We all know that most wedding songs – with the possible of exception of “Chapel Of Love” — one of my personal all-time favorites — are kind of solemn, slow, and serious. But I was thinking about when Art and I got married. We were both so happy! I was positively giddy and almost burst out laughing, just out of sheer joy.

Now, “I Do” did not start its life as a wedding song. I was just writing about all of the things that you give to someone in a relationship. Not just the good stuff, but all of the stuff that maybe you’d rather forget about, too. All of the stuff you hide on the first date — your voracious appetite, your secret desires, your natural hair color (unless you’re unfairly blessed!), your addiction to soap operas, your politically incorrect views, and the list goes on. So this was the intention of the song; to show that amazing level of intimacy when you drop all pretense and just trust this other person with your complete naked soul. But when I got to the phrase, “I Do”, it kind of hit me. “Ohhhhhhhhhhhhhhhhhhhhhh! So that’s what this is about!” From there, the song wrote itself! We love it. (But then, we would! LOL).

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Now that I am of a “certain age” I have stopped caring about many things that once seemed important, like squeezing my writing into a pigeonhole. So I have allowed myself to write anything and everything that comes to me. All of the stories and characters come from some part of me – my 15 year-old self, my (ahem!) current self, and everything in between.

This album is dedicated to the memory of my parents, Phil and Lizi. To my two oldest and dearest friends, my sisters, Michele and Sherry. You have both given me so much – Words fail. To my “sister by another mother”– Lucie, who has been such a dear friend and unfailing support. To our favorite nomads, Jim and Marylou. To Carole, my very dear, multi-talented friend of 30 years. To Betty Blair and J.P. And la Belle Renée in Tennessee. To all of the Munson clan, and especially to Marjorie Munson who has been an enormous inspiration – She and Ed gave Art wings and roots. To our Yoga Blend family here in La-La Land. You’ve taught me so much. To all of the many people I love – You know who you are! And to our little tuxedo fur child, Le Petit Henri, who spent so many long hours in the studio co-producing from the couch.

A special thank you to Michele who provided the beautiful music for our song, “My Mother’s Eyes”. And thank you for singing it with me. The Bagelman Sisters ride again!

Finally, I have to express my undying love and deepest gratitude to my soul mate and genius musical guru, Honey Hands Munson. To Art, My Heart. (It pays to sleep with your producer!!!).

“All of the shadow and all of the light/All that is wrong and all that is right/All of this I give to you. /All of me loves all of you – I do!”

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When I think of Senator Edward Kennedy, I will remember him as a powerful force for good. He has championed the rights of ordinary Americans for well over forty years. He was a devoted public servant.

I learned of his death this morning, and although we all knew of his illness over the past year, somehow, many of us hoped against hope that he would somehow summon all of his considerable strength and overpower this most fearsome enemy – the cancer that finally carried him off.

But one interesting detail of his story had been buried so deep within my memory that I was actually jolted when it came up this morning: Returning home one night from a party, a young woman who was a passenger in his car was drowned when his car plunged into the river. Ted Kennedy swam to safety.

In 1969, when I heard this news, I was angry, even outraged, at his behavior. I was quick to speculate on his relationship with Mary Jo Kopekne and the alcohol level in his blood at the time of the accident. I wrote him off as a “light-weight”.

But now, 40 years later, all of that has faded into ancient history. His work in the senate on behalf of the American people has been stellar. His impassioned oratory has been inspiring to millions of us. Even his political enemies have had to bestow a grudging respect for the “Lion of the Senate”.

So here is the take-away for me: redemption. No matter what our mistakes, our failings, our shortcomings, even our sins, there is always the possibility of redemption. We can not go back and fix the past, but in the present, we can at least atone and move on. Where there is life, there is always the possibility of redemption of the soul. It may or may not come from a personal God. And whether or not it can come after we’ve left this earth, it is certainly within our grasp while we are here.

Bravo, Ted Kennedy. Thank you for reminding me that there is always hope for Amazing Grace. Rest in peace.

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The last time I saw Larry was when he came to my studio and played piano on some demos for Patti Dahlstrom. He will be sorely missed!

Jay Senter and Mike Melvoin, in picture, off to airport. Flying to Atlanta for the Sammy Johns session.

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The thing I am definitely not hearing, not from the politicians, not from the pundits, is that this issue is not about the doctors, not about the economy, not about the accountants and their number crunching, not about the federal debt, although I know that all of these considerations will help to shape the ultimate bill should it be passed in Congress. No, this issue is about health care, and especially about the people who need it.

Why don’t I hear a great hue and cry coming out of the electorate? We should be outraged that once more, the people we voted in to office, our senators and congressmen, are following in that time-honored tradition of their forebears who diddled around while millions upon millions of people were denied access to even the most rudimentary health care coverage.

If the argument were made that public schools were just too expensive and that ultimately, they would bring our financial system to its knees, would we stand still for allowing our children to grow up ignorant and unprepared for the work world? I think not! We all acknowledge that some basic skills and literacy must be afforded to all of our citizens so that they can lead a decent life, and, as the Declaration of Independence states, so that they can exercise their right to “the pursuit of happiness”. Imagine our country without universal education. Try. It’s unthinkable. The implications would be enormous.

But at least, if there weren’t public education, it would not be an immediate threat to that other inalienable right – the right to life. But that’s what we’re talking about when we talk about healthcare. I don’t know whether anyone has bothered to take a census of all of the needless deaths that occur every year in this country because forty-six million people were denied access to health care. It would be hard to quantify since there are so many variables that come into play when you’re talking about illness.

The cost of even the most basic medical care has soared in the past fifty years. Unless your name happens to be Oprah Winfrey or Bill Gates, trust me: you can’t afford it. You may, like so many hard-working Americans, be forced into bankruptcy. You may lose your home. You may simply die an untimely death because you can’t even buy life-saving medicine. You might even experience all of these possible outcomes.

And don’t get me started on the so-called “underwriting practices” which are standard operating procedure for the health insurers. I myself am a two-time cancer survivor. Thank God I had coverage. (We were blessed to have a wise and compassionate insurance broker. She helped us to navigate the treacherous waters of the insurance providers). Many, many people are not so lucky. Should you be denied health coverage because you are or have ever been sick?

It seems to me that many of our elected officials are a bit too cozy with big business, and big business includes big insurance companies. It also strikes me that many politicians are more concerned about future elections than they are about the welfare of their own constituents. And then there is another class of politicians: The politicians who are hell-bent on destroying our current president – at any cost. They belong to the “let-them-eat-cake” school of government, and should be treated accordingly. (Figuratively speaking, of course!)

We the People are being sold down the river at the very time when we need the support of our government the most. We who are or have been sick are a silent and large minority whose civil rights are being trampled every time we are denied access to decent medical attention. We who have lost our jobs and therefore lost our insurance are being doubly victimized for our misfortune.

Pray for enlightenment on the part of the Senate and the House. It’s an emergency and the doctor is out playing golf.

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———–
You start with sending Tunesat your music (after signing a contract), currently via a DVD (no FTP yet), and they “fingerprint” it to compare to their monitored networks. For the trial period they will run a scan on Q2 2008 and also 45 days going forward from the day they get you into their system. The cost for the trial period is 50 cents per piece of music and 20% of any monies you recover. In my case I sent them about 150 cues for a fingerprint cost of $76. You are provided with an account page at Tunesat with a list of the detections that include the name of the channel, show name, episode name, date/time, cue title (title you submitted to Tunesat), duration and finally a “Listen” link to hear the detection (with dialog). The point is to check for copyright infringement, shows that that are using your music and not reporting it and/or cross referencing against your cue sheets.
———-

So here we are at 07-12-09 with a couple of problems.

1.) After many promises of running a 2nd quarter 2008 scan within a month of my signing up (May 2009) they have yet to deliver it. Only last week I was finally told they would not be able to deliver that quarter. They would send me May 2008 last Friday and July 2008 by next week. Still waiting for May… In all fairness they have extended my trial way beyond the 45 days. It’s a bummer though, the whole point was to compare their detections against my BMI statements. Very disappointed, I asked for any previous quarter and was told they didn’t have a full quarter!

2.) A number of shows came up in the scan where I had no idea of how the music got on the shows. I called the production company of two of those shows and talked to the executive producer. Naturally he was concerned but one of the great things about Tunesat is the ability to go to their website and listen to the detection as it came off the air. I let the executive producer from the show log in to my account and he played back a few of the detections. He promptly said they were not his shows! They only had female hosts, these had male hosts and American accents (his shows are out of Canada). I called Tunesat and spoke with Chris Woods who explained that they get the schedules periodically and then re-update a couple of weeks later if there are any schedule changes. As these shows were aired in May the schedules should have updated and been corrected, didn’t happen. One of the shows just re-aired and I recorded it and verified that indeed the Tunesat scan did not match the show schedule.

Even though I am disappointed in these glitches the service is pretty amazing. The fact is I found out that we had much more music airing every month than I thought. Even though some of the schedules did not match up, the music was aired and detected.

I am still waiting for May and July 2008.

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They sat on the bench at the bus stop under a cloudless azure sky, each staring straight ahead at the small, neat little building across the road which looked like a Methodist church that had been converted to some other purpose, possibly a private home. The bulletin board in the front announcing the topic of the next sermon was blank, and looked as if it had been that way for a long time, surrounded as it was with Queen Anne’s lace and tall grass. Apart from the church-house, there was nothing to distinguish this particular stretch of country road. No ambient sounds. As if a stern librarian had put her finger to her lips and whispered, “Quiet!”

“I hope it comes soon. I get kind of antsy just waiting,” she said, stealing a quick glance at her fellow traveler and looking back across the street.

He glanced at her. She was a familiar looking blonde with beautiful waves of cascading hair nearly overpowering her delicate, petite frame. He tried to peg her. “I’ve seen you before, but I just can’t seem to figure out. . . .” he trailed off.

Now she searched her memory. A shy, childlike quality came through his voice, with just the slightest rasp. Warm. Endearing.

“I, I used to be an actress.” She hesitated. “Maybe you’ve seen me?”
“Oh! So you’re . . .”
“And you’re . . .”
Now they frankly stared at each other. The recognition pulled them up short.
“So we’re. . .” he fumbled for the right words. “So we’re home, now”.
“I was sick, so sick. So tired. The paramedics came”.
“Yes. My doctor was there. And then – I was looking down. Seeing myself. Too tired to come back”.
“Exactly”. Her voice trembled. She shuddered.
“It’s a hospital”, she whispered. “It’s going to be okay, now. I feel it”.
“Wanna know a secret? I hated it! Hated all of it. Didn’t know how to stop. Couldn’t stop. Didn’t know what I would do if I stopped.” He willed her to look into his eyes.

She looked. Beyond the ashen skin, the painfully thin nose, the drawn look of his entire being. She looked into his dark eyes. Now there was a recognition that transcended the image she had seen again and again in the tabloids, in the videos, on the news. Something sweetly conspiratorial passed between them.

“And on the same day!” She laughed in spite of herself, and he understood.
“They must be having a field day down there!”
Now they both laughed, deep belly laughs until, uncontrollably, tears sprang to their eyes. They hugged carefully. Hesitant..

Now, a solitary man dressed in white scrubs and immaculate white sneakers emerged from the church house across the street. As he approached the bus stop, he smiled, as if sharing their private joke.

He stopped in front of them, holding out his hands and helped them to their feet.

“The Doctor will see you now”.

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I had completely forgotten about these recording sessions until I saw that Bob Bogle had recently passed away. My brain must really be getting old as I don’t remember much about those sessions. I do remember that Larry Taylor was playing bass, Mel Taylor was on drums and Nokie Edwards on guitar. So, time to fire up “The Google” and see what I could find out.

In my searching I ran across a book titled “Walk-Don’t Run – The Story of the Ventures” at www.books.google.com. In that book (page 195) they have me playing lead guitar, which is not correct. On page 197 I found the true story. The albums I played on turned out to be solo albums of Mel Taylor’s that were later released under the titles “Sun, Sea And Love” and “Mel Taylor in Japan”. The other players on those albums were John Mayall and Harvey Mandel (BTW Larry Taylor and Harvey Mandell were former members of Canned Heat and John Mayall was famous in his own right). On further reading I found that David Carr was playing keyboard and doing orchestral arrangements for them and was also on those sessions. This really surprised me as I had met David later in the 80s when he came into my studio to work with one of my clients and I never made the connection. We did quite a bit of work together at that time. Small world and you learn something new every day!

Reading on I found even more interesting information on page 201 of that book. Evidently there was a lot of intrigue going on with The Ventures at that time as Bob Bogle and Don Wilson were producing these albums and it wasn’t clear if this was Mel’s album or a Ventures album. I do remember that Nokie and Mel had asked me to join them on their upcoming tour to Japan and I was even more flattered. But after many years on the road with The Righteous Brothers traveling was never my favorite thing and I declined. Nevertheless, I realize, even more so today, what an honor it was to work with such a groundbreaking group of musicians.

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Even at my busiest doing session work, touring or as a signed writer and producer I never wanted to be at the mercy of the music business. I didn’t (and don’t) mind being a slave to music but I was not about to be a slave to the music business! Consequently I was always looking for opportunities to make money outside the business. The success of those opportunities helped to give me the security to be able to pursue music on my own terms. I think all of us get into music because we love making music and are looking for some sort of audience. If we can make a living at it great but life and the “business” of music can get in the way of our best laid plans.

Finally, I think those of us who have been in the business for a long time recognize that there is a certain amount of luck in all of this. Being in the right place at the right time the stars align and we catch a wave. Sometimes you catch more than one wave but the fact is that someday that ocean might not be there and we are left with the question, “What is life really all about?”. Life is fleeting and fragile so, for me, the answer to that question is “Be A Light”. Now that’s something really worth pursuing!

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You start by sending them your music (after signing a contract), currently via a DVD (no FTP yet), and they “fingerprint” it to compare to their monitored networks. For the trial period they will run a scan on Q2 2008 and also 45 days going forward from the day they get you into their system. The cost for the trial period is 50 cents per piece of music and 20% of any monies you recover. In my case I sent them about 150 cues for a fingerprint cost of $76. You are provided with an account page at Tunesat with a list of the detections that include the name of the channel, show name, episode name, date/time, cue title (title you submitted to Tunesat), duration and finally a “Listen” link to hear the detection (with dialog). They started monitoring my cues on 05-07-2009 and to date (currently 05-29-09) they have “detected” about 500 uses of those cues (Q2 2008 scan will be in about a month). The point is to check for copyright infringement, shows that that are using your music and not reporting it and/or cross referencing against your cue sheets.

Many of the shows detected were on Scripps Networks which has not been paying any performance royalties.

Though I have made my living for many decades making music in various capacities, I had very little knowledge of music libraries. In 2004 my wife and I made a deal to write and produce about 100 cues for a TV production company. Through a series of miscommunications and lack of knowledge, on everyone’s part, we ended up with a lousy contract and learned that most of the shows were for Scripps Networks. One thing we did insist on is the ability to re-use the music which they agreed to, as long as we re-titled.

I know all about the controversy regarding re-titling but for us it was the only game in town. I submitted our completed cues to many, many libraries and the only ones interested were those who offered the now typical “re-titling” option (BTW these libraries were found submitting through the Film Music Network). I was not going to let the music sit on the shelf so I went for it. How the re-titling controversy will play out is anyone’s guess.

In 2006 I placed our music with two different libraries. Over the course of the last three years one library has done an excellent job of placing the music but the other has never placed one piece. I was curious. Was the one successful library a fluke and/or the other library inept or dishonest? I will know more about this aspect when the Q2 2008 scan is run but I have learned that the library that has done well for us has placed some of our cues with Scripps. This I did not know and I made sure to let them know. To say that they were surprised I knew this is an understatement! But the nature of the business is that they (like many other libraries) supply a hard drive of music to production companies and from that point it’s hard to know where the music ends up. I do think that now, with a service like Tunesat, I can at least let them know I know.

Now to a hopeful sign. The whole Scripps issue with BMI has been bugging me since I found out about it in 2004. I had called BMI a number of times in L.A., N.Y. and Nashville and few people knew what I was talking about. When they did they had no clear answers except that BMI was negotiating with Scripps. After observing all of the Scripps shows on Tunesat and getting more incensed I started calling BMI again. After a series of calls I finally got through to a couple of people who got right on the case to get me some answers. Today I got a call from BMI saying they were a few months away from finalizing a deal with Scripps and that Scripps was deciding what shows would be on a blanket license or per program. BMI also said payment would be retroactive.

I’m always the “infernal” optimist so I would like to think this will happen. Needless to say I will keep on my contact at BMI and hope for the best. The person at BMI did state the Scripps was not their longest running negotiation but (as she said) there are a lot of lawyers involved!

As I find out more about Tunesat, Scripps Networks and BMI I will update.

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