Category: Communications


Dan at Pig 'n' WhistleBefore I went to the ASCAP conference, I wanted to line up a place to play while I was in LA. While I was checking,  I found that it so happened that  the Pig ‘n’ Whistle on Hollywood Blvd., a block from the hotel, had an open mic on Tuesday night.  Not having any kind of following in LA – other than fans on Reverbnation and Facebook – setting up a solo gig would have proved difficult. So an open mic was my best bet.

But it was good fortune that it was an open mic in a historical building. The Pig ‘n’ Whistle was founded in 1927, next to the Egyptian Theatre where the premiers of movies were shown.  You can imagine the movie stars and celebrities that ate there.  The restaurant  has been restored to its original glory. What is called Backstage or the Back Room is down a hall to the back of the restaurant. There was a bar, but it was only used for parties and special events.

Backstage is a funky little room with an even funkier stage. Which is a good thing. Again, you can imagine the private parties held back there over the years. Cameron and I got there before they had everything set up. I was one of the first people on the list. I prefer to go on after a couple of people or acts to get a feel for the crowd. I shouldn’t have been concerned.

When it came time to start, everyone in the room had to pay $3. Which was new for me. If Dan Roark at Pig'n' Whistle 2there is any charge at an open mic in the Dallas area, it is a request for a drink minimum. But it was also Hollywood  Blvd. – you don’t want just anybody wandering in and hanging out.  The McDonald’s has a security guard and police patrols drop around regularly.

The crowd was made up of mostly performers, although there were a few people there to listen. When the show began, the MC asked for the hands of those who wanted to play. I hesitated, to see how  it went. About three people raised their hands. They were the first three to play – with the order corresponding to the raising of hands. The next time around I raised my hand and played in the second batch of performers.

Dan at Pig 'n' Whistle 3It was an eclectic group of people and performers, to say the least. A man who sang cover tunes a capella – in stops and starts at times.  A girl playing her songs on a ukulele, and not too shabbily. A comedian who apparently calls into the Howard Stern show and had jokes that I’m surprised Stern would appreciate. One of those there to listen was a guy made up like Will Farrell in Semi-Pro. He had been out on Hollywood Blvd. near Grauman’s Chinese Theater, posing for pictures for tips.

When I played my songs, I told them I was from Dallas out for the ASCAP conference, and introduced the songs as I always do. I felt like the veteran of the group. I received a good reception from the audience. We listened to a few more performers after I played – including a blues player with an interesting style – before we headed back to the hotel.

It was a great way to end the first day in LA. It’s a more authentic trip when you get to mingle with local people as a traveler and performer. And the journey had just begun.

Peace be with you.

Loews Hollywood Hotel

I had the pleasure of attending the ASCAP (American Society of Composers, Authors, and Publishers) conference in LA last week at the Loews Hollywood Hotel. Things are just now getting back to normal enough that I can post about the trip and the conference. Our middle son, Cameron, went with me. The conference began on Wednesday evening with badge pick-up and opening networking reception. Cameron and I flew out on American Airlines from DFW Tuesday morning so I could show him a few things and see some sights.

We were all in our seats and ready to go at the departure time of 9:05. I was enjoying the fact that I had walked my guitar on without any problem and it was safely resting in the overhead bin. The plane had been started. We’re all thinking “here we go” and getting ready, when the pilot comes on the speakers.

“ Ladies and gentlemen, we have some liquid on the side of the plane. It’s probably just fluid that leaked when it was filled up, but we called the mechanics and they’re here to check on it so hopefully we’ll be taking off shortly.”

After a very pregnant pause, he came back on to tell us we would be changing planes. After we had all left the plane, we were sent to another gate. After we got there – some of us anyway – it was not long before they found us another plane. However, this was a considerably smaller plane. Cameron and I thought that some people would not be able to get on the plane, but there were empty seats on the plane when we took off. Some people, I’m sure, made other arrangements if they had connecting flights in LA.

The flight left without any further delays or problems. When we arrived in LA, we were just about to come in on the runway when the pilot suddenly jerked the nose up and hit the gas. We shot up and then headed out over the ocean. It wasn’t my first flight there so I was pretty sure I knew what he was doing.

Then he made a hard banking left. People were beginning to wonder if he was going to take us into the water. But he finally got turned around and told us that the air traffic controllers had switched runways on us at the last minute and we were circling around to try to land again. Which we actually did, thank God. We arrived at LAX almost exactly two hours late.

Cameron and I had a reservation for our GO Shuttle two hours earlier, so it didn’t take long to get on a shuttle. After the obligatory run back around through the airport to check for more passengers, we were on our way to the hotel. We checked in at the hotel and put our stuff in the room. Then we went to get something to eat before I played at Pig ‘n’ Whistle on Hollywood Blvd….

Peace be with you.

 

Dan at CUMC 3At my one man show at Christ UMC a couple of weeks ago, I played my newest song, Hello Out There, for the first time in public. Introducing the song, I explained that there were various members of church families that were on the autistic spectrum. I was not personally familiar with autism untill a few years ago. I noticed the symptoms in a few of the children, but did not know it was autism.

A college student at church was helping with the Autism center at UNT in Denton and facilitated a program at church with a director of an autism program who had autistic children. After that I began to realize how varied the autism spectrum is. If you do not know, the autistic spectrum stretches from those who are highly functioning to those who are low functioning. Those who are highly functioning need steady, but only slight, intervention by others. Those who are low functioning, on the other hand, need almost constant attention.

I have witnessed incidents at church over the years with some of the children. A few days after one particularly violent episode, I had a conversation with the child’s father. I asked him how the child was and he told me that he wished he could get inside the child’s head to know what the child was thinking. I kept thinking about that because, as a songwriter and author, that’s what I do – think about things.

I do not have any insight into an autistic person’s state of mind. But, having stuttered all my life, I know what it’s like to live in one’s own head. And that’s what led me to write the song, Hello Out There. It can be found here.

Peace be with you.

 

 

 

 

 

20131103_132007I recently joined the Board of the Dallas Songwriters Association (DSA) after having been a member for several years. I am now the Lyric Contest Director, as well as helping out in other areas. I was given the entries to the recently completed contest (it is run quarterly). My job is to read all the lyrics and pass along to another member of the board the songs I think are worthy to be considered in the final judging. After reading the lyric contest entries, I have a few thoughts to pass along to those planning to enter a lyric/songwriting contest.

If you are just writing lyrics, find someone to write or play the melody. Make sure that it is a song, not just a poem. Granted, sometimes the line between the two is blurred. But even in those instances, one can tell the difference between a poem and song. Read it out loud.

If it sounds good to you, then have a few other people read your song. It is your choice to accept or reject suggestions or criticism. But if more than one person says the same thing, it would be prudent to follow their advice. If you read your song out loud and it sounds “sing-song-y,” you might want to work on it a little more.

At the very least – and I mean the very least – read your song several times before you submit your entry. Use spell checker and check the grammar. When I’m reading the song entries, I can forgive a misspelled word or single grammatical error. But if you misspell the same word in the chorus each time you type out the chorus, the song instantly goes in the rejection pile. It’s the same with the gramatical errors. If you are using slang purposely, or  are misspelling words to imitate an accent, use quotation marks. But make sure  it fits the song.

If you are going to take the time, make the effort, and spend the money, you might as well make it worth it. Present yourself and your song in as professional a manner as possible. A song should fit on one page, maybe one and a half. Certainly not more than two pages. You do not need to type out the chorus each time it occurs, if it is the same each time. Using 12 pt. type is quite sufficient – anything larger is unnecessary.

The first thing you should consider before submitting an entry is whether or not you have written an actual song. I do not have time to tell you how to write a song. There is so much already written on the subject, I do not need to. If you’re in the Dallas area, you could join the DSA and attend meetings. Every major city should have a songwriting association. Keep writing and learning as you go along.

Along the journey, when you decide to submit to a lyric or songwriting contest, you need to do four things. Make sure it is actually a decent song. Present yourself and your song professionally. Read it over carefully a couple of times before sending it. And follow the entry rules  to the letter.

Peace be with you.

Mark-Twain-Tonight-006-240x300 Cyndy and I had tickets to see Hal Holbrook’s “Mark Twain Tonight” performance at Bass Hall in Fort Worth last night. Unfortunately, we had to miss J.D.’s last game in the Fall baseball tournament at the Ballfields at Craig Ranch in McKinney. He plays on the Stephen F. Austin State University Baseball Club Team. They won the game Friday afternoon, but lost the two games Saturday, so they did not advance. But, with the exception of the game they won, the scores had only a one or two run differential. I was able to see the Friday game. Cyndy, Cameron, and I went to the 2 p.m. game yesterday in which he played more than in the other two games.

The game went a little past the time it was “supposed” to end, so Cyndy and I did not have time to eat before getting to Fort Worth. We parked in the free (on weekends and for Bass Hall events during the week) parking garage next door. This was the first time we have been to Bass Hall. We went to see Brewer and Shipley in a smaller building run by Bass Hall. Which was why I received the email from them during the summer offering a pre-sale ticket price to see Hal Holbrook at something like half-price. With that deal, I figured, what the hell, “go for the gusto,” and I got seats in the orchestra pit. I knew we were close to the stage, but having never been there, I did not know how close.

I showed the woman at the door our tickets so she could scan them. We had a little time so we just wandered around. We came upon a bar and got a couple of beers. A lady came up to us and asked if we wanted to order and pay for our drinks for intermission then and have them waiting at intermission, bypassing the lines. Well, yeah!

When we finished our beers, it was about time to head on into the hall. I asked an usher in the hallway where our tickets were.

“Oh, you’re in the second row. Right down this way.”

We walked to an entrance of the hall and asked if we were in the right place.

“Yes, you’re on the second row. You’re on the other side and you might want to go through the seats where no one is sitting yet to get across.”

Which is what we did. We got to the other side and found that our seats were indeed in the second row. At which time I took a picture of the stage ( since pictures were forbidden during the performance). I posted to Facebook saying I was waiting for the show to start from the second row.

Before the show began, an usher walked up and asked if she could see my tickets. I said “sure” and showed them to her. Then I turned them right side up so she could actually read them.

“You’re in the wrong seats. You’re up here.”

We were in row BBB, seats one and two. According to the seats across the aisle, we were on the right row. But our section was lacking row AAA. Our seats were on the front row! Granted it was only a row difference, but I didn’t know we were that close anyway, and how often do you get to say you were on the front row? And that was not the best part!

We have seen Hal Holbrook’s performance on television and I have wanted to see the show for years. As a writer, humorist, and songwriter myself, he and Mark Twain were two of my mentors, so to speak. Although to be honest, I don’t think either one of them ever wrote a song, but you get my point. Hal Holbrook is also a terrific actor – I like every role I have seen him play (maybe not the character he played, but the way he acted the part).

He did not disappoint us, even though we were not expecting him to. Holbrook’s performance was precisely as good as I was expecting. Being on the front row really, really helped. There were only a very few times when we could not understand a word or two – which was another bonus. I do not know about the people in the back of the hall.

This is the actor’s 60th year doing Mark Twain. I am here to tell you that he puts as much into his performance and loves being Mark Twain as much as he has since he conceived of the idea in 1954. At 89 years old this year, he added three new “numbers,” adding another hour to the repertoire of material. It said in the program that Holbrook will not tell a venue what numbers he will do because he does not want to be limited. He often decides what is next during the performance.

Holbrook made eye contact with us – and others on the front few rows. I have been told that I am a good audience. As a performer myself, I try to watch everyone I see perform as I would want them to watch me. I rarely look away and I look intently – did I say I was a writer?

Cyndy and I popped up when they turned the lights on for intermission. We went to the east side of the building and, sure enough, our beers were waiting for us. The second half of the show was as excellent as the first. When he came out during the applause, he made eye contact with us again. Which I must say was not only thrilling, but the perfect end to a fine performance and a pleasant, intimate evening. And we finally got to eat when we got home.

Peace be with you.

Picture of Willis Alan Ramsey from Wikipedia taken by Ron Baker.

Picture of Willis Alan Ramsey from Wikipedia taken by Ron Baker.

Cyndy and I had the good fortune to see Willis Alan Ramsey Thursday night at the Shipping and Receiving Bar in Ft. Worth. His wife, Alison Rogers Ramsey, opened for him. I saw him quite a few times in the ‘70s. One time in particular was at a club called Mother Blue’s on Lemmon Ave.

His throat was sore and he had a bottle of Chloraseptic on a stool with a glass of water. After each song or so, he would spray his throat with the Chloraseptic. About half way through the show, he appeared frustrated. After the next song, he looked at the audience, said “to hell with it,” unscrewed the top and chugged part of the bottle. He made it through the rest of the show.

Thursday night, Alison played as good a set as she could play with an injured knee and constant pain. She was quite funny and the audience was supportive since she was obviously plagued with pain. They both talked about the 900 mile drive from Colorado they had just endured – with a stop in Childress for auto repairs.

Then Willis Alan took the stage, with another round of applause for Alison.
He began with “Watermelon Man,” to the crowd’s delight. He played new songs and some of his classics, including Northeast Texas Women. He did not play “Muskrat Love.” Then again, no one in the audience expected – or even wanted – him to play it.

Ramsey did mention the song though. He said a teacher in college told him to write what he knew. At 19, he didn’t know anything. So he quit school to “go learn something.”

“I write songs about things I don’t know anything about. For instance, I didn’t know anything about Muskrats? Still don’t.”

Willis Alan talked about staying on Leon Russell’s land in Oklahoma soon after Russell had acquired it. It was while Russell and George Harrison, among others, were planning the Concert for Bangeladesh. Ramsey stayed in one of the small cabins on the lake – literally on the lake with a boat slip on the side – with his dog. At one point, he asked if anyone had a cough drop.

He took a short break, after which he returned to the stage to play a set of “mostly ballads.” The ballads included songs that were not on his first album, such as “Mockingbird,” “Desiree,” and “Boys Town.” Ramsey also played “Angel Eyes,” receiving a standing ovation, and ended with “Satin Sheets.”

Cyndy and I went to talk to Willis Alan and Alison where they were sitting on a couch. Cyndy had already talked to Alison when she went to the restroom. Alison had mentioned on stage that “in the ‘70s there was nothing to do in Dallas.” She went to Hockaday and Cyndy and I went to W. T. White which were not far apart, although not the same years.

“One of the only things to do in Dallas in the ‘70s was to hang out at the bowling alley at Preston Forest.”

“Oh my God,” Alison said. “I haven’t thought about that place in ages.”

When I got to the couch, Cyndy was talking to Alison again and introduced me to Alison. I told Willis Alan that I thought it was funny that he had asked for a cough drop, and I told him the story about the Chloraseptic incident. Alison got a kick out of the story. He looked at me with a knowing smile.

“I remember that, actually.”

Willis Alan Ramsey and Alison Rogers will be playing at Poor David’s Pub in Dallas on November 7 with Bob Livingston.

Dan Roark and Sons 3 For the past couple of years, I have been getting music together in preparation for recording a new CD. I didn’t play much when the boys were growing up, what with Little League baseball, church activities, and disc golf tournaments. Now Conner and Cameron are 20 and 19, respectively, J.D. is a senior, and it’s time to get back to playing music. We all play in the praise band at church occasionally.

I started with my old standards and added the new songs I’ve written over the past few years. As I was practicing and getting ready to go into the studio, I kept thinking of other songs I’ve written that I hadn’t thought of in a while. But when I looked in my notebooks, I could not find some of the songs I was looking for. And some of the songs I found didn’t have the chords written down.

I remembered the songs in my head, of course – for the most part. And I have a large number of tapes. My musical partner, Joel Nichols, and I were fanatics about recording practices and shows (sadly, Joel died in 1999). Yet not all of the tapes are labeled as to what songs are on them. Unfortunately, there are no clues such as – “this is the recording of that song that you remember was particularly excellent.” So I get to spend a lot of time listening to tapes. Which means a lot of recordings of the same songs.

Which is my cross to bear. Here’s my point – keep track of everything. Back everything up and date it. Having everything on computer is useless if you don’t know where to find it. But you’re a couple of steps ahead of me. I still have boxes to go through and copyrights to renew.

Joel and I thought we could hit the big time at any moment. We would spend our lives playing the same songs, along with new ones we were writing. It never occurred to us we might not sing them long enough for them to settle in the backs of our minds with other old memories. Fortunately for me, I played most of my songs enough that, even if I didn’t play them again, I probably will never forget them. Once I started playing the newly found old songs, they usually came back to me fairly easily. Yet there were others that didn’t come back as quickly or easily.

So trust me, don’t rely completely on your memory. You’re already having to write songs, record, give interviews, make appearances, and plan tours (among other things). Don’t leave anything to chance. It can come back to haunt you.

Peace be with you.

Brewer and Shipley 2 Cyndy and I went to Ft. Worth last Friday to see Brewer and Shipley at McDavid Studios. It is in a building owned or managed by Bass Performance Hall and houses smaller venues in the next block. The Van Cliburn Recital Hall is also in that building. The room we were in had a capacity of 200 people with the setup for the show. The crowd numbered less than two hundred but it was a good audience for Michael Brewer and Tom Shipley.

I first saw Brewer and Shipley at the Lone Star Opry House in the early seventies. Cyndy and I had our first date at Lone Star Opry House when we went to see Rusty Weir not long before or after the Brewer and Shipley show. Cyndy and I sang One Toke Over the Line in the folk club in high school – I was one of the guitarists.

The next time I saw the duo was the day our youngest son was born in 1996. (We dated a couple of times after high school, but did not get married until 1992 after both of us were divorced.) Sally, a good friend of Cyndy and I, took me to see them at the original Poor David’s Pub when Cyndy had to remain in the hospital for a couple of days. They signed all of my albums, but I could not find my Brewer and Shipley songbook. They signed the songbook on Friday.

Seventeen years later, Cyndy got to see Brewer and Shipley. And they sounded just as good as the past two times. Their harmonies intertwined, as did their guitars, to create an orchestral acoustic sound. The duo began with Shake Off the Demon and followed it with Make My Bed from their Shanghai CD.

Then they played One Toke Over the Line after a few stories about how they wrote the song and times when they were “several tokes over the line.” They were playing clubs in the midwest when they went out back of the club for a – well – toke break. When they were walking back into the club, Tom Shipley turned to Michael Brewer and said, “Man, I’m one toke over the line.” They wrote the song that night as a joke for their friends. It only made the album because they needed another song. Brewer came back from a trip to Mexico and found that One Toke… had been made a single and the vice president said they were the worst influences on young people of the day. Lawrence Welk had a couple sing the “modern spiritual,” One Toke Over the Line. Jerry Garcia also covered the tune.

“Which makes us the only people on the planet,” Shipley said, “to have a song covered by both Lawrence Welk and Jerry Garcia.”

The hour and a half set included numerous stories and songs. Among others, All Along the Watchtower – “the only song we’ve played longer than our own songs” – Witchi Tai To, an Indian song from the 1800s, Streets of America, and the encore, a song by Tom Shipley, Treehouse Brown. Speaking for myself, it was a greatest hits set of my favorite Brewer and Shipley songs. Were there other songs I would have liked to have heard? Well, sure. But I trust that I will see them again – next year, not in another seventeen years.

Peace be with you.

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JD Pitching 1 I was in Fort Worth this past weekend with J.D. at TCU for a baseball camp. We were driving from one field to another and were driving down W. Berry from TCU. Coming down the hill, I spotted a man and a woman waving from a concrete platform that turned out to be the entrance to a church. They were not waving “come here” like parking attendants, but they were using a modified princess wave. Unfortunately, their signage was not sufficient for me to see the name quickly as I drove by. And time did not permit stopping to take a picture.

As I told J.D. later, if we hadn’t been on a schedule, I would have stopped and attended their service. But while I couldn’t stop, it was a bright spot in the morning. It was over 100 degrees for most of the weekend and J.D. had already played two games (albeit short games). In the picture, J.D. is the pitcher. It was a showcase camp before coaches and recruiters from numerous colleges and some major league teams. It was a high intensity weekend, which made the smiles and the waves all the more important.

When I saw them and realized it was a church, I said to J.D., “so simple, but effective. How cool is that?” I happen to be on the communications committee of our church. It was certainly a Jesus moment in which life is briefly in the background and God’s light shines like a beacon in the wilderness. One of those moments that reminds us that life may be tough at times, but something better awaits us.

Peace be with you.