This page exists to publicly thank some of
the people who have helped me in my musical career. For whatever raw talent I
possess, I thank the infinitely abundant universe and my parents; for helping me
develop it, I thank the following people and organizations.
My gratitude also goes out to those whom
limited space prevents me from acknowledging here – please know that, even
though you may be absent from this page, you are very much present in my heart!
I could not possibly organize this in order of importance, so I have made two more-or-less alphabetical sections: people and organizations. I have also included web links whenever possible.
PEOPLE
My parents, LEONARD AND ESTHER BERNSTEIN, for raising me in a house filled with great music, encouraging me to develop my musical talents, and teaching me that I could realize any dream I set my mind to.
, for writing the independent performing musician’s bible, HOW TO BE YOUR OWN BOOKING AGENT. It has helped me tremendously, and is a must-read for any serious independent musician.
. A ridiculously talented full-time children’s singer/songwriter and dear friend in Stillwater, Oklahoma, Monty has taught me more about songwriting than anyone else. He helped guide my songwriting from its dark, cathartic beginnings to a much happier place of heart, joy, humor and light. Though we now live half a continent apart, Monty and I still critique each other’s songs on the phone, and he remains my most insightful critique partner.
DEANNA LANE. Deanna was my significant other for 4-1/2 years, and I owe her thanks for so many things beyond music! She was usually the first one to hear the earliest drafts of my new songs, and had an uncanny ability to sniff out their critical weaknesses before I was aware of them. When I got off too much into my head, she helped me to center back into my heart. Her singing and performance critiques were also extraordinarily helpful. She co-wrote my first award-winning song, “Shining From Insideâ€Â.
. World music singer, songwriter, producer, synth wiz and much more – including friend for life. Steve has always been there to help me with his keen mind and omnipresent humor, whether the guidance I needed related to spiritual matters, synthesizers, recording tips or Mac software.
. I have benefited from Steve’s encyclopedic knowledge of songcraft at several song schools. He not only writes hit country songs on a regular basis, but is an amazingly enthusiastic, entertaining, concise and effective songwriting teacher. Long may he teach!
KAREN SMITH-PEARSON. In two years, Karen’s extraordinary teaching transformed my voice from a wimpy whine to a resonant baritone. All the vowel drills, show tunes and arias were worth it! She is also one of the most compassionate, giving people I know, and I am proud to call her my friend. Karen teaches voice in Oklahoma City; her number is 405-ME-1-ALTO.
, creator of transcendentally beautiful, spiritually uplifting extended chants, for his been-there-done-that insights into being a touring folk musician, his valuable advice and persistent encouragement (even when I sucked), his everlasting friendship, and for making me bust a gut laughing with his bizarre humor and fifth-dimensional puns.
The songwriting teachers , for helping me understand the seven levels of language in songwriting and coaching me on several songs, , for helping me see the big picture, and , for teaching me the importance of melody.
JIM BOGLE and JAMES POWELL, my classical guitar teachers, for teaching me about musical expression and helping me develop my guitar technique.
The late (whose brilliance we enjoyed for far too short a time), (especially BRENDAN MILBURN) , , , , , (Kelly Mulhollan & Donna Henschel) and – all extraordinary and compassionate human beings – for taking time to help me personally, and for inspiring me with their brilliant music.
ERIC GARRISON, “Wild Man†, and “The Joy Volcano†. Their interactive performance classes were instrumental in helping me loosen up and become a better performer.
and . It was seeing Greg’s extraordinary performances at the Blue Door in Oklahoma City that first made me seriously consider a career in folk music. He and DonCon also took the time to sit down together after their joint Blue Door show and talk with me seriously and at length about the sometimes harsh realities of this lifestyle. Thanks also to DonCon for teaching me about partial capos, which I now use regularly to bring new beauty and sonic wonderment to the guitar without retuning!
and , for their encouragement and turning me on to the best local gigs!
ORGANIZATIONS
, whose national and regional conferences have been invaluable in teaching me about both the business and creative aspects of the folk music world. The networking, showcasing and self-promotion opportunities available at a Folk Alliance conference are truly extraordinary!
GASM, the Group of Asheville Song Makers, for embracing me when I was new in town, providing me with valuable song critiques, giving me showcase performance opportunities, and helping me plug into the local music scene.
. An 18-day alternate universe in South Texas full of extraordinary people, musical opportunities to hear and be heard, and chances not just to network with performers and presenters, but to establish and develop real friendships. Not to mention lots of groovy tie-dye, a laid-back, New Agey vibe, and stage performances by nearly 100 of the folk world’s best singer/songwriters! I also benefited greatly from attending the festival’s Song School and Music Business Seminar. (Many people even attend for free as .)
, the Oklahoma Songwriters and Composers Ass’n. This wonderful organization’s critique sessions, guest speakers, songwriting seminars and open mics were all instrumental in helping me get my songwriting and performing off the ground.
and the . These are both extraordinary song schools! Whether I have needed to brush up on songwriting, singing, performance, guitar technique or music business, I was able to do it at these soup-to-nuts schools for performing songwriters.
Page Revised 12/3/03