica. His music background includes conducting choirs, performing in musical theater and playing in diverse musical groups from Pubs in the UK to bars in the USA. His record label is: https://goosecreekmusic.com In This Episode 00:19 – Cirina introduces Paul Shreve, musician, composer, and producer music. Guitar, mandolin, bass, and harmonica are his instruments of choice. And Jeff Weber, a Texas-based singer/songwriter, actor, and former rodeo cowboy learned to sing and play guitar while on the rodeo circuit. 03:22 – Paul talks about the song Mon Chére, Ma Belle, and Cirina plays the music for you to listen to. 08:27 – Paul shares the studio where they recorded their album, The Radio Gunners, in 12th Street Sound in Austin, Texas. 11:58 – Jeff shares the inspiration behind their lovely song, Talk to Me with Your Eyes. 16:05 – Cirina and Paul describe good music as one of the best therapies to make you feel better after listening. 20:03 – Paul explains their song’s meaning, Mr. Abraham, one of their most requested songs, and a dedicated song to the veterans. 25:05 – Paul talks about Goose Creek Music; captures high-quality audio and video recordings of original Americana music by emerging artists. 29:00 – Paul shares his early years growing up as a Navy brat and how he started getting into the music industry. 33:08 – Jeff tells the story of how he got his love of music from his dad back when he was a kid. 35:51 – Follow The Radio Gunners on their social media accounts and visit their website, theradiogunners.com, to learn more about them. Jump to Links and Resources Transcript This is Cirina Catania with OWC Radio. I am in a great mood today. I have to tell you, I have been listening to The Radio Gunners new album, and I love it on so many levels. Hi, guys, how are you today? Can you tell people, so they recognize your voices who I have on the line with me? JW: Thanks, Cirina, and thanks to all your listeners for tuning in. My name is Jeff Weber. I’m a member of the Radio Gunners. PS: And I’m Paul Shreve. And thank you, Cirina, for having us. It’s wonderful. And I’m also one of the Radio Gunners. This is awesome. And we’re missing one person, there’s three of you. So where’s our other guy? PS: We got to chase Pete down sometimes. But Pete Nalda is the third member of the Radio Gunners. And unfortunately, he couldn’t make this one. Well, we are missing him and just say hi to him when you see him. And hopefully, he’ll love what we’re talking about. And we’ll just say all kinds of things about him that he can’t refute because he’s not here. So you guys talk about the fact that you’re all about fun, and you’re high spirited, and you have some amazing roots. Your music is just a really interesting combination of a lot of different genres. Can you talk about where that all comes from and how you’ve developed into who you are today? And then I really want to talk about some of the songs off your new album. JW: Paul, go ahead, man. PS: Yeah, well, one of the fun things about Jeff and Pete and what I found is, is that you’re right, we came from completely different backgrounds and everything. Pete brings a kind of a Cajun feel and was raised on basque music from his grandparents apparently. Jeff has this wonderful sense of lyric and a fantastic way of interpreting a song, and whether it be country-western, everything from Rat Pack to sounds to the old Bob Wolf stuff. And his own stuff is just fantastic. And I came from a more musical theater background, I’d say school playing in session music and basically had a guitar, we’ll travel, and I’ll play anywhere anytime. You want to add to that, Jeff? JW: Yeah, I think I think you covered us pretty well. It’s a huge blessing to be surrounded by fellow musicians who share their art and passion with you.Click To Tweet You’re being so nice, Jeff. This is wonderful because I think it all melds really well. And I have three songs that I’ve been listening to today that I want to talk to you about. Let’s start with the fun dance tune because I have to tell you, and this is the first time that I have actually ever laughed at a song about a breakup. And it’s called Mon Chére, Ma Belle. Can you tell me a little bit about that song and what it’s about? JW: Take that one, too, man. PS: Yeah, that’s, Pete came in with that. And like I say, he comes from this Cajun basque world. He speaks a little French, a little Spanish, a little bit of everything. And he came in and brought that in and said, “What do you think?” and I said, “I love it.” And he came in it was all French. And we played around with it, and I said, “Well, let’s break into English a little bit.” And we showed it to Jeff. And Jeff just jumped right in. And then next week with one of the songs we were playing live after about four rehearsals because it’s just such fun. And I think the funniest thing, we were doing it on a late-night TV show once, and they left the door to the studio opened a little bit, and we’re playing. I could peek around the corner, and there were a bunch of gals that were in the front office, and they’re dancing in the hallway. And all I could think about is that we must have done something right if we are in a studio and everybody’s smiling and just kind of dancing and jumping around. And we’re back. That was fun. Now there’s a line in there I wanted to ask you, and he says at one point, pity pomme or pomme is apple in French. PS: When we translate it into English, we translate it to lost, my little girl. There you go. Talk to me about recording that song, where were you, and what instruments were involved? What were you playing, and who was singing? Can you tell us about that? JW: And that was Pete’s song. Kudos to Pete because he lets both Paul and I sing songs that he’s penned on the album, with some very grateful for Paul, he also lets me sing some of his as well. And Paul, number one does a great job vocally, on the lead vocals on that tune, and it was pretty straightforward. So it’s us three. But then, as the project started to evolve, Paul and I produced the album. Paul was kind of the captain of the ship, and you can kind of tell how that transition went from just us three on a simple song like that. So kind of what your revision was with bringing in the breadboard guy. PS: First of all, Jeff and I, we are so blessed. Being here in Austin because we are surrounded by fellow musicians that we play with on and off all the time. So when the studio, we decided we wanted the full band sound on that one. So we brought in Ed on drums, Raul on bass, actually, my son Nate came in and played a little rhythm guitar. And the whole point with that is we wanted that feeling as if we ‘re–I’ll tell you exactly what we wanted. I remember telling my son, “Imagine you’re in Louisiana, and there’s a lot of peanut shells on the floor.” That feeling of “alright,” and people put a dime in the jukebox, and if they feel like dancing, they just kind of get up and dance. So we wanted that feel. And then the other thing is we wanted people to sing along. So I do align, and then Pete and Jeff and Christie and others that we had brought into the studio, they see the echoing. And I’m a big fan of group singing. I mean, I like to conduct choirs and things. And that was really alive, and then we pretty much finished it off. And another great musician in town Michael Hale is renowned for playing rub-board, you know that? The washboard and you play it with the bottle openers. And we’re about done, and Jeff and I were talking, and I said, “I got one more thing,” and then I gave Michael a call, and I said, “Can you pop up?” He said, “Sure.” He was done in like two takes, and we just kind of sat there. Jeff and I were smiling and thought that it’s the cream of the crop. The pièce de résistance, right? JW: Yes. PS: Yeah. There you go, la pièce de résistance. That’s what happens when things are meant to be, though. Don’t you find that the creative energy that blossoms in that room when you bring people together and they’re just having fun? And things just start exploding all around you. It’s wonderful. What studio were you in to record that? PW: We were in 12th Street Sound here in Austin. It actually was an old church, and the congregation had grown and left and had been around for a while. And a guy just basically went in and said I love it, and had all the work and they refurbished it. And it has just a great roof. Is there anything else you want to say about Mon Chére, Ma Belle, before we move on? PS: If you get a chance to listen to it. It’s pretty fun. Oh, I have more than once. I’ve danced to it. Oh, you mean tell people listening? PS: That’s what we want to hear. I’m talking to your listeners. All right, listeners. You’ve heard it. You’ve heard it straight from the horse’s mouth. Listen to Mon Chére, Ma Belle. By the way, I got so excited about talking about the songs. I didn’t ask you the name of the album and when it’s coming out. JW: Our debut album is self-titled, and it’s The Radio Gunners. So you can look it up very simply like that. And we released it early spring. So, where can I find it? I found the link to it, and I’m actually going to buy it. Where can everybody else find it and buy it? We want them to buy this album. JW: Oh, yeah, certainly, you can get it on all the major streaming platforms, from iTunes to I don’t know, I’m not sure about Pandora, if we have a station on there yet, we do have a Radio Gunner station on Spotify. And you can Google all the songs there if you have that kind of deal. Or you can buy it from Amazon, CD Baby, iTunes, Google, and you can even buy the actual CD. PS: Believe it or not, the people that end up buying the CDs are people that tell me they love to listen to it in the car. They love to drive with it. So you can buy CDs from Amazon. Music is the best kind of therapy. Just put some good music on and forget all your worries. Buy the digital copy. But you know what I still, maybe I’m old fashioned but I like my CDs. I like to be in control of the music that I own. Once I buy it, I want to own it. I don’t want to have to worry about where to find it if the internet goes down or something. So yeah, I like those CDs. So it’s out, look for Radio Gunners, wherever you buy your music, and get it either digitally or on CD. That’s awesome. Let’s talk about this one. And Jeff, I believe you wrote this one. I found the lyrics to be so just, maybe because I’m a woman, but when a man says, “Your heart is speaking to me,” and you were saying, “if a look, were a kiss, we would be kissing now.” I thought, oh my goodness. After dancing to Mon Chére, Ma Belle, and then I listened to Talk to Me with Your Eyes. And I’m thinking, “Okay, these guys are multidimensional,” and I really love that song. Talk to me about what inspired you to write that. JW: Well, thank you, first of all, very much. I’m glad you enjoy it. It’s a really cool song. It’s pretty, pretty simple, the feelings that I was experiencing as I wrote the lyrics, and I was lucky enough to pan it with a couple of other guys a long time ago. That song has a long story, and it didn’t do anything, and we never recorded it or whatever. And then when I met Paul and Pete, we decided to do an album. Of course, I’ll say it again, Paul and Pete have been so gracious to me to let me come aboard. They already kind of played together. They welcomed me into their fold and decided to do that album. And I pulled that song out, and they both really liked it. The inspiration wasn’t anything profound; it was just trying to write a positive song. And it’s cool when you don’t have to speak to somebody to understand what they’re feeling and vice versa. That’s awesome. It doesn’t come along that often, does it? And when you do find that person, you really do need to look them in the eyes because those eyes are the windows of the soul to use what might be a cliche, but still very, very true. So I think the song is very inspirational, especially at a time when I think we all need to love each other just a little bit more. JW: Amen. Yeah. So thank you for that. And I’m going to play you guys, our listening audience. You are so lucky because you’re going to hear a little bit of a song too. So I’m going to play you a part of Talk to Me with Your Eyes. So listen up, turn the volume up, settle down, take a deep breath, relax, and listen. JW: I wanted to let you and your listeners know, by the way, that song also has a video out. That was our first single that we released off the album. Collectively we all agreed to do that one. I’m glad we did. Paul, I don’t know, you might be able to give some statistics on how well that song is doing or not doing or whatever it is going on. PS: Yeah. And actually, last we heard, I got a call that in the UK we hit the top 10 and still on the charts in the UK Americana Country Radio. That’s wonderful. I think I think you’re gonna keep climbing up because it’s a really wonderful song. It’s pretty cool. This is fun. Isn’t music fun? Music is fun. I just think you guys that are listening in. Stop watching so much social media, turn the music up, and think about how lucky you are for just a minute. Just take a minute, take a deep breath, just chill and listen to some good music, and you’ll find your whole attitude in life will change. What else about Talk to Me with your Eyes do we want to talk about? JW: That’s it for me. Paul, if you have anything to add? PS: No, I mean, the only thing I’ll say is, when you meet a musician, and you do a little funk swap and kind of thing, you just kind of playing around with and talking things back and forth. Jeff tossed this out, and it was just him and I. We met each other first. And I just remember saying to him, “I got a guy you got to meet that I’ve been playing with, Pete,” and once Pete came in, it just opened up, and we both been there kind of going, “Yeah. This is what we want to be playing.” And just thank you for playing it for the fans there. It’s a wonderful piece that Jeff wrote, and a lot of people come back and say, “Yeah, I feel much better.” Yeah, it’s the best kind of therapy. Just put some music on and especially when it’s really good music like this. Oh, did you say where we could see the video? I don’t recall because I want to make sure people can find the video to Talk to Me with your Eyes. Is that on YouTube? Radio Gunners on YouTube? JW: Yeah. Okay. PS: There’s a couple of different channels that we are on on YouTube. One of them’s the self-generated from iTunes or whatever, but we have our own, and you can find it on there. I haven’t Googled the songs. I don’t know how the algorithms are if it’ll pull up or not. But if you Googled Radio Gunners, and definitely some stuff will come up on YouTube, I’m sure it will. The whole point of Mon Chére, Ma Belle is we wanted that feeling of putting a dime in the jukebox and having everyone get up and dance.Click To Tweet Well, we’ll put a link to all of this on the show notes too. So if you guys who are listening and want to go to the show notes, we’ll have links to all of this stuff, so that you can rummage around and find these, the record, find the album, and find out more about Radio Gunners on their website. But there is a third song here that I want to talk to you about, and it’s actually one of the first ones that I listened to when I first started talking about bringing you on OWC Radio. And there’s a backstory to this one that’s very interesting. Mr. Abraham, so Paul, can you tell us about Mr. Abraham? PS: I’d be happy to. And thanks for bringing Mr. Abraham up. First of all, it’s about Abraham Lincoln, and I was inspired after reading the book, Team Rivals. And I literally had gotten home from a long plane ride and went upstairs, and within about 20 minutes kind of had the basics of what I wanted to write. And it’s a simple story of a ballad about a veteran that can’t make it to one of the viewings for Abraham Lincoln’s when the old days used to lay out the bodies. So he knows what railroad lines, there weren’t many railroad tracks in those days,1865. So what he did is he knew where the train would be going, and he could predict what time because he knew it was between two cities and what time it would go. And he’s on his way there to pay his last respects to the President. And he calls out, please just slow the train down so I may kneel upon this ground, Mr. Abraham is passing by today. It’s about unity; it’s about the people he passes along the way. And the last thing is I had the great pleasure of when I showed it to Jeff and Jeff goes,” Do that again. Play it for me again.” Later that evening, he said, “Would you mind if I try to sing it?” I said, “Absolutely not. Go for it.” And he just interprets it better. Jeff got away with interpreting a song that it’s such a pleasure to play, let’s say, a great musician, and a great vocalist who can do that, who can just take a song to the next level. And it’s one of our most requested songs. It’s a ballad, a slow ballad, but it’s one of our most requested songs, and we always dedicated it to any veterans in the audience when we played around the holidays, the Fourth of July and Memorial Day and Veterans Day, etc. Well, thank you for that. My father was a veteran of three wars. PS: Wow. JW: It’s truly a great song. And Paul, I’m glad you stopped; you’re almost gonna make me cry too, buddy. You’re too kind. It was an honor for me to sing that song. But, I think, and Paul had mentioned this, but I’d like to reiterate, especially a song like that, that Paul wrote, it’s about total different time, years ago, and it really applies today to what’s going on in our nation. And like you said, it’s great to have a conversation like this about music. Like you said, everybody needs to just chill out and listen to some music, and they’ll put you in a better mood. Mr. Abraham is definitely a song of unity. And when people are done bickering and put their petty differences aside, it can become a great nation. And I think what got to me was a very deep level of respect, that was reflected in the song and the lyrics and we need more respect for each other. And there’s a line in there about draped in black on the iron rails. It’s so poetic and so visual; I love that your lyrics are visual, so I can listen to this beautiful music. I can either have fun with it, and I can laugh at it, I can cry with it, it’s just visual, I can see it. And that’s the best of all worlds, right? So this is pretty cool. So the album’s already out. It’s available to everybody. There are some great songs on it, and I’m going to play a little bit of Mr. Abraham for everyone as well if that’s okay with you guys. JW: Absolutely. PS: Go for it. I love it. Oh, my goodness. If that didn’t get to you guys, you don’t have a heart. So we’ll stop everything right here. And I have no feeling on the matter at all. So talk to me about Goose Creek. Where are you? And what is Goose Creek? Where is it? Where are you? Describe your environment, and then you also have a label, Paul. You’re the co-founder of the label. So can we talk about that for a minute? PS: Yeah, I’d love to. So Goose Creek Music is a label that is my friend of mine, Mike Pugh, and I started. Technically it’s based out of Virginia where he lives. And we used to play together, I used to live in England, and we would play together in England in different places as a duet. And what happened was, we started off doing live performances in there, we produced a number of albums of some of the artists here in Austin, Texas, and playing at some of the famous local clubs and stuff with great sound and everything. There are wonderful artists here. And so then what happened was, after Jeff, Pete and I kind of got together, I said, “All right, I’ve been doing albums for everybody else. I had to sit down and start, turned Goose Creek on to us, and produce an album under the goose Creek label.” And so this is not a live album as a studio album that the Radio Gunners did, but we were able to take advantage of a lot of the production stuff that we had at Goose Creek. And Goose Creek, we had used 12th Street Sound a number of times, working with some of the other artists. So it was like a family thing, it’s whenever you get together because a lot of the artists had recorded for Goose Creek before. And then Pete, Jeff, and the Radio Gunners, we went in there, and it did have a warm family, kind of fun, electric feeling. And we’re really proud of the production level. The audience changes, but the stage stays the same. Yeah, you should be. Do you mind talking to me for a minute about some of the–because our audience tends to be techie as well as creative. Can you talk about how you recorded this? Like what kind of equipment you had around you? I know you recorded it on 12th Street, but what equipment? Can you talk about that? PS: As far as the instruments, we’ve got cello, violin, Jeff and I got Martin Guitars, I’ve got an ancient Gibson 141. It’s got some Gretsch Drums. It was just wonderful. And as anytime you go to a recording studio, David has a wonderful mic vault to dig into and make sure we have the right mics for everybody. They have a line of all the mics and different add-ons that can be brought forward in a recording session. So if you guys are listening, are interested in the technology behind all this, because this really is beautifully done. It’s very well mixed, and it’s very well recorded. Go to 12th–this is a tongue twister. Go to 12 Street Sound in Austin. This is like one of those things that they give you if you’re an actress and you have to say it really fast 100 times. 12th Street Sound, there you go. I did it. 12 Street Sound in Austin. Oh my gosh. JW: Now say it fast three times. Oh, no, no, not gonna do it. You’re not getting it. So talk to me about you guys and where you come from and who you are as people because you don’t just all of a sudden emerge out of the cocoon and start creating this amazing music. It comes from a lifetime of growing and learning, and who wants to go first? I want you to tell people what you loved to do when you were six years old. PS: I’ll go ahead. Well, actually, when I was a kid, we moved around a lot. I’m a Navy brat. So, we moved around a lot. And I picked up a guitar when I was in high school. And like all young men in high school, I just wanted to play as loud and as fast as I could. That was it. Every young boy likes to blow things up. PS: Oh, yeah. Oh, yeah. When I went away to college, I played a lot in bands and stuff, but as all musicians know, it’s really hard to split $40 five waves and try to figure out how to pay for gas to get to the gig because it was not making any money. But what I did do was I was fortunate enough to get into orchestra pits. I started auditioning for plays and stuff. I did Jesus Christ Superstar and Damn Yankees, I did Godspell, I did Man of La Mancha. I just played musical theater. And that was great because I was able to continue studying, and it was steady work. And then I got into doing commercials and stuff, like radio commercials and things and just being kind of a side hackman in the studio. And then, I started to pick up how to conduct choirs and arrange for larger orchestral ensembles. And I have always been a bit of a church musician and a choirmaster, as well as playing in the pubs and bars from England to the United States, and just trying to share music as much as I could. That’s nice. What a wonderful way to grow up. Did you like being a Navy brat? I liked being an army brat. I wouldn’t change the way I was raised for anything. And I can make a military corner when I make my bed. PS: There you go. Actually, yes, and the funny thing about it is a lot of people ask me, well, you moved around so much, was that terrible? And all I tell them was, we always did, but everybody else, we were always going to school on base, for instance, DOD schools, Department of Defense Schools, and stuff. Everybody moved, it was funny, because you might move and meet somebody in second grade and then at another base in another place, you’re back, and you’re now in sixth grade together. It was just a way of life, it was not hard, or miserable, or anything like that; you get to see a lot of the world and have a great time. There’s a creative energy that blossoms in a room when you bring people together and they're just having fun.Click To Tweet I loved it. And I find that my friends who are military brats, they make friends quickly. Because when you move around every year, you don’t have time, you just make friends. And I think it also probably makes you a better performer because you’re so used to being the new kid in school that when you’re standing on that–I’m just projecting here, tell me if it’s not true–but when you’re standing on that stage, the audience is your new friend. And you’re used to that. You can resonate with them in a way that a lot of people who’ve been in the same town their whole lives might not be able to. I’m just assuming that might be the case. PS: Well, the audience changes, but the stage stays the same. That’s what is familiar. Wow. And how about you? JW: Yeah, kind of similar; I moved around a lot when I was a kid. I wasn’t a brat like y’all. I don’t think. But I like the way you say, “y’all.” JW: My dad was also in the Navy, and when he got back stateside, we just moved around a lot. So kind of the same. And got my love for music early on through my dad, while Bob Wills and Texas Playboys record playing early on every other Sunday when he’d be home off the road, or whatever it was. I’ve always loved all sorts of different kinds of music. I really love, like, South Pacific, Polynesian, and Hawaiian, of course, that’s where the steel guitar kind of comes from that sound. But I love classical music, all sorts, I like Arabian music. Pretty much every type of music I love listening to because I believe it’s a universal language that everyone understands. Even if the lyrics are in a foreign language, I mean, we do one that Paul and I can’t directly translate to you. We have one on the album, Pete can, and we know kind of what it means, we know what the meaning is. But there again, another proof of universal language because it just makes you feel good. The rhythm and the melody and the way that the lyric is delivered or whatever it is. So I had other record deals back in the day. This has been my favorite project, by far, that I’ve ever done musically. And I’m just really happy to be a part of it. Well, you’ve opened for a lot of country bands, right? JW: Yes. That was another world ago. Wow. Isn’t it nice to be living in your own universe and doing what you love for yourself and people that you care about? I can’t imagine anything better, right? JW: Yeah, I can’t add anything to that. It’s true freedom. Well, is there anything I didn’t ask you that you want to cover? JW: I don’t think so. PS: No, I think you’ve quizzed us quite a bit. Well done, young lady, well done. So here we have, I’ve been talking with the Radio Gunners. JW, Pete’s not here, but he’s here in spirit and Paul. And I have to tell you that their roots, they’re very diverse. Western swing, basque, folk, country, rock, Americana, I mean, even some Sinatra and the Rat Pack, musical theater, new wave. But this new album that came out in the spring, The Radio Gunners, is really a treasure. You guys go find it. So tell people again where they can go to find you guys on the internet. PS: www.theradiogunners.com. JW: Yeah, we’re also on Facebook as Radio Gunners, Instagram as the Radio Gunners, we’re on Twitter as well. Amazing social media. You got to be everywhere these days, right? You have to just kind of have to do it. Well, you guys, thank you for taking the time out of your busy day to do this. It’s really been fun, and I’ve had fun listening to the music, and I really do encourage seriously you guys go out and listen to this. And buy the album if you’re of a mind; it will help uplift your spirits. And in some cases, probably open your eyes to things that you may not have thought about. You guys go out and have a wonderful day and everybody, remember what I always tell you get up off your chair and go do something wonderful today. And nowadays that might be in your own home, but there’s still something wonderful for you to do. Have a great day. This is Cirina Catania with OWC Radio. I’m checking out https://youtu.be/HHY33aKlAJ8 Important Links The Radio Gunners The Radio Gunners – iTunes The Radio Gunners – Spotify The Radio Gunners – Amazon The Radio Gunners – Facebook The Radio Gunners – Instagram The Radio Gunners – Twitter The Radio Gunners – YouTube Jeff Weber Paul Shreve Pete Nalda Mon Chére, Ma Belle – The Radio Gunners Mr. Abraham – The Radio Gunner Talk to Me with Your Eyes – The Radio Gunners 12th Street Sound Abraham Lincoln Bob Wills Damn Yankees Department of Defense Schools Frank Sinatra Gibson 141 Godspell Goose Creek Music Gretsch Drums Jesus Christ Superstar Man of La Mancha Martin Guitars Mike Pugh Rat Pack Team Rivals Texas Playboys Checklist Find your tribe. Having a community that fully accepts you and gives you a good sense of belonging that can help improve your self-esteem. Share the enthusiasm with the people you care about. If you have something good, don’t hesitate to share the light. Spread an important message through art. If you have a cause you strongly believe in and want the world to become more aware of it, use art to better engage with your audience. Create an experience in the art you produce. Use emotions to catch your audience’s attention so you become more remarkable to them. Have fun! Don’t think too much about the technical stuff. When something makes you feel good and you’re not hurting others, keep doing it. Collaborate with diverse people. It’s so much better to work with a team that works as passionately and equally as hard. You’ll never know unless you try. Sit back and listen to good music. Take a break from social media. Take a break from the news and just relax and let go with some good ol’ tunes. Get out of your chair and do something. Figure out the steps you need to take to achieve your goals and just go for it. Listen and jam to Radio Gunners’ song, Mon Chere, Ma Belle. Grab a copy of their self titled album, Radio Gunners
27 minutes | 2 months ago
Move Over Global Warming “Kiss the Ground” Film Premiering 09/22/2020
“Kiss the Ground,” is a beautiful and fascinating film produced and directed by Josh and Rebecca Tickell. Detailing methods of soil regeneration as a solution to the worldwide climate crisis, the film is narrated by Woody Harrelson and premieres on Netflix Global on September 22, 2020. Tickell talks with our host, Cirina Catania, about regeneration, regenerative farming/ranching, and how we can put a huge dent in global warming if we learn how to harness carbon, something that Josh and other experts say is absolutely possible. Josh Tickell is a keynote speaker, best selling author, and film director who specializes in connecting with the Millennial Generation (those born between 1980-2000). Tickell grew up in Louisiana next to waterways polluted by petroleum refineries. In 1997 he captured national attention by driving a van powered by used French Fry oil, “The Veggie Van,” across the United States. By 1998 Tickell published his first book and was touring colleges giving talks to the first members The Millennial Generation. His journey culminated in 2008 with the release of his first feature film, FUEL. FUEL won the Sundance Audience Award for Best Documentary and was released theatrically in the United States. The movie was screened in the White House for energy and environment staff working in the Obama Administration and was shortlisted for an Oscar. Josh Tickell directed the Cannes Film Festival movie, The Big Fix (2011). PUMP (2014) exposes a conspiracy to block fuel choice at the gas pump. His latest film, GOOD FORTUNE (2017), The Official Biography of John Paul DeJoria, Co-Founder of Patrón Tequila and Paul Mitchell Systems is being released by Paladin and Lionsgate – available worldwide in iTunes in August. He is currently in post-production on KISS THE GROUND, a film/book combo that illustrates how to reverse climate change through diet, agriculture, and soil. The must-see controversial trailer for Kiss the Ground is finally live! Watch it and discover the cure for climate change. The full-length film is available on Netflix on September 22! Save the date and learn more at KissTheGroundMovie.com! In This Episode 00:00 – Cirina introduces Josh Tickell, a keynote speaker, best selling author, and film director who specializes in connecting with the Millennial Generation. 06:13 – Josh explains how it is not the animals’ fault greenhouse gases cause climate change; rather, it is us, the people who are negatively affecting the natural ecosystem. 12:54 – Josh talks about Kiss the Ground’s narrator, Woody Harrelson’s initial reaction when he read the script and book. 18:41 – Josh tells us the making of the film, Kiss the Ground, with his wife, Rebecca Tickell. 24:50 – Watch Kiss the Ground Movie on Netflix and visit the website kissthegroundmovie.com to learn more about the film. Jump to Links and Resources Transcript Josh Tickell is a filmmaker and author with an impressive track record and uncovering the truth behind environmental issues. And he does it in a very entertaining way. His first feature film, Fuel, won the Sundance Audience Award for Best Documentary and has been seen over a million times on Netflix, iTunes, Hulu, and CNBC. It also screened for the White House’s Energy and Environment staff during the Obama administration. His new film Kiss the Ground, which he directed with his wife, Rebecca, is the result of a nine-year journey. And it is raising awareness of the amazing possibilities of regeneration as a solution to our global climate crisis. It’s narrated by Woody Harrelson and features the musician Jason Mraz, who owns an organic avocado farm in San Diego, actually not too far away from where I am right now. The actress and philanthropist Patricia Arquette makes an appearance. She runs a nonprofit givelove.com, and it highlights the benefits of composting. And there are numerous experts in the film, including Ray Archuleta, soil scientists and farmers, and ranchers practicing regeneration. It is beautifully shot and well written. And if you want to be entertained and learn more about how to solve the climate crisis, this is the film for you. And by the way, Josh’s book on the same subject, which I’m actually reading right now, is entitled Kiss the Ground, and it’s available on Amazon. It’s really a deep dive on the same subject. And it will take a while to get through, but trust me, it is worth it. And it’s actually the reason why Woody Harrelson decided he wanted to become involved with the film. So stay tuned. This film is about to change the way you think about mother Earth, your food, regeneration, and a solution to the climate crisis. If you want to be entertained and learn more about solving the climate crisis, Kiss the Ground is the film for you.Click To Tweet Josh, good morning, thank you for coming on with me. I know that everyone listening is going to be really interested in your new film called Kiss the Ground. Will you tell us what it’s about and why you decided to make it at this point in time. Kiss the Ground is really about restoring Planet Earth. And when I say restore Planet Earth, I mean fixing climate change, providing natural food and water. And the term we use is called regenerate, regenerating lost ecosystems. Turns out that about two-thirds of the plan has been turned into a desert, or the ecosystems have been damaged. This film shows us how we can repair, fix, regenerate, and make things beautiful again. And you know what? We can. This is an issue that I’ve personally been following for a long time. I’m so grateful to you for bringing this to the forefront because it is fixable. But we have to start now. Can you tell people who are listening a little bit more about regenerative agriculture and what it does? Sure. The idea of regeneration is very simple. It’s like if a lizard loses its tail, it can regrow that tail. Well, turns out most of Planet Earth has this same ability. Ecosystems have the ability to regrow themselves; deserts can turn into forests. And even in our cities, in our urban landscapes, we can regenerate. We can create beautiful, natural, green, verdant places where food grows, even along city streets, even along highways. And so regeneration is the process of repairing damage and making things better. Regenerative agriculture is a way of growing food, which actually leaves the soil and the Earth better than it was before. It rebuilds soil. And when you rebuild soil, you bring in more water and more carbon into that soil. Your food is more nutritious, and the Earth gets healthier, and so do you as a human being, which is that’s a good thing. I’m very interested in explaining how the process of photosynthesis actually pulls that carbon dioxide out of the air and puts it into the ground so that it can nurture the roots of the plants. And it’s one of the ways we can really help climate change, right? Well, most people don’t realize. But since the birth of the industrial revolution, humanity has put about 1000 Gigatons. That’s a tariff ton of carbon dioxide in the atmosphere for you. It is a big number. And there’s no real idea of how to get that out of the atmosphere screwing in light bulbs and driving electric cars, those are good things, but they don’t remove the carbon that’s already in the atmosphere. So how do we pull that carbon out of the atmosphere? Well, there are only a few places we can put it, we can put it in the sky–well, we already did that, so that’s not gonna work. Not gonna work. We can put it in the oceans–we tried that too, and the oceans got acidified. So the one place we can put it, where it will actually do some good, is in the soil. Okay, what kind of technological fix do we need for that? This isn’t a Bill Gates initiative with trillions of dollars, none of that. In fact, the soil has a natural way of doing that, which is a carbon pump. And the carbon pump is every living plant, plants put carbon dioxide into the soil, and they fix it in the soil as carbon. So if we can work with plants and work with microbes, 40% of the carbon dioxide the plant breathes in goes into the soil and stays there. That’s how we fix the climate crisis. And regeneration, regenerative agriculture, Kiss the Ground movie shows us exactly how to do that. And you talk about the ecosystem and the different aspects of it. And I know, people are going to look at the picture of cows that you have up there, and they’re going to go wait a minute, cows are bad. But they’re really not, they have to be raised properly. Can you explain that? Yeah. So there’s nowhere in nature where we don’t find animals, maybe on the moon, but that’s not Earth nature, right? So when we look at nature, animals and plants are always together. Well, if we look at the United States, before Europeans arrived, there were more four-legged animals than there are today. In fact, Buffalo was much more prevalent than the cattle of today. So what happened? Well, we kill all the Buffalo, we took the animals that we had, we stuffed them into feedlots, and then we took away the natural ecosystem, and we grew corn. That system that we built is less efficient, creates more carbon dioxide and more greenhouse gases, and it makes sick animals. Now it’s not the animal’s fault, that we’re making that animal sick, and we’re putting them in sick conditions. It’s our fault. And so we need to think about this from a system perspective versus just going well, cows are bad. No, the system we created for cows that replaced a very good functional natural system doesn’t work. So we can mimic that natural system, we can herd cows across pastures, we can keep them moving, they can cut grass with their teeth, they can build soil fertility with their hooves and their poop. And when they do that, the soil sequesters, it pulls out of the atmosphere, the carbon dioxide that is causing climate change. Now, that same animal that we just said was bad is good. We didn’t change the animal, we changed the system. And that’s what Kiss the Ground, it’s about changing how we do agriculture and how we make food, and how we take care of the planet. Since the birth of the industrial revolution, humanity has put about 1000 Gigatons of carbon into the environment. I watched the scenes of Mr. Archuleta traveling around the country, meeting with farmers and ranchers about the system. And some of them were receptive, and others were sitting back with their arms crossed. How difficult has it been? You’ve been working on this now for how many years this film? Oh, my gosh, this film, total from start to finish, it was a nine-year journey. Yeah, I understand that. That’s amazing. So in those years, you’ve been following Mr. Archuleta, what does he say about perhaps how the perception of regenerative agriculture has changed? Or has it? The perception has changed because more and more people understand what it is. And of course, it’s picking up, which is good. The larger issue is that we still got to affect the majority of agriculture. And how do we do that? Well, we start with what we eat, those of us who live in cities, those of us who live in urban and suburban communities, we have tremendous power, we vote three times a day with our forks. And so it’s a combination of working with farmers to get the kind of food we want, working with grocery stores, using our dollars to vote for restaurants and food where we can, and you don’t have to be rich to do this. This is not a yuppie thing, this is an everyone thing. This can be done at an extremely low food budget all the way up to your whole foods shopper. That’s the exciting thing, and there are ways to plug into the system at every level, no matter where you are. And what we’re seeing is a lot of urban gardens, a lot of urban composting, we’re seeing people in really dense cement jungles take this on and go, “You know what? That parking lot, I’m going to regenerate that parking lot. I’m going to turn that into something that’s going to feed 20 families.” And that’s where this movement really starts to get exciting because you can plug in anywhere. I really want people to go to kissthegroundmovie.com, get the trailer, share it, and you can share it on Facebook and Instagram @KisstheGroundMovie. Just sharing the trailer, just having to be part of the movement, getting part of that experience, everybody should be on board with that. I agree. And it’s gone up from over 1 million hits. When I looked a couple of days ago, this morning, right before this interview, was way over 2 million. So it’s resonating with people. And I think in the time of COVID, there are millions of people who are building gardens now, like you say, in their backyards and parking lots. I have friends who are growing in pots on the wall. It’s amazing. And I think people, this is a perfect time for this film to be coming out because we have to turn the corner with climate change. And this is an amazing way to do it. So when is the film going to be released? And where will we be able to see it? The film is coming out on Netflix globally, September 22. You can get on Facebook right now and join the Kiss the Ground global watch party. It’s an event on Facebook; everyone can sign up to join the watch party. And that puts you into our big watch party. We’re gonna do a live watch party, and everyone’s gonna watch it together. And then we’re gonna have a big Q&A with Gisele Bündchen and Woody Harrelson and all of these cool stars and some are in the movie, and really get down and get some of these cool questions from around the world and across the country answered that night. I’m excited for that. Now, Woody Harrelson narrated the film, what did he say when you first sent him the script? He was a little bit like, what? Soil? I don’t know. Soil, really? So we sent him the book, Kiss the Ground book. I got to write the Kiss the Ground book. That was fun. And he read it. He read the whole book. And when I showed up to do the recording, he said, “I read the book. It was good. I really am excited about this.” And then we did the voiceover. It was wonderful. You make a good Woody impression. That’s funny. He really did look like he was totally into this. And for those of you listening, the book, by the way, I bought it on Amazon, and I thought, I didn’t know if it was before or after the movie, I just want to do my research for this interview. And I started reading it. It is not something you can read in a couple of hours. It really dives deep into these issues, and it’s incredibly well researched, which reflects in what you’ve done with the film. You have a history of doing environmentally empowering movies, your movie Fuel is still out after what? Ten years. People are still watching it. I think it rolled out in 150 cities in September of 2009. Is that the one that won the Sundance award, or was that a different one? Yes. So Fuel won Sundance in 2008. You can still watch it on Amazon. It’s still on Amazon Prime, and watch it on there. iTunes it’s available. So Fuel was playing in theaters for five years. It was a real journey and played in the White House, shortlisted for an Oscar. So a lot of good stuff with that movie. Kiss the Ground is going to be bigger and more fun, even though we’re releasing in a pandemic. I think people need some hopeful news, and they need to know what to do. They need to know how to compost, they need to know how to plant seeds. These are things that people are doing right now because we have time even if you live in a high rise and you’ve got an apartment building, you can plant it in the window, you can do planter boxes, you can do kitchen composting. So lots of things you can do during the pandemic to make your life healthier, get some oxygen, get some greenery into your life. And Kiss the Ground, kissthegroundmovie.com is really the start for you to get to do all that stuff. When we talk about restoring Planet Earth, it means fixing climate change, providing natural food and water, most importantly, regenerating lost ecosystems.Click To Tweet And you also went to San Diego to film Jason Mraz on his farm, and I saw Patricia Arquette in the film, you’ve got some great people behind this supporting you and giving you the thumbs up. So how is it on Jason’s farm? Oh, Jason’s farm is beautiful, beautiful. Jason Mraz, he’s the singer, songwriter. You may not know him by name, but you definitely know his song. You’ve heard Jason Mraz’s I’m Yours. Absolutely. He’s a real organic farmer. He’s got a little ranch where he’s growing avocados. And what he’s done is he’s planted a lot of different types of trees, so he can grow stuff year-round, he’s producing food. And his section of the movie is really about what you can do if you’ve got a backyard, you’ve got a few hundred square feet, and you want to create a food forest. He gives some great examples of that. Jason just figured it out, and that’s what we’re really excited for people to do after they see the movie is figuring out how to grow food. I loved when he said, “Just plant a tree, just plant one tree,” “If you can’t do anything else, just plant a tree.” I love it. And then Patricia Arquette, I believe she was in Africa, right? I saw this in the middle of the night last night so forgive me if I do not remember all the details. But she was talking about poop, and how important it is and building bathrooms for people that don’t have it and then taking that and turning it into compost. It’s wonderful. Well, Patricia has been an advocate of compost for many, many years long before this movie. She’s got a wonderful organization called givelove.org, and what she does is she travels with a team of people into very impoverished places in the world and sets up what’s called Thermophilic–which is heat-loving, thermophilic composting systems for toilets. Because most people don’t realize, but in a lot of parts of the world, there is no running water. And so people are using dugout latrines and that that goes into their food supply and their water supply and makes people sick. Well, you can compost poop. And when you compost poop, guess what you make? Soil. So that soil, that good rich soil can then be used to plant things, and you create food, and the cycle goes around and around and around. So Patricia’s organization teaches people how to build composting toilets, low cost, low tech, high yield, wonderful, clean, sanitary, and full of human dignity and respect. So kudos to Patricia, I’m glad she’s in the movie. I love her, and I love, love, love her organization. So tell us about some of the other people that you interviewed for the film. Well, one of the most amazing interviews that we did on the film is this farmer in the Midwest, his name is Gabe Brown. You wouldn’t be able to pick them out in the lineup of farmers’ areas in North Dakota. He’s farming 5000 acres, which is twice the scale of the average farm in the US. And he’s making 100 bucks an acre through regeneration. He grows soy and corn and all that stuff, but he also does pigs and chickens and all that stuff. And what’s interesting is most farms in the US, they’re only making like two to $3 an acre. Gabe’s making 100 bucks an acre per year. So most farmers are going out of business, Gabe put his son through college, paid off the farm, paid off the tractors, and paid off everything. And now he’s like, “What do I do?” Because he’s profitable. So he’s running around teaching other farmers how to do it, but his insights and his knowledge go back to Thomas Jefferson, which is interesting to see that Jefferson knew some of these techniques, but we forgot how to do it. Herding cows isn’t bad for the planet. The way they’re handled is what’s wrong. We didn’t change the animal, we changed the system. Well, the almighty dollar got involved, and everyone started tilling. And he talks to the farmers about don’t till, and you can see the surprise in their face. But it absolutely makes sense because all the microorganisms are in those first few inches, though not all, a lot of the very important ones are in the first few inches of that soil, which are basically killing when you till. So I really love to see you guys doing this. Ray Archuleta also was sprinkled throughout the film. He’s really a specialist in this area, right? He is. Ray has been working with the US government for 35 years. You’ve been on just about every type of farm you can imagine in the United States, and he is what you would call probably the quintessential soil expert in this country. Let’s talk about the making of the film. You directed with your wife, Rebecca, right? That is correct. Yes. Congratulations. I think anytime a couple can work together and make it work, it’s wonderful. And you have children to choose from. This is great. I’m sure this has been a big adventure for you. So how many states did you visit making the film? Ooh, that’s tough. Nine-year journey, 300 hours of footage, we’ve crisscrossed the country left, right, up, down, south, north, couldn’t even count. But I tell you what the film is global. We go to China, and we go to Africa, Nairobi, Haiti, France, all over the world to sort of showing different examples of how this incredible process works. One of my favorite examples in China. They took an area of the size of Belgium. It was dried desert rock, there was no soil. It was dust and rock, and they turned it into a green paradise. That’s exciting. That’s a cool part of the movie. Ecosystems can regrow. They can regenerate even in our urban cities. We can create beautiful, natural, green, verdant places where food can grow, even along city streets.Click To Tweet It is. You had several people helping you shoot, and you had a big crew. A lot of people pitched in to help with this. I thought that was wonderful. What kind of cameras were you using, and what did you edit on? What was your technical side of the production and post? Sure. The technical evolved over the past, almost decade, that we’ve been working on it. We’ve pretty much been consistent. 4K RED is what we shot most of the film on, and then we edited on Avid. But what was tricky was upgrading the server, especially at the very end, to keep those discs running and keep that 4K footage. We ended up with an OWC Jupiter System. And I’ll tell you what, it is by far the best bang for the buck on the market. It’s fast, and it will allow us to cut in 4K, which is very difficult. Most people are like, “Oh yeah, we’re shooting 4K,” try cutting a feature in 4K. It’s tough. I mean, we have the fastest computers, the fastest connections, and you’ll just clog the server down. So we were able to do that. We were able to do multiple streams of 4K video from the Jupiter and finish the film and color it. And it’s really a masterpiece. It’s a gorgeous 4K documentary. You don’t see too many documentaries shot and colored and finished in 4K. And I think the film is pretty spectacular to watch it. It’s pretty fun. It’s beautiful. It’s a beautiful film. So the Jupiter System is huge. How many terabytes were you managing on the system? Do you know? Oh my gosh, at least 120 TB. We upgraded it again, and we keep upgrading as we need to. That’s awesome. I’m glad to hear you’re using OWC equipment. Larry O’Connor is also one of the executive producers of the film, and he’s the one that introduced us. So I’m grateful to them for two things. Number one, sponsoring OWC Radio and also sponsoring my films and introducing us because I will do whatever I can to help you get the word out on this. Is there any other OWC equipment that you use, like any of their docks, hard drives, smaller RAIDs, anything like that? Yeah, we used a couple of smaller RAIDs. I knew OWC long before I met Larry, and we’ve been upgrading our computers for a long time. I’ve been a Mac guy for many years, used to build my own machines in my garage kind of thing. So I’ve been putting in new memory, and new screens and new bits and pieces, new hard drives into these older Macs for quite a while. My wife and I, for instance, we just have a couple of Macbooks, these were made in 2015, they were made five years ago, we’ve upgraded the RAM, we’ve upgraded the hard drive, these computers are rock solid. In some ways, they’re better than the newer computers, all of that through OWC. So every iMac now in our edit studio, every single one of those iMacs is running OWC memory. And I think we’ve got one of those iMacs up at 512 GB of memory. I mean, that’s a lot of memory to squeeze into an iMac. Macintosh can’t even sell you that. You have to get through OWC. So we’ve had a lot of success with their products, and when I got to meet Larry, he got involved with film. I was like, “This is great. I’m already using your stuff, man.” “Just plant a tree, just plant one tree. If you can’t do anything else, just plant a tree.” -Jason Mraz It’s a marriage made in technology heaven, right? That’s awesome. I also like their customer service, too, because very rarely do things go wrong with the OWC equipment. But like any technology, every once in awhile, you’re gonna have a question, and they’re always there for me. I’m sure they would be for you guys too. And that’s really pretty precious when you’re on a deadline. This is amazing. So Netflix worldwide 22nd of September, go to kissthegroundmovie.com, and you can host a screening in your community, you can sign up for that, you can put yourself on the mailing list, watch the trailer, make donations. This is all wonderful, and I am so excited about this film and so proud of everything that you’re doing. You’re doing something very positive in the world, which I think is so important now on many, many levels. And I do urge people to really take the contents of this film and also to get your book on Amazon and take it seriously because if you’re worried about climate change if you’re worried about the quality of your food, and you want to see a great film with great visuals and good music go to kissthegroundmovie.com. Thank you so much for taking the time out of a really busy day. I know you’re preparing for the release. Is there anything I didn’t ask you that you might want to mention? No, I think we’ve covered it folks can get the book as you said, Kiss the Ground, the book. It’s available as a Kindle as an actual physical book, and also I read the audiobook. Yes, you can download the audiobook on amazon.com. And it’s a fun journey. It’s a great ride. That’s a deeper dive. The quick dive is the Kiss the Ground movie, available on Netflix, September 22nd, narrated by Woody Harrelson. Go to kissthegroundmovie.com today, get that trailer, and you can share it on Facebook, Instagram, YouTube. Get your friends and family ready to watch it, join the watch party event on Facebook. We’ll see you, and we won’t see you at the cinema, that’s what we used to say but certainly look forward to hearing all the comments and feedback after folks watch that on Netflix. And that was Josh Tickell, who is the director and filmmaker behind kissthegroundmovie.com and Kiss the Ground, the book and remember what I tell you guys every time get up off your chairs and go do something absolutely wonderful today. Go change the climate. This is Cirina Catania with OWC Radio. I’m signing out. Important Links Josh Tickell Rebecca Tickell Kiss the Ground – Website Kiss the Ground – Stream on Netflix Kiss the Ground – Book Kiss the Ground – Movie Trailer Kiss the Ground – Facebook Kiss the Ground – Instagram 4K RED Avid Barack Obama CNBC COVID-19 Fuel Gabe Brown Gisele Bündchen Hulu iTunes Jason Mraz Larry O’Connor Macintosh Netflix OWC Jupiter System Patricia Arquette Ray Archuleta Sundance Film Festival Thomas Jefferson White House’s Energy and Environment Woody Harrelson Checklist Cover crucial topics about society by entertainingly presenting them through film. These projects help spread the message of what’s going on worldwide and why people should learn more about them. Don’t turn a blind eye to the climate crisis. Spread awareness by sharing the truth about what’s happening to Mother Earth while, at the same time, setting an example for others. Take part in saving the planet. Find out what you can do in your own way to diminish carbon emissions. Compost kitchen waste. It’s beneficial to soil health, plant growth, and the environment. Plant more trees. If you have free time, join events and drives that plant trees or just plant a tree in your backyard. It’s a gift that keeps on giving. Lessen your carbon footprint as much as you can. Drive less, don’t but fast fashion, unplug your device chargers, etc. Produce your own food. If you reside in the city, there are plenty of ways to create an urban garden. Not only are you saving money, you’re also saving the environment. Be mindful of where your food and other merchandise comes from. Make sure they are ethically sourced. Eat and buy organic. Food, clothing, and other products that are organically made have a smaller impact on the environment. Watch Kiss the Ground on Netflix and share it with others to help spread the message.
41 minutes | 2 months ago
Girl Gang Garage Empowering Women Who Wrench
Nestled in the Valley of the sun in Phoenix, Arizona, is a little automotive shop run by two women, Bogi Lateiner and Shawnda Williams called, Girl Gang Garage. Its mission is to empower, educate, and encourage women to explore skilled trade opportunities within the automotive industry. There is a national deficit of available workers to fill critical automotive jobs spanning from manufacturing to repair and maintenance. This need signaled an opportunity to help widen the cracks in the walls that have limited women’s entry into this industry and do so in a fun and engaging way. People commonly recognize Bogi Lateiner, for the role she plays as a host on All Girls Garage. Shawnda Williams join’s Bogi in this crusade to disrupt the automotive industry through positive change. An automotive novice, Shawnda is an IT expert, leveraging more than 15-years of experience in the creative, marketing and technology sector. She boasts an expansive career of designing award-winning graphics, creating nationally recognized marketing initiatives, and enhancing user experiences in conjunction with global brands such as Apple Computer, Inc., Microsoft Corporation, Cisco, Zappos, and Red Bull. In This Episode 00:00 – Crina introduces Bogi Lateiner and Shawnda Williams, hosts of All Girls Garage, a popular how-to automotive show on MotorTrend Network They have more than 15-years of experience in the creative, marketing, and technology sector. 04:12 – Bogi and Shawnda share their interests from when they were young and how they entered the automotive industry. 08:39 – Bogi talks about why she enrolled herself in a technical school after graduating from a pre-law degree. 11:59 – Shawnda and Bogi describe how the automotive industry’s diversity is really slow in breaking gender roles and stereotypes. 16:51 – What it looks like to be involved in the Girl Gang Garage workshop. 21:10 – Bogi elaborates on the technical side of working in a car shop. 25:39 – Shawnda talks about the different reasons why women want to join their workshops and learn. 31:16 – Bogi shares Girl Gang Garage’s biggest mission to empower, encourage, and educate women to explore skilled trades. 35:11 – Check out Girl Gang Garage’s social media accounts and visit their website, girlganggarage.com, to see their amazing builds and learn how to get involved. 39:15 – Bogi shares an inspiring thought for young people who are choosing career paths. Jump to Links and Resources Bogi Lateiner is the host of MotorTrend Network’s All Girls Garage. She’s also the co-owner along with Shawnda Williams, of the Girl Gang Garage. I had a great conversation with them about their work teaching women about car restorations and automotive maintenance skills. Many of us need but don’t have the opportunity to learn in a comfortable environment. What do I mean by that? Well, if you’re a woman and you’ve ever taken your car into a shop to be repaired, you’ll most likely understand. Bogi and Shawnda are having fun sharing their skills and understand the importance of trade schools but are quick to say to each her own. And it’s always fun to find interesting and creative people who use OWC equipment. This is Cirina Catania with OWC Radio. I am really excited today. This is kind of bringing back a lot of memories from my car aficionado days and my days working for six months on a set where we were building custom motorcycles. Bogi and Shawnda, you are partners in Girl Gang Garage. Tell us what that is and what it does for people. BL: Yeah, absolutely. So this is Bogi. Girl Gang Garage is an unusual sort of shop where we are focused solely on introducing women in the trades to one another and introducing women to the trades creating opportunities for women to explore in kind of a safe environment welding metal fabrication, bodywork mechanical work, anything involved in the automotive industry. And so here we offer workshops and classes, and then we also do these really unique all-female builds where we get together women who are experts from all over the country as well as invite women hobbyists or women with zero experience to come and participate in being a part of taking a vehicle from bare metal to a show vehicle. And my role here at Girl Gang is I have a mechanical background. So I’ve been a mechanic for about 20 years and was a shop owner for about 13 years. And so I’m kind of the head instructor, and I lead all-female build. SW: Hi. So I’m Shawnda. I joined Bogi, I guess two years ago, with the operation, and I come from completely outside of automotive. When I got into it, I didn’t have a robust background. I could identify tools, I could do simple things but nothing complex. I have a career in tech, so I spent my career working across digital agencies, corporate startups, you name it, doing web design and user experience. So I came into this situation a little bit blind via one of her all-female builds. I loved what I was doing, and I saw so much crossover between my background and being able to use mechanical functions in different ways. So I 100% bought in. Well, it sounds like you guys have a really great partnership going there, and you’re doing some amazing work. I’m the kind of person that loves cars, but I would say, “Hey, hand me the thingamajiggy.” So I don’t pretend to be a mechanic, but Bogi, you’re ASE Certified, right? BL: I am an ASE Master Certified, and I was BMW Certified while I worked for them. You can’t stay master certified once you leave the dealership circle, but I was master certified with them as well. That’s awesome. So I want to know from both of you take me way back to when you were little girls. What did you like to do? And for you, Bogi, how did you end up in the automotive industry? And for you, Shawnda, how did you end up in digital and tech? BL: Oh, my goodness. I’m gonna let her start. Many women don't have the opportunity to learn in a comfortable environment. It’s amazing what a simple non-biased, non-prejudiced community can do.Click To Tweet Think about that a minute. SW: Our story’s a little bit switched at birth. So my dad was an aerospace engineer. So he was the guy that was hobbying in the garage on the weekends. Like really hands-on, ‘I fix anything that breaks in my house.’ So for me, there were never any barriers of entry into wanting to try whatever I wanted to try as a little girl. So as I grew up, cars became the one thing that I can actually opt-out of with my dad in terms of needing to have the knowledge to work on because you see all these like oil change places, and this and the other. So despite him being like, you need to learn how to change the oil in a car. I’m like seeing all these like Jiffy Lube shops, and this that and the other where I was like, “I’ll just pay someone to do it.” So it wasn’t a serious concern. But I grew up playing with Legos, refining those fine motor skills, and that led me into a creative path. So I went to school, I studied graphic design, which entrenched me into computers, but it was rooted within a fine arts program. So you’re learning sculpture, you’re learning to work with metal, you’re learning to work with wood, you’re learning all these things that fast forward to the future when I started working with Bogi on the first all-female restoration project, we are like hand in hand with a lot of the work that we were doing. So I was picking up tools that I was familiar with, but from a creative standpoint, and using them and execution toward restoring this car and I absolutely fell in love with it. Wow, that’s awesome. Legos have a very special place in my heart. I remember when I was a little girl, I was living in France, and over there, they had what they called Meccano sets. And he got a big huge Meccano set for Christmas one year, and he didn’t want to use it. So I absconded with it, and I was building all kinds of motorized things with it. It was really fun. I think a lot of us really want to do that. You’re so lucky, Shawnda, that you were in a family that encouraged you to play with that. That’s really wonderful. How about you, Bogi? BL: So I came from a kind of a different background, and not that my family restricted anything, or said that I couldn’t do anything. They were super supportive. But nobody in my family was into automotive. My dad wasn’t into cars, and there wasn’t anybody to model that for me. And so while I was always a curious kid, I loved puzzles, I loved Lego as well and loved building things, and all of that, but I didn’t know that cars were ever going to be a part of my future until I got my first car when I was 16. And I was in love with Volkswagen bugs. I wanted one ever since I saw one. And I decided that I wanted my own. So I started reading these Volkswagen magazines. And the only time women showed up in Volkswagen magazines in the early 90s was when they were wearing high heels and bikinis. I took that as a challenge. I actually started getting into cars, not necessarily because I was curious about cars, but because I was being told that I couldn’t, and I shouldn’t. So I enrolled in a high school auto shop, and everybody told me that I didn’t belong there, I shouldn’t do it. And so the more people told me I couldn’t, the more I wanted to do it, and then I wind up falling in love with it despite myself. I didn’t know that automotive was an option for me. And it’s one of those situations where I think that really seals what I’m passionate about today is that you don’t know if you like something if you’ve never tried it. And if we never expose all of our kids to all of the different things that they can do as a career or with their life, then they may never find the thing that’s a perfect fit for them if we don’t expose them to it. That’s right. I absolutely agree with you. So when was your first experience at an auto mechanic shop? And how did you actually start your education for this? BL: So I wound up doing a high school auto shop for two years of high school, my junior and senior year, and then I went off to college because that’s what I thought I was supposed to do. And did a four-year college typical college education path. What were you studying? BL: I was studying pre-law and women’s studies with a minor in politics. There you go. That’s got a lot to do with cars. BL: Right? Totally 100%. So when I told everybody I was gonna go to technical school instead of law school, it made total sense to everybody. Sure, I’m sure. BL: I graduated from college, and I realized I missed working with my hands. And so I enrolled in a technical school. I did an 18-month automotive program, and then did a BMW specific program for seven months after that and then went right into the BMW dealership network and worked for them for about seven years. So what was it like at the trade school? Were you accepted there? What was the atmosphere like for you? BL: I hope that things have changed quite a bit now. Since when I was there, this was a long time ago at this point 20 some odd years. I think there were 3000 guys enrolled in the school, and there were seven girls, and it was definitely challenging. There were those who were supportive. There were plenty who were very vocal about not being supportive. So it was definitely challenging. And then, my first job in the industry was also not such a great first experience. Well, I admire your tenacity. Shawnda, you must have gone through some similar experiences, though, in the tech world. SW: Yeah, we did. And it’s so interesting how the industries kind of parallel one another. I think the part that’s been interesting with tech is that people realized sooner that the absence of women in development roles was creating a lot of issues like you needed that diversity. And there are just certain things that are innate with girls, in terms of like that attention to detail and the characteristics that are more predominant traits that you see within the female students. And I think that translates to automotive and what Bogi has seen from a technician standpoint. But for me, I was pretty accustomed, and I still see it now where you’re like the only female on an entire development team of men. That’s me all the time. My whole career. SW: The difference now is that there are so many ancillary roles that are required within software development, that it has introduced more opportunities for women to be involved. So software development team has product managers which oftentimes are female. User experience is pretty diverse with women also, and development is starting to get there. So there’s just more opportunity for women to kind of intermix in whereas in a dealership, you’ve got technicians, and they’re mostly dudes. BL: And the tendency in the dealership or in general repair shops, you have the technicians, and then you have service advisors, and you have service managers. And generally speaking, people would try to push me as a woman, even showing technical fortitude and interest would try to push me into the service advising position. Because the stereotype still lingers that women would do better in the office, that we do better talking with customers, rather than out in the shop. And that’s been really slow to change. I think the tech side has really adopted and embraced women in tech. There have been a lot more initiatives for women in tech than there have been for women in automotive, and automotive has been a little bit slower to kind of come around to seeing the benefits of the diversity of having a really diverse, robust team. Well, I think that you’re both doing a lot to help women advance on both sides. One thing I do like to think about, however, as difficult as it has been for all of us to get where we are given the constraints of being females in our various businesses, is that in order to get where we are, there have to have been some male mentors along the way, who said, “Yes, you can do this, I’ll give you the job.” And I like to think about that. There were a couple of times in my career when someone said, “Yes, I know, you can do this. I trust you, and I’ll give you the job.” And maybe if we focus a little bit on that, it’ll make us a little happier. BL: Yeah, though, 100%. And that’s what I tell young women are getting into this industry on a regular basis, and there will be people who are not supportive of you doing this. However, there are people who are very supportive, and there are people who will be your allies and be your cheerleaders and have your back. And they’re going to be your mentors, they’re going to be the people that you look up to, and they’re your allies. That’s what makes this doable because you can’t survive in an industry where you don’t have any allies. And there are a ton of allies out there. And I think sometimes we get overwhelmed by the very vocal minority. The few who don’t want you there are going to be way louder than the majority who either are neutral about it, just don’t care whether you’re male or female as long as you do the job right or those who are super supportive and are really cheering you on. And if we focus on our allies and tune out those that are naysayers, it serves us well. There will be people who are not supportive of what you do. However, focus on your allies, the cheerleaders who have your back. I totally agree. I’m so grateful for both of you doing what you do, though. This is wonderful. And I know that you’ve changed the lives of a lot of young girls out there. You do a lot of teaching. Talk about that for a minute. SW: So our flagship product, we have an All-Female Restoration, and we’re on our third one of those. So in terms of the greatest breath of opportunity in terms of learning, and in terms of outreach, it kind of became that. So with that, we basically—bogie alluded to it earlier— we do a complete frame-off restoration on some classic vehicles. Our first one was a 57 Chevy pickup truck. So we invite women of all ages from across the country to come and participate. So on the first one, we had 100 women from throughout the United States, some women worked within the industry, I want to say over 30% actually came with no automotive experience. And that’s actually how I kind of crossed paths with Bogi and caught the car bug through that. In addition to that, we have workshops on different trades specific to like welding, paint, body, and we do some more craft-based stuff like you can learn decorative sandblasting. So we try to run the [gamut in terms of opportunity. I saw pictures of the 57 Chevy. It looks great. Oh my gosh, I want to photograph it. It looks great. So you did the 57 Chevy, and then what were the other two after that? BL: Then we did a 56 Chevy. And now we’re working on a Volvo PV544. It’s an oddball little car, but it’s a lot of fun. Isn’t it amazing how you get attached to these vehicles that just seem to take on their own personality? It’s really kind of cool. So how many women are involved in these last two builds? Has it increased since your first one? BL: Well, the second build, the 56 Chevy truck, we did on a much shorter time frame. So we actually only went up doing it over about five months. And I think there are about 70 women. So still a ton of women, but just a much shorter time. And then the Volvo we had kind of really just gotten it underway right before Corona happened. So we’ve been on pause. So we don’t know yet, but we’ll keep you posted. Yeah, please do. So with that many people, are they in the shop? How are you teaching this? I want to envision this. How does this happen? And do they get hands-on and who fights over the wrench? BL: Fantastic question. So they’re not here all at the same time. Okay. I had a picture of this, like a scene at the shop where people were clamoring to get in. BL: No, it’s a circus. It is kind of coordinating it all. But we have over the course of the ten months that we generally do these builds, we will have women who come in for a weekend, or they’ll come out for a week, or local women will come after work, and we do our best to schedule and coordinate so that we always have a nice balance of professionals as well as newbies, people who have been involved in the builds previously versus those who have not. And we try not to have more than like five or six people here at a time. And that really gives me the ability to work with each woman individually to kind of quickly assess her skill level, what she can and cannot, where her interest level is, and be able to really give everybody a hands-on opportunity and hands-on learning. So it’s very one on one. And then the women are also all teaching each other. And sometimes the reality is when you’re working on cars–I’m sure you’ve experienced this–on the motorcycle side is that there isn’t always a clear cut answer. So I don’t always know the answer. So very often, we’re problem solving together and relying on people’s different skill sets. Sometimes even the newbies who think that they don’t have anything to offer, they’re bringing their background from some other career, some other life experience they’re bringing that to the table, and we’re coming up with new solutions for things. Oh, I love that. So let’s go back to the 57 Chevy for a minute. Explain to people what state it was in and what you had to do to restore it. BL: Oh, my goodness. That truck really should never have been restored. It should have gone directly to the junkyard and been done with. Oh, poor baby. Come on. BL: It was horrible. I bought it off of Craigslist. It was far more rested than we realized once we got it stripped down and sandblasted. It was in a horrible, horrible condition: the floor, the quarter panels, the steps, the roof was all dented in. Like there was just a ton of work that was needed on this thing. And we took it from bare metal, and we did all of the metalwork, all of the fabrication, all of the customizing, all of the bodywork, the paintwork, the wiring, the mechanical, the upholstery, like everything was done in house is pretty phenomenal to see it all come together, honestly. If you feel like you haven’t found your passion in life yet keep looking. You’ll never know unless you try. Just keep experimenting.Click To Tweet Wow, it needs to go on tour. It looks like a character out of an animated film. I mean, it really does. There need to be songs written about this truck. Plastic surgery for automotives. So there’s an awful lot that goes into this. The people who have never seen a shop and how it works have no idea. They’re thinking about somebody under the car on the platforms that roll, and you’ve got a wrench in your hand. And that’s all they see. They don’t know how technical and how much literal high-end technology goes into some of these machines, particularly when you’re manufacturing. So can you picture yourself back in your shop after Corona? What machines am I going to see? What do I see in there, and what do each of those machines do? SW: So that’s the fascinating part about kind of where we’re at in terms of restorations because it basically takes you back a step. And it takes away a little bit of the gloss and gleam that you would expect with high-end CAD machines and digital 3D printing and whatnot, and you’re using a lot of manual processes and a lot of manual tools like an English wheel. BL: Yeah, we’re working on older vehicles. And because the reality is we don’t have the big budget to have the big fancy CAD equipment. We’re doing things really the old fashioned way here at the shop. For my experience being a mechanic and working on higher-end vehicles, that’s a whole nother world. It’s almost like two different skills entirely working on old cars versus working on new cars. So here at Girl Gang Garage, we’re really focusing on the basics, because you can’t learn to improvise until you learn to master the basics, right? And so we’re really teaching people the basics and that entry-level of things. Whereas I can say from a mechanic standpoint, my goodness, technology comes into play in everything that we do. Our modern cars today have more control modules than the first space shuttle. So, automotive technicians today are literally rocket scientists. But I think that you’re right, I think you’re right in teaching those basic skills because you’ve got to crawl before you walk before you run. And there’s so much pressure on young people to just jump in, and all of a sudden be an “overnight success” and know how to do everything. I think the way you’re doing it sounds really pretty wonderful because you’re not throwing them into an area that they may not be ready for. And I do think that if I wanted to do this, it would be great to start from ground one and have the joy of building something. Especially with the Chevy 57, it was probably almost like scratch. Well, worse, you have to tear it down and then build it back up. I saw a picture on your website of the back bumper, and I went, “That thing’s pretty rusty.” That truck needs a wheelchair. BL: Yeah, it’s an interesting thing. We’re not claiming to be a place that is turning out people who are ready to enter the workforce as collision experts or as master mechanics. Really our function is to create a space for women to explore. Because when does your average Jane Doe get the opportunity to try cutting metal with a plasma cutter and see if she likes it or try building a wiring harness or try doing bodywork. Like these are things that most folks, in general, these days, but definitely women aren’t given the opportunity to explore. And then I think the other really important function that we’re hoping to serve is a place where women who work in the trades can connect with one another and feel really validated. Because I think in our daily life, we often aren’t only, and we don’t often have that chance to meet somebody else who is like us, let alone work with another woman. And women do work well together. I do think we support each other very well. So when a young woman comes up to you and says, “I think I want to learn how to work on cars,” what’s your process in empowering them? What do they need to know? Is there a like a mindset, or do they have to be good in math? Or do they have to have a creative outlook, or can it be anything? What would somebody like you or somebody who owns a garage that wants to give somebody a chance? What do they need to know? I mean, you said you work with people from all levels, right? But you know how we all have something that when we’re five years old, we’d love to do like, we all love Legos. So what does that tell people? So if you would ask these girls that come to the shop what they did when they were little kids, what do you think most of them would answer? SW: So there’s a multi-prong to your question. So the first step is one, attracting anyone to dare to want to get dirty to want to do this. And that in itself is a pretty sizable barrier of entry. Because I think women across the board are coming from a couple of different paths, there is either the path of I was not allowed to try this, I was pushed to the side. There’s the path of, I don’t know that I’m smart enough to do this. There’s the path of just general disinterest, and then there then there’s the path of people who are like, yeah, I am a hands-on person, I am hands-on with everything else in my life. This is just one more thing I want to be hands-on with. We get the entire cross-section coming for the shop. Sometimes the lady who never thought she would be interested in ever picking up a wrench is just coming alongside to support her friend, who was a little bit more gung ho. That’s the beauty of like, female friendships is that our friends are willing to support us doing insane endeavors that we otherwise would not have gotten anyone else to do and be supportive in a way that maybe your husband or your brother, your dad wasn’t supportive. So we get this diverse cross-section of women in, and they start noticing that things that they’ve done in their previous life have made them more adept at doing what they’re doing right now. We had a woman, in particular, she was the picture-perfect housewife, she was an avid cake decorator. And she picked up a TIG welding torch, which is really hard because there’s a lot of fine motor skills because you have to use both hands and your foot. So it’s basically like driving a motorcycle. So it’s a lot of fine motor skills, and she picked it up and instantly was playing a perfect weld out the gates, which is super uncommon. And it was because she had that fine motor skill dialed in from decorating cakes. I love it. BL: Yeah, there’s a ton of really interesting crossover that happens. And answering the other part of your question, what are shops looking for in potential employees? What are the skills that we need? The biggest thing that I looked for when I was hiring for my repair shop was curiosity and a desire to learn because cars are changing so quickly. Technology is changing so quickly. And you need to have that curiosity of how does this work? How can I take it apart? How can I put it back together? What makes it go? And also humility because technology is ever-changing and ever-evolving. You don’t know everything, you will never know everything. Nobody in this field knows everything. And if you don’t have a level of humility going in, that ego can get in your way of success. And so I tell young people, in general, going into the field is stay curious, stay hungry, and stay humble. And for women, particularly, it is known that you are going to encounter those who don’t support you and use them as fuel for your fire, focus on your allies, and the people who are supportive. And let that fuel you and keep you moving forward. And if it’s what you love, if it’s what you want, go after it no matter what. But there’s a ton of skills that go into all of this work. It’s not just the old stereotype of getting greasy and lifting heavy things. It’s computers and its technology and its analysis and its physics, and it’s math, and it’s all of the things. The world is changing. Even though it’s slow, we need to keep going. SW: So the final part of your question was what do we think they were doing as little girls, and I mean, to be honest, it could be anything. I brought my little sister in here who is the antithesis of me. She’s the girl that grew up with dolls, pretending she could read to her dolls, as just the world of make-believe. And I brought her into a shop, and she is not remotely the kind of person that would pick up any type of tool or get herself dirty, and she gravitated toward sandblasting. The ability to just completely take a gross piece of metal and make it clean, she was enamored with it. And that one experience made her open-minded to try a whole litany of other things because she had found the thing that she could do. And I think that’s the big piece with a lot of the people coming through the door is getting that kind of validation that you can do this. And whatever piece of the puzzle it is that makes that light go off for you, and it opens your mind to the possibilities of all the things that you can do. So we’ll find one person may come through the door, and they hit it off, and they’re like, “I really like metalwork.” And then we get to bodywork, and they’re like, “Oh my god, I’m even better at this.” And then that excitement grows and next thing you know they’re three builds deep with us. BL: I think the biggest thing that we do here is we empower women. And the vehicle that we use, no pun intended, just happens to be cars. But in reality, what we’re doing is teaching them that something that they thought was big and scary isn’t so big and scary, and if that’s true, then what else in their life isn’t as big and scary as they thought it might be? And what else can they tackle and surprise themselves with being capable of doing that too? Exactly. This is very exciting. Now, are you still doing Women’s Car Care Clinics? BL: Absolutely. Well, not during COVID. Well, of course, yeah. Isn’t it sad? But I was looking at the list of what you teach, and I think that’s pretty valuable. How to change a tire, how to check your fluids, braking, how the suspension works. I mean, there are so many women who go into a shop with their car that needs to be repaired, and feel disempowered at the way they are treated. It’s assumed that you don’t know what you’re talking about many times. And I think what you’re doing is so valuable, not just teaching the people that come into the garage for your renovations, but also these Car Care Clinics that you’re teaching. Talk a little bit about that. BL: The Car Care classes are a ton of fun, and we do some other basics classes as well. So we have the basics of Car Care class, we do basic metalwork, basic paintwork. So courses that are really meant to be your very introductory place. But the basic Car Care classes, I think, attract the most diverse group. And I honestly think that every single human being who has a driver’s license should know how to do the basics. But a lot of what I teach in that class is how to ask questions of a repair shop, how to find a good repair shop, how to walk into a shop and not feel vulnerable. And it’s an incredibly empowering thing for folks to know. My favorite story that I ever tell about my car care classes, one of the first students I had. She’s a woman in her mid-50s, various successful, high powered lawyers. And right after taking my class about a month later, she called me up, and she was “Bogi. I’m so excited. I got a flat tire,” and I was like, “That’s great that you’re excited about that.” I said, “What did you do?” and she said, “Oh, I was wearing high heels in a business suit, I called AAA but”–and this is the important thing, what she said next was–” but I watched him. And he did it right.” Oh, that’s awesome. BL: And that was such an empowering statement. And it’s such an important thing for me to hear is it’s not about necessarily saying that every woman who takes my class is going to go be the one to jumpstart batteries and change her own tire and help her friends with that stuff. Like you’re not necessarily going to go off and become a mechanic or decide to even like this stuff at all. You may never ever do it again in your life but knowing that you could if you needed to, knowing that when somebody else is doing it for you that you are still feeling in a position of control and not feeling vulnerable, that’s invaluable. Isn’t it amazing to think about the fact that we drive those vehicles almost every day of our lives or every day, several times a day if you commute to work when it’s not COVID, and we don’t know how they work? We wouldn’t know what we’re looking at when we open up the hood. I just love what you guys are doing, and I want to thank you for that. I really do. I think this is awesome. Where do people go to learn a little bit more about maybe booking a Car Care Clinic? You have to come to San Diego. You’re in Phoenix, right? BL: We can talk after this. Let us talk. We got to bring you to San Diego. Oh my gosh. So, where do people go to find out more and to book a Car Care Clinic or to visit one of your remodels? SW: So they can visit us online at our website, which is www.girlganggarage.com. We’re also on social media, on Facebook @girlganggarage, and also super active on Instagram also with the same handle @girlganggarage. That’s awesome. BL: And then you can also find me directly for teaching and speaking and workshops outside of the garage @BogisGarage. And that’s also, the website Instagram and Facebook is @BogisGarage. Bogisgarage.com, right? BL: Yeah, exactly. That’s awesome. So what do you do for a boy who says, “I want to do this too”? SW: If it’s a boy, sometimes we have them come in with their moms because I feel like there is a lot of power in a young man seeing women do these roles. So we were open to that. Now in terms of men wanting to come in and take classes, we have some advanced level coursing that is introduced and offered to a co-ed audience. We try to make sure that those are advanced because we don’t want any type of intimidation to impede the women in their learning environment. So we do have some barriers to entry in place. The point is not to exclude men, but to promote women’s learning in the best possible environment. And sometimes that just needs to be with your other ladies. It’s so important to learn basic skills because we’ve all got to crawl before we walk and before we run. BL: Yeah, I’ve been teaching women’s car care classes for about 20 years now, and I initially tried to teach them to both men and women collectively. And I will say that men are very cool and women are very cool, and there is definitely something to be said for everybody learning how to work together. But in a learning environment, particularly is something that women are intimidated by when you put men and women in a room together, they get silly. And the men would naturally gravitate towards the front of the class, the women would naturally gravitate towards the back, and they may hold themselves back from asking questions. And that was something that we wanted to eliminate was to say this is already an uncomfortable field for women to raise their hand and say I want to try this. And so we wanted to make it as comfortable and as non-threatening as possible for them. I think that’s wonderful. Well, I really appreciate Other World Computing, OWC, for sponsoring this show so that we can bring wonderful people like you on. And Shawnda, I heard a rumor you use some OWC equipment. SW: Yes, I love them so much. So I’m kind of getting old. Oh, you are not. SW: I historically been on Macs my entire career and bless OWC for selling Mac peripherals. Because let me tell you, there was a time where Macs weren’t just everywhere like they are today. And getting a hard drive or getting RAM was like Indiana Jones Crusade, right? And OWC always came through, and I have put RAM in pretty much every laptop except for the new ones because the unibodies are terrible, and you can’t access them via OWC. Let’s end the stereotype that women do better in the office and talking to customers, rather than out in the field getting their hands dirty.Click To Tweet That’s good to hear. I just have one more question. We’ve talked about trade schools, and we’ve talked about colleges. Do you encourage people to go to trade schools? And I have to tell you a secret, and I have a terrible crush on Mike Rowe. How do you guys feel about college versus college in addition to trade school? What can you tell these young kids who are trying to make a decision about what they want to do when they graduate from high school, for example? BL: So, I am 100% for following the path that makes the most sense for you. And there is a lot to be said for a traditional four-year college, and there is also a lot to be said for technical schools. And I don’t think one is inherently better or worse than the other one. It neither is good if it’s not a good fit for you. And so knowing what it is you are wanting to do with your career, with your future, with your life is going to determine which path you go. But I’m not an advocate of going to a four-year college just because that’s what you’re “supposed to do.” I agree. Well, this has been really fun. So I’ve been speaking with Bogi Lateiner and Shawnda Williams, the co-owners of Girl Gang Garage. And I can tell you that if these two women have had any roadblocks in their life, they just ran right over them and kept ongoing. And that’s what I encourage all of you to do, male or female, any age, any walk of life, don’t let people tell you no. If there’s something you want to do, do it. And like I say, every show, get up off your chair and go do something wonderful today. And thank you so much for listening in. Bogi and Shawnda, so nice to meet you, and let’s talk again very soon. Important Links Bogi Lateine Bogi Lateiner – Facebook Bogi Lateiner – Instagram Shawnda Williams Girl Gang Garage Girl Gang Garage – Facebook Girl Gang Garage – Instagram 56 Chevy 57 Chevy AAA All Girls Garage ASE Certified BMW Certified COVID Craigslist Indiana Jones Jiffy Lube Legos Meccano MotorTrend OWC TIG welding torch Volkswagen Volvo PV544 Women’s Car Care Clinics Checklist Introduce new opportunities and skills into your life through workshops and classes. If you have a skill you’d like others to learn about, teach others and spread the knowledge. Promote inclusivity within the community. It’s important to cultivate a sense of belonging regardless of one’s gender, religion, race, and personal beliefs. Build a team to help you accomplish your mission. If you want to have an impact on other people’s lives, it’s more fun with help along the way. Empower women and let that goal reflect in everything you say and do. Lift each other up instead of bringing people down and succumbing to “cancel culture.” Create a safe space for women so they have a place where they’re fully accepted for who they are. Eradicate gender stereotypes. Women are as capable of doing things considered a man’s job and vice versa. Support girls’ dreams and let them know they can achieve anything they set their minds to. Do what you love and keep going for your dreams. Don’t let others dictate how your life should be. Keep enhancing your skills. Stay hungry because there’s so much to learn and new things to do. There’s no end to exploring new possibilities. Check out Girl Gang Garage to learn more about their cool story and how to join their classes.
44 minutes | 3 months ago
Steven Reed, Technology for Worship
In this episode of OWC RADiO, host Cirina Catania, talks with technology expert, multi Instrumentalist, author, speaker, writer, producer, & worship team trainer, Steven Reed. Steve along with his wife and children comprise the worship group, Steve & Shawn. Steve is an avid learner and teacher by nature and his extensive travels as a guest minister, long history of local church service, and experience in the recording industry provide a fresh perspective on how equipment can help resource the church. In This Episode 00:09 – Cirina introduces Steven Reed, worship leader, writer, minister, and author. 04:07 – Steven talks about his recent trip to Peru with the Worship Leader Ministry. 07:41 – Steven describes the three components of helping communities develop their worship service. 12:21 – Steven talks about technology trends in churches that have successfully attracted and retained new members to their congregations. 15:43 – How does the Worship Leader ministry help communities be creative with available musical gear and equipment resources? 21:32 – What are the recommended models and gear for worship service? 26:11 – Steven talks about how he prefers using a wireless microphone like the Shure SM58 for worship service. 31:14 – Steven describes their setup at Worship Leader in shooting videos for worship services. 33:55 – Steven talks about the Sunday experience in churches and the adjustments that have happened due to the pandemic. 42:10 – Check out Worship Leader Magazine on their social media accounts, and visit their website, worshipleader.com, to learn how to grow in your understanding and practice of praying musically. Jump to Links and Resources When we gather together, it feels like the Lord is with us more than when we’re not together. It’s not that He’s not with us, it’s just a different kind of belonging. Transcript This is Cirina Catania with OWC Radio. Steven Reed of Worship Leader Magazine is here with me. And I am fascinated by what you do and who you do it for. So can you tell our listeners exactly what that is? And then tell us about your recent trip. Sure. So excited to be here and thankful you guys are doing a podcast like this. So my name is Steven Reed, and I’m with Worship Leader Magazine. I’m with several other people at different times, my wife and I, and our family, do some music and travel, and do consulting for churches. But then we also take all of that knowledge, all that experience that we’ve had over decades of leading worship and being involved in churches and doing that consulting work and put that into Worship Leader Magazine, which is an online resource that has just so many decades. It’s basically 30 years of magazines and conferences. And we host a podcast of our own that we do with different worship and church influencers. And then we also get to go to different churches and preach and teach and lead people in worship. So it’s been an amazing journey, for sure. And you’re also an author. I also write a lot, obviously, write for Worship Leader Magazine, and I’ve written a book that is about ready to be published. I’m writing another book that was written later, but it’s going to be done before delegating because a lot of church people are struggling with learning how to delegate to other people. And so that’s exciting to be getting that out. I’ve written plays, I’ve written all kinds of different stuff, and it was kind of funny because I felt like I struggled in English class, with grammar and all those things. So I’m thankful for spell check, thankful for my wife, who knows some grammar. And the AP Stylebook, right? That’s right. Yeah, I think it’s interesting. Delegating is a problem that all businesses have. It’s very difficult for someone who is either an alpha or very creative or the leader of a team. Sometimes teaching people how not to micromanage can be very, very valuable. That’s awesome that you’re doing that. So you’re multi-talented, and it’s awesome you’re doing this with your wife too. I think you’re very lucky that you found someone. Oh, for sure. And especially during this time of COVID, you have some company. Our life in many ways has remained the same because we already homeschooled our kids, and because we’ve traveled so many years, we have gotten used to each other’s company. When we first came off the business regular nine to five, we had a pretty major adjustment because she was used to me being gone for 8-10 hours a day. I didn’t really know everything that happened at home, and so all of a sudden, we were thrown into this life together, like many people are experiencing now, and you’re like, you love each other, but now you have to love each other all the time and figure out how that’s all gonna work. So it’s been a big blessing. And especially here in Nashville, I live in the Nashville area and to meet so many musicians and creatives that have to travel for work, where one of them is gone, usually like three to four, as much as four weeks out of the month, and they’ll be home for a day or two or sometimes not even a full day before they have to go back out. And so it makes us very thankful that we get to do everything as a family. I think that’s wonderful. You’re so lucky. I’m Sleepless in San Diego. I do get socially distant visits from my daughter and granddaughter once in a while, but basically, it is leaving me a lot of time to work on wonderful interviews like this that I’m fascinated by. And I want to tell our listeners too, we’re going to get into the technology in a moment, but I want to get a little bit more the background about you so that people know who you are and what you do and why you do it. So this recent trip, where did you go on this most recent trip? Well, we go to Peru and have this kind of interesting call as really tall white folks to anybody that speaks Spanish. And so we spend a lot of time and a lot of our resources trying to get down. We’ve been to Argentina, we’ve been to Peru, multiple places in Peru, and it’s an interesting place to go. I mean, technologically speaking, because there’s just not much available. So it really forces you to get creative. And one thing I tell people is anything’s possible with a Peruvian because there are so many times where we were going to go change a speaker or do something, we’re like, “Oh, we don’t have a ladder,” and all of a sudden, somebody walks over and grabs the stack of chairs next to us and just pulls them over, climbs the stack of chairs and changes the speaker and I’m like, “Well, I didn’t put two and two together there at all.” I think I got to have a physical ladder, and it’s got to meet OSHA standards or whatever, but no, you just learn how to get it done. That whole part of our ministry has been an eye-opener and really helped us bring a lot of those things back even to the United States where sometimes we can get so focused on we got to have the exact right product, or I need this in order to at some point, be creative, where the countries that don’t have things, necessity becomes the mother of all invention. Absolutely. It’s been interesting to be able to go and cross-culturally minister and be ministered to and kind of have more of a worldview and understand people and many times be the only white guy in the room and not even speaking the language but then developing my Spanish to the point where I can speak pretty fluently and even preach. It’s just an honor to have that opportunity. I have a great love for the people of Peru that I met when I was filming there. I spent some time in Lima, and then went on to the Amazon and shot on the Amazon River and around the Amazon, and then went back to Lima. It’s a very dangerous community, though. Were you worried about all the equipment you have to travel with? When you do these missions, do you travel with a lot of equipment, or is it pretty lean and mean? We pretty much decided early on that we were going to use whatever people had. And what happens in a lot of times of ministry, especially somebody will come into town, they’ll have all the latest gadgets, and they’ll set it up, and it’ll be this big deal. It’ll sound amazing, and they’ll look amazing. And then when they leave, they take all of their stuff with them. And so then the people are left well now I got to buy all this stuff. So for us to be able to go in, we will use whatever keyboard you have, whatever soundboard you have, whatever lights you have, and we then teach the people how to use their stuff, and then when we leave, it’s all set up still, and they get to benefit from the time together. So that makes it really interesting because you never know what you’re going to get. But I believe it’s been certainly helpful for me because I’ve learned and been operating on pretty much any soundboard you can think of, and have to figure it out within a very quick amount of time. But the benefit long term, it makes us more valuable as a guest minister, I guess. What makes traveling on missions really interesting is you never know what you're going to get. It really teaches you to work with what you have.Click To Tweet Isn’t it amazing to watch people with such ingenuity? I mean, I was fascinated by them. And there were times when we were lighting the environment with light bulbs and lamps and aluminum foil on cardboard. It’s amazing what you can do. I love that you’re doing that, though, because it’s generic, it’s organic. And are you teaching them how to use technology to help their worship services, or are you also teaching filmmaking in general? We teach any and all of what they’re called to do. Some churches are very technologically advanced, and others are just looking to turn something on. And so for us, there’s a technological standpoint, where you need to know how to push the buttons and get things to do what they need to do sound-wise, especially. But then there’s a leadership component, as far as for us in the idea of leading worship, we’re trying to not worship in front of people, we’re trying to get other people to worship. And so you have to figure out how you stand up in front of people. How do you present yourself? How do you get somebody who doesn’t necessarily want to sing to sing? And so there’s a whole lot of things that really play into that. And then the third piece is then the spiritual component of what is worship? Why are we worshiping? Who are we singing to? What are we expecting to happen while we’re singing? And for a lot of people, they’ve never really given that much of a thought. They’re just kind of up there doing what they’ve seen, being done. And so once we are able to give them some teaching on all those fronts, it helps people move forward towards whatever they’re doing. There have definitely been times where we’re like, “Alright, well, I don’t know much about this particular piece of gear but let’s jump in there and figure it out and read the manual and look online and give it the best,” and so it’s been an amazing journey for sure. What an adventure. I had trouble getting online when I was in Peru. Oh, my goodness. Even in Lima, the connection was so slow. And then, of course, on the Amazon, we didn’t have one at all. So I warned my family that I would be completely out of range. It was even challenging to charge any of the equipment when there’s no electricity. And it’s 220 and unstable power. Yeah. That you can kind of handle but when there’s nothing to plug into. In this case, I had to carry everything I was going to use on my back. This is really exciting. So there has been a push in the last I don’t know how long it’s been, you know more about this than I do. In the last, what? Twenty years or so to bring more and more technology into the worship experience. And some people don’t like it, and other people love it. I happen to love it when my church has some great music, and we can all just sing and worship together, and it sounds good, and it looks good, and then you can watch the videos afterwards and share them with your family and friends. I like that. But when did all this high tech start for churches? Can you give us a little bit of background on that? It’s an interesting aspect of church in general because, for a lot of people who don’t attend church, their thought of singing or having worship in church is maybe something from when they were a kid and they kind of imagine an older lady behind an organ or a piano. And so they’re surprised I’ve met quite a few people when I describe what we do and say we have a band and we play in church, and they’re like me, and there’s like a band. We have a sound system, and some people have lights, and then there are people that do really fancy lights, and they have just like smoke behind, and then there are big projectors, sometimes an entire wall of video monitors that are behind that are displaying artistic pieces that coincide with what they’re singing about. That’s kind of a shock because the church has been evolving over the course of time and use of technology, and as you said, not everybody, in particular, agrees, but that’s part of what makes the body of Christ or the church as a whole. Amazing is that we don’t all have to agree. Everybody’s got their own little flavor of that. But part of it, I think the biggest reason why people have moved toward that is seeing some of the success of certain churches. Hillsong out of Australia would be one of them, and other Australian churches called Planetshakers have been very technologically forward and really push the limits on some of those things as far as lights and screens and being really loud. And so those churches, for us in America really kind of like woke us up to be like, hey, what if we explored these options? And so then you watch their churches now like Elevation Church, which is out on the East Coast, you’ve got Bethel, which is out on the west coast and. There’s a lot of technology that is involved in those. And so when pastors and congregations see that they’re hoping to achieve a similar level of what we would maybe call success in the sense of attracting people, retaining people, and a big push of it has been to try and capture quote, unquote, the young people. And so for 10-20 years now, that’s been a major push in the church is, hey, we’ve got this whole generation of people that we’re not necessarily capturing anymore the way that we’ve been doing it. And so what do young people want? Let’s try and move that direction. Because some of those things are not theological arguments about whether or not it’s right or wrong to have an electric guitar versus having a harp versus having an organ, it really comes down to preference. And so a lot of people are like, we need to basically cater to the preferences of the upcoming generations. So that’s been interesting to watch as the mainline denominational churches, like the Baptist, the Methodists, some of those congregations have been shrinking over the course of time. Whereas some of the other non-denominational churches and some of the charismatic churches like the Bethel’s have been seeing a very sharp rise in attendance. And so a lot of people are kind of trying to figure out who’s doing what, how they’re doing, how can I incorporate that? And then, at the end of the day, they got to figure out who we were supposed to be as a congregation. And not everybody agrees, even within that same congregation. So it can be a challenge. And that’s part of what we come in and kind of give people the help of like, “Hey, here’s some things to think about,” but who are you? Who are you called to reach? And then give them some equipment to go do that. Try and move into the direction of what young people want. Some matters don’t have to be theological arguments. Sometimes it really just comes down to preference.Click To Tweet So when you walk into a church for the first time, you mentioned at one point that there’s a back closet of gear that every church has. Can you explain what you meant by that? When we were talking earlier. It is uncanny how every church in the United States of America and even parts of South America have this closet where they just take all of the gear that they bought, and either doesn’t know how to use it or thought that they didn’t need it and it just accumulates in the spot. I’m laughing because we have one too. Yeah. Everybody does. They know where it is. And it’s kind of like the junk drawer maybe, but like, we always called it our treasure trove because we would walk in and kind of take a look at everybody’s system and look and see what kind of gear they have. And I’d be like, Oh, you guys probably could use one of these. And almost without fail, I would walk back into the closet, and I’d always just ask them, “Hey, can you show me where the closet is of your stuff?” and they’re like, “How did you know we had a closet?” “I just know.” And so we go back there, and sure enough, the very thing that they need is laying under three or four different other things. And what I’ve found to be true, and almost every single church is that every church has what they need, they just don’t know how to use it. We’ll go in there and pull out the gear that they could use and the gear that they can’t use, then we help them sell it on eBay or Reverb or something like that, to get or donate it to another church, or send it on a mission trip. Some of the stuff that people have in their back closet, which is just astronomically expensive in South American countries. So I always encourage people to give that stuff away or get the resources back so you can buy the things that you do need. But for us, in the Christian world, so much of our technical stuff comes down to this place where we’re hoping that we can get more stuff in order to be creative, and we’re not necessarily creative with the stuff that we have. And for us, we would call that stewardship. When I was younger, I used to hate that word. Because it usually meant that my pastor wasn’t going to approve my purchase request because I was always like, “Hey, we have this problem. I found this piece of gear that if we bought, it’s going to fix this problem.” And what I’ve come to realize is that those back closets are filled with all the products that we’re going to fix some problem. And now here they are, just sitting in a closet collecting dust. And so he would always say, “Once you learn how to use what you have, then we can look at buying something more.” And I would always say, “Well, why don’t you buy me what we need, and then I’ll learn to use it.” But stewardship doesn’t work that way. It works the other way. You got to use what you have, and then you get more. And I think for a lot of churches and just people in general, that’s not our culture that we’re kind of raised up in, and certainly not the advertising and the promotional materials that we get. Or if you go to a conference, everybody’s there trying to sell you something trying to push something on you say, “Hey, this is the thing that you need,” but they don’t necessarily have your best interest in mind. They’re trying to make the sales quota or trying to find something that is going to be worth something. They don’t make any money if you learn how to use the reverb unit that you have stashed back away. They want you to buy this new soundboard. Once you learn how to use what you have, then you can look at buying more.Click To Tweet So that was always a challenge for us. I’m not a salesperson, so it made it easy for me to walk in and be like, I’m here to teach you how to use what you have and to give you guidance on. If you were gonna buy something, this is what you should buy. So I didn’t make any more or less money, but it made it a lot cleaner, I guess, in the sense of purpose and heart behind why we were there and what we’re doing. Right. And a certain amount of believability too. It doesn’t matter to me which way you go. Talk to me for a minute about-and I know this is kind of like asking you how much dinner is going to cost when I don’t know what you’re going to order. But if you walk into a new church, and for example, the very minimum setup, what would the very minimum setup be if they want the pastor to have a voice that you can hear? And maybe there’s a choir or a singer and a guitar, organ, whatever, what kind of equipment would you like to see in the most basic situation? Yeah, some of it comes down to the setup what a mobile church not would be somebody that doesn’t have a space of their own, and they’re renting a space, say at the local school or a gym somewhere, and they’re hauling their stuff in and out, Right. There you go. That really changes the cost pretty significantly versus if it’s someplace where you can leave gear set up. And then really the question of like, how technologically advanced are you hoping to be? Those can really play into the price point. I tend to be kind of on the cheaper end of stuff in the sense of finding the right stuff of what you need. And again, I tend to be like, In the middle of like I understand the high tech stuff, but I also know what it’s like to be in South America and not have the finances to be able to buy anything. I always say I’m the voice of reason in the middle. And so that has been helpful for Worship Leader Magazine doing tech reviews, and again, being able to consult and say like, well, you could buy this soundboard. The basic soundboard is gonna cost you somewhere around $1000 to $2,000. But if you’re a tech, the person that’s going to run this doesn’t know anything about technology, then all of these extra bells and whistles of things that it could do are never going to be realized because that’s just not in their wheelhouse. We buy stuff on capabilities a lot because we’ll say, well, this keyboard will make every sound that you’ll ever need, except for you have to have like a master’s degree in how to program this thing and there’s only like seven other people in the country that even use this one anymore because they bought the next year’s model or whatever. And so then the knowledge base kind of gets distributed and they just end up having all this stuff that has a lot of possibilities that nobody uses. So a basic setup, you’re going to have a pastor that’s you’re gonna want some sort of microphone. Usually, they want some sort of lapel, which is the microphone that either comes around to their face or clips onto their tie. You’re going to want a basic soundboard sound system. Do you mind going to talk to us about some different models that you might recommend? Sure. So for example, for the lapel, I mean, obviously churches can’t afford Countryman. Oh, they do. Really? Woah. Yeah. Countryman’s the top dog, and that’s the pastor’s only expense. So that one’s for him, that tends to be the nicest microphone, the one that the pastor uses. Partly because they’re a major portion of the service and what they’re saying needs to be communicated clearly, but they’re also the ones that write the checks. So it all plays in. One thing for those that are buying Countryman, you need to figure out which impedance setting that they’re going to be giving you because they have one for soft talkers, medium talkers, and loud talkers, and most people don’t know that. But everywhere we go, we end up having to look and adjust for that. And they usually have some sort of wireless pack as well. So it will be a wireless transmitter that would go to a receiver. Again, those are usually the nicer ones that they would have. Some people like to have a handheld I prefer to preach with a handheld. Almost always, that’s gonna be your wireless microphone, a Shure, Sennheiser, or one of those models. So then soundboards, right now, pretty much every church in America is buying the Behringer X32. And that’s just because it’s an amazing soundboard. And a lot of people have it, so there’s a lot of knowledge base. That’s going to run, and if you get the full one for one about $2,000, you can get some different versions that are smaller for around $1200. And then they actually have some that are made for small setups that I like a lot. They’re called the X Air series. And those can be as cheap as $200. And you actually run it from your iPad, so you just plug all of your connections straight into the back, and then all of the interfaces is via an iPad. That might be good for a mobile situation, right? Absolutely. That’s awesome. Okay, I didn’t know that. That’s great. Not everybody’s super comfortable running it from an iPad, but it takes just a few moments to get used to, but you’re saving yourself hundreds and hundreds of hours of setup time. And that’s the thing about mobile churches every five minutes that you save in setting up or tearing down, compound that by 52 times a year for how many years you’re going to be doing it, and it starts taking off, sometimes literally years of your life. So getting that down to where it’s compact, you roll it in two or three segments, and you plug it in and go worth the cost of whatever those things would be. So back to a basic system, you’re going to want to have some sort of speaker system. If you’re a mobile church, you can get away with doing something. There are those Bose Towers that they make lots of different companies make them now. JBL makes a great one, where it’ll just be a singular tower that has like five or six different small speakers in it, and then that will usually be connected to a subwoofer. And if you’re just playing like a piano and a vocal or a guitar and a vocal, you don’t need anything more than that. You don’t need the subwoofer or low in or to push really loud. If you’ve got a full band, you’re going to have to have quite a bit of power and support behind that. And so you’re going to want to invest in subwoofers. And the biggest thing on speakers is whether or not it has the amp built into it or not. And so powered versus passive speakers. If you’re buying a powered subwoofer, you can expect to spend like 1500 dollars or more per speaker, and even the passive ones can be $1000. And that’s a lot of energy. But live sound just takes a lot of energy to fill spaces. And the modern music style is to really put a lot of low end into a concert so it’ll be mostly kicked around mostly bass, and then vocals on top of that. Some people love that, and other people can’t stand it. And it always pains me when we walk into these churches that have this amazing sound system, and they have those $2,000 subwoofers, and I go back and check, and they’re unplugged. Live sound takes a lot of energy to fill spaces. Modern music gives off that concert vibe. Oh, my goodness. Because somebody said to turn it down. Ship them over here, would you? Send it to me. Okay, so you’ve got your microphones, your logs. If it’s a stand-up mic for somebody singing, is that something like maybe the SM58 or something like that or what? What’s your favorite mic? Definitely the most standard microphone. Most churches don’t like having wired microphones because of how it looks. And it’s kind of a funny thing because they’ll use a wireless microphone that’ll be on top of a stand that will never move the entire service, but it’s wireless. So that always cracks me up whenever I see that. But we use Shure SM58. I mean, it just sounds amazing, and they’re bulletproof. Like you go online and watch videos, people dumping in water and shooting them with a gun and then like plugging them in and using them. It’s pretty amazing. They’ve been around for a long time. I have some I use here that I don’t even know how long I’ve had those things. They just go with me when I go to conventions because they’re really good at recording very good sand in the middle of a noisy environment. So I love them. Yeah, I have the same ones that I bought when I was a teenager. So yeah, they sound as good as the new ones. And we do a lot of product testing for Worship Leader Magazines. So I’ve seen quite a few different microphones. It’s pretty good. So some people also like the Betas 58, and those require some phantom power, which is the board. Soundboard actually provides some additional power back through the cabling, and it allows the high frequencies to come out a little bit more. Those two are probably 90% of most wired microphones, and then you get into your wireless Sennheiser, Shure, and AKG, microphones pop up pretty frequently. So then if you have a band, that’s where it gets even more complicated because then you got to have direct input for the piano or keyboard. Most everybody’s doing some sort of digital keyboard. I’m an old millennial or Gen Y kind of guy. So I’m like, bring back the regular acoustic piano. But not everybody agrees yet. So we’re still rocking the keyboard. One thing that’s changed a lot of keyboards, which is really interesting, is that everything’s going to a controller, which you actually use your laptop and a program called Mainstage. It’s an Apple product but basically allows you to have all of your sounds generated from your computer, and then your keyboard is just like the keyboard that you would plug into a normal computer where it doesn’t actually do anything on its own unless you plug it in. And so I’m here in my studio, I’m sitting right in front of my M audio controller. And if you unplug it, there are no sounds, and there’s nothing like it doesn’t do anything. But once you plug it into the computer, it becomes like your piano. And so we can make it sound like an organ, you can make it sound like I mean, a synthesizer, anything that you can possibly imagine. And then you can actually buy those sounds people make sounds, my son and I make sounds that we sell for particular songs. So if you want to sound like Hillsong or you want to sound like Kari Jobe, or whoever it is that you like, somebody out there has made that exact sound, and you can buy it and load it on your computer, and away you go. So it’s pretty wild. It’s changing the industry pretty significantly because this controller in front of me would cost $150 where before, if you bought a keyboard that had a similar amount of sounds, you’d be in the $2,000-$3,000 range. It’s a big difference, but we like it because we’re technological like that. So, the sound from the microphone is being sent to the controller? It’s not even real. It’s all midi. So when you push a key, when I push middle C, it notes that it’s C3 and how hard you hit it, it’ll tell you a number between 0 and 125,127. And then the computer receives that and says, oh, he hit this key at this velocity, and he’s holding it for this long, and it goes into its computer database and pulls this sample of some real piano or some synthesizer sound and says, Oh, this is the sound that’s associated with this particular key. And if you play it this hard, then you pick this one. If you play softer, it picks a different one. So those sample libraries can be hundreds of dollars sometimes by themselves and can be as much as three to 500 gigs worth of information. So it’s a lot, but it gets some pretty amazing sounds. Do you also advise people as to what cameras to use if they’re going to shoot video and how to set up their video? We don’t do so much video. We’ve done a few web stuff. A lot of people are really trying to dive into the web things of how do you get your service online. How do you have multiple cameras set up? We use a program called OBS, which is an open-source program. We’ve had a lot of luck with that. Again, it’s free, so that makes it instantly excitable to a lot of people. It’s kind of one of the things that you pay for sometimes because it’s more user friendly or you have assistance from somebody where OBS has quite a bit of an online presence as far as this knowledge base of people making videos and things which have been helpful for us. And then I’m technological enough that I can kind of get that done. But a lot of churches are looking for a plug and play, again, they’re volunteers aren’t techie, they’re just somebody who’s willing to do it. And maybe they’ve been to c once in their life, or maybe they own the latest iPhone, and so then they’re like, okay, you’re gonna be the person to do this. So they’re just looking for like, I just want to come in, I want to turn it on, and I want it to work. And so there’s kind of a wide range in there if that’s about the extent that I go. Otherwise, I just start dropping contacts of people I know who are awesome in that area. Well, I think that COVID has put obviously a lot of pressure on these communities to maintain a presence online, and a lot of them were kind of sideswiped by. They weren’t really ready. No, nobody was ready. It’s been unbelievable because it’s a major change. A lot of churches, maybe they do live streaming or had something that you could go and connect with, but it was way in the background. It was an afterthought. Because so much is built on the Sunday experience of you go in, there’s parking, and there are parking attendants, most of the time you got greeters, a whole team of greeters that are there trained and ready to help you and find your location. So much is invested into the seats, and the air conditioning and how everything looks, and all of a sudden, all of that stripped away. And now they’re looking through one lens into your service on a computer that most people didn’t have. They’re just running maybe one camera in the back. And it’s just a different way to communicate because so much of that Sunday experience is the room. And I think for people who maybe don’t go to church maybe don’t quite grab how just being in a particular place, but it’d be like going to a concert, there are certain halls across the country that are famed for some reason. Like if you went to Red Rocks in Colorado and saw a show like every musician wants to play Red Rocks, it’s because it’s this fantastic venue, it’s like this fortress of Red Rock. If you’ve ever got a chance to even go up there, you’ll see 100 people working out and hanging out and guys like me who are getting on stage and singing couple notes so they can say they played Red Rocks before. Okay, I’m gonna do that. It’s definitely on my bucket list. How far away is that driving from San Diego? It will take a day or so. But yeah, like the Hollywood Bowl in LA. I mean, there’s just like certain places, Carnegie Hall would be another one, where like you walk in, and there’s like an aura to the place where you’re just like, this is amazing. Here in Nashville, it would be the Ryman. It’s a big deal. And so for going into the church and then all of a sudden whether or not you have stained glass or whether or not there’s a history there, and there is a collectiveness and energy. And as Christians, we believe that when we gather together, that the Lord is with us in a tangible way that he’s not as much when we’re not together. And it’s not that he’s not with us, it’s just a different kind of with us. And so when you take that away, and suddenly you’re not able to look around and see the stained glass window anymore, you can only see what the cameras pointed at. And if that camera is in the back or slightly out of focus, or the audio is not good. I mean, the whole audio experience is 99% of churches are not prepared to have broadcast audio. And so they’re just picking up a board mix of what was coming through the mains, well, now you’re not in the room, you can’t hear the acoustic sound of the drums or the acoustic sounds of people singing or whatever it would happen to be. And so nothing comes for free. And so you got to now, put microphones on these things, you got to do all this other stuff, and that’s just not the mode of so many churches. So it’s been quite an interesting adjustment trying to help people in this season. And then a lot of people just don’t know, so then they’re trying to buy stuff and then trying to figure out even more than how to technologically connect with people. They’re trying to figure out how I connect through a different medium. So if you’re a film star, and all of a sudden you got to go to the radio or you got to go to photos only, how do you communicate in those different mediums? It’s just different. Before a pastor, you’re taught how to work the room and kind of look at different people going from left to right. If you get nervous, look above their heads. Well, now you’re preaching to a camera with a green dot on it or a red dot, that’s it. And it’s challenging. For some of the webinars we’ve done and other things, you can’t wait for the joke to land and hope that people laugh because you can’t hear them laughing. So you’re like, well, was it funny? Was it not funny? And it’s just very revealing and very stark. So it’s been interesting, we hosted several online conferences dealing with this exact topic for Worship Leader Magazine. And it’s not easy. The top professionals were there talking with us and saying, Man, we’re figuring this out day to day because things we thought were rock solid when we watch them on the camera we’re like, we need to work on this. What do you love the most about what you do? I love it when people get it. We walk away, and I can tell that, like they’re excited about what they’re doing, they’ve got the resources to be the next level of success. There’s nothing more satisfying to me. And so it’s an interesting place to be in, where it’s like, well, I could have maybe made more fans in that environment or sold more records or sold more whatever. But it’s so rewarding to see people be successful that it’s worth every penny and worth all the time. Shure SM58 sounds amazing and it’s bulletproof. You see videos online of people dumping in water and shooting them with a gun then plugging them in and using them. It’s pretty amazing. Where are you going with all this technology? How do you think it’s gonna change in the next five years or so? Do you have a feeling about that? I think it’s gonna go a couple of different ways. I think a lot of the technological stuff is going to progress pretty rapidly because everybody’s been forced to adapt to it. With all technology, you got to find who you are as people and as a group, and if you’re a down-home country church, you’re not going to suddenly jump into having this huge production and smoke and lights and fancy flashy styling. And that’s just not who you are. But I think, in general, people are going to be way more willing to use technology. Obviously, budgets are being allocated differently right now and being able to purchase some different things. And I think there’s going to be a group of people who are like, and we’re all figuring out how to work from home and how to work remotely. I don’t think everybody’s just going to go back to nine to five, driving in every day. I think that’s gonna change. And I think some people just aren’t going to come to church as much or maybe they found a digital home in another church. So that’s been interesting, but on the flip side of that, and what I’m kind of hoping will happen is that we’ve been isolated so long that we’re longing for humanity, longing for connection, I think will drive people to church and really what I’m hoping is that people are going to value that time and that connection. And so that our meetings won’t just be like you just show up, you walk in and watch, and when you leave, but that it will create more of a community and more of a desire, or at least an appreciation for what we would call the body of Christ or just being a family as believers and the church. So that’s what I’m hoping. So where do we go for Worship Leader Magazine, where do we find Worship Leader Magazine? Worshipleader.com. That is like the epicenter of it all. And so we’ve got two different levels of membership. The first one’s absolutely free and gets you access to the latest edition of the magazine. We’ve got thousands and thousands of articles that you can search for and find information from worship leaders all over the country. One thing that is interesting about our magazine is it’s contributor based. And so we’ve got industry people that contribute, we’ve got people who have 30-40 people in their congregation who contribute, and it’s literally all around the world that we’ll write in and just say, Hey, this is what’s working, or we’ll offer some advice about something else, and we don’t all agree. So one article will be pros on this, and the next article will be totally against it. I love that. That’s good. That’s called discourse. It’s definitely eye-opening sometimes. And then the next level of membership is Membership Plus, and that gives you access to all of our previous editions of the magazine. And then we’ve been doing these conferences and gatherings that have a video from some of the top worship leaders and really the planet, from all over the world. And you get to watch all of those. That’s a subscription, and it’s $10 a month, but well worth it. And you get to check it out. If you don’t like it, cancel it early. It’s been an amazing time of us coming together and just being the body and trying to help other worship leaders. And that’s really the heart of Worship Leader Magazine is, how can we help you do what you’re called to do? So that’s worshipleader.com, and you’re also on Twitter, Instagram, and YouTube as Worship Leader, and then on Facebook, it’s Worship Leader Media, right? That’s us. Okay. That’s awesome. Well, we’re gonna go, we’re gonna check it out. This is wonderful. Thank you for everything you do. I think it’s really valuable, especially at this time when people are looking for a stronger connection. And I really do wish you good luck with it. And thank you for spending time with us today. So everybody, go to worshipleader.com, and check it out and let us know what you think. Steven Reed of Worship Leader Magazine, thanks for your time today. Thanks for having me. And you guys remember what I tell you every time, get up off your chairs and go do something wonderful today. This is Cirina Catania with OWC Radio. I’m signing out. Have a wonderful day. Bye Important Links Steven Reed Worship Leader Magazine Worship Leader Magazine – Twitter Worship Leader Magazine – Instagram Worship Leader Magazine – YouTube Worship Leader Magazine – Facebook AKG Behringer X32 Bethel Church Bose Towers Carnegie Hall Countryman eBay Elevation Church Hillsong Hollywood Bowl iPad JBL Kari Jobe Mainstage OBS OSHA Planetshakers RadioShack Red Rocks Amphitheatre Reverb Ryman Auditorium Sennheiser Shure Shure SM58 Checklist Be creative and resourceful. Have the ability to turn ideas, patterns, and thoughts into something meaningful and beautiful. Then share it with everybody. Promote altruism in your community even in the smallest of ways. Do things simply out of the desire to help, not because you’re obligated to. Spread the word. Share knowledge and light with anyone who intends to listen. Inspire others to do the same as well. Incorporate music for better rapport and camaraderie. Music provides a powerful effect to the human psyche. Whether it’s happiness, sadness, anger, or grief, music tends to help people go through with their emotions. Encourage young people to dream and aspire to have a better, more meaningful life. They are the future therefore it’s your duty as adults to guide and inspire them. Donate and support local charities and churches. Some of these congregations get by with so little, and any type of help will go a long way. Foster a culture of responsibility and practice the act of stewardship within your community. Look out for each other and always have everyone’s best interests in mind. Make sure important decisions are made collectively. Utilize technology to help spread the message. Stay up to date with the new generation so they can more easily understand the mission. Check out Steven Reed’s website and his magazine, Worship Leader Magazine for more information about his writing and mission.
50 minutes | 3 months ago
Tony Vincent: Actor, Musician, Songwriter, and Producer
In 2019, after 21 years in New York City, artist and musician Tony Vincent ("The Voice," "Jesus Christ Superstar," American Idiot," We Will Rock You," and "Bohemian Rhapsody" in front of Queen Elizabeth II and 200 million fans) relocated to Nashville. He is producing music out of his new studio, SoundShop370 and training music theater hopefuls in PCG Theatrical. Our host, Cirina Catania, catches up to him and has a very candid conversation about life in the Broadway fast lane, what took him to Nashville and what he is doing now to honor his musical roots while helping others! Stay tuned. It is a fascinating conversation which will leave you appreciating all that you have now in your life and give you the courage to pursue your dreams. Widely known for his appearance as a finalist on NBC's The Voice, recording artist, actor and producer Tony Vincent has spent the last 22 years of his career operating out of New York City. While at university, Vincent started his own record company, Adobe Flats, writing and producing the EP (Love Falling Down) that led to a recording contract with EMI Records. The two solo albums that followed, (Tony Vincent, One Deed) produced six #1 Billboard radio singles. In 1997 Vincent took a detour into rock-based theater, starring on Broadway in RENT (Mark, Roger), Jesus Christ Superstar (Judas Iscariot) and Green Day's American Idiot (St. Jimmy). He played Simon Zealotes in Andrew Lloyd Webber's film remake of Jesus Christ Superstar, and is also featured in the film Andrew Lloyd Webber: Masterpiece. Vincent originated the role of Galileo Figaro in the rock band Queen's We Will Rock You on London's West End and has also fronted the band multiple times including an epic performance of "Bohemian Rhapsody" for Queen Elizabeth II’s Golden Jubilee, with a live audience of over 1-million people surrounding Buckingham Palace and 200-million viewers globally. Vincent independently released two more albums, A Better Way, produced by Adam Anders (Glee, Rock Of Ages), and the self-produced In My Head, following his showing on The Voice. Tony Vincent is currently writing and producing out of his newly relocated recording studio (SoundShop370) in Nashville, TN and is leading PCG Theatrical— a customized, full-service artist development program specifically designed for aspiring musical theatre performers. For more information about our amazing sponsor, Other World Computing, go to MacSales.com or OWCDigital.com, where you’ll find hardware and software solutions and tutorial videos that will get you up and running in no time. For more about our host, filmmaker, tech maven and co-founder of the Sundance Film Festival, Cirina Catania, visit cirinacatania.com. If you enjoy our podcast, please subscribe and tell all your friends about us! We love our listeners. And, if you have ideas for segments, write to OWCRadio@catania.us. Cirina is always up for new ideas! In This Episode 00:01 - Cirina introduces Tony Vincent, recording artist, actor and producer05:19 - Tony shares how The Beatles is one of the greatest influences in his music and career and almost every other musician, too.11:04 - Tony describes his experiences moving back to his hometown after living in the busy city of New York.17:03 - Tony talks about being a father of two and how he supports his children’s interests even if they are not music industry related.24:14 - Tony’s talks about the PCG Theatrical, a customized, full-service artist development program specifically designed for aspiring musical theatre performers.29:14 - Tony shares his vision in helping young people gain the confidence to believe in themselves that they can become what they dream of.34:06 - Tony tells us his inspiration behind his music shop, SoundShop370.39:36 - Cirina and Tony talk about their preferences in producing good sound and music quality.45:42 - Why is it important to invest in good quality gears and equipment in recording performanc...
37 minutes | 3 months ago
Jim Tierney, Digital Anarchist Creates Amazing Plugins for Editors
Jim Tierney is a pioneer in the development of plugins for motion graphics, animation, and video editing. During the 1990s, Jim worked for software companies like MetaTools, Atomic Power, and Cycore. He helped create graphics products like Bryce, Evolution, and Final Effects. After working on After Effects plugins for six years, Jim thought it was finally time to get out there and do some of his own. So he did, and Digital Anarchy was born in 2001. For more information about our amazing sponsor, Other World Computing, go to MacSales.com or OWCDigital.com, where you’ll find hardware and software solutions and tutorial videos that will get you up and running in no time. For more about our host, filmmaker, tech maven and co-founder of the Sundance Film Festival, Cirina Catania, visit cirinacatania.com. If you enjoy our podcast, please subscribe and tell all your friends about us! We love our listeners. And, if you have ideas for segments, write to OWCRadio@catania.us. Cirina is always up for new ideas! In This Episode 00:09 - Cirina introduces Jim Tierney, Chief Executive Anarchist and President of Digital Anarchy.7:19 - Jim Tierney talks about the Beauty Box as one of the first plugins of its kind to be released and Digital Anarchy’s most popular plugin.13:48 - Jim explains the changes of Digital Anarchy’s Flicker Free version 2.0 plugin.22:07 - Jim describes the best features of the PowerSearch and Transcriptive plugins to optimize your NLE workflow. 29:22 - Jim shares the efficient work setup of Digital Anarchy’s team, where they don’t need to go to an office daily.35:45 - Visit Digital Anarchy’s website at digitalanarchy.com to check out their awesome products and solutions. Jump to Links and Resources Transcript This is Cirina Catania with OWC Radio. Jim Tierney hasn't talked with us in, boy, it's been a year Jim, it was last NAB. Jim is president of Digital Anarchy, and he has a lot of amazing solutions for people who work in the media. So Jim, how have you been? I haven't talked to you in a year. Good. My April is much calmer than it's been in probably 25 years with no NAB. Does it feel weird not to be going to NAB, or are you kind of happy about it? It feels pretty weird. I certainly don't miss setting up the booth and all that nonsense, but I do miss the people. That's the important part about the show, it's like who cares about the booth, but it's the people that you see once a year. There's just a lot of people that I just love to catch up with and nice to see folks that you know. Yeah, I do too. I'm missing everybody. It's the one chance every year, NAB and IBC, I think are the two big ones for me. I always complain about them because there's so much work in preparation. It takes at least a month in advance, and I'm not setting up a booth, but it's just crazy. It's full time for at least a month in advance, and when you get there, and in those days that you're at the convention, you're exhausted by the time you get home. But as much as I complain about it, sometimes they say you don't miss it till it's gone, and I'm kind of missing it. Oh, totally. Yeah, I kind of missed it this year. Yeah, I complain about every year as well. And as I said, my April was much calmer than I think it's been in 25 years. Just not having to ship stuff and not having to prepare stuff and all the rigmarole that you do, but yeah, I missed it. Well, there's no Burning Man this year either. How many years have you been involved in Burning Man? This would have been the 20th year that had gone. Wow. But yeah, they're not holding it this year. That's longer than a lot of relationships. I've been going to NAB longer. Have you really? Oh, my goodness. Yeah, my first debut was 1996. Oh, my goodness. You're not old enough. So, Burning Man, you were involved in the creative artistic side of it, right? We talked a year ago about this,
4 minutes | 4 months ago
OWC RADiO News: Rover Pro Wheels
If you wanted those wonderful, very expensive wheels for your 2019 Mac Pro but couldn't afford them....Guess what?! You now have another amazing option from OWC...the Rover Pro Wheels. Host Cirina Catania says she is, "Over the Moon about these." Visit MacSales.com and find out more. If you pre-order them, the limited-time price is only $199 (with free shipping). For more information about our amazing sponsor, Other World Computing, go to MacSales.com or OWCDigital.com, where you’ll find hardware and software solutions and tutorial videos that will get you up and running in no time. For more about our host, filmmaker, tech maven and co-founder of the Sundance Film Festival, Cirina Catania, visit cirinacatania.com. If you enjoy our podcast, please subscribe and tell all your friends about us! We love our listeners. And, if you have ideas for segments, write to OWCRadio@catania.us. Cirina is always up for new ideas! ABOUT OWC If you work in tech and haven’t heard about Other World Computing (OWC), you may have had your head in the sand. OWC, under the leadership of Larry O’Connor since he was 15 years old, has expanded to all corners of the world and works every day to create hardware that makes the lives of creatives and business-oriented companies faster, more efficient and more stable. Go to OWCDigital.com for more information. Here’s the company’s official mission statement: At OWC, we’re committed to constant innovation, exemplary customer service, and American design. For more than 25 Years, OWC has had a simple goal. To create innovative DIY solutions to give you the most from your technology. Beginning with 100% compatible memory upgrades, reliably exceeding Apple’s maximum RAM specs, OWC’s product offering has grown to encompass the entire spectrum of upgrade and expansion possibilities, all with a focus on easy, DIY setup and installation. Our dedication to excellence and sustainable innovation extends beyond our day-to-day business and into the community. We strive for zero waste, both environmentally and strategically. Our outlook is to the long term, and in everything we do, we look for simplicity in action and sustainability in practice. For us, it’s as much about building exceptional relationships, as it is about building exceptional products. About Cirina Catania, Host of OWC RADiO and Founder and Lead Creative, The Catania Group Filmmaker Cirina Catania, the Founder and Lead Creative at The Catania Group, has been involved as a writer, director, producer, cinematographer or marketing exec on over 130 film, television and new media projects for the big screen as well as for networks such as National Geographic, Discovery, etc. She is one of the co-founders and former director of the Sundance Film Festival and former senior executive at MGM-UA and United Artists. Cirina lives in San Diego, D.C. and Berlin when she is not on the road filming for her projects or for clients, or speaking as a tech evangelist for companies such as Blackmagic Design and Lumberjack System. For nine years, she was the original “BuZZ Babe” showrunner on the weekly tech podcast, Digital Production BuZZ heard in 195 countries. Cirina is a member of Local 600 (IATSE), the PGA and the WGA. Best way to know more about her is to type her name into your favorite search engine! There you will find all the good stuff.
33 minutes | 4 months ago
Deborah Calla, Media Access Awards, Celebrating the Contributions of People With Disabilities
In this episode of OWC RADiO, host Cirina Catania, talks with Writer/Producer and activist, Deborah Calla. Deborah is CEO and Chair of the Media Access Awards (MAA), which she producers with Allan Rucker. The MAA is one of Hollywood's major awards events originally created by Norman Lear and Fern Field, honoring people in the entertainment industry who advance the portrayal and employment of people with disabilities. In 2018, the MAA entered into a partnership with Easterseals of Southern California, the oldest US organization fighting for the rights and education of people with disabilities. Deborah is the founder of Calla Productions, an international company working in the US and abroad to produce and develop feature films, television programming, commercial campaigns, web content and social activism. Deborah and Cirina met years ago when Deborah served as the chair of the Producers Guild of America Diversity Committee (from 2004 to 2018). It was the Producer's Guild mandate to create programs that would educate, promote and provide opportunities for diverse talent including the very successful Producers Guild of America Diversity Masters Workshop. She is also the Brazil Chair of the Geena Davis Institute on Gender in Media. In that capacity, Deborah lectures, creates workshops and presentations on gender equality, and the foundation's work. Deborah is the producer/writer of "Chicano Artists" (HBO Latino), "2019 Media Access Awards" (KNEKT TV), "2018 Media Access Awards" (KNEKT TV), "A Beautiful Life" (Showtime), "You Got Served: Beat the World" (Sony), "Romeo & Juliet Redux" (Freeform), "Stolen Loves" (Globo series adaptation for the US market), "Carnival in Rio" (Travel Channel), "Lost Zweig" (TV Cultura), "Dream House" (Paramount) among others. She is also a published author. For more information about our amazing sponsor, Other World Computing, go to MacSales.com or OWCDigital.com, where you’ll find hardware and software solutions and tutorial videos that will get you up and running in no time. For more about our host, filmmaker, tech maven and co-founder of the Sundance Film Festival, Cirina Catania, visit cirinacatania.com. If you enjoy our podcast, please subscribe and tell all your friends about us! We love our listeners. And, if you have ideas for segments, write to OWCRadio@catania.us. Cirina is always up for new ideas! In This Episode 00:13 - Cirina introduces Deborah Calla, CEO and Chair of the Media Access Awards (MAA), and the founder of Calla Productions, an international company working to produce and develop feature films, television programming, commercial campaigns, web content, and social activism. 08:06 - Deborah talks about the 2019 Media Access Awards, and shares the winner of the Media Access Awards Visionary Award, the creator of The Good Doctor, David Shore.16:55 - Deborah tells the story of growing up in Brazil and starting her career in New York.. 22:31 - When and where to watch the 2020 Media Access Awards.31:22 - Visit Deborah Calla’s website, callaproductions.com, to check out her work. And visit Media Access Awards’s social media accounts and website, mediaaccessawards.com, to stay updated. Jump to Links and Resources Transcript This is Cirina Catania with OWC Radio. I have a dear friend and longtime associate on several guild committees, Deborah Calla, on the line. She's a writer, producer, and CEO of the very well respected Media Access Awards. Deb, thank you, I know you are swamped right now, but I appreciate you coming on the show. We have a lot to talk to people about. Yes, we do. Thank you for having me on. I'm laughing because I'm just really picturing what your days are like right now. Let's talk about the Media Access Awards and tell people who might not know what they are and when you started them. Well, actually, the Media Access Awards started In 1979, with Norman Lear and Fern Field,
48 minutes | 5 months ago
Felix Cavaliere, Legendary Music Transcending Generations
The Beatles once opened for the legendary Felix Cavaliere and the Young Rascals and he has dozens of behind the scenes stories to tell about music from the 60's all the way to present day. Remember, "Groovin," "Beautiful Morning," "People Got to Be Free," and "Good Lovin?" Cirina Catania, host of OWC RADiO interviews Felix Cavaliere, the captivating American music producer, songwriter and performer who hasn't stopped creating classic songs and whose career is still "new" after over 50 years. We also review OWC's News of the Week...and there is a lot of news this week: A ground-breaking new Envoy Express, the just released award-winning Thunderbay Flex 8 and a version of SoftRAID for Windows. For legendary performer, Felix Cavaliere, making people feel good is engrained into his every day world. He has numeroous accolades, including inductions into the Rock & Roll Hall of Fame, Songwriter Hall of Fame, Vocal Group Hall of Fame, and Grammy Hall of Fame. Few artists can claim they defined a generation; FELIX CAVALIERE did. He continues to remind us to keep listening for joy and the world’s beauty. The classically trained pianist, born in Pelham, New York, idolized Ray Charles, Marvin Gaye, and Sam Cook. Felix Caveliere embraced the Hammond Organ and pioneered a fresh, rock and roll sound and he never stopped to look back. (Photo credit: Leon Volskis) “There is a feeling you get, especially when you’re performing with other musicians, and there’s a magical ingredient that comes in and crosses all nationalities and cultures. That has nothing to do with record sales. It happens when the audiences get what we do. They feel it. And we do to. Now, if we don’t feel it, then we should stop doing this. But I’m going to do this as long as I can.”(Felix Cavaliere) For more information about our amazing sponsor, Other World Computing, go to MacSales.com or OWCDigital.com, where you’ll find hardware and software solutions and tutorial videos that will get you up and running in no time. For more about our host, filmmaker, tech maven and co-founder of the Sundance Film Festival, Cirina Catania, visit cirinacatania.com. If you enjoy our podcast, please subscribe and tell all your friends about us! We love our listeners. And, if you have ideas for segments, write to OWCRadio@catania.us. Cirina is always up for new ideas! In This Episode 05:42 - Cirina introduces Felix Cavaliere, a singer, songwriter, record producer, and musician. He has numerous accolades, including inductions into the Rock & Roll Hall of Fame, Songwriter Hall of Fame, Vocal Group Hall of Fame, and Grammy Hall of Fame.10:07 - Felix shares the names of today's Felix Cavaliere's Rascals band members.15:00 - Cirina describes how blessed Felix is because of what he can do with music and how far he has come. He has made an impact on many generations.19:35 - Felix tells the story of how he insisted on producing the song, “People Got to Be Free,” even though the record company did not want to release it.24:45 - Felix shares the story of how The Young Rascals were discovered at a place called The Barge when he was in his early twenties.28:40 - Felix talks about how The Young Rascals moved to a new record company and how things have changed in the group, as per Felix it was a significant disruption.33:13 - Felix shares how Steven Van Zandt got his role in the TV series, The Sopranos, because of his speech at the Rock and Roll Hall of Fame.37:43 - Felix describes Martin Luther King's Memorial Fund as one of the best shows he has ever been on. He met some of the greatest artists of all time.43:01 - Cirina talks about being an optimist during this pandemic. She discusses how we will all come together again.46:15 - Visit Felix Cavaliere's website, felixcavalieremusic.com, to stay updated in Felix Cavaliere's Rascals' news and events. Jump to Links and Resources Transcript On this episode of OWC Radio,
50 minutes | 5 months ago
Mandy David, Signing for the Deaf
OWC RADiO Host, Cirina Catania has lots of Father's Day specials, some tech tips, and a couple of workflow secrets to share on this show. The highlight, however, is Mandy David, a sign language interpreter and President at JFD Communications as well as the YouTube channel, A Moment in Sign, a library of concise videos for learning American Sign Language. What Mandy has done most of her life for the Deaf community is extraordinary and in this episode, you she gives us tips on how to better communicate and empower our relationships with the deaf community. Opening the show, however, is a rundown of the latest tech solutions on sale for Father's Day at OWC's MacSales.com, some peeks into what is being covered over on the RocketYard Blog and a few workflow secrets that help manage a busy work day! Some tips that Mandy shares: 1 ) Deaf people want you to talk directly to them even when you are using the interpreter. 2 ) Eye contact is very important to a Deaf person. 3 ) Treat each other with respect. 4 ) Take the time to learn how to comunicate with people from the Deaf community. You will love it! 5 ) Be patient with each other. 6 ) Make sure you explain what you are saying clearly, as you will be taken literally. This is best done with an American Sign Language Interpreter and the best way to make sure you understand each other. Mandy also directs and co produces the YouTube channel, “A Moment in Sign," teaching vocabulary, situational , and conversational skills to help us be able to have a basic conversation with someone you might meet who is Deaf or hard of hearing that uses ASL. More info: www.jfdcommunications.com Youtube channel: https://www.youtube.com/channel/UCl-YSbxIbA0_mprPWupwzpg For more information about our amazing sponsor, Other World Computing, go to MacSales.com or OWCDigital.com, where you’ll find hardware and software solutions and tutorial videos that will get you up and running in no time. For more about our host, filmmaker, tech maven and co-founder of the Sundance Film Festival, Cirina Catania, visit cirinacatania.com. If you enjoy our podcast, please subscribe and tell all your friends about us! We love our listeners. And, if you have ideas for segments, write to OWCRadio@catania.us. Cirina is always up for new ideas! In This Episode 00:11 - Cirina introduces Mandy David, a sign language interpreter and President at JFD Communications as well as the YouTube channel, A Moment in Sign, a library of concise videos for learning American Sign Language.04:16 - Mandy tells the interesting story of how she started doing sign language.08:53 - A Moment in Sign is Mandy’s YouTube channel. She creates videos for people who want to learn how to do conversational signs.12:23 - What are some tips you need to know when interacting with a deaf person or an interpreter?16:00 - Mandy points out the importance of putting an interpreter for on-screen media announcements specifically during this time of pandemic.20:50 - Mandy explains how communication breaks are frustrating from a deaf person’s point of view.24:26 - Mandy recalls one of her clients refusing to put deaf on their job applications because companies find it a burden to her working effectively.30:07 - How helpful and big of a difference you can make when you put captions in your on-screen media for the deaf population.33:44 - Cirina encourages video producers and all others in the industry to learn how to caption their videos.36:10 - Visit Mandy David’s website, jfdcommunications.com, and check out her YouTube channel, A Moment in Sign, to learn more about American sign language. Jump to Links and Resources Transcript This working from home, I keep blowing fuses. This is the Cirina Catania with OWC Radio. Mandy David is going to be online with us in just a few minutes. She's the president of JFD Communications and A Moment In Sign, which is a YouTube channel.
40 minutes | 6 months ago
Gary Rebholz, VEGAS Software Paving the Way for Video Editing and Audio Creatives
OWC RADiO host, Cirina Catania, and Gary Rebholz, Product Owner, MAGIX/Vegas Creative Software, take a deep dive into the world of the VEGAS NLE and their full line of products. VEGAS Post, VEGAS Pro, and VEGAS Movie Studio are helping creatives be… well, more creative! As VEGAS Creative Software training manager, Gray has written five software training books and produced countless tutorials, webinars, training videos, and most any other type of software training resource imaginable. After many years of teaching users how to use the software, he brought his expertise, and deep understanding of the industry and customer needs to the product management realm. Gary guides the VEGAS Creative Software development team. He works closely with them to set priorities, plan development work, and bring VEGAS Pro and other software to an even wider group of professional users. The Vegas Movie Studio software was recently upgraded, and OWC listeners will hear the inside track on what to expect. And…there’s a free trial available! A Brief Background on VEGAS: In May 2016, MAGIX acquired the multiple award-winning VEGAS Pro and VEGAS Movie Studio product lines, along with other video and audio products. They believe that VEGAS Creative Software now stands poised to take video editing to a new level. The VEGAS Creative Software mission: To make VEGAS software faster, more efficient, and even more intuitive for video editing users at all levels. More information: https://www.vegascreativesoftware.com/gb/ For more information about our amazing sponsor, Other World Computing, go to MacSales.com or OWCDigital.com, where you’ll find hardware and software solutions and tutorial videos that will get you up and running in no time. For more about our host, filmmaker, tech maven and co-founder of the Sundance Film Festival, Cirina Catania, visit cirinacatania.com. If you enjoy our podcast, please subscribe and tell all your friends about us! We love our listeners. And, if you have ideas for segments, write to OWCRadio@catania.us. Cirina is always up for new ideas! In This Episode 00:09 - Visit blog.macsales.com to check out the Rocket Yard Blog, your source for expert tips, special deals, commentary, reviews, and the latest tech news.04:45 - Cirina introduces Gary Rebholz, Product Owner of MAGIX/Vegas Creative Software.07:49 - What are the Vegas Creative Software products?11:54 - Gary discusses the advantages of using Vegas Pro based on people’s feedback and comments. One is the efficiency in which you can finish a project.15:40 - Cirina and Gary talk about their work environment during the quarantine.21:40 - Gary shares the partnership of Vegas Creative Software with FXhome, NewBlue, and Boris FX.24:21 - Gary describes the recently released product of Vegas Creative Software, the Vegas Post.28:15 - Gary’s talks about how his experience in the creative process and his knowledge of the intricacies of the software helped him to be great at what he does.31:24 - Gary mentions the people that resonated with him through their projects created using the Vegas Creative Software products.36:05 - Go to vegascreativesoftware.com to view Vegas Creative Software products, and go get their 30-day free trial to test it out. Jump to Links and Resources Transcript Hi, this is Cirina Catania, I'm the host of OWC Radio. And it occurred to me that I haven't been giving you guys enough tech tips lately. So there was something that came across my desk, thank heavens for the Rocket Yard blog. If you go to blog.macsales.com, you'll see Rocket Yard Blog, and there's a lot of amazing tips there. But one thing that really hit home for me is the one about what you do to stop your MacBook Pro from overheating. I don't know about you guys, but when I record audio from my podcasts, I'm working off of a MacBook Pro, and a lot of the time, that fan will just start going full blast. I mean, it's an overdrive,
70 minutes | 6 months ago
Justin Thomson, Moscow Misfits, Filming at -50 Centigrade or 35,000 Ft in the Clouds
OWC RADiO Host, Cirina Catania, throws back some fun memories and catches up with the news from Justin Thomson, an experienced filmmaker/producer and co-founder, Moscow Misfits. Justin's in demand worldwide for his boundless creativity and extensive knowledge of the world of movies and immersive entertainment. Whether it be on a Lufthansa flight 35,000 ft in the clouds, for the Waldorf Project at Wonder Fruit deep in the jungles of Thailand, or with his director co-conspirator, Rory McKeller, in the icy White River in Russia, Justin's there to solve any problem however large or small. And he'll do it with a smile. Justin creates events that break boundaries and push people's limits of what is possible, driving deeper human connection and expanding participants' beliefs of what is possible. Justin says, "If you have ever seen the film, The Game starring Michael Douglas, you'll get what we are about." There is never a dull moment around the Misfits, thanks in great part to Justin's belief in saying "Yes" to more in life. More information: www.MoscowMisfits.com Justin Thomson Donned Russian cold-weather gear rated to Minus 100 Centigrade for the shoot in Russia for Aquatilis For more information about our amazing sponsor, Other World Computing, go to MacSales.com or OWCDigital.com, where you’ll find hardware and software solutions and tutorial videos that will get you up and running in no time. For more about our host, filmmaker, tech maven and co-founder of the Sundance Film Festival, Cirina Catania, visit cirinacatania.com. If you enjoy our podcast, please subscribe and tell all your friends about us! We love our listeners. And, if you have ideas for segments, write to OWCRadio@catania.us. Cirina is always up for new ideas! Transcript Welcome, everybody. I have Justin Thompson, who is a dear friend and has been since he was a little kid. I think I met you at your mom and dad's house when you were on a trampoline, and you were carrying a video camera. I don't know how old you were, and I think maybe you were eight or nine or 10. And you had a video camera in your hand, and you're jumping on the trampoline, doing flips and recording the video to see what it was going to look like. And all these years later, I don't think you've changed, have you? No. I still like jumping on trampolines. So, let's just start and have you take a trip down memory lane and tell us what countries you've been in, in the last year or two, can you think? There's probably about 20 of them. There's certainly quite a few off the top of my head, India, Italy, Portugal, the UK, Sweden, Germany, France, Bali, the United States, Thailand. I'm trying to think, but that's what I can think off the top of my head. So how many frequent flyer miles do you have? It's never enough. I just love collecting. Well, Justin, I really love watching the work that you're doing, and it's pretty amazing. There's a company you've been involved with for a while called Moscow Misfits. Do you want to tell us about that? Yeah. So Moscow Misfits is a collective of friends. Despite the name, most of us got to know each other in London. Some of the partners in the group are from Russia or grew up in Moscow. And a couple of years ago, we all decided to embark on this crazy adventure to shoot an independent feature film in Russia. And we decided this film was going to be filmed in the Arctic Circle and northern Russia, near Murmansk. Originally, we went to the traditional production and film partners in Russia that one would go to, and they're a handful. They're all very expensive, and they're all very set in their ways like you can only do this, you can't do that. And we're a very spirited and entrepreneurial group of individuals and decided to try and do it on our own, and go the hardcore route, and so we made this film. And then interestingly enough, after we had made the film, done principal photography,
49 minutes | 7 months ago
Orlando Luna, Andy Stein & the Orphaned Starfish Foundation
In this episode of OWC RADiO, host Cirina Catania, talks with Orlando Luna (Producer/Benefactor) and Andy Stein (Founder and Executive Chairman) of the Orphaned Starfish Foundation, as they unveil the behind-the-scenes stories of how this organization came about and how OSF is now teaching technology, creativity and story-telling using mobile hardware and software. OSF was founded in 2001 to help orphans, victims of abuse, survivors of trafficking, indigenous populations, refugees and at-risk youth worldwide escape their cycles of poverty and abuse through education and job training. As of this broadcast, over 15,000 children in countries around the world have seen their lives changed as mentors from the organization arrive to empower their inner creativity. By taking away the thought that filmmaking is "hard," and giving them simple but powerful tools, all the team has to do is train them and give them the inspiration to create! The results are surprising. In a new association with Mobile Phone Studio and WeMakeMovies, The Orphaned Starfish Foundation’s emerging tech-arts program is reaching out even further to enable children to tell their stories through film. Yes, it is about gear, but it is even more about freedom of expression and a safe field in which to run. The work is as powerful as it is important. We are proud that Other World Computing sponsors our show. Please visit their website and give them some love! Find out more at: www.osf.org Write to us at OWCRADiO@catania.us or comment below. For more information about our amazing sponsor, Other World Computing, go to MacSales.com or OWCDigital.com, where you’ll find hardware and software solutions and tutorial videos that will get you up and running in no time. For more about our host, filmmaker, tech maven and co-founder of the Sundance Film Festival, Cirina Catania, visit cirinacatania.com. If you enjoy our podcast, please subscribe and tell all your friends about us! We love our listeners. And, if you have ideas for segments, write to OWCRadio@catania.us. Cirina is always up for new ideas! In This Episode 00:04 - Crina introduces Orlando Luna, producer/benefactor, and Andy Stein, founder and executive chairman, of the Orphaned Starfish Foundation.02:41 - Andy shares his story of how he started forming the Orphaned Starfish Foundation.09:55 - Orlando shares the equipment that they bring to the orphanages for children to use for learning.15:03 - Orlando shares the process on how the children practice shooting, creating scripts, and editing videos. 22:50 - Cirina shares how amazed she was with elementary and middle school kids who are not afraid of using technology. She discusses visiting Rancho Bernardo with We Make Movies and Smartphone Studio team.26:56 - Orlando shares how the foundation helps children prepare for getting jobs in the production industry.31:48 - Orlando shares how all the kids and teens in the center work well together with projects. This inspired them to help people interested in filmmaking.36:32 - Orlando shares how Andy helped the centers in getting a good Internet connection for seamless learning.40:50 - Cirina shares what she read on the foundation’s website about them being transparent with the money that goes toward the administration and foundation itself.44:16 - Visit osf.org to donate, get involved, and to know more about the Orphaned Starfish Foundation. Jump to Links and Resources Transcript Oh, here we are together again. This is OWC Radio, and today we are sharing something with you that makes me very happy. The Orphaned Starfish Foundation, Orlando Luna, producer and benefactor, and Andy Stein, founder and executive chairman, spend some time talking with me about three of my favorite subjects: technology, creativity, and storytelling. I'm your host, Cirina Catania, inviting you to listen in. I have Orlando Luna here with me. We're going to talk about an amazing program t...
61 minutes | 7 months ago
Jem Schofield (theC47) DP, Producer, Educator
Cirina Catania, the host of OWC RADiO, talks with Jem Schofield - producer, DP, educator and the founder of theC47 (a full-service production company that focuses on video production, filmmaking, consulting & education). Jem now spends most of his time producing content, educating others and otherwise being borderline obsessed with cameras, production, and the craft of lighting. For over 20 years Jem has produced projects and provided training for an ever-expanding client base. Current and past clients include AbelCine, Apple, Inc., ARRI, Canon, Corus Entertainment, LinkedIn Learning, MAC Group, MZED, NBCUniversal, NPR, PBS, Riverbed Technologies, Scottish Enterprise, Sony, TED, The Vitec Group, Walmart Films, Westcott, YouTube & Zeiss. Jem is also an equipment design consultant to many manufacturers in the film and television industry. He designed theC47 DP Kit & the C47 Book Light Kit (geared towards corporate, in-house and small to no crew productions), which is based on FJ Westcott's Scrim Jim Cine system. His in-depth courses "Cinematic Video Lighting", "Advanced Cinematic Video Lighting" and “Corporate Event Video: Producing Company Meetings and Presentations”, are currently available on the LinkedIn Learning platform. For more information about Jem & his whereabouts visit his YouTube Channel at www.youtube.com/thec47 where he posts ongoing educational content focused on the tech & craft of video production and filmmaking related to Small to No Crew production.Visit Jem's Website: www.thec47.com Write to us at OWCRADiO@catania.us or comment below. For more information about our amazing sponsor, Other World Computing, go to MacSales.com or OWCDigital.com, where you’ll find hardware and software solutions and tutorial videos that will get you up and running in no time. For more about our host, filmmaker, tech maven and co-founder of the Sundance Film Festival, Cirina Catania, visit cirinacatania.com. If you enjoy our podcast, please subscribe and tell all your friends about us! We love our listeners. And, if you have ideas for segments, write to OWCRadio@catania.us. Cirina is always up for new ideas! In This Episode 00:28 - Cirina introduces Jem Schofield, a producer, director, DP, product designer, and educator.05:18 - Jem shares his journey in transitioning theC47 to an educational brand.09:20 - Jem shares some of his experiences with people reaching out to him sharing stories on how his educational video made an impact on their lives.15:22 - How the production industry is a growth industry with numerous opportunities despite the crisis happening in the world right now. 19:55 - Jem and Cirina share their stressful yet unforgettable moments while working with their crews on set. 26:10 - The type of classes and training offered by Jem on theC47.31:03 - Jem shares his goal of creating a course in video communication for university and high school students.34:27 - Jem provides some tips on how to be more comfortable on camera.42:03 - Jem and his community are working together in creating an effective online conference environment for people to learn and hone their skills.49:26 - Check out Jem Schofield’s YouTube channel, theC47, and visit his website theC47.com to learn more about video production, filmmaking, and a lot more. Jump to Links and Resources Transcript Jim Schofield is on the line with me. He's an amazing DP, producer, filmmaker, and educator, and I've known him for- I'm not going to tell you how many years I've known Jim. How many years? No, we're not going to tell them how many years we've known each other. Welcome! All right. Thank you, Cirina. It's good to be here with you even in these strange and uncertain times. I know it's a little bit crazy. So I'm at my house, I'm in the corner of my living room, and I actually had to take some pictures off the wall in order to do this. Next time we'll have the backdrop. You're at home as well.
Terms of Service
© Stitcher 2020