​Este año de inpredectíble acontecimientos han sido pruebas de obstáculos para los artistas en la rama musical teniendo ellos que adaptarse a las restricciones de estos tiempos. (El Mes de la Hispanidad fue autorizado por primera vez por el Congreso de E.E.U.U. bajo la administración de presidente Lyndon Johnson en el 1968.) Recordamos los logros y contribuciones de artistas latinoamericanos y del Caribe en los Estados Unidos. Algunos de los efectos positivos fue la expansión de la nueva tecnología: la radio y grabaciones musicales. En otros aspectos, la situación vigente como huracanes, terremotos, COVID-19, y la supresión gubernamental en los medios de expresión públicos, son algunas de las similitudes de eventos ocurridos en América Latina y el Caribe en la pasada década. Esto fue el caso de PR y Argentina, el cual discuto en un Proyecto investigativo.[1] Estos eventos envolvieron: sobrevivir a una depresión económica y el censor político de transmisiones de radio. Este blog se dividirá en distintos segmentos. La investigacion presentada aquí será en español y en inglés.


[1] Anthony L. Sánchez Crúz, El jibaro y el gaucho unidos en la música y canción (Vancouver, BC: Ditrie Marie Bowie, 2018).

​This year of unpredictable events has proven challenging for musical artists having to adapt to the restrictions of the times. As we celebrate Hispanic Heritage Month (first authorized by Congress under President Lyndon Johnson in 1968), we remember the achievements and contributions by artists from Latin America and the Hispanophone (Spanish-speaking) Caribbean in the United States. Some positive contributions came in the form of harnessing and disseminating new technologies through radio and audio recordings in Latin America and the Caribbean. In many respects, the struggles encountered today (hurricanes, earthquakes, a COVID-19, and governmental suppression of media outlets and public expression) echo similar events that occurred in Latin America and the Caribbean in the past century.  Such was the case for Puerto Rico and Argentina, which I discuss in an investigative research project.[1]  These events involved surviving an economic depression and the censorship of radio broadcasts. This blog will be divided into  several segments. The research presented here is in both Spanish and English.


[1] Anthony L. Sánchez Crúz, The Jibaro and the Gaucho United in Music and Song (Vancouver, BC: Ditrie Marie Bowie, 2018, 2019).

Versión Español:

Durante los años de los 1920, surgió la creación de una tecnología de radiodifusión. La primera transmisión de radio en la Argentina fue en el 27 de agosto de 1920. La transmisión en Teatro Coliseo de Buenos Aires, que duró tres horas, comenzó con estas palabras: “Señoras y señores: La Sociedad Radio Argentina les presenta hoy el festival sacro de Ricardo Wagner Parsifal…” Esto fue posible por la dedicación y trabajo de cuatro estudiantes universitarios de medicina y radioaficionados, a los que se le conocía como “Los locos de Azotea.”[2]
  
En el 1920, Puerto Rico también contaba con un grupo de radioaficionados llamado “Porto Rico Radio Club”: dirigido por Joaquín Agusty y Manolo Ochoa entre otros miembros de este club. Mientras esta nueva tecnología llego a la isla el 3 de diciembre de 1922 con una programación inaugural de WKAQ en San Juan. Incluyo estas primeras palabras en las ondas radiales: “Esta es WKAQ en San Juan, capital de Puerto Rico, La Isla del Encanto, y donde se produce el mejor café del mundo.” (Joaquín Agusty). La corta programación comenzó con el himno nacional “La Borinqueña,” discurso inaugural por el juez del Tribunal Supremo Emilio Toro Cuevas, breves palabras del gerente de la compañía telefónica J. T. Quinn, seguido por selecciones musicales que incluyeron una soprano y una pianista interpretando música de danza.[3]

Solo unos pocos contaban con aparatos receptores. Fue un proceso largo y experimental del sistema de transmisión global. En la infancia de la radio, las presentaciones eran crudas, sin refinar y en vivo. A través de los tiempos, la radio se convirtió en un gran instrumento de comunicación transcultural, lo que hizo posible que muchos emigrantes se integraran a la nueva forma de cultura y sociedad. Recordando que la transmisión inicial en Argentina fue escuchada por cincuenta personas, los propietarios de los contados radios que había en el país. La evolución fue rápida ya que, para el año 1923, Argentina contaba con sesenta mil receptores. En el mismo año, las emisoras de radio empezaban hacer nombrada con la combinación de letras y números bajo la dirección del Ministerio de Marina.[4] Todo esto es tomando en consideración que comenzó a llegar al público argentino en el 1926. En Puerto Rico, los radioaficionados transmitían discos fonográficos para entretenimiento de sus amigos. Para los 1930 en la isla, habían alrededor de cuatro mil radios y una audiencia de vente y cinco mil personas.[5]

En Argentina, la radio siguió creciendo; algunas emisoras se crearon en días consecutivos unas de otras como Radio Argentina y Radio Cultura. Esta fueron algunas de las muchas emisoras de radio creadas: Radio Nacional LRA, Radio Paris, Radio Belgrano LR4 Radio “Splendid.” La primera emisora puertorriqueña, WKAQ de 1922, fue seguida por WNEL en 1934 como la segunda emisora en San Juan, que fue radioteatro. Después, llego la creación de WPRP Ponce en el 1936 y WPRA Mayagüez en el 1937.[6]

Aunque la radio no se pensó como una institución comercial, en el 1931 en Argentina se inauguró la emisora radial LV10 Radio Cuyo. Fue la primera emisora comercial, que se especializo en ventas y entretenimiento. Esta radio difusora transmitía música grabada y anuncios, pero también invitaba a músicos para tocar en el estudio. La emisora WNEL de la isla puertorriqueña se especializo en implementar radioteatro. Fue la primera en subscribirse a una agencia de noticia en el exterior y traer artistas del extranjero para presentarlos en programas como invitados internacionales (ej. Jorge Negrete y Pedro Vargas).[7]
 
Los receptores
 
La nueva tecnología hizo que los vecinos crearan un sentido de camaradería cuando se reunían a oír su programación favorita como entretenimiento: música, comedia, drama y transmisión de eventos deportivos. El poder ser dueño de un receptor en esos tiempos fue difícil. Con la caída de la bolsa de valores económicos de 1929, los desastres atmosféricos y las situaciones políticas, hicieron la vida más difícil no importaba si te encontrabas en Puerto Rico o Argentina.[8] Por ejemplo, el sueldo semanal de un trabajador en Puerto Rico era de diez a doce dólares. Cuando el costo de los receptores fluctuaba entre los treinta y sesenta dólares, el aparato se consideraba un lujo.

Una consecuencia con la nueva tecnología fue la necesidad de un reparadores de receptores: un problema común con la radio en Puerto Rico. Se empezaron a crear cursos en el extranjero de reparadores o técnicos especialistas. Cogiendo estos cursos de radio, los estudiantes recibían diagramas, planos y guías como parte de la instrucción.[9] Esto trajo como consecuencia que la gente podía construir su propio radio y donde se empezó a notar que muchos de los que tenían receptores en su casa eran de segunda mano y reparados. Los receptores podían ser comprados en mueblerías, como La Casa Sánchez Morales, que se dedicó a la venta de receptores por más de veinte años. Para los años de 1945 a 1950, se encontraban marcas de receptores, como Zenith, Philco y RCA.[10]
 
Los gobiernos y la programación radial
 
Las consecuencias de crisis económicas y los innumerables cambios de gobierno crearon inquietud en los pueblos, afectando los medios informativos de las comunidades, como la prensa y la radio. Como parte de esta forma de gobernación en la Argentina, hubo censuras y reglas estrictas. En 1933, se estableció un Reglamento de Radiocomunicaciones, el cual fue vigente hasta mayo 1946. En el mismo año, Edelmiro Farrell presenta otro decreto manual de instrucciones para la radiodifusión: una compilación de los redactados en 1933. Las motivaciones para la censura de la música en la radio fueron por razones políticas, lingüísticas, paranoicas, y ridículas.[11]

Desde 1930 al 1943, lo que conoce como “La Década Infame,” la Argentina sufrió un periodo de instabilidad y atropellos hacia los trabajadores. En su libro retrospectivo de 1945 La Década Infame, el periodista, escritor y político José Luis Torres expresaba el fraude electoral y corrupción de los tiempos.[12]Algunas de las reglas estrictas para la radio fueron censura de ciertos vocablos, según Enrique Fraga en su libro La prohibición del lunfardo en la radiodifusión; incluyeron palabras como “broadcast,” “nacional,” “malevo” y “milonga.” Según el autor, la definición de milonga era tachar directamente emblemas y cosmovisiones populares. La situación llego a tal extremo que algunas radioemisoras tuvieron que cesar operaciones o cambiar de nombre para poder seguir retransmitiendo.[13] Un modelo descriptivo divulgando las situaciones de aquel presente es el tango canción “Cambalache.” Si damos una vista al pasado, notamos que durante el periodo de “La Década Infame,” ese tango sobrevivió ocho años libre de censuras.

En el periodo de 1943 al 1949, el decreto de manual de instrucciones para las estaciones radiodifusoras fue sistemáticamente puesto en práctica. Fue cuando el Ministerio de la Educación de la época, tras hacer un análisis de la letra de “Cambalache,” sentencio al tango por sedicioso y mala interpretación del lenguaje. En 1976, el tango “Cambalache” nuevamente fue censurado: esta vez, por la dictadura militar. Han transcurrido ochenta y tres años de la composición de este tango canción, y se sigue adaptando al presente que vivimos pues ofrece una predicción para el futuro. Es por esta razón que Gregorio Selser usa “Cambalache.” en 1981 para analizar y criticar otro periodo de crisis en Argentina.[14]
​
Mientras en la isla de Puerto Rico, el gobierno desarrolló un proyecto complementario para la enseñanza pública en la radio llamada “La Escuela del Aire.” Esta programación comenzó en el 1935, y consistió en un espacio de tiempo dedicado a todas las emisoras principales de la isla: San Juan, Ponce y Mayagüez para la retransmisión de programas educativos, además de una programación nocturna dirigida al entretenimiento público general y a la educación de adultos. El propósito era combatir el analfabetismo, contribuir a la socialización de zonas rurales, proporcionando información acerca de asuntos económicos, problemas cívicos sociales, y de agricultura entre otros. Este fue un proyecto modelo de radio educativo para promover el progreso en la enseñanza y actividades de jóvenes y la población de adultas.[15] Entre el personal que ayudo en la programación, se encontraban escritores como Enrique Laguerre y Julia de Burgos y actores como Lucy Boscana y Leopoldo Santiago Lavadero. Esta fue la base para más tarde la creación de radio pública de Puerto Rico emisora de gobierno WIPR. El propulsor de esta idea fue Ernesto Ramos Antonini.[16]


[1] Anthony L. Sanchez Cruz, The Jibaro and the Gaucho United in Music and Song (Vancouver, BC: Ditrie Marie Bowie, 2018, 2019).

[2] Mdz, “Historia cronológica de la radio en Argentina.” https://www.mdzol.com/nota/232937-historia-cronologica-de-la-radio-en-la-argentina/ (acceso el 12 de marzo de 2018); Héctor Benedetti, “4. Problemático y febril: Un camino ascendente entre dos crisis de expresión,” en Nueva historia del tango: De los orígenes al siglo XXI (Buenos Aires: Siglo XXI Editores, 2016), 124-128.

[3] Tinta digital, “La radioafición en Puerto Rico,” http://www.qsl.net/kp4md/rcprsp.htm (acceso el 12 de marzo de 2018); “Comienzos de la radio en Puerto Rico,” http://tintadigitalpr.com/blog/comienzos-de-la-radio-en-puerto-rico/ (acceso el 12 de marzo de 2018).

[4] Héctor Benedetti, “4. Problemático y febril: Un camino ascendente entre dos crisis de expresión,” en Nueva historia del tango: De los orígenes al siglo XXI (Buenos Aires: Siglo XXI Editores, 2016), 124-128.

[5] Mdz, “Historia cronológica de la radio en Argentina.” https://www.mdzol.com/nota/232937-historia-cronologica-de-la-radio-en-la-argentina/ (acceso el 12 de marzo de 2018); “Comienzos de la radio en Puerto Rico,” http://tintadigitalpr.com/blog/comienzos-de-la-radio-en-puerto-rico/ (acceso el 12 de marzo de 2018).

[6] “Historia cronológica de la radio en Argentina”; “Comienzos de la radio en Puerto Rico,”

[7] “Historia cronológica de la radio en Argentina.” “Comienzos de la radio en Puerto Rico,”

[8] “Comienzos de la radio en Puerto Rico”

[9] “Comienzos de la radio en Puerto Rico”

[10] “Comienzos de la radio en Puerto Rico”

[11] Juan Pablo Bertazza, “Si se calla el cantor,” Página 12, https://www.pagina12.com.ar/diario/suplementos/radar/9-4990-2008-12-14.html (acceso el 18 de abril de 2018).

[12] Gregorio Selser, “Prohíbese el tango ‘Cambalache,’ escrito en 1935. Molesto espejo.” El Dia, 26 de octubre de 1981, 55.

[13] Mdz, “Historia cronológica de la radio en Argentina.” https://www.mdzol.com/nota/232937-historia-cronologica-de-la-radio-en-la-argentina/ (acceso el 12 de marzo de 2018): Enrique Fraga, La prohibición del lunfardo en la radiodifusión (Argentina: Lajouane, 2006).

[14] Gregorio Selser, “Prohíbese el tango ‘Cambalache,’ escrito en 1935. Molesto espejo.” El Dia, 26 de octubre de 1981, 55.

[15] Tinta Digital PR, “Comienzos de la radio en Puerto Rico,” http://tintadigitalpr.com/blog/comienzos-de-la-radio-en-puerto-rico/ (acceso el 12 de marzo de 2018).

[16] Tinta Digital PR, “Comienzos de la radio en Puerto Rico.”

​English Version:
  
In the 1920s, the creation of radio transmission technology emerged. The first radio broadcast in Argentina commenced on August 27, 1920. The transmission at the Coliseum Theater of Buenos Aires (Teatro Coliseo de Buenos Aires), which lasted for three hours, began with these words: “Ladies and gentlemen: Today, the Argentine Radio Society presents the sacred festival of Richard Wagner’s Parsifal…” (“Señoras y señores: La Sociedad Radio Argentina les presenta hoy el festival sacro de Ricardo Wagner Parsifal…”). This broadcast was made possible through the dedication and work from four university students in Medicine and radio fanatics known as “Los locos de Azotea.” (“The Crazy People on the Rooftop”).[1]

In 1920, Puerto Rico also featured a group of radio aficionados called, “Porto Rico Radio Club”: directed by Joaquín Agusty and Manolo Ochoa in addition to other club members. This new technology arrived on the island on December 3, 1922 with an inaugural program from WKAQ in San Juan. It included these first words on the radio waves: “This is WKAQ in San Juan, the capital of Puerto Rico, the Island of Enchantment, and where the best coffee in the world is produced!” [“Esta es WKAQ en San Juan, capital de Puerto Rico, La Isla del Encanto, y donde se produce el mejor café del mundo.” (Joaquín Agusty)]. The short program began with the Puerto Rican national anthem “La Borinqueña,” inaugural speeches by the judge of the Supreme Tribunal Emilio Toro Cuevas, brief words from the manager of the telephone company J. T. Quinn, followed by musical selections which included a soprano and pianist interpreting danza music. [2]
​
Relatively few people and places in the early twentieth century had access to radio receivers. The process of global transmission was long and experimental. In the early years of radio, broadcasts were initially raw, unedited and transmitted live. Over time, radio gradually converted into a grand instrument for transcultural communication, which enabled the possibility for immigrants to integrate this new sociocultural aspect. It deserves mention that fifty people listened to the initial radio transmission in Argentina, the number of owned radios in the country at that time. Radio evolved rapidly that, by 1923, Argentina had sixty-thousand radio receivers. That same year, radio stations began creating names by combining letters and numbers under the direction of the Ministry of Marina.[3] Taking these factors into consideration, radio in Argentina arrived and expanded to public audiences in 1926. In Puerto Rico, radio aficionados transmitted phonographic discs to entertain their friends. By the 1930s on the island, the availability of radios grew to four thousand and an audience of twenty-five thousand people.[4] 

In Argentina, radio continued to expand; several radio stations were created within mere days of each other, like Radio Argentina and Radio Cultura. The following is a list of many of the radio stations established: Radio Nacional LRA, Radio Paris, Radio Belgrano LR4 Radio “Splendid.” The first Puerto Rican radio station, WKAQ in 1922, was followed in 1934 by WNEL as the second radio station in San Juan, which specialized in radio show productions. Later, other radio stations formed on different areas of the island: like, WPRP Ponce in 1936 y WPRA Mayagüez in 1937.[5]
Even though people did not originally perceive radio as a commercial institution, Argentina inaugurated the radio station LV10 Radio Cuyo in 1931. It was the first Argentine commercial radio station, specializing in sales and entertainment. This radio station transmitted prerecorded music and announcements, as well as invited musicians to perform in the studio. The station WNEL in Puerto Rico implemented radio theater. It was the first radio station to subscribe to an agency of news outside of Puerto Rico and to bring foreign musical artists to present themselves on programs as invited international guests (eg., Jorge Negrete and Pedro Vargas from Mexico).[6]   
 
Receivers
 
The new technology of radio allowed for neighbors to create a sense of camaraderie when they gathered to hear their favorite programs for entertainment: music, comedy, drama, and broadcasts of sporting events. The ability of owning a radio receiver in those times (the 1920s and 30s) often proved difficult. The crash of the Stock Market and global economy in 1929, natural disasters and political turmoil complicated matters concerning social living in both Puerto Rico and Argentina.[7] For example, the weekly compensation for a worker in Puerto Rico amounted to ten to twelve dollars. When the cost of radio receivers fluctuated between thirty and seventy dollars, this device was often considered a luxury item.
   
One consequence of the new radio technology in Puerto Rico stemmed from the necessity for receiver repairmen: a common problem with radios sold on the island. Courses were developed for the purpose of teaching aspiring radio technicians. By taking these courses, students received diagrams, plans and guides as part of their instruction.[8] As a result, this enabled people to construct their own radios: many of which were noticeably secondhand quality and deffective. Receivers could be purchased at furniture stores, like La Casa Sánchez Morales, which dedicated part of its business to selling receivers for more than twenty years. From 1945 to 1950, one could find different brands of radio receivers like Zenith, Philco and RCA.[9]

The Governments and Radio Programming
 
The consequences of economic crises and governmental reform created a sense of restlessness in the cities and towns, affecting the media and forms of deriving information and communication, like the Press and radio. As part of this form of governance in Argentina, those in power enforced censorship and strict rules. In 1933, the Argentine Government established Regulations for Radio Communication, which went into effect until May 1946. In that year, Edelmiro Farrell presented another decree and manual of instructions for radio broadcasting: a compilation of the rules written in 1933. Reasoning and motivations behind governmental censorship of music on the radio ranged from politics, language, paranoia, and ridiculousness.[10]

From 1930 to 1943, the period which many Argentine historians refer to as “The Infamous Decade” (“La Década Infame”), Argentina suffered a series of instability and outrage in the workforce. In his retrospective book from 1945 The Infamous Decade (La Década Infame), the journalist, author and politician José Luis Torres expressed his views on the electoral fraud and corruption of the times.[11] Several of the stringent rules for implementing censorship in radio came in the form of banning certain words. according to Enrique Fraga in his book, La prohibición del lunfardo en la radiodifusión (The Prohibition of Slang in Radio Broadcasts); this included words like “broadcast,” “national,” “thug,” and “milonga.” According to the author, the definition of “milonga” (in terms of censorship) meant directly crossing out emblems and popular worldviews. This restrictive situation arrived at a point where some radio stations either had to shut down or change their name so that they could continue transmitting content.[12] One descriptive model divulging the matters at that point in time is the tango canción “Cambalache.” Looking at this song from the point of view of the past, one notices that during  “The Infamous Decade,” this tango survived for eight years without undergoing censorship.
        
In the period from 1943 to 1949, the decree of the manual of instructions for radio transmission became systematically put into practice. The Ministry of Education in that era, after carefully analyzing the lyrics to “Cambalache,” censored the tango for promoting acts of Sedition and what they understood as bad interpretation of the Argentine language through slang. In 1976, “Cambalache” underwent new censorship: that time, under the military dictatorship of the time. Approximately eighty-three years have passed since the composition of this tango canción, and it is still adapted to the present times and offers a predominantly pessimistic reflection on the future. It is for this reason that Gegorio Selser uses “Cambalache” in 1981 to analyze and criticize another period of crisis in Argentina.[13]
​    
Meanwhile, on the island of Puerto Rico, the government developed a complementary project designed to educate listeners called, “La Escuela del Aire.” (“School on the Airwaves”). This program began in 1935, and it consisted of a time slot dedicated to all of the main radio stations on the island: San Juan, Ponce y Mayagüez for retransmitting educational programs, in addition to a night program dedicated to entertaining the general public and educating adults. The purposes behind these programs served to combat illiteracy, contribute to socialization in the rural areas, providing information relate to economic affairs, civic social problems, and agriculture among others. This project formed a model for educational radio programming for promoting teaching and activities for the population of youths and adults.[14] Among the people who assisted in this programming, one encountered authors like Enrique Laguerre and Julia de Burgos and actors like and actors like Lucy Boscana and Leopoldo Santiago Lavadero. This served as the base for what would later lead to the governmental public radio station WIPR. Ernesto Ramos Antonini initiated this program.[15]
         
 
 
  


[1] Mdz, “Historia cronológica de la radio en Argentina.” https://www.mdzol.com/nota/232937-historia-cronologica-de-la-radio-en-la-argentina/ (accessed March 12, 2018); Héctor Benedetti, “4. Problemático y febril: Un camino ascendente entre dos crisis de expresión,” en Nueva historia del tango: De los orígenes al siglo XXI (Buenos Aires: Siglo XXI Editores, 2016), 124-128.

[2] Tinta digital, “La radioafición en Puerto Rico,” http://www.qsl.net/kp4md/rcprsp.htm (accessed March 12, 2018); “Comienzos de la radio en Puerto Rico,” http://tintadigitalpr.com/blog/comienzos-de-la-radio-en-puerto-rico/ (accessed March 12, 2018).

[3] Héctor Benedetti, “4. Problemático y febril: Un camino ascendente entre dos crisis de expresión,” en Nueva historia del tango: De los orígenes al siglo XXI (Buenos Aires: Siglo XXI Editores, 2016), 124-128.

[4] Mdz, “Historia cronológica de la radio en Argentina.” https://www.mdzol.com/nota/232937-historia-cronologica-de-la-radio-en-la-argentina/ (accessed March 12, 2018); “Comienzos de la radio en Puerto Rico,” http://tintadigitalpr.com/blog/comienzos-de-la-radio-en-puerto-rico/ (accessed March 12, 2018).

[5] “Historia cronológica de la radio en Argentina”; “Comienzos de la radio en Puerto Rico,”

[6] “Historia cronológica de la radio en Argentina”; “Comienzos de la radio en Puerto Rico,”

[7] “Comienzos de la radio en Puerto Rico”

[8] “Comienzos de la radio en Puerto Rico”

[9] “Comienzos de la radio en Puerto Rico”

[10] Juan Pablo Bertazza, “Si se calla el cantor,” Página 12, https://www.pagina12.com.ar/diario/suplementos/radar/9-4990-2008-12-14.html (accessed April 18, 2018).

[11] Gregorio Selser, “Prohíbese el tango ‘Cambalache,’ escrito en 1935. Molesto espejo.” El Dia, 26 de octubre de 1981, 55.

[12] Mdz, “Historia cronológica de la radio en Argentina.” https://www.mdzol.com/nota/232937-historia-cronologica-de-la-radio-en-la-argentina/ (accessed March 12, 20182018): Enrique Fraga, La prohibición del lunfardo en la radiodifusión (Argentina: Lajouane, 2006).

[13] Gregorio Selser, “Prohíbese el tango ‘Cambalache,’ escrito en 1935. Molesto espejo.” El Dia, 26 de octubre de 1981, 55.

[14] Tinta Digital PR, “Comienzos de la radio en Puerto Rico,” http://tintadigitalpr.com/blog/comienzos-de-la-radio-en-puerto-rico/ (accessed March 12, 2018).

[15] Tinta Digital PR, “Comienzos de la radio en Puerto Rico.”

My last post concentrated on the basics for how composers can set up their Casting Call Club profile. Today, I am talking about some of the significant points of auditioning for a given project. Like scoring for podcasts, there are rules that composers must follow (and mistakes to avoid) to properly attract the attention of the director.

Auditions

1. Carefully read the directions for each “Composer” role in a project. Sometimes, the director wants a specific type of music. Most of the time, though, they just require that you send a sample of your work that is readily available online (as a link) for them to access and check.
2. Submitting auditions in Casting Call Club should be treated like an “elevator pitch” for job interviews because that is practically what the process is. It is a chance for the composer to showcase a sample of their work to the director in the hopes of landing a music scoring opportunity. It also demonstrates their level of professionalism by communicating with the director in writing, because sending a link is not enough.
3. It really helps to include brief details about yourself to give the director some context. Specify who you are, where you are based, and the kind of music that you write. Also, indicate the link that you have provided in your submission and where it leads. Talking about yourself in these contexts does not mean expressing narcissism and acting like a jerk to everyone. Approaching an audition that way will almost certainly guarantee that the director will find someone else who is more capable for their project.
4. Demonstrate wanting the opportunity without coming off as desperate. Saying things like “Here’s my work. Hire me!” is considered unacceptable in the entertainment world (or any profession, for that matter), because it gives the impression of looking for attention. Instead, offer your professional contact e-mail and show interest in communicating with the director about the specifics of the project… if chosen.
5. Wait for the results for the project audition that you submitted by applying for more projects, because the process does not stop after one audition.
6. If cast for a project, remember to wait for the director to respond and provide instructions.

Keep in mind that these guidelines, while helpful, should not be perceived of as the only ways of doing things when auditioning for a project that requires music. These are just some of the basic rules to establish professionalism so that your work can be considered. There is also no guarantee that following these rules works all the time (Refer to “Rule No. 5”). Sometimes, carefully following audition submissions can still lead to the director picking someone else, because it is a matter of luck. For situations like that, I refer to what I said in my post about scoring for podcasts. Composers should never, ever publicly complain about or harass the project director and production team because that means getting banned from the Casting Call Club community (because someone will eventually see the outburst and report the profile for violating guidelines). It is best to just stop, calm down and move on to something else.

In my last post, I discussed some key steps that composers can follow if they want to compose music for podcasts. Allow me to expand upon that post and talk about a website that I frequently use to locate opportunities in entertainment. I primarily use Casting Call Club. This site offers paid and unpaid working opportunities for people in multiple facets of entertainment projects: from screenwriting and animation, to voice acting, audio engineering, and music composition.It is a good resource for composers who want the experience of networking with people in different entertainment backgrounds. The site currently offers paid courses for those interested in learning more, but I want to go over some of the basic rules for how composers can properly use it to their advantage. This discussion will be divided into two parts.

Profile Etiquette

1. Include your educational background and links to previous relevant projects that you have worked on in the past: things like music for podcasts, animations, live action videos, comedies, or dramas.

2. Specify the gender, type of language fluency (if collaborating with people from overseas), type of audio equipment, and music software that you use. This helps to get your “Composer” profile noticed by others, because it demonstrates your experience in the field.

3. Indicate price ranges and quotes for the kind of music that you create. Remember to be reasonable with the pricing and be willing to negotiate the price range with whoever is interested in commissioning music from you our collaborating with you.

4. Take into consideration the extreme socioeconomic circumstances of a given situation, like a global pandemic that has left most people broke. Although it is generally considered a bad idea in the professional world to do free work all the time, sometimes that may the only available option. In situations like that, composers must take the opportunity regardless and adapt.

5. If necessary, add a disclaimer or set of disclaimers explaining the kind of work that you will not compose for. It is usually a good feeling when a composing opportunity arises, because that usually means another project that can be added to your resume or CV. However, composers should also exercise caution and have some limits to what they do. In my case, I try to avoid composing music for material that would be considered “NSFW,” or “Not Safe for Work” (See “Contact”): especially in this era where practically everything on social media is scrutinized.

The next post will focus on what to do in the "Audition" phase of applying for a Casting Call Club opportunity. Some parts might wound similar to what I mentioned about composing for podcasts. I assure you, though, that there are some differences between the processes. 

​With the release of the Sticks Shift Incorporated podcast soundtrack (see News), I would like to take some time to share with you some advice that I have regarding composing for podcasts. This information is based primarily on my personal experience with scoring for this medium and is not meant to be definitive. This is more like an extension of the Musochat forum discussion that I gave in July 2018 about “Commissioning and Collaboration Etiquette,” in that I will talk about what composers should expect when collaborating on podcasts and how they can exercise common sense to maintain professionalism:

1. Scoring for podcasts is mostly similar in scope to writing music for film, television, and video games. The process usually involves collaborating with a director or production team. The key difference with podcasts, when compared to the other media that I just mentioned, is that podcasts lack visuals and rely more on aural aspects to guide the programming.
2. As with most other forms of media, collaborating on a podcast as a composer requires a bit of creative restraint. That might sound strange on the surface. However, it is a necessary step, because the process relies more on group effort than on individual ego. The composer must learn to write the music that is being asked of them by the director or production team. This means that the composer must pay attention to the overall tone or genre of the podcast so that they can create music that matches. I decided to use eerie electronics with the Reaktor 6 Player when working on the music for Sticks Shift Incorporated: music that matched the suspenseful, sci-fi atmosphere of the podcast drama.
3. Because podcasts do not include a visual element. It is important for composers to adhere to aural cues or moods based on what the director or team want. This process frequently involves reading and studying the podcast script (if given access to one) and coming up with possible musical themes or ideas based on that script or specified mood.
4. Follow “Non-Disclosure Agreements,” or NDAs. Collaborating on a podcast as a composer means becoming a vital part of a team, which means that everyone on that team needs to follow the same rules at the outset of the podcast production. Composers are no exception. They must not reveal any crucial plot points for a new podcast episode or program before it is released. Violating a NDA spoils the podcast for everyone and comes off as unprofessional, because it sends the wrong message to the rest of the team that the composer cannot be trusted… which can either lead to the composer getting fired or the production halted.
5. Adapt and become flexible when scoring for podcasts. Learn to compose the required music for the podcast within a limited schedule (about several weeks, to one month). Expect to edit your music when, or if, the director wants changes. Arguing with the director at that stage in the process does nothing, which brings me to my next point: perhaps, one the most important points in this discussion and what composers should avoid at all costs.
6. No badmouthing the director or production team. Ever. Directors and production teams help composers by commissioning them for work. This should go without saying, but composers who work in any form of entertainment media should never publicly complain about their current project or their employer/commissioner. It does not matter if the project is paid or unpaid. That kind of attitude implies that the composer is incapable of working together with others, which reflects poorly on the rest of the team. It also decreases the chances for possible future employment by other podcast production teams because the composer could be rejected or banned from public online spaces offering work in entertainment.
7. Be prepared for anything. What I am talking about here is anticipating moments when podcasts suddenly stop mid-production. This can happen for several reasons. The director or creator chose another composer, or their main idea for the program did not fully come to fruition. Whatever the circumstances are, refer to the previous tip. Getting angry does not solve the problem. The best thing to do in situations like that is to accept that it happened and move on by searching for another project.

Some of you might be wondering how it is possible for composers to find opportunities scoring for podcasts and entertainment: especially in this unexpectedly long and unpredictable period brought on by COVID-19? I must reserve that discussion for another post. Until then, I hope that everyone stays safe.

Lately, I have been posting a lot of musical content that serve as my many responses to the ongoing Coronavirus pandemic. Today is no exception. Part of the works and mixes that I have been making involve using the Groovepad smartphone application. The simple and effective program developed by Easybrain features multiple melodic and rhythmic pads and loops, which can be used to create different kinds of mixes. The interface for the app uses contact-sensitive controls. After downloading the pad that you want. and waiting for advertisements to finish in the free version, simply stick on as many loops as you want to use. Of course, the mixes have to make some rhythmic sense. Fortunately, the loops in each pad keep track of the tempo and meter by displaying circular blinking lights and bars (for sound effects and vocal samples)

Other key features in Groovepad include the "FX Effects," a "Record" button, a switch to toggle between the "A-side" and "B-side of a given pad, and a "Reset" button represented by a white square. The free version of "FX Effects" only includes the "Filters" controls. Unlocking all effects in Groovepad requires a seven-day free trial, followed by a paid subscription. However, the "Record" and switch  commands compensate for the missing materials in the app. The loops and effects in  Sides A and B can also be mixed together when recording musical tracks, like the following:

It deserves mention that Groovepad encourages people to create mixes with the app for promotional use on social media platforms. However, to avoid getting sued and encountering similar problems, people who intend to use the app must initially read the "Terms of Service" in the "About" section. While I am not a fan of complex legal jargon, the Groovepad "Terms of Service" does include a section concerning what people cannot use the music app for under "Unacceptable Uses." This explicitlyAstates that pads mixed in the app must not be used to promote evil or objectionable material (sex, profanity, hate speech, substance abuse, etc.). Additionally, the music made in Groovepad belongs to Easybrain and the artists who created the pads: not the people who make the mixes with the pads. That is why in each YouTube video where I apply Groovepad, I specify the names of pads and the artists (See video descriptions on my YouTube channel for more details). Groovepad is available for free (with in-app purchases) on Google Play.