Are you a singer or musician who is miserable and hating the music gigs and/or day gigs you do have, if any?  Or … did you just lose a gig you hated anyway, but now you are feeling like a failure?   These are common dilemmas, especially for those of us who have many different skill sets.

The only drawback to being mult-talented is that there are that many more paths to take, and for a while they seem deceivingly appropriate, easy, and practical. They also seem like responsible, neccessary options. That said, there is one thing I know for sure. Your true calling will out, no matter what plans you make or actions you take. It will not stop until you are doing what you are supposed to be doing. Only then will work feel easy & worthwhile. Only then will what you are doing feel right and natural, inside your head and your body. If you keep your eye on that kind of feeling and give work that makes you feel that way its proper due, more and more of those opportunities will present themselves. I speak from personal experience.

The key is to honor that feeling, and not to diminish it or see it as “non-work” just because you enjoy it. Work is NOT supposed to hurt. It is supposed to nourish, provide, and give us a sense of self worth. Period. The rest is hog wash. The universe is indeed aligning in your favor, with or without your permission. Give it time, and yield to the inevitable. You may as well! It will be a much more relaxing ride, once you allow the “clutter” of jobs that are wrong for you to go to someone else. Think of it as a life purpose garage sale. Your junk is someone else’s treasure. Let ‘em have it! Your profit from that sale? Peace of mind and a healthy reminder of who you truly are. Of course we all have to make a living and we often have to take jobs we do not like, but that is no excuse to completely abandon your passion.

Remember … you can’t effectively pursue your passion casually, which is what happens when you perform or create or work in a bad environment or you spend an inordinate amount of time working on things that mean nothing to you. The right situations will come, as long as you are willing to do all that you can to seek them out, and to milk them for all they are worth when you find them. Parlay good jobs into more good jobs. Parlay good contacts into more good contacts. Stop hesitating when something good feels like an “unlikely” possibility.

Make it yours!  You have all the power. I promise.

Cheers,

Michelle

Okay, I confess.  I am a literature geek.   That made it hard to resist an offer to sing at a venue named after the protagonist in one of the world’s great fictions.  In The Legend of Sleepy Hollow, Ichabod Crane is said to have been chased away (or done away with) by the Headless Horseman.  This Saturday, I will be singing standards with Howie Gold from 7:30 to 10:00 PM at Ichabod’s Lounge in Las Vegas.  The atmosphere is great, the food is delicious, and they have a new dance floor.  What’s not to love?  No spooky stuff here, just good times.  Ichabod’s is at 3300 East Flamingo Road just off of Pecos.

Please come out … I need a good showing for my debut night this Saturday!

Great food, great music and a new dance floor! Free admission!

Ichabod’s: 3300 East Flamingo Road, #15 Las Vegas, Nevada 89121

Phone: 702-451-2323      ***21 and older for lounge seating

Lounges that used to have live music have become late-night velvet rope clubs.

Radio and corporate sponsors are an endangered species. Venues are slashing their marketing budgets like never before, especially in entertainment.  Celebrity DJ’s are the new “bands” in Fabulous Las Vegas.

So … what’s a would-be working musician to do?

For starters, one would have to have a grasp on marketing trends.  Let’s cut right to the heart of the way entertainment is being booked and marketed across Las Vegas.  I am speaking particularly about supplemental, non-headliner entertainment.  You know … what properties would call the fluff, the afterthought, the garnish, the background music, the ambience quotient as it were.  That is where many of us make our bread and butter.  These days it would seem that there is only a bit of crust to sustain us.

Entertainment is the first thing to go when economic times are bad, and the first thing to come back when things perk up.  I have watched this cycle for years, and it is nowhere more commonplace than in Las Vegas — the Entertainment Capital of … the World?   Well, we used to be.  As entertainment goes, so goes the casino market in general.  Right now, pockets are tight and “four walling” is the name of the game.

Keeping a steady gig is increasingly difficult these days, even for heavyweight musicians who used to have to turn things down right and left.  (That is part of the reason I was able to pull such great players for my former monthly jazz gig.)

One of the reasons for the decline in steady shows is that properties are not working in tandem with entertainers to develop a following or pull in any repeat customers for their entertainers.  We have become our own marketers, managers, press agents, roadies, and in some cases even our own sound engineers.

I don’t mind that trend.  I rather like being responsible for my own marketing weight, and I love not being told what to do.  However … any marketing campaign, be it generated by the world’s largest gaming company or by Joe Piano Player, needs lead time and a follow up strategy if it is to succeed.  Without those elements, the best PR in the world will inevitably fall flat.

Unfortunately, those elements require foresight, patience, consistency, and quality control.  The foresight to plan ahead and promote an act with at the very least some inexpensive electronic marketing via the web is essential.  The patience to give the act time to actually succeed is very hard to come by in the current climate.  I am not talking years here; I am talking weeks –weeks using the SAME act so that people get used to the schedule and know where an artist is playing.  Consistency in marketing and in the delivered quality of the eventual entertainment experience itself is equally crucial.  That means good food service, a polite wait staff, and booking good entertainment in the first place.

So … when a venue decides from week to week who to put on stage, sends out nothing to its customers in the way of promotional material or electronic flyers, puts out very little signage at the venue itself, skimps out on good bar and food service, and does no follow up marketing … well, then even a musician who is a marketing guru is sunk after the first few weeks of a run go by and the buzz had died down.  The property is sunk, too.

This is a very panicky strategy, and when there is panic, everyone drowns.   This is happening all over the Valley.  When venues do not meet artists halfway, the road is tough tired and long.  As a friend of mine said to me today:  “You just have to shake off the dead leaves and move on.”

Dead leaves indeed!

So how do artists survive all of this? It is up to us to use the same strategies I mentioned earlier: foresight, patience, consistency, and quality control.

By understanding the temporal approach properties are taking towards entertainment we can plan ahead and pursue many leads, instead of leaving all of our eggs in the current “gig basket.”  That kind of foresight helps to buffer the pain of the gig roller coaster. By looking ahead and assuming that things can and will change, we stay flexible, prepared, and most importantly optimistic about our prospects. There is no time for a pity party when you are always developing new product and hunting down new leads. Remember, an object in motion stays in motion.

We need to be patient when trying to build a following, and we need to focus on branding ourselves so that people will be drawn to any gig we play, whether is is a steady engagement or a one nighter.

We need to be consistent about rehearsing, preparing, networking, and following up with those who come to see us and those hire us. If you don’t attempt to have an open line of communication with your fans, contractors or agents, you will be even more baffled when work suddenly disappears.  Stay on top of why things go away and why they show up. Draw your own conclusions based on the facts you do have. Don’t be bitter. Move on.

Lastly, insist on quality control on your end. Are you learning new material? Are you keeping abreast of new music, new production techniques, and new internet marketing capabilities?  Is your band tight?  Does everyone show up on time, looking and playing their best regardless of any “gig drama” that may exist?  Do you have a good reputation?  Do people  know who you are?   Have you done all of that and still found yourself perpetually “suddenly gigless” after a short run somewhere? It’s just a sign of the times. Things are tough all over right now. It is your job to court venues to the best of your ability by being ready to play and willing to do much of the heavy lifting by yourself. That is the current reality.

There is a bright spot in all of this. Some venues have gone back to their “old Vegas” roots and forgone the expectation of high sales with bad service in lieu of delivering consistent, branded entertainment that is tied in to the identity of the property.  A great example of this is the Monte Carlo’s promotion of Zowie Bowie’s hip-hop night, or the Santa Fe Band’s phenomenal ongoing run at the Tropicana showroom.  By working WITH these artists and embracing all of the built in marketing that the artists have already developed, these properties are having to spend very little cash and are being rewarded with increased foot traffic … another thing that used to matter.

So the lesson here?  When things are bad, don’t panic.  Don’t switch from one strategy to the next.  There is no latest greatest thing that will catapult a business or a freelance artist out of the recession.  There is only brand building, identity building, and quality preservation.  Booking and promoting quality entertainment used to be a critical tool in fostering those business strategies.  Hopefully the trend will return.  Until that happens, it is up to entertainers to market themselves, forge ahead, and, well … shake off the dead leaves.

I am thrilled and humbled to have landed a spot with music legend Sonny Turner, former lead singer of The Platters.

I have been added on as the girl singer for a series of dates with this wonderfully dynamic and talented entertainer and his group, which includes Music Director Steve Cantor, and male singers Keith Blake and Daemine Lowe, who have been with Turner for several years.

The magic created when Sonny hits the stage is truly like nothing I have ever experienced.  Performing classics like “Smoke Gets in Your Eyes,”  “The Great Pretender,” and “Only You,” this showman consistently represents an era of class, sophistication, electricity and musicality that I think audiences of all ages are craving today.  Mr. Turner sounds better than ever, and he advocates discipline on and off the stage.

On Saturday, February 13^th we played to a great crowd at the Ford Community Center in Dearborn Michigan for “A Rock and Roll Valentine’s Day” alongside other legendary groups including The Flamingoes (“I Only Have Eyes For You”) , The Edsels (“Rama Lama Ding Dong), and The Mystics (“Hushabye”  “Adam and “Eve.”) Seeing everyone dressed to the nines while they knocked out old school choreography was a blast. It was great to meet some of the original members of these groups and to watch them perform.

The Flamingos

We are talking about entertainers in their seventies who are still bringing more energy to the stage than some of today’s current artists. I felt like a little kid surrounded by true heroes of early rock and roll.  Such a privilege and a true honor.   As the new “dish” of the Platters, I am inspired and ready to enjoy what promises to be a great ride.

With the Edsels

Rehearsal - Concentrating on Oohs and Ahh's

With the Guys

Terry Hunt of the Flamingos

Backstage with The Platters

Platters and Flamingos

After a brief cancellation, the Orleans Casino and Hotel temporarily revived Jazz Tuesday’s at Brendan’s Pub.  I performed on January 5th and again on February 16th, singing selections from The Great American Songbook and more.

Unfortunately, it looks like the jazz series is on hiatus again. I am not sure why the series was cancelled, but I do know that low drink sales and low attendance has something to with it.  Tuesday nights are always tough to market, especially during the winter months, and I applaud the Orleans for trying something new.  Without sponsorship from a true jazz radio station, the series was an uphill climb from the start.

The setting at Brendan’s is intimate and spacious, and the series had turned into something of an “after-show” hang for musicians and show people. Guests such as Clint Holmes, Lena Prima (daughter of the late great Louis Prima), trumpeter Michael Ray Tyler, singer Serena Henry (Smokey Robinson’s band), singer Jerry Jones (5th Avenue) and many others have sat in with me at Brendan’s.  My hope was that I could create a standing gig that promoted jazz and lured in jazz fans across the Valley.  I was also hoping to increase foot traffic at the property.

Throughout the run I am proud to have shared the stage with pianists Peter Radd, Cocho Arbe, and Billy T., bassists Frank Fabio and Bob Sachs and drummers Mike Mechem and Mike Tramontana.  My special guest in February was saxophonist Dave Stambaugh.  These gentlemen are not only outstanding musicians, but they are also my friends.  We all love what we do, and we are hoping to keep the tradition of classic American jazz alive.

I just found out that I was nominated and am now a finalist for a “Women of Distinction” award given by the Southern Nevada Chapter of the National Association of Women Business Owners (NAWBO). The award is for “Entrepreneur of the Year.” How cool is that? I can’t believe it! I am humbled and honored … truly.

The 12th Annual Women of Distinction Awards (WODA) program will be held at 11 AM on March 12, 2010 at the Las Vegas Hilton. WODA has 9 at-large awards that are open to the Southern Nevada community.  The finalists in each of these categories are recognized as women who are outstanding in their field and have made significant contributions to our community in both their personal and professional lives.

The Entrepreneur of the Year award is given to the NAWBO member who has achieved business success and contributed to the success of NAWBO, both locally and nationally.

(Photo courtesy of Michael Caulfield/WireImage)

So we’ve all heard about Taylor Swift’s pitch problem at the Grammy’s, and about her big win for Album of the Year.  Despite the fact that the Grammy’s were aired almost  2 weeks ago, the level of vitriol being spewed between Camp Taylor and Camp Anti-Taylor is at an all time high. I got my first taste of the debate after seeing MTV writer  James Montgomery’s February 2nd  article “Why You Shouldn’t Hate on Taylor Swift” and the ensuing comments.  The debate is far from over folks.  I seem to get an e-mail, Twitter message or Facebook comment about it every day.

Less visible on the Internet are the equally passionate and highly charged private conversations and debates happening between the people I hang with … professional working musicians.  Thanks to Facebook, I got involved in some pretty heated discussions about the Grammy’s … what they represent, how they define “talent” and “marketability”, and most importantly, how the Grammy results affect those of us who depend on being hired by clubs, hotels, producers etc. who in turn follow marketing trends and take their lead from award shows.

I had friend of mine charge that annoyed musicians venting about the Grammy’s were basically just posting “thinly veiled rants of jealousy” because they were “annoyed with someone else’s success or fame.” Well yours truly begged to differ.  Before I knew it, I found myself typing this response:

“Gosh I guess I really am jealous. I wish I could sing way, way out of tune on a consistent basis. I really do. I would give it all up to have a Grammy. My pitch, my attempts to always get better, my awareness of my skill level. I would toss it all for the Grammy because I am so jealous. Not rightfully critical .. just plain jealous. NOT. Sometimes people are just genuinely disappointed with what is supposed to (and USED to) be an award that means something to aspiring and working musicians. Maybe when someone who hits a genuine clunker on the piano every other bar (literally) during the live performance at every award show wins for best instrumental jazz artist you will feel my pain. Is is not okay to have some kind of bar or standard? It’s especially hard now with musicians who are also out of work (they exist!) Those who sat home gigless while it was on. It is just a hard time and some (granted not all) of the venting to me is healthy and heartfelt. Maybe this is just one of those “I’m mad as hell, and I’m not gonna take it any more moments” in the arts community. I have never seen so many similar critical comments, many about the same performances. Something somewhere in there has to be somewhat valid … maybe a little? Just food for thought.”

So um …  I guess I was a bit annoyed.  Seems these days like anyone who criticizes someone’s skill level is labeled as petty or jealous.  Is art subjective?  Yes.  Is there ever a point where someone can actually fairly be called out for executing something poorly, time and time again? Hell yes! Maybe I feel this way because I am a singer.  The Grammy’s shape what people who employ me think is “marketable” or “trendy.” That is why I watch, and why I bum out when someone who in my opinion is so terribly inadequate in an area that used to matter just a little (pitch in this case) carries Album of the Year. It is just hard to swallow, regardless of what drives Grammy decisions.

Speaking of those decisions, I am no old fogy.  I get that  “Album of the Year” does not equal “Live Vocalist of the Year.”  I get that it is hard to hear with in ear monitors sometimes, and that people get nervous sometimes.  (I HAVE sung in front of thousands of people and been nervous … with NO monitor, and yes I was very young at the time. )  I also get that the award has to do with production, songwriting, and all the other stuff that goes into making an album.  I get that Bob Dylan never sang in tune … but he never marketed himself as a “vocalist.”   I get that over a generation ago Elvis and Beatles were considered talentless by trained musicians of that day.  I also know that most of the time those artists sang in tune or at least relatively in tune when they performed live in similar settings.  Especially on naked ballads for God’ sake.

There actually is a measure for pitch folks.  So where do we stop?  A quarter tone or a half note sharp every other measure?   How about a whole note?  Every time?  With just an acoustic guitar to start?  When do I get to speak up already?  Some of us are just having a moment. It doesn’t make us lazy about finding work or generally bitter about the business. Maybe someone sucked so bad people couldn’t help but vent. It is all over the net, not just Facebook. Something happened that Sunday night. Something visceral.  The backlash is real.

Needless to say, lip synching and production heavy – vocal lite performances have become common place, accepted, and even expected, especially for dance heavy acts like Madonna, Britney and yes even Beyonce at times.   (I know I couldn’t sing well with all that running around … not on every note.  Fergie tries to do it and it is tough.)  The exception to the lip-sync expectation has always been singer-songwriter performances, which were reserved for those who could actually pull off a live performance.  Those acoustic performances started to become the “legit” or credible moments at the Grammy’s in terms of showcasing actual musical skill, regardless of the genre.

Maybe some of us are lamenting that the last of vestiges of a genre that still required vocal control up until now, the “unplugged, acoustic singer songwriter” stuff … is gone.  That ballsy moment in the Grammy’s where someone had to be able to sing because they were sans a huge band, at least for the song’s intro … gone … defunct.

With Taylor Swift in particular, the situation is like that fable “The Emperor’s New Clothes.” No one wants to just call out that she cannot sing. She SHOULD be lip syncing but she is performing live … horribly … over and over again, and not improving … and getting pass after pass for a variety of reasons …. and then taking home the biggest awards. No matter how the awards are actually decided or what the Grammy’s are really about, it is just a disconnect to see that progression on a live show.  A disconnect for lots of people, not just trained musicians.

When my non-musician friends started sending me e-mails about that performance that started out “Is it just me or …” I knew it was time to speak up.  To defend my craft.  I even think people are saying “Hey where’s the scam? Lip sync already. It is less painful and less in my face. Give me back the scam or stop singing.” Again, I think the moment affected a lot of people that way and caused an uber cyber commentary party that involved all sorts of different people.

It’s funny … most of the negative comments in my world were from singers and about singers. I really believe if the musicians on Sunday’s show had executed their roles as badly as Ms. Swift, more musicians would be sympathetic to the outcry. You know, things like missing notes, playing in the wrong key and so on.

Not to say there was any exceptionally brilliant music being played (IMHO) … but it seemed that the musicians that were actually playing had some kind of basic skill requirement. Singers get away with murder … especially with that damn auto tune. I think the blatant badness is what even laymen were blogging about immediately after the show and since the show.  It seemed to hit an all time low. The Taylor Swift win just sent some people over last night, no matter what the award was for.   Even major media outlets are continuing to cover it.  There is jealousy, and then there is disgust and “audio disbelief.” I have to believe that for some it was the latter that led to the barrage of posts. Piling on or legitimate debate?  You decide.

So … is the simple, unplugged, in tune, live vocal moment dead?  Oh wait a minute .. what about Pink? Yeah, there’s still hope.  She rocked it that night … upside down …soaking wet … hanging from silks!!  No award though.  Bummer.

Please stop by to see me and my band on Tuesday February 16!

We are playing songs from The Great American Songbook at Brendan’s Pub inside the Orleans Hotel and Casino (in Las Vegas) from 8 to 12 PM.  Special surprise guests will be attending as well.  The pub has become a popular local musicians hang, and you never know who will show up.

See what Jerry Fink has to say about this jazz series.  The program was just resurrected due to improved attendance.  It’s survival depends on attendance, so come on out and support live music!

See you there!

Vocals:  Michelle Johnson

Keys:  Billy T.

Bass:  Frank Fabio

Drums:  Mike Tramontana

Special Guest: Saxophonist Dave Stambaugh

Though I have always been an avid national political junkie, I rarely get involved in local politics or campaigns.  Today changed all that.

My new amazing friend Irene Bustamante just kicked off her campaign to run for Nevada State Assembly , District 42. Irene is the Director of Construction Diversity for MGM MIRAGE’s CityCenter.  Ms. Bustamante is responsible for the establishment and implementation of all policies for minority construction business participation at MGM MIRAGE.

This woman is an incredibly bright, compassionate, focused, and effective leader who will help to usher in a long overdue sea change in Nevada politics. I support her fully, and was honored to be invited to sing “God Bless America” at her campaign kickoff today at the MGM Grand Conference center.  Her husband is currently serving in Afghanistan, which makes her decision to take on this challenge even more courageous.  Her story is an amazing one, and her name is one you need to remember.  Irene Bustamante … find out more about her here.  Go Irene!!!!

Something happened last Sunday.  Well, there was the Grammy Awards telecast, and the NFL Pro Bowl …. but it was what happened later that night that got me thinking.  I have never heard so many critiques and polarized opinions about the Grammy’s.  Uber cuber commentary from all corners.  Fans and listeners gone wild.  Who should have won.  Who shouldn’t have won.  Who can’t sing.  This year’s show has got ‘em talking folks.  The cry I am hearing the most?  ”I’m mad as hell … and I’m not gonna take this anymore.”  More to come …..