I remember as a child seeing my mother playing her Guild guitar and singing classic folk songs as well as songs she had penned.  I was touched by her passion.  I felt the music in the air.  It was magic.

As I grew my brother picked up the guitar and I would awake to the sounds of him playing the Star Spangled Banner, Hendrix style, on his electric guitar.  He was a teenager then and I could feel all his emotion in every note he played pouring out of his guitar.  It was magic.

I was eight and I wanted my brother to teach me to play the guitar like him.  He had me put my left hand around the neck of the guitar and told me to try to touch my thumb over the top of the neck with any of my other fingers wrapping around the bottom of the neck.  I couldn’t quite reach and he told me I’d have to wait until my hands were bigger.  I was disappointed.  I was even more disappointed when 2 years later my bother joined the Army.  It wasn’t till later that I would actually buy a guitar and take some lessons.  All the while I harbored dreams of singing and playing the guitar.  Dreams I would never tell anyone about.  Not then, hell, not till years after I had been playing and singing would I tell anyone that I had dreams of presenting my ideas and emotions to people through songs.

I’ve been writing poetry or songs since I was a punk ass.  Not a punk rocker.  Just a “Little Punk” as my bother would affectionately call me.  I’ve been trying to get out what’s inside my heart and head for a long time.  I want to get it out in a way that people understand what I am saying…  Feel it…  Know it.  Music is a powerful form of communication.  My chosen media.

I have been through quite a bit and I’ve seen a lot of tears and smiles, as we all have.  I guess one idea I hope to convey through the songs I write is that we all are human.  We all feel, sometimes intensely and although no one can know exactly how we feel, we all are united in the fact that we feel.  And even though we may feel completely alone, I am sure that someone can empathize with those feelings.  Every time someone says to me that a song I wrote perfectly explained the way they were feeling or what they thought, I feel gratitude that I could provide a positive outlet for another being.

My voice is my main instrument.  It tells the story of my heart and mind.  It solidifies ideas and emotions.  With it, I communicate ideas to the listener…  Ideas born in a nebulous zone, outside myself, to be filtered through my perspective and focused into more solid form.  There are many ideas to choose from and I try to choose ones that represent who I am.  I believe in presenting experiences in a way that leaves the truth of what they are in-tact.  Raw.  Some songs are fiction.  Some are direct personal experiences.  All are a part of me.

I thrive upon self-improvement.  I quest for understanding myself, this world and my place in this world.  I have categorized myself as a skeptical optimist…  Trying to find the balance that is right for me.  I dream of having a positive impact upon those I come into contact with, no matter how slight the experience might be.  I hope that a smile from me infects those that see it like all the smiles I have seen have infected me.  We all are faced with a choice each morning that we wake…  Are we going to be a drain on this world and those in it or are we going to add to it in a positive way?  Are we going fall in line with the sheep or be an advocate for positive change?  Are we going to be a part of the problem or a part of the solution?  Are we going to Fear or Love?  They are all the same question.  I will continue to live my dream and hope that I am playing my part and that it is a positive part in the unfolding drama.”

Check out Chucky Luv at www.chuckyluv.com

 It all started late 2006 when Josh MacFarland and Nate Jones decided to become “unmotivated” to simply hang out and make ceremonial noise. The lead singer Brian Adams (not THAT Bryan Adams!) joined the noise fest in late 2007. Bassist Zach Hendricks, percussionist Cansey Green, and lead guitarist Vidak completed the motivational seminar. The St. Petersburg-based musical six-pack started performing at local venues and, according to MacFarland, it’s been a “fun-filled journey of ‘unmotivated moments.”  
MacFarland states that Unmotivated has made a “pretty big name” in the local scene and currently enjoys a solid “motivated” local following since its inception three years ago..”The venues that support local bands have been great to work with and have been nothing but professional examples,” adds MacFarland. “We’ve hopefully formed good, healthy, long-lasting lasting relationships with the business that supports our music.” Unmotivated has been featured in several on-line magazines, including Underground Xpress, Skaflamagazine, and PCI Promotions.  
“Myspace has been a basic addition since the start of doing gigs and has provided an electronic ‘word-of’mouth’ so to speak,” he says. “We’ve played all over, including Gainesville, Orlando and other remote parts of Florida. We’re hoping to play more and more as we get confident about our abilities to continue to dazzle audiences throughout!” So, yes Unmotivated are, indeed, available for bookings and seeking sponsorship. “We’ve shared the stage with the likes of Dirty Heads, Supervillians, Iration, Outlaw Nation and Ballyhoo.” MacFarland insists that all wisdom seekers check out Unmotivated at www.myspace.com/unmotivatedband.

Unmotivated

Lorna Bracewell

Lorna Bracewell

The Pride of Tampa Bay

Embarks On Her Next Chapter and Journey…

by Jeannette Goldman

How is it humanly possible to write about Lorna Bracewell. How could I in any way come close to maneuvering the English language with such eloquent finesse as she can? That eloquent finesse and determination has extended into her songwriting, her stage performances, educational workshops, and benefits that have helped support local and national organizations.

Lorna is not your typical 25 year old. And this not a typical article. Not only am I a business associate, friend and fan, she has designated me as her JM (to clarify the acronym, “Jewish Mother” ) which, according to Lorna, I’m an “a nagging, overprotective, , controlling, smothering, and overbearing mother who persists in interfering in her children’s lives long after they have become adults.” I know I’m not that bad! I would like the Bay Area Community to take extreme pride in recognizing that Lorna was born and raised in Indian Rocks Beach. This article is far from the mechanical rantings of surrogate Jewish Mother surreptitiously reveling in her adopted progeny’s talent. It’s really for those in the Bay Area to acknowledge this young lady’s plethora of personal and professional accomplishments prior to her leaving the area and pursuing a career in academics. Hence our June Issue and subsequent showcase is dedicated to Lorna Bracewell and her Farewell Concert at ProStar Soundstage June 26.

Rather than listing her oodles of accolades, I’ve chosen relevant quotes and ancillary information pertaining to her wondrous musical journey over 12 years ago. Her discography – released through her independent label Braced Well Records, includes Don’t Stop Now (2001), Little Miss Oblivious (2003), God Forbid (2005), Live for CASA (2005 DVD), Flowers on the Chains (2007), and Released (2009). She’s performed over 100 concerts, benefits, engagements, including two European tours. She’s worked as a school instructor, including workshops exploring the relationship of music, history and culture. She’s a member of the Florida State Touring Program, as well as headlining concerts for local charity organizations On This Earth, YWCA, Habitat for Humanity, and local domestic violence shelters The Spring and Casa.

To adequately document her musical accomplishments will require another issue; as she dares to tread the hostile waters of academics it’s no secret Lorna will craftily navigate with little or no ebb tide. Be it told that Ms. Bracewell was our inspiration for creating Bay Area Beat.

Recently her close circle of family members, mentors and friends received the following e-mail from her:

LORNA- -“I’ll be studying political theory at the University of Florida’s department of political science in the fall. They’ve offered me an appointment as a Graduate School Fellow and I am enthusiastically accepting this offer! I also was accepted at the University of Virginia and the University of Colorado at Boulder, but, after much deliberation, the pull of the Sunshine State has proven the strongest”.

The Shakes Society

Bay Area group The Shakes Society was formed over 25 years ago as a neo-punk band Dialogue.  By 1987, the group changed its name to, simply, “The Shakes” but in the early 90’s the group’s name morphed into its current moniker,   Sometime in the 90’s, the name morphed into The Shakes Society, reflecting the revolving pool of talent the remaining band members drew from.

In 2006 or 2007, the original members got back together for a reunion gig at WMNF’s Birthday Party.  They decided to reconvene, rented a studio, and started playing together again.  The Shakes society, once again, was one big, happy, partially functional family for over 25 plus years!

Dialogue won the Tampa Invitational Talent Search and finally recorded original material that was invigorating to say the least.  The Shakes briefly cracked CMJ’s Top 10 then toured Europe, playing such noted cities as Berlin, Amsterdam and Cologne The Shakes Society played the strangely named Corn Hole Bowl (actually, they’ve scored other sweet gigs in the last few years…)! The reformed Shakes Society enjoy playing music, particularly rock, reggae, and ska. Their five year plan has, so far, worked incredibly well. When invited to play corporate gigs, Shakes Society meekly performs G-rated Jimmy Buffet covers and the one guitarist gnaws like a gerbil on nicotine gum. Then the other members politely ask permission to take a pee break. Is this believable or what? Check out the Shakes Society at  www.shakesociety.com/bio.

Come Celebrate Black Music Month

Motown Maurice and Wide aWoke Wednesdays Supports Black Music June 17

Please join me on Wednesday, June 17 at the USF Alumni Center Traditions Hall as I, Motown Maurice, as I pay tribute to the extraordinary talents, achievements, and creativity of African American singers, musicians, composers, performers who have enriched our lives and culture. In further celebration, join me and some of Tampa’s most talented performers participate in our special Wide aWoke Wednesday’s show as we celebrate Black Music Month and the 2^nd anniversary of our show. 

Music is, perhaps, the most powerful tools I use to get me through life’s sometimes unstoppable journey. This is why I stress the importance of paying my respect to those pioneers responsible for creating Black Music. Black Music, in my opinion, has been a significant contributor and immensely strong influence on American music. 

The original African Americans were ritually enslaved and reluctantly transported across the Atlantic to horrific lives of involuntary servitude. For over 300 years Black Americans could not participate in government or any other contributory community activities but they were quick to adapt their native culture to the dominant Christian doctrine as well as church music.

Church-going slaves who converted to Christianity of the 17th and 18th centuries would repeat-often in call-and-response fashion, the hymns and psalms sung by the service leader. This organized and inspiring religious practice spurred the “Negro spiritual,” often called a “jubilee.” Among the most beloved spirituals were “Swing Low, Sweet Chariot” and “Roll Jordan Roll.”

By the beginning of the 20th century, the remnants of post civil war African-American music evolved into new a form of music known as ragtime, a popular genre that later inspired the formation of jazz music.

By 1930, elements of the blues and old Negro spirituals were crystallizing into gospel music. Gospel had a direct impact on more secular forms of Black Music such as rhythm and blues (R & B) and soul.  For generations, Black Music has communicated across racial boundaries and expressed both joy and sorrow. When facing the scathing cruelties of slavery and injustice, African Americans lifted spirituals to the heavens, bringing comfort to troubled souls yearning for spiritual salvation. Black Music is an important element of our survival. It’s a lifeline- it’s the air we breathe and an indomitable source of our spiritual strength.

As a result, I invite you to join us on June 17 and, together, we’ll  show respect to all the musicians past and present who have paved the way for us. Hope to see you there!

Motown Maurice

Wide aWoke Wednesdays

Peter Wells of TuneCore, leading digital media distributors, will be the keynote speaker of the second annual HOMEMADE MUSIC SYMPOSIUM. Mr. Wells will speak at 1:00 PM, Saturday, June 13, at the Performing Arts Theater located on the Hillsborough Community College-Ybor City Campus. The program is free and open to the public. Mr. Wells will discuss the changing dynamics of the recording industry and the new world of electronic distribution that is radically changing the paradigm of the music business.

 Few in the industry understand the opportunities and pitfalls that await independent artists like TuneCore. In the past two years they have delivered over 750,000 songs and generated over 32 million dollars in music sales for its customers, who include GRAMMY winners Ziggy Marley and Ricky Scaggs, big-name artists like Aretha Franklin, Beck, David Byrne, Jay-Z, Paul Westerberg, Nine Inch Nails, Joan Jett, Secondhand Serenade, Kenny Rogers, Keith Richards, Burning Spear, Public Enemy, and thousands of unsigned artists.

            The second annual symposium is offered free of charge to all Tampa Bay area musicians and the general public. The numerous seminars and workshops are focused on the business of music making and will provide area musicians assistance on how to nurture and develop careers in the modern commercial environment. Woven through the two-day schedule are a number of special live performances and showcases.

            On Saturday June 13, the symposium will take place from 10:00 AM to 7:00 PM at the HCC-Performing Arts Building-Ybor City Campus, located at the corner of Palm Avenue and 14th Street.  The Master schedule for all events from June 10-14 is provided at the end of this release.

            The symposium is organized by The Artists and Writers Group in partnership with Hillsborough Community College-Ybor City Campus. Bay Area Artists and Musicians Organization (BAAMO) and Ybor City Development Corporation are also partners. Other sponsors include Creative Loafing, REAX Magazine, New World Brewery and Grown Man Brand.

 For more information on TuneCore, please contact Miya Hannan (mhannan@shorefire.com) or Nick Loss-Eaton (nlosseaton@shorefire.com) at Shore Fire Media, 718.522.7171

            For general inquiries please contact T. Hampton Dohrman 813.784.2972 thdohrman@gmail.com or David Audet daudet@hccfl.edu, Hillsborough Community College-Ybor City Campus, 2112 N. 15th Street, Tampa, Florida 33605.