While we want it to look and feel like music-making just magically happens, there are costs associated with putting a performance together…and recording a live album…and producing a documentary about the process. Most importantly it means paying people what they deserve.
I’m likely preaching to the converted here but the truth is that most musos work several different jobs and still live very close to the poverty line. It has nothing to do with talent or success. It has everything to do with having our contribution being incredibly meaningful but somehow undervalued. For me it was important to pay the singers an honorarium (bucking the tradition of always asking musicians to donate their time) and for the rehearsals everyone was fed a delicious home-prepared vegan buffet and refreshed with a beverage from the bar; the venue was also paid (another source that is often asked to donate); and the support team were compensated for their expertise.
As an independently produced project, the scale of reaching into the community and bringing so many people together means reaching out for some assistance. I started by signing up for a micro-funding platform called Patreon and was lucky to secure the support of some generous souls for the earliest rehearsals. The deal was that I’d create a video showing every step of the process and my patrons would automatically donate an amount per video produced. I got great feedback from my patrons and I’m grateful for their blind support.
As the project rolled along, a greater number of singers came forward than expected, the scope of things became more obvious and some tasks needed to be taken care of by someone other than me. (It would seem that I couldn’t be in three places at once doing four different jobs, even though I wanted to be in complete control of everything and everyone. Ha! ) Well, I was just freaked out and tired enough to boldly ask for some corporate sponsors to come forward and holy moley thank the stars they did. Thank you for the support of these adventurous supporters of my project.
Many thanks to:
Judy Bishop, Tom Haivarlis, Sarah Chauncey, Tania Fernandez, Shane Gallant, Kepka-Haivarlis Family, Kevin Wrycraft, Colin Buchanan, Katy Killmore, Amin Bhatia, Lianne Doucet, Anil Khera, Synthian Sharp, RP Ruzan, Sue Molyneaux, Ilana Wilner, Paul Myers and Liza Algar, Chris Blake, Joanne Riven, Angela Vink, Rebecca Roth, Terry White, Paul Evans, Nicole Colbeck, Lynn Harrison, Wende Wood, David Aaron, Shawn Edmondson, Mary Krause, Mel Ferrimond, Rogr Lee, Catherine Thompson, Jennifer Schaffer, David Kanter, David John Shaw, Ron Proulx.
These performances are possible through the generous sponsorship of these good people:
Thank you, for bringing out the best in everyone, The WYSIWYG Co.
Thank you, Bhatia Music for your tireless technical and administrative support.
Thank you to Lianne Doucett at Authenticity 101 who practices everything with integrity.
Thank you, Royce G. Charles-Dunne, for your support of independent music makers.
Thank you, Gold Entertainment Accountants for your unabiding passion for music.
Thank you, Yawd Sylvester for contributing in countless ways.