Back on the Case: The Voice and Songwriters

I’ve kept quiet for a few months now about how the coaches on The Voice – and their team members – sloppily and incorrectly attribute a song’s ‘ownership’ to the artists best known for performing it.  (You can take a look at the blog posts of May 10 and June 14 to read my earlier rants on this topic.) 

Once more, I have to say that Blake Shelton is the most shocking in this regard, being a Nashville artist.  Nashville has long been known for placing songwriters and good songwriting at the center of its music business, so his crediting only Kelly Clarkson and Jason Aldean, the artists who had the hit on the song Don’t You Wanna Stay, was a bit shocking to me.  Yes, Clarkson and Aldean performed it, and really well, but it was written by Andy Gibson, Paul Jenkins, and Jason Sellers.

But what got me off my duff to compile the lists below was the reference to I Wish It Would Rain as only ‘by The Temptations’ and a later reference to contestant Preston Pohl’s tone as being so close to David Ruffin.  The song was written by Roger Penzabene, a Motown staff writer, and Motown’s songwriting team of Barrett Strong and Norman Whitfield.  Lots of folks acknowledge Holland-Dozier-Holland as Motown songwriters, but there were others.

The earlier posts I referred to mention the problem that songwriters have today, given that downloaded music is the dominant sales point: there’s no consistent place for songwriters’ credits to appear.  Some talented folks aren’t getting the recognition they deserve.  My suggestion was for The Voice to add a “Written by” line to the Chiron of the song title that appears at the beginning of a contestant’s performance.  That would be a big step forward in acknowledging that these writers are where the music begins.  

So, here are the credits for the last two rounds of The Voice, the most recent first.  I’ve organized it by song title, then by the songwriters, and then indicated who performed it on The Voice.  Apologies in advance for any typos in the names.

Knockout Rounds

Song	Songwriters	Performed on The Voice by
Already Gone	Kelly Clarkson, Ryan Tedder	Grey
Cosmic Love	Florence Welch and Isabella Summers	Mathew Schuler
Don’t Know Why	Jesse Harris	Stephanie Ann Johnson
Genie in a Bottle	David Frank, Steve Kipner, Pamela Sheyne	Nic Hawke
Hard to Handle	Otis Redding, Al Bell, Allen Jones	Ray Boudreaux
I’ll Be	Edwin McCain	Austin Jenckes
Last Name	Luke Laird, Hillary Lindsey, Carrie Underwood	Shelbie Z
Let Her Go	Mike Rosenberg	Cole Vosbury
Living for the City	Stevie Wonder	Josh Logan
Mamma Knows Best	Jessica Cornish, Ashton Thomas	Amber Nicole
More Than a Feeling	Tom Scholz	James Wolpert
No One	Alicia Keys, Kerry Brothers, Jr., George M. Harry	Tamara Chaunice
No Woman, No Cry	Vincent Ford (credited to)	Preston Pohl
Stompa	Serena Ryder, Jerrod Bettis	Jacquie Lee
Stronger	Jörgen Elofsson,  David Gamson, Greg Kurstin, Ali Tamposi	Tessanne Chin
The Way I Am	Ingrid Michaelson	Caroline Pennell
We Can Work It Out	John Lennon, Paul McCartney	Jonny Gray
When I Was Your Man	Bruno Mars, Philip Lawrence, Moe Faisal, Ari Levine, Andrew Wyatt	Will Champlin
You Oughta Know	Alanis Morissette, Glen Ballard	Kat Robichaud
You’re No Good	lint Ballard, Jr.	Olivia Henken

Battle Rounds

Song	Songwriters	Performed on The Voice by
As Long as You Love Me	Sean Anderson, Justin Bieber	Caroline Pennell
Counting Stars	Ryan Tedder	James Irwin
Domino	Jessica Cornish, Lukasz Gottwalk, Claude Kelly, Max Martin, Henry Walter	Grey
Don’t You Wanna Stay	Andy Gibson, Paul Jenkins, Jason Sellers	Shelbie Z
Done	Neil Perry, Reid Perry, John Davidson, Jacob Bryant	Olivia Henken
Harder to Breathe	Adam Levine, Jesse Carmichael	Josh Logan
House of the Rising Sun	Traditional	Jacquie Lee
I Don’t Want to Miss a Thing	Diane Warren	Kat Robichaud
I Wish It Would Rain	Roger Penzabene, Barrett Strong, Norman Whitfield	Preston Pohl
Listen	Henry Krieger, Scott Cutler, Anne Preven, Beyoncé Knowles	Amber Nicole
My Song Know What You Did in the Dark	Patrick Stump, Pete Wentz, Joe Trohman, Andy Hurley, Butch Walker, and John Hill	Mathew Schuler
Next to Me	Emeli Sande, Hugo Chegwin, Harry Craze, Anup Paul	Tessanne Chin
Not Ready to Make Nice	Martie Maguire, Natalie Maines, Emily Robison, Dan Wilson	Destinee Quinn
Radioactive	Ben McKee, Dan Platzman, Dan Reynolds, Wayne Sermon, Alexander Grant, Josh Mosser	James Wolpert
Refugee	Mike Campbell and Tom Petty	Jonny Gray
Some Kind of Wonderful	Gerry Goffin and Carol King	Ray Boudreaux
The Best I’ve Ever Had	Gavin DeGraw and Martin Johnson	George Horga Jr.
To Love Somebody	Barry Gibb and Robin Gibb	Austin Jenckes

In Praise of a WORKING Writer

By almost any writer’s standards, Terry Teachout is having a very good year. 

To wit, in reverse order: Duke, his biography of Duke Ellington, was published October 17^th to generally great reviews.  The previous week, on October 11^th, The King’s Man, his third collaboration with composer Paul Moravec, premiered at the Kentucky Opera in Louisville. On September 18^th, Duke was included on the non-fiction long list for the National Book Award, a month before its official pub date. 

A sequence of events like this is what many a writer’s dreams are made of. This past spring wasn’t too shabby, either, with Satchmo at the Waldorf, the stage adaptation of his bio on Louis Armstrong, garnering two nominations and one win (for the lead actor) at the Connecticut Theatre Awards. And mind you, this was all produced in the midst of the deadlines required by his ‘day job’ as a critic.

Now, to be clear, I do not actually know Mr. Teachout, but I have known of him for quite some time. He first beeped onto my radar screen in the mid-90s when I was directing the marketing and press activities involved in introducing Berlin Classics, a then-new German classical label, to the American audience.  Teachout was on my monthly press and radio list, which numbered a few hundred at that time. (I wince to think of how few of those classical-format radio stations survive and how few of those press contacts are with publications that still feature professional – or, indeed, any – arts criticism.)

When my days with the label were over, I would occasionally see Teachout’s distinctive name pop up here and there, but he was off my radar until I read his lovely tribute to the irascible and charming lyricist Gene Lees (best known for Yesterday I Heard the Rain and Quiet Nights of Quiet Stars), whom I’d known from one my first jobs in music publishing. Reading his column on Lee’s passing in the spring of 2010, I learned Teachout had made quite a leap and was now the drama critic for The Wall Street Journal.  Not long after that, I joined Twitter and his was one of the first accounts I followed. That’s when my real awareness of and admiration for him as a writer began. 

Over the course of 2011, I noticed the demanding travel schedule he kept, and then began to get a handle on the extra-curricular work he was producing.  That year we Twitter followers read of the premiere of his second opera, Danse Russe, and his work on adapting to theatrical form his acclaimed 2009 book Pops: A Life of Louis Armstrong, which would become Satchmo at the Waldorf. And at some point he announced that the Ellington biography was his next book.

In the spring of 2012, he shared on Twitter his elation at receiving a MacDowell Colony residency for the coming summer. (That was a happy note in an otherwise difficult spring, marked by the death of his beloved mother after a months-long illness.) We followers were able to track the breakthroughs he achieved on Duke at MacDowell, and when he returned to his real-life schedule, we were witness to his triumph at getting to the final draft later in the year, his delivery of the manuscript, his relief when his editor accepted it, his (muted) appreciation for the copy editor’s notes, and then, earlier this year, his unvarnished appreciation for the cover design and the work of the book designer. Somewhere in that mix, he also worked on the revision of the Satchmo play, which opened at New Haven’s Long Wharf Theatre in October, 2012.

This body of worked produced over a few years is substantial enough, but it becomes utterly astonishing when you realize that he has accomplished all this while carrying a work load that would have most people curled into a fetal position.  Teachout is perhaps the only drama critic in America who considers the entire country his beat, so he is not only covering New York theatre, but Chicago, Boston, Washington, Los Angeles and regional theatres across the country.  In addition to his reviews, he also writes a weekly column for the WSJ, blogs regularly at his Arts Journal post, and keeps his hand in the music world with liner notes on the side.

Now, to the uninformed eye, a critic’s job seems like a walk in the park.  You get to watch/listen to stuff you like – for free! –and then all you have to do is write about it.  Having known a number of critics over the years (mostly music critics, of course, but a few film critics, an art critic, and even a television critic), I can tell you that whole for free! thing goes out the window when you see the foot-high pile of discs that comprise the assignment due tomorrow, or the slumped shoulders of a film critic heading off to his third film in two days, or a music critic trying to figure out how to cover three far-flung performances of a weekend. 

The fact that Mr. Teachout has been able to meet his deadlines and achieve all that he has with his own books and libretti is admirable enough, but doing it with the kind of soul-sapping travel schedule he maintains puts him in the ranks of cultural super-heroes as far as I’m concerned.

Amidst all this, he has done an enormous service to writers by sharing on Twitter the joy of writing on those days when the words and ideas just flow – sometimes like Niagara Falls, sometimes like a burbling creek – the days we all dream of.  But he’s also shared the frustration of those days when the words just don’t come. No matter how far you open the spigot, there’s not a drop. But the most indispensable thing I have learned from Mr. Teachout, especially when he tweets about his to-do list or the mountain of due dates he is facing of a week, is this: get the butt in the chair.  

In fact, that’s the greatest lesson writers can take away from any experienced writer:  Apply generous amounts of butt glue when necessary, but get the butt in the chair. 

I’ll be reading Duke later this week, or maybe early next. It’ll be my reward for meeting one of my own editing due dates. And when I go out to buy it, I’m also going to stop by my local art supply store to see how much they charge for the big containers of butt glue, because I’m going to need a lot in the coming weeks.  And I think I’ll write on the top of the container – in big Magic Marker letters – Teachout Success Formula. 

Thanks for the inspiration, Mr. T.

 Jeanne McCafferty is an editor, writer and book designer.  

You can see samples of her work and learn how to contact her at www.jeannemccafferty.com.  
She is on Twitter @IrishCabrini.

Conquering Hollywood

It’s been longer than I expected since the last post, but I’m thrilled to finally be able to share with you Gary W. Goldstein’s remarkable book Conquering Hollywood.

Gary is a Hollywood veteran, and at the top of his list of credits is Pretty Woman, which he produced almost 25 years ago.  He was a longtime manager of screenwriters, and his career-long (and probably life-long) focus has been how best to connect with people and how to help them connect with other people.

You can read on my website about the process Gary and I went through in developing this book, and he was very clear right from the beginning that this was a book focused on career, not craft, so if you’re looking for advice on how to write for film or television, you’ll have to choose from among the many volumes available on that topic.  

But if you’re looking for advice on how to succeed in writing for television or film, Conquering Hollywood is for you.  This is the down-to-earth, brass tacks kind of business advice so many of us wish we had had when we were starting out, whatever our careers. Gary somehow combines a primer in old-fashioned business courtesy with of-the-moment advice on managing social media activity and recognizing its impact on a career.  He walks his readers through the choices to be made, the focus and the discipline it takes to succeed in this competitive arena – and indeed in any career these days.

It’s available on Amazon in print, and for those of the eBook persuasion, there is also a Kindle version available with cool video inserts, so that qualifies it for ‘enhanced’ eBook status, I believe.  For those who love audio books, that’s also available, with Gary narrating each and every chapter.  I’m not really an audio book person, since I’m one of the lucky Angelenos who isn’t in the car very much, so I’ve only listened to the audio chapters in snippets.  But I can tell you that hearing Gary’s narration immediately snapped me back to the hours (and hours!) we spent sitting at the round table in my office as we finalized the text.  On tricky passages where we’d combined/cut/added/transmogrified, Gary’s last step before giving it his imprimatur was to read it aloud. His concern was always for clarity of communication, the practicability of his advice, and making sure that his readers were really receiving the benefit of his years of experience. I’m happy to tell you that integrity and concern shows on every page.

I highly recommend this book to any aspiring screenwriter, artist, or musician and the principles outlined in the book are perfectly applicable to aspirants in other walks of life.  If you do purchase Gary’s book, I’d love to hear from you.  And I’d love for you to leave a comment on the book’s Amazon page as well.  Thanks!