A group of theater singer-songwriters teams up with FRIGID New York to present the second installment of Don’t Call Us Emerging: A Songwriters Concert (Monday, Dec. 12, 8 p.m. at Kraine Theater); an evening of original material performed by the writers themselves, all of whom are also Broadway, Off-Broadway and regional stage performers. Each songwriter will present a short selection of their own material, along with a story or two, giving audiences a unique chance to experience a wide range of styles and voices. Featured artists include Dawn Cantwell (Broadway: Wicked and the Last Ship), Pearl of the Rhine (Broadway: Nathasha, Peter and the Great Comet 1812), Jacob Shipley, Rebecca Hart, Jordanian friendand Zach Spound.

The concert will be organized and hosted by Friend, who created the series in collaboration with other New York composers Paulie Pecorella and Sean McCabe. “We really want to recreate the intimacy of a house concert, in a theatrical setting; a real feeling of getting to know the songwriter,” Friend said of the concert’s purpose. “There are so many amazing singer-songwriters who also wear many hats in the theater industry as actors, directors, musical directors and more. This series is a recurring space for artists to share their music and their stories with attentive audiences, while also showcasing their own communities and supporters to one another.”

While all artists work in theatre, the style of music will range widely from Broadway, to Indie Folk to Pop/Rock, and the songs will include both standalone works and live performance pieces. As capacity at the Kraine is limited, the public is encouraged to reserve in advance. Learn more about the featured artists below.

PERFORMANCE DETAILS:

DO NOT CALL US EMERGING

A concert of songwriters

With Dawn Cantwell, Jordanian friend, Rebecca Hart,

Pearl of the RhineJacob Shipley and Zach Spound

Produced by in partnership with FRIGID New York

DATE/TIME: Monday, December 12 at 8 p.m.

AUTONOMY: approx. 90 minutes

LOCATION: The Kraine Theatre. 85 E 4th St, New York, NY 10003

TICKET PRICE: $18

WEBSITE: https://cloud.broadwayworld.com/rec/ticketclick.cfm?fromlink=2211262®id=13&articlelink=https%3A%2F%2Fwww.frigid.nyc%2Fevent%2F6897%3A175%2F6897%3A1746%2F?utm_source= BWW2022&utm_medium=referral&utm_campaign=article&utm_content=bottombuybutton1

ABOUT THE ARTISTS

Dawn Cantwell

is a bi-coastal actor, singer and shy writer. She has been seen on Broadway, off Broadway, in the area, in film and television, and has toured internationally as a singer/songwriter. She recently wrapped filming the upcoming movie, Jumping Beans: Let’s be Friends and was just seen Off-broadway in SISTAS: The Musical. Featured credits include, Broadway: Wicked (Nessarose), Stings The Last Ship (originating as Young Meg). Off-broadway/Regional/National Tour: SISTAS, Original Company of Dogfight, Original Company of Fu!*%ing Up Everything/Brooklyn Crush, Music in the Air (Encores! City Center), Love’s Labour’s Lost, The Master Class, and innumerable productions of Les Misérables, FILM/TV: Save the Date, Isolation, The Train (opposite Eli Wallach), Game Night (Amazon). She’s got a new musical, Hiraethin development alongside Addi McDaniel. She also writes and performs with her brother ryan cantwell (musical director/conductor of the 1776 Broadway revival).

For more information visit: www.dawncantwell.com www.selkiemusical.com Instagram @dawasong FB: @dawncantwell . She’s quitting Twitter (her current handle is @dawncantwell) and will likely reluctantly join tiktok soon, despite her “older millennial” protests.

Jordanian friend

is an actor, singer-songwriter and director based in New York and Washington, DC, where he founded the 4615 Theater Company (2020 John Aniello Award for Outstanding Emerging Theatre). Last year, he took a virtual tour of his one-man musical, Old Soul, for audiences on four continents. Jordan’s music was featured by a world renowned artist Ben bends, with whom he also trained. He also frequently composes scores for plays including Frankenstein (NextStop Theatre) and upcoming audio drama project Shakespeare’s Histories (Brave Spirits Theatre). Acting credits include Isaac in Disgraced (NextStop Theatre). Achievement credits include the world premiere of Joe Calarco‘s Separate Rooms and the first in the DC area of Lucy Prebble‘s Enron (both with 4615). Jordan holds a BFA in Acting from Ithaca College, a Diploma in Classical Acting from the London Academy of Music and Dramatic Art, and was a cabaret and performer at the Eugene O’Neill Theater Center. His first EP, “Chapter Two”, is now available on all streaming platforms. Learn more about www.yorfriendjordan.com

Rebecca Hart

is an actor, singer/songwriter and lyricist/librettist for musical theater and opera. Recent concerts (with and without his alt-folk project Rebecca Hart & the Wrong Band) include: Rockwood Music Hall (coming 12/14!), the Irish Arts Center, the “Porch Stomp” on Governors Island, the Brooklyn Americana Music Festival, the Cutting Room, the SoFar Sounds series and the Kripalu Yoga Center in Stockbridge MA. Writing/composition credits include: Gloria (Woolly Mammoth – Helen Hayes best sound name), Civilians Rimbaud in NY (BAM) and Let Me Ascertain You (Joe’s Pub), Target Margin’s Uriel Acosta (Chocolate Factory), How To Break (NY Hip Hop Theater Fest, Oslo National Theater, village theater – forthcoming), The Cabaret at the End of the World by Hard Sparks (NY Innovative Theater Best Original Music Award). Writing credits include IRON JOHN (an american ghost story) (2019 NAMT Festival, Theatreworks Silicon Valley New Works Festival, O’Neill Incubator Residency, productions at Temple University and Manhattan School of Music); the barren(s) (Kennedy Center/American Opera Initiative commission, New Opera West workshop); Microcosmos (Civilians R&D Group), and the original solo exhibition How To Read Tarot Cards (upcoming residency at The Cell with Chloe Treat). Recent acting credits include The public theater SWEAT visit by Lynn Rating and a CT Critics Circle nomination for “Best Actress” (Midsummer a play with songs – Hartford Theatreworks). Her album The Magician’s Daughter, was produced by Ben Sollee and is available on all streaming services. Associate Artist, Civilians. www.rebeccahart.net

Pearl of the Rhine

(she) is a New York-based actor, singer, writer, musician, and songwriter. She was part of the original Broadway cast of Natasha, Pierre and the Great Comet of 1812; originated roles in world premiere musicals at the Irish Repertory Theater and the Peoples’ Light Theater in Malvern, PA; and recently played Jo March in Kate Hamillthe adaptation of Little Women at The Dallas Theater Center. Other theater credits include Ars Nova, Red Bull, Civilians, arena scene (Washington, DC), ART (Boston) and The La Jolla Playhouse. TV credits include “Succession” (HBO), “Bull” (CBS), “The Blacklist” (NBC), and “Younger” (TVLand). A songwriting student from William Finn, Pearl is currently writing a kind of musical about Amelia Earhart. Pearl plays over 15 instruments and teaches piano to very small people. She has a master’s degree in acting from UC San Diego and a bachelor’s degree in theater from Ball State University. Proud member of ring of keys, Maestra, SAG-AFTRA, Actors Equity, American Federation of Musicians and ASCAP. @pearlrhein, pearlrhein.com.

JACOB SHIPLEY

writes, sings and tells stories about the moments in life we’d rather not repeat. Like the time her ex told her she forgot he existed. Some of his music is sad, some is sardonic and humorous, but it all comes from a deeply personal place that’s easy to connect with because we’ve all been there. His lyrics are poignant, his voice approachable, his range impressive, and his guitar work effortless and subtly complex. Listening to Jacob is like remembering an old friend: it wasn’t all easy, but at least we got through it. Jacob’s voice has been compared to Jeff Buckley, his wry cynicism to Phoebe Bridgers, and his poetic storytelling to Hozier. He has performed live at Historic Troy Savings Bank Music Hall, Bitter End, Rockwood Music Hall, and more. In the theater, Jacob played the role of John Newton in the first nationwide tour of Amazing Grace: the Musical and was featured in the first actor-musician production of Godspell. https://www.jacobshipley.com/

Zach Spound

is a New York-based songwriter and actor. He has written three full-length musicals: Leap (NMI/Disney New Voices Award); What is happening ? and currently in development, In This Body. His short musical, Dinosaur, won numerous awards, including Best Musical at New York’s Theater Now Soundbites festival and the City Theater’s 2019 National Award for Short Film Writing. He participated in the Johnny Mercier Songwriters Project, where he was mentored by Andre Lippa and Craig Cornelia. In 2021, he released his first single, “Love Is A Drug”, followed by the title track of “In This Body”, both of which can be heard on all streaming platforms. He is the musical supervisor, arranger and orchestrator of Cruel Intentions: The 90s Musical, which took place Off-Broadway and completed its 1st national tour. As an actor, we saw him in The Other Josh Cohen (Off-Broadway), Once, and in regional theaters across the country.

Humans have been creating and performing music for thousands of years. Some of the earliest songs discovered date back to the ancient Sumerians with musical notations inscribed on clay tablets and tomb walls. Indeed, the history of music is inextricably linked to the history of mankind and songs have long been used to tell and communicate knowledge, in addition to contemporary stories and folklore. In the words of Henry Wadsworth Longfellow, “Music is the universal language of mankind”, capable of connecting diverse peoples across time, geography and culture. From Mesopotamia to Greenwich Village, songwriters have transcribed the vibrations and sounds emanating from their heads in an effort to share these creations with others. For legal purposes of copyright, the act of writing or recording the original lyrics and melody is the threshold required to trigger copyright ownership in favor of the author.

Under US copyright law, the author (writer) of the song owns the copyright in that song at the time it is fixed in tangible form. But what about when two songwriters collaborate on writing a song? Or when a studio producer, band member, or session musician contributes a lyric, riff, or arrangement? The answer is “it depends”. Applicable law provides that in the absence of a written agreement to the contrary, when two or more authors collaborate on the writing of a song, then that song is considered a “joint work”. This means that each individual writer owns equal shares of the song, regardless of the actual contributions of those involved. Moreover, even de minimis contributions from other participants, such as band members or even a street visitor, may be sufficient to confer equal ownership on contributors.

The best way to avoid these unintended outcomes is for writers, producers, and recording artists to record their intentions and expectations in signed writing – preferably at the beginning. In most cases, a so-called split sheet can be used to describe ownership splits, in addition to other related terms, such as administrative and publishing rights, terms and restrictions for uses by third parties, the first recording rights and the permissions to modify the lyrics and/or the arrangement. In some cases, songwriting shares and ownership rights can be addressed in a producer agreement, band member agreement, or the often inaccurately titled work-for-hire agreement. Although the format is generally less important, the requirement that the intent of authors and contributors be documented in signed writing is both necessary and indispensable. In other words, the failure to get a deal signed means the songwriter and his very lucky housemate could be considered Lennon and McCartney (50/50 co-owners) for the purposes of that song they were playing yesterday. evening.

Creatives often hate talking “business”, especially when the proverbial creative juices are flowing. Nothing can kill the bright flow of inspiration quite like a lawyer and a contract. However, the best time to determine ownership shares of a song is either before the writing session begins or in “real time”. Later is too late and, potentially, a recipe for heartache and regret, if not a legal battle. The default “joint work” rules established by the Copyright Act can be hugely unfavorable to the songwriter, and that roommate who suggested a few words for the chorus has little incentive to give up her share of equal ownership after the song airs. Humanity’s musical catalog is a surprisingly vast treasure trove of songs and verses. Unfortunately, this catalog is also littered with the sad stories of far too many unprepared songwriters. Be ready!

Pictured (top row LR): Shannon Sanders and Michael Collins of BMI. (middle row LR): LuAnn Davidson, Leslie Roberts and Josh Tomlinson of BMI with Sam Severs and Ryan Wariner. (bottom row LR): Kathy Anderson, Melody Malloy, David Malloy, Clay Bradley and Nancy Moore of BMI, Steve Wariner, Mason Hunter of BMI and Matilda Severs and Caryn Wariner.

BMI celebrated legendary songwriters and soon-to-be Nashville Songwriters Hall of Fame inductees Steve Wariner and David Malloy at a luncheon in their honor on Wednesday, August 24. During the event, the company presented them with BMI’s signature “Million-Air” awards, which commemorate songs reaching one million plays. Collectively, Wariner and Malloy had a total of over 43 million performances. The 20 titles honored at the luncheon played back-to-back would total a staggering 247 years of continuous play.

Award-winning songs for David Malloy included:

“Love Will Change You” (3 million)
“Drivin’ My Life Away” (5 million)
“Got Too Far” (1 million)
“You Can’t Run From Love” (2 million)
“True Love” (1 million)
“I love a rainy night” (6 million)
“Suspicions” (3 million)
“Someone Might Lose a Heart Tonight” (2 million)
“Step by Step” (3 million)

Award-winning songs for Steve Wariner included:

“I Been There” (1 million)
“Holes in the Ground of Heaven” (2 million)
“I have dreams” (2 million)
“I’m already taken” (1 million)
“I Should Be With You” (1 Million)
“Long neck bottle” (1 million)
“Nothing but taillights” (4 million)
“Two Tears” (1 million)
“Where Did I Go Wrong” (1 Million)
“Where the Blacktop Ends” (2 million)
“You can dream of me” (1 million)

Combining forces to merge their unique perspectives on storytelling, Sydney Jeremy Strother & Bobbie Lee stamp are delighted to announce their project racing birdsalongside the release of their first single ‘Rarely never loaded‘. Drawing passionate voices from Jeremiah, sit eloquently to bluesy beats from Bobby, the duo have combined to create an emotive sound that is fleetingly familiar, yet unique racing birds. Reminiscent of nighttime strolls through Southern California in the ’60s, the band captures a raw, honest side that’s visible throughout. “Rarely Never Loaded”.

Having practiced their profession for years separately, individually the racing birds the members have a pedigree that places them among the best songwriters and session musicians in the southern hemisphere. Jeremy contributed to acts in all areas, including I am Apollo & Stellar Perry (The Voice Australia)alongside a publishing contract with the New York agency Frisbee. While the United States native Bobby cut his teeth as a guitarist for Jon McLaughlinsharing the scenes with Sara Bareilles, Colbie Caillat & Bon Jovi. Closer to home, he performed with Australia’s best, including Guy Sébastien, Human nature & Matt Corby to name a few. Together they create raw and captivating sound, drawing listeners into their story, creating vivid images of neon signs, fading taillights and California skies.

“I think we were still in Bob’s garage when we started working on “Rarely Never Loaded”. I was playing a vocal memo from the writing session and heard Bob’s swampy lead guitar hook that eventually became the biggest part of the song. Once we figured that out, it all came together pretty quickly. Shakers, tambourines, bass drums, claps, etc. I was reading about the Hells Angels in the 70s and looking at old photos while I was finishing the lyrics to the song. There was one particular photo I found of a girl waving with a cigarette that inspired the song character. Jeremy Strother, racing birds

“It was all done with just the two of us, a few guitars, a laptop, and whatever we could find in the garage to type on. I didn’t have a real studio at the time, so we settled in the front half of my garage, and there was a sheet hung up to hide the lawnmower…you could see the daylight coming in through the cracks in the walls, there were possums walking around the rafters at night and it was either boiling hot or freezing depending on the weather. But we used that DIY feeling to give the record a bit of edge and energy. I tried not to use a lot of samples or edit the takes too much . Bobbie L Stamper, racing birds

Trampling their cowboy boots in the dust of an old machine shop, racing birds were inspired by dreams of road trips in the American Midwest to film the music video for ‘Rarely never loaded‘. Writhing in the dirt and heat of an old industrial building, the band perform the track as if it were payment to fix their broken old Chevy. With style and vigor you’d be forgiven for thinking Jeremy Strother & Bobbie Lee had just left Route 66 with an overheated engine and a burning desire to get to their next show.

“One of the themes on the record is road trips, driving through the American West, and the idea was that we would stop at a random mechanic to have the car checked out and end up playing music in the garage. We just wanted that warmth, that dirt. It was there in the dirty garage where we made the record, so we also wanted to put it on the video. It was hard to find a place to let us shoot, but once we found Bill’s we knew we’d be able to get something cool he left us alone all night with the video crew, let us move the cars around, do a lot of noise and filling the place with smoke. It was a great atmosphere. Bobbie Lee stamp

Foregoing the familiarity and comfort of a high-end recording studio, Bobby & Jeremy hunkered down in their garage in Sydney, capturing the authentic, local essence of the songs that would become their debut EP “Lonely Blue”. With the energy of their own blood and sweat grafted into the songs, it was fitting that the duo self-produced the EP to capture the honesty and evocative nature woven throughout. “Lonely Blue”. Although recorded in an intimate setting, the EP sees racing birds dream of bigger times – American ranches, late-night freeway drives, and falling in love in the dust and sun of SoCal.

The first song we wrote for the EP was Vampires & LSD. This is the story of two lovers on the run, good at being bad. These are midwestern motels and desert highways. “She likes old cars and graveyards, distorted guitars. » . . but I want you all to myself, raise a family, made of vampires and LSD. The way it came together gave us a very clear vision of how we wanted the EP to feel and sound; the words, the cries, the guitars, the rhythm and the colors. This was new territory for Bob and me. I think if we hadn’t written that song, and if it hadn’t come out the way it did, Racing Birds probably wouldn’t have become a band. So we started with “Vampires”, which set the tone, and then I think it was “Rarely Never Loaded”. At that time, we knew how to seize the moment, so we wrote “Silver Sun Bohemian,” which definitely leans into the mystique of Southern California—fading taillights, 70s sunsets. Jeremy Strother, racing birds

Country

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What happens when young producers like Suté Iwar, Sir Bastien, DJ Lolu and Lobi remix popular hits from girl groups like The Lijadu Sisters, Tiwa Savage, Sade Adu and Tems? The result is golden ladya new compilation EP from Nigerian Funka group passionate about preserving and documenting Nigerian music.

As Nigerian art comes full circle, as seen in the massive influence of Old Nollywood on pop culture today, I sat down with Nigerian Funk to discuss the importance of preserving Nigerian music, which the pastor Nigerian was a huge pop star back then and why their debut EP only focuses on Nigerian female artists.

What inspired Nigerian funk?

Like many Nigerians, while we grew up around classical Nigerian music, the majority of what we were exposed to growing up in the early and mid 2000s was foreign music. But as we got older, it became clear that there was a whole world of old-school Nigerian music that we just weren’t aware of.

By researching over the past two years, we have discovered the rich and still relevant sounds of the 1970s, 1980s, 1990s and early 2000s. Finding these songs also made us realize that one of the reasons why we didn’t grow up with them was that we lacked a culture of preservation and documentation in Nigeria. Most of those songs were just out of circulation and people forgot about them.

We noticed all this and decided to launch Nigerian Funk as a way to preserve, celebrate and introduce the rich music and artists of our past to a younger generation.

What is so important about preserving our musical history as Nigerians?

Our musical history is an integral part of our identity as Nigerians. Music tells our story as a people in the most beautiful way. Think about it, music has the power to transport you to another time where you can hear the challenges and joys of that time. It reminds us of our past and who we were as Nigerian people.

Additionally, music as an art form is a major aspect of culture, and for us to understand, build and spread Nigerian culture to the world, it is important for the mass population to connect first with her.

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So what part of this documentation process do you enjoy the most?

Uncover information we had no idea before. Much of what we discover is new to us too!

For example?

Did you know that Chris Okotie was a big pop star in the 1980s who performed at gigs in London before he became a pastor?

Canvas.

We also discovered that the boss and senator of Silverbird, Ben MurrayBrucehad a record company at the time and he signed the band, Xtasy, which consisted of his siblings Roy and Stella Bruce.

Nigeria also had what they called musical variety shows on NTA at the time where emerging and established musicians could perform their songs every week. We don’t have that stuff anymore. Luckily for us, we found some of these images.

It’s wild. So if I wanted to get into old school Nigerian music, what songs would you recommend for my playlist?

Hmmm. So let’s say Bobby Benson Taxi driver (I don’t care) 1950s Rex Lawson’s Sawale 1960s Fela Kuti Young Ko Ku (chop and dip) 1970s Oby Onyioha Take your life 1980s and Alex Zitto walakolombo from the 1990s.

If you don’t want to search all these songs yourself, you can check out our reading lists.

I will check them out for sure. So, pages like Nollybabes and YungNollywood have reintroduced Old Nollywood to Nigerians, this time through feminist lenses. What is Nigerian funk trying to accomplish for the culture?

We love these pages! At Nigerian Funk, we work to bring old school Nigerian music into the consciousness of Nigerians, so that it becomes an aspect of our culture that we celebrate, relate to and pass on to the next generation.

We also want to make these songs accessible to everyone by creating events, experiences and physical spaces where everyone can interact with our musical past. We believe that these songs can serve as a source of inspiration for contemporary musicians.

Speaking of inspiring a new generation, you released an EP titled golden ladytell me about that.

We have done golden lady hoping to celebrate female musicians in Nigeria. Our research on Nigerian music has shown a major imbalance that has never favored women in the industry.

To once again bridge that gap between the old school and the contemporary, we reached out to some of the most exciting producers working in the industry today to give us their take on female hits new and old. We asked them to choose the sample they wanted to work with and remix it in the style they liked. We gave them complete creative freedom and the project produced some really interesting musical moments.

It is the first of its kind. The EP shows the huge sampling resource we have in our Nigerian music library, as well as the wide range of musical styles that Nigerian producers are capable of.

Wow. I’m sold! If you could bring back one element of old school Nigerian music, what would you bring back to life?

The wide range of songwriting that existed at the time. The range of artists at the time was amazing.

You know what? I am okay. So what’s next for Nigerian Funk?

We are working on interesting audiovisual projects and live events which we will announce in due course. But right now we’re curating the Nigeria of the 1980s and we’ll move on to other decades right after that.

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