Brian Penick of local music promotions company The Counter Rhythm Group is guest blogging for CityBeat monthly to provide a behind-the-scenes look at his journey to release his interactive industry guidebook, Musicians' Desk Reference. For more on the project, visit its Facebook page here.
Wow, what a month. Extreme highs and lows, minimal sleep and a work schedule that would make an outsider believe I had an armed guard with a shotgun pointed at my back … which in some regard is true, except that I am playing both roles.
I am going to attempt to make this blog entry significantly shorter than the last because, as you may have guessed, I have more work to accomplish. The ever-looming deadline for South by Southwest (SXSW) is creeping up and preparations with everything surrounding the presence of Musicians’ Desk Reference at SXSW grow almost exponentially by the day.
This will be my fifth year attending the Austin, Tex., festival/conference (the largest music-related event in the US), and while it is my second time going without performing, I can already tell that this will be my busiest year ever. Taking meetings, handing out promo material and managing schedules for myself and my team are just a few of the things that will fill my week-long itinerary, all for the pursuit of introducing Musicians’ Desk Reference to some select individuals for endorsement.
While there are many different potential outcomes to this journey, I feel confident that my inevitable glass of top-shelf Kentucky bourbon at the end of the week will be a salute to success rather than a drowning of sorrows.
The obvious focus of this month, or at least what the intention was to focus on, was our Kickstarter campaign for Musicians’ Desk Reference (our upcoming music industry progression eBook for you newcomers). We still have a little over a week to go and time will tell what the final outcome is. My original goal was to have the funding reached by interested parties to eliminate the need for a third party publisher, ultimately keeping the cost down for the user.
In the event that this goal is not obtained in early March, never fear, as those who know me have probably deduced, I have several backup plans. Am I thorough? Yes. To the point that I am slightly neurotic? Probably. Regardless, nothing is going to stop the freight train that is Musicians’ Desk Reference. Nothing.
So in my attempt to clear my schedule for February to make way for this crowdfunding campaign, I actually ended up with a much busier month that originally anticipated. On top of all of our regular client work, The Counter Rhythm Group hosted our Locally Insourced Cincinnati Music Industry Trade Show, a fantastic show with Bad Veins, PUBLIC and The Ridges. We have been in negotiations with several of our clients for national support tours and we are in the midst of working a potentially huge licensing contract for a client.
In addition to a nationwide social media campaign and a getting ever so close to finishing the book, these past 28 days have seemingly become a marathon that we have just sprinted through. My next vacation is (literally) planned for 2015.
In closing I would like to take a second to thank not only those who have already donated to our Kickstarter, but also to those who (hopefully) will. There is still some time left (depending on when you read this; campaign ends on March 8), and sharing is something we are also encouraging folks to do. I would really like to try and go the independent route with this project, but I am prepared with other options in the end if that is not the case. At the least it has been quite a journey.
I also would like to thank those who have had to deal with my absentmindedness in (“normal,” non-music related) conversation over the past few weeks. I would like to say that this may change in the coming months, but knowing myself and how much I want to accomplish with Musicians’ Desk Reference, I would just plan on it for the next several months. It is by no means a way of stating that I do not care about what else is going on in the world, but should be viewed as a precursor to how significant I think this project can potentially be. I have dedicated literally half of my life to the music industry and I believe this is my biggest accomplishment to date.
Goodnight, and thanks for reading!
For a limited time (while supplies last, as they say), seriously discounted tickets for the MidPoint Music Festival — which returns to the clubs and venues of Over-the-Rhine/Downtown Sept. 26-28 — will be made available starting this Friday at 10 a.m.
During this “Loyalty Presale,” three-day “All Music Access” passes can be purchased through mpmf.cincyticket.com (the site will be live for the public tomorrow) for just $49 (they’ll be $20 more come MPMF time). They are expected to sell out fast, so get ’em while you can. For those wanting a VIP MPMF experience, the popular VIP passes will also be available Friday for $129 ($40 off the normal price). The VIP tickets get you priority admission to all shows, access to catered VIP-only events and other goodies. (Last year’s VIP passes sold out before the fest.)
In other MPMF news, if you are a musician/performer interested in being considered for a showcase slot at the festival, submissions are now being accepted via Sonicbids. The submission fee is just $20 until this Friday; after that it goes up to $25. (Those without a Sonicbids account can submit to MPMF and receive a two-week free trial of the service.)
Stay tuned to MPMF.com and this blog for the latest updates on MidPoint.
The 2013 Cincinnati Entertainment Awards ceremony/party late last month at Covington’s Madison Theater was filmed on high-quality video and this Saturday, for the first time in the 16-year history of the CEAs, fans who want to relive the performances and presentations (or those who missed it altogether) will have a chance to watch the show on television.
The show includes the short but very sweet live sets from Bad Veins’ Ben Davis, The Dopamines, Gold Shoes, Ricky Nye, Jess Lamb and Culture Queer, as well as an all-star presentation of songs from the Come Play the Lost Notebooks of Hank Williams at Herzog EP put together by the Cincinnati USA Music Heritage Foundation.
Saturday at 9 p.m., thanks to the Intercommunity Cable Regulatory Commission, the full show will be aired on ICRC TV, available in select communities in the Cincinnati area via Time Warner Cable channel 4. The show will be rebroadcast on the same channel Monday at 8:30 p.m., March 1 at 10 p.m. and March 2 at noon. (Check here — in the column on the left — to see if the broadcast is available in your area.)
For those in Cincinnati proper, you can watch the CEAs on Time Warner channel 24 on Feb. 27 and on March 6 at 9 a.m. A Northern Kentucky broadcast is also in the works, as is the ability to watch the program online. Stay tuned to this here music blog for the latest updates.
If those air times don’t work for you, you can also purchase a copy on DVD. Simply email firstname.lastname@example.org to inquire about delivery and prices. (Program reference number is 16534.) To relive the ceremony in photos and words, click here.
Contemporary Arts Center has officially announced that Patti Smith will perform The Coral Sea with daughter/pianist Jesse Smith on May 17, in connection with her CAC exhibit, also called The Coral Sea, that opens the next day and features work not previously seen in the U.S.
At the concert, Smith will also play selected material from throughout her career.
The CAC website says that "The Coral Sea performance work found its beginnings from Smith’s 1997 book of the same name, her requiem to her dear friend Robert Mapplethorpe (who took the cover photo of Smith’s debut album, Horses, among his many other accomplishments). With music arranged and performed live by Kevin Shields — of heralded British shoegaze band My Bloody Valentine — two separate performances were held at London’s Queen Elizabeth Hall in June 2005 and September 2006. In 2008 those performances were released as a live album."
Mapplethorpe's own posthumous photography retrospective at CAC, 1990's The Perfect Moment, became a major controversy when cultural conservatives led by now-retired Sheriff Simon Leis tried to shut it down for obscenity. In a famous trial, a jury sided with the CAC. The concert venue and ticket information will be announced soon at www.contemporaryartscenter.org.
I first wrote about Smith's art show coming to the CAC in CityBeat last year here.
Despite Frank Ocean's deft leg-syncing and Taylor Swift's torture-porn-disguised-as-wholesome-circus, Akron, Ohio's Dan Auerbach and The Black Keys were The Grammys' big story last night, winning five trophies, the most of any artist.
While the Keys won the Grammys for Best Rock Album, Best Rock Song and Best Rock Performance, Auerbach scored two solo Grammys for his production work, winning the trophy for Producer of the Year (Non-Classical) and also winning one for producing Dr. John's Locked Down, the Blues Album winner.
While Grammys for album winners are usually given to the producers, engineers, mastering engineers and artists, hopefully Cincinnati's Brian Olive will also score one for his work on the LP. Auerbach — who has produced albums by both Olive and Cincinnati's Buffalo Killers — enlisted Olive (an original member of Cincinnati's Greenhornes) to work on the Dr. John album. Olive has songwriting credits on every track on Locked Down, and he's also credited with playing guitar, percussion and woodwinds, as well as providing background vocals. (Check out CityBeat's profile of Olive from 2011, about his Auerbach-produced Two of Everything album, here.)
Kudos to Mr. Olive! That's him — the handsome feller with big side-burns playing sax (and a little guitar) in this video for the album's "Revolution."
Check out all the winners from last night's Grammys here, and click here or here for some extra musings about the show.
"Bohemian Rhapsody," one of the trademark songs by legendary rockers Queen, was fittingly released on Halloween in 1975 and its strange, epic Rock operatics were an instant success across the globe (it only reached No. 9 on the U.S. singles charts initially, but a re-released version on the heels of its appearance in Wayne's World made it to No. 2 in 1992). Though a bit silly, history has treated the tune well — it's regularly included in innumerable "Best Rock Songs Ever" lists and polls and was inducted into the Grammy Hall of Fame in 2004.
Here's the beginning of BBC's The Story of Bohemian Rhapsody for some background (the rest of the parts of the program are in the right column if you click the "Watch it on YouTube" link).
The song has been covered numerous times over the years (though mostly not until the ’80s/’90s, likely due to its "untouchable" status in the minds of some; how many "Stairway to Heaven" covers are there?). Sometimes the versions are cheeky parodies (of COURSE Weird Al recorded "Bohemian Polka"), while other times it is presented fairly straight up (like P!nk's live version).
This young month has already seen the issuance of two new(-ish) covers of the song. The Flaming Lips tackled the track in 2005, recording it for the Killer Queen: A Tribute to Queen compilation. But yesterday, a new video of the song was posted to the group's YouTube site. It's fairly faithful, with just a little of the Lips' freaky glaze sprinkled on top. The new video is a bit more glazed — and decidedly NSFW (due to female nudity).
Puscifer, one the side-project bands from Tool frontman Maynard James Kennan, has recorded the song as well, set for release on a new EP, Donkey Punch the Night, due Feb. 19. It's a strong version, but even more faithful to the original.
Who does it better?
Personally, I don't think it gets better than this — The Muppets version of "Bohemian Rhapsody," released in 2009 (and currently boasting over 30 million views on YouTube). Animal steals the show.
Tonight at Rohs Street Café in Clifton Heights, local musicians get an industry trade show of their very own. The “Locally Insourced: Cincinnati Music Industry Trade Show” is being presented at the venue at 6 p.m., organized by the Counter Rhythm Group and presented in conjunction with the MidPoint Music Festival.
Along with being able to register for showcase consideration at this year’s MPMF (you can also do so now via Sonicbids; click here for details), Locally Insourced is designed specifically with Greater Cincinnati musicians in mind and features booths representing various music entities in the area, from recording studios and merch makers to local labels, radio outlets and much more. Among the vendors participating: Modern Misfit Classic Genius, Southpaw Prints, Bearcast Radio, The SoundWorkshop Recording Studio, El Rey Effects, Moonbeam Studios, Moonlight Studios, CincyMusic.com, Play It Forward, Phratry Records, DMark Video Productions, Cincyticket, Coda Photography, QCA and Sebastian Illustration.
The event is free and open to all ages. Visit locallyinsourced.com for more details.
Counter Rhythm Group main-man Brian Penick has just launched a Kickstarter project for his forthcoming interactive and customizable e-book, Musicians’ Desk Reference. Here is the pitch video that explains the project very well; click here to visit the Kickstarter page and check out the various perks your donation can earn for you.
For even more on the book, attend tonight's trade show and be sure to keep an eye on this here blog, where Penick recently began guest blogging monthly updates about the project.
A thousand words. That’s what I have to tell you everything about what I am doing, why I am doing it and how it may affect musicians and the music industry. At the end of it, you get to form an overlying judgment on both who I am and my reasoning. So here we go.
My name is Brian Penick and I am the founder of an artist development company called The Counter Rhythm Group and the author of the upcoming eBook, Musicians’ Desk Reference, an interactive and customizable eBook that establishes a protocol for progression through the modern music industry. Yes, that’s a lot — I’ll explain below.
But first I’d like to thank the kind folks at Cincinnati's CityBeat for giving me an amazing opportunity to guest blog about my world for the next couple months, raising nationwide awareness (and funding) for an eBook that will be released in October. We are very fortunate to have an entity such as CB here in Cincinnati that is willing to take a chance at promoting a startup project this early on, something that fewer individuals have every year with the closing of “altweekly” newspapers across the land. While I could go on for many paragraphs ranting about how important these outlets are to the worlds of the arts, small businesses and independent thinking in general, I simply implore you, if you have not done so in a while, to go pick one up and start reading. You won’t realize what you’re missing until its gone.
This book is a project that I am putting together out of both passion and necessity. I have been a touring musician for well over a decade now, having a large part of the business end in each of my projects, always trying to learn the ins and outs of the beast known as the music industry. I love giving advice to other musicians on whatever I can, and while I might not have the answer, I often have an answer, which is (usually) better than nothing. I enjoy seeing independent musicians thrive or “make it,” and I always hope that people who find success are willing to share their knowledge and experiences with those who have not … a utopian dream I have where the music industry becomes more of a community, eliminating the competitive edge that unfortunately drives musicians to greedy and selfish attitudes about helping others.
Throughout my personal experiences as a musician and running The Counter Rhythm Group I have found some parallels to the questions musicians are asking, most of which seem to have a natural progression to them.
For many, the music industry seems to be a labyrinth you have to face in the dark. Why does it need to be this way? I believe it doesn’t.
Musicians’ Desk Reference sheds light on the complexities. You’re still going to have to navigate your own path, but this eBook will give you some tools in your belt to have as good of a chance as ever. The inner workings of the book display information on several topics of the music industry, offering insight as to WHY, WHEN and HOW you can accomplish important tasks, all leading towards progression. But it doesn’t stop there, as the book gives you customized scenarios in chronological order that offer clarity on what exactly you need to do. In addition to all of this, there is an extensive collection of documents that are included — everything from templates and instructional guides to examples and video tutorials.
Again, I don’t have ALL the answers, but I do have some, which, combined with my desire to help more musicians than I presently can, is why I am in the position that I’m in. I would have loved to have a resource like this when I was coming up as an independent musician and I really hope this is a game changer for the music industry.
We’re about to launch a Kickstarter campaign for the project, something that makes me queasy just thinking about it. I have been on the fence about KS from the start; while I think it’s actually a great platform to help projects that extend the bounds of creativity come to fruition, you’re still begging for money, which I am not a fan of. I started The Counter Rhythm Group out of pocket and, while I would love to do the same for this, the costs are astronomical to produce a good (like this) vs. a service, and there is no way I can handle that at the moment.
But then I started to realize that how important crowd funding is to something like this. Getting people to support this extends beyond the monetary value (more backing = cheaper book costs to users), because when someone backs this project it means that they believe in what we are doing and that it’s necessary. That is a very humbling thought to someone who has essentially shut himself away from the masses since starting this project and it makes this knot in my stomach start to slightly ease up.
Here I am about to enter the most important month of my life, one that will dictate at least the rest of the year, with the amount of sleep dwindling with each approaching night. I encourage you to read the story and watch the video at my Kickstarter page and if you feel compelled to, contribute and/or share.
Again, I am grateful for what I do and the fact that I get to do it every day, even if it means I get to help only a few. I love music more than most things in this world and I know many of you share that same sentiment. Thank you for reading. Here we go.
Brian Penick will be guest blogging for CityBeat monthly, leading up to the fall release of Musicians' Desk Reference. For more on the project, visit the official site here.