Rodeo Announcer Keeps Things Interesting

By Annette Dawm, WorkStory Ambassador

Joe Scully has worn many hats in his career as an announcer. He is a DJ and has done live commentary for Motorsports and other sporting events. He is also a Race Director, but the hat he is most comfortable in would probably have to be his cowboy hat and his role as a Rodeo Announcer:

“I analyse a performance or competition and find a way to enhance the spectator experience by highlighting storylines as they develop.” Scully says that in most cases, “the competitors are unknown to the general spectator”. So, it is his job to give the crowd a reason to cheer the competitors on “and also [for them] to begin to appreciate the intricacies of what comprises a successful run or ride.”

For Scully, “The ultimate goal is to make this commentary interesting and intriguing for first-time spectators.” He also finds a way to keep things interesting for those who continually come out to rodeos, whether they are participating in, or watching the events.

Joe explains that “the energy” is what he loves most about being a rodeo announcer:

“Through rhythm of commentary and complementary music, one can really bring the energy of the room up and down in anticipation of the action.  It's a challenge to time it right, as there are so many variables, but to be able to enhance a moment and make it a genuine experience, that's a win.  I like to look at the ‘energy’ like how you would drive a race car. You don't redline the whole way around the track, but if timed right, bursts are the difference in finishing at the front, middle or back.  Some of my colleagues will yell for an entire performance, and have hype for every single component – which is ok – but if you want the crowd to stick with you, they can't carry that energy for 3 hours, and neither can the announcer.” Scully warns that announcers can also lose credibility if they give too much “hype” to a participant whose performance is consistently poor.  “So, [you have] to ride the energy and have the right highs and lows. You may be exhausted, but it's exhilarating.”

The path he took may have been “the long path” however it seems to have served Joe well. He was born in the Greater Toronto Area and raised at a roping facility near Guelph, Ontario. He now lives in Grey County but Scully has always been interested in the rodeo environment:

“I was a rodeo competitor and became a rodeo clown in my teens.  I then went to college for Radio Broadcasting, as it was the closest field to being a rodeo clown. [I] eventually got into Radio Sales which took priority over being a rodeo clown.  Soon, I missed the excitement, and then took up announcing as ... another career, and loved the experience.  From there I entered the International Professional Rodeo Association Contract Acts Showcase and won in 2007. [I] then applied for my Professional Rodeo Cowboys Association accreditation and earned it in 2008.” Joe has since worked as an announcer in 13 different states and 4 different provinces.

For anybody interested in this career path, Joe advises aspiring Rodeo Announcers to “get as many gigs as possible, and try something new every time.  I do a lot of junior or high school rodeos, which is my testing ground for sound effects, timing, etc.” In addition, Joe strongly suggests that you “video every second and watch it back. Have the videographer [record] both the action and you, so you can see what you were looking at, and what you missed.  I like ‘eavesdropping’ to hear what people around the camera are talking about.  Often times, it's simple stuff like, ‘her horse's boots match her saddle pad’, which is something that ‘newbies’ relate to. [This] is stuff to highlight to appeal to ‘newbies’.  No performance is the same, learn something or try something every time.”

You can learn more about Joe at www.joescully.com and follow him on Twitter @rodeoannouncer! He follows back and he will also “like” your Facebook page if you like his!

https://www.facebook.com/RodeoAnnouncer

I've got my degree – now what?

By Dave Robilliard and Brennan Connolly

Fond memories of their time spent at the DWFoM were vivid in the minds of both Dave Robilliard (BMus'04) and Brennan Connolly (BMus'08) of Duo Percussion as they opened the Fridays at 12:30 concert season in September. Along with the Fridays at 12:30 concert, Duo presented a workshop for undergraduate and graduate music students on entrepreneurship, titled “I've Got My Degree…Now What?” Geared towards musicians, the seminar covered topics such as marketing, networking, touring, sponsorship and creating your own opportunities.

Both Robilliard and Connolly completed their MMus degrees in percussion at Oklahoma City University and upon returning to Canada, the pair reconnected to form a chamber percussion ensemble that has taken off over the last couple years. In fact, the group has gone from playing just a few local education con-certs to performing for national and international audiences. They have also gained sponsor-ship from Pearl/ Adams

Drums & Concert Percussion as well as Dream Cymbals & Gongs. Most recently, the duo was nominated for “Best Percussion Ensemble” in 2014 by Drum! Magazine, in which they finished second to the world-renowned Blue Man Group. 

Duo Percussion is a professional percussion pairing known for their eclectic and high-energy performances. Using traditional and non-traditional percussion instruments, they present diverse programs of classical, contemporary and Canadian music. Duo Percussion is dedicated to expanding the percussion duo repertoire and attract-ing new audiences. “We're trying to change the way that people experience a ‘classical' concert, ” said Connolly. “We're trying to approach concerts in a different way. We have a unique sound palette and niche to fill and we are trying to engage audiences of all ages on a level that makes them feel that they are just as much a part of the performance experience as we are. ”  

The pair has appeared as guest artists with the Bell' Arte Singers, the Guelph Chamber Choir and the Oriana Women's Choir. Other solo appearances include the Ontario Percussive Arts Society's Day of Percussion, Toronto's Harbourfront Centre, New Hamburg Live! Festival of the Arts, Bach Music Festival of Canada, and the University of Guelph.

Not only are they busy per-forming public concerts, Duo Percussion also has a pas-sion for fostering creativity in young people. With concerts and workshops tailored to suit various educational levels, Duo Percussion has been able to help inspire and enhance the abilities of many young audiences by exposing them to a unique genre of music and immersing them in the world of percussion. This helps students realize the limitless possibilities of percussion music and motivates them to develop their exploratory and creative skill set, which helps their musician-ship to grow. Duo Percussion was first engaged to perform at a secondary school in Clinton, ON and with an outstanding response, the demand for the group was immediate. Now frequently engaged by schools throughout the province, Duo Percussion has grown to provincial and national recognition as evidenced by their keynote performance at the Ontario Music Educators' Association Conference and their residency at MusicFest Canada ‘The Nationals' .

In addition to their ensemble performances, Robilliard and Connolly are active freelance musicians and educators in Southwestern Ontario. They perform regularly with orchestras in the region, and together comprise the percussion section for the Jeans ‘n' Classics Rock Symphony. They have performed in shows at the Stratford Festival and the Grand Theatre along with many other local theatre groups. As educators, Robilliard has been adjunct faculty at both Western and the University of Windsor, while Connolly is the percussion ensemble director at Wilfrid Laurier University. In addition, they both direct percussion ensembles at local high schools and maintain active private teaching studios in their respective cities.

In the spring of 2016, Duo Percussion will tour the mid-west United States with concert appearances and workshops in Oklahoma and Texas. They are also taking bookings for the education concerts and workshops. For more information, visit: www.duopercussion.ca.

Article originally appeared in the Winter 2015 edition of Ensemble, the alumni magazine of the Don Wright Faculty of Music at Western University.  Reprinted with permission.

Make Some Noise with Transistor!

By Karli Steen, WorkStory Ambassador

Formed in 2007, and based out of Barrie, Ontario. Transistor is a four member, award-nominated band. They have released two full length albums and are about to release their yet-to-be-named third in 2015, fusing a power-chord rock sound together with blends of blues, punk and country.

 The band's recipe is simple. A hard driving focus and power-filled songs, combine with intricate lyrics, to reveal music that ranges from melodic to heavy. Steve Wishart's vocals twist and turn throughout the songs, weaving an energy of rich harmonies with lead guitarist and backing vocalist Chris Nunes. The group's nucleus is held together by Joel Schonewille's steady rhythms on drums. Bass player Don Lindsay intertwines unorthodox bass lines to bring the songs together. Transistor has performed many shows and appeared at Earth Hour Music Festival, Barrie New Music Fest and Music on Main.

 Behind their unique sound, is a unique career path chosen by each band member. As Steve recounts "All of us have really taken different courses and schooling to get to where we are today. Being an honours graduate of the Georgian College Graphic Design program I have found that my career path has helped to give our band an identity, overall look and appearance. Because of my education, we have merchandise to sell and a website to promote ourselves and a visual presence that we can take pride in.  From an artistic point of view, I can utilize my training to think creatively and outside of the norms to not only brand us, but apply it to other forms of the group such as songwriting or making videos. It's the creativity that allows me to write lyrics to a song or help structure a guitar part. Music is much like design or any kind of art...everyone starts with a blank canvas and as an artist it's up to us to fill it with a picture that others can connect with on whatever level. But in this case our medium is our instruments".

 The band's drummer Joel took Radio Television Arts at Ryerson University. This gave him some audio training in a broadcast domain and an idea of the process radio stations use to select music for their playlists.  Guitarist and backing vocalist, Chris tried out Computer Programming, but never quite finished.  It was in his free time that he learned the art of guitar.

 When asked which school experiences helped the most, lead singer Steve said that he never really excelled in music in school. He didn't like the structure of music teachers assigning the roles played in a band. He wanted to be an individual.  Steve took private music lessons which boosted his confidence. This experience inspired him to learn independently and to decide for himself what role he would play.  Although Chris did not finish his post-secondary program, he notes that the time he spent there was worthwhile: "For the three of us school was our experience that helped define us. It's where we met, forged a friendship and started the roots of our band. Joel, Steve and myself have played together for many years in various bands. In a way, you can consider that a career, as most bands don't last even a quarter of that time together."

 A day on the job can vary, depending on whether the band members are performing or recording.  If they are performing, they have to incorporate extra time to travel, set up equipment, and make sure the instruments are working and sounding right; and then there is the work and effort that comes with putting on a good show.

Recording is a different story, because the band can either work together, or separately. They can work on their sound in the comfort of their own homes, and then come together to make the whole masterpiece. Practices happen once a month, and can last anywhere from 5 to 10 hours. Recording gives the band more time for sleep, and family; but for Chris there is nothing better then when they come over to his place for a jam session, and create new music. 

 There are many rewarding things about being in a band, including the fans, and seeing a song come to life. Steve explains the best part for him: "From a body of work perspective we are about to release our third album, and I always find that fulfilling and exciting...so first and foremost I would say writing the music tops the list. This is followed closely by the atmosphere of being in a band. It's truly like a family at times. Sharing ideas and creative moments right to traveling and performing live and having people listen to your music and like it."

 They admit that they would like to "make it big" with Transistor, but they know the industry is not what it used to be. Nonetheless they will continue making music because it's what they love. When asked for advice for those who may be interested in entering the industry, the band collectively agreed that you can't expect to "get rich quick".  You should make music because you love it; and stay away from today's talent shows that ultimately try to seize creative control.

You can find out more about Transistor at their website or follow them on Facebook, Twitter, or Youtube.

Elite student kept in tune with industry

By Paul Mayne, Western News

Koen Tholhuijsen, a recent graduate of Western’s Piano Technology Program, recently started an internship at Toronto’s Royal Conservatory of Music. The Netherlands native said the program at Western taught him all he needed to know about tuning and repairing pianos.

While growing up in the Netherlands, Koen Tholhuijsen spent countless hours in his father’s workshop.

“As an electrician, he had a lot of tools hanging around. As a kid, I was extremely good at breaking stuff,” said the 25-year old. “I would always try and fix things before my parents figured it out. Playing with all those tools was when I started enjoying working with my hands.”

Today, Tholhuijsen uses this curiosity to get ‘in tune’ with his internship as a piano technician at Toronto’s Royal Conservatory of Music. And he gives credit for his ear for music to Western’s Piano Technology Program, which has been training students from around the world for 14 years.

The one-year intensive program has seen students arrive more than a dozen countries – Australia to Ireland, Germany to Cuba – to learn the fine art of piano tuning, repairs and findng that perfect pitch.

Formerly located at Toronto’s George Brown College, the program was revamped and brought to where it belongs – in a music school, said program co-ordinator Anne Fleming-Read. It remains the only piano technology program offered in North America.

“It’s like its own laboratory. This is the perfect location,” she said of the program, tucked neatly in a corner of the Don Wright Faculty of Music Building.

“This is a niche market – and a very small market. There have been several schools throughout the world that are no longer operating,” Fleming-Read said. “Apparently, word gets out you can come here and, in eight months, have what you need to go out and start making a living, and continue your learning.”

With just 14 students in the program each year, Tholhuijsen saw Western as the perfect opportunity for him, despite the fact he was already enroled in a similar program in Amsterdam.

“It was a three-year program. After I did the first half-year, I pretty quickly figured out it wasn’t the right school for me,” said Tholhuiijsen, who quickly began googling piano technology programs. “Western was one of the first ones that popped up right away. The website was good and I got a lot of great information. So, I got in touch with Anne and made my decision.”

Coming to London was delayed as he spent the next year-and-half saving up the $16,000 program tuition. But it was worth the wait, Tholhuijsen added.

“I just wanted to go to a good school and reach my goal of working in the business,” he said. “They teach you the basics of what you’re going to need to be successful. And to be sucessful, you spend on average of 60-70 hours a week in school. That’s a lot of time to put in. But if you do that, there’s a big chance you’ll learn so much.

“They push you to succeed, which is great. My personality needed that pressure.”

Fleming-Read said students appreciate the individual time they receive, with such small classes, thanks to senior technical officer Don Stephenson and resident technician Paul Poppy.

“It allows for a lot of individual and personal attention,” she said. “It’s not just them sitting at a desk. You are working right there with them. You get to see their ‘up’ days, and their ‘down’ days, and respond accordingly. Sometimes, you take risks when you push them harder, but they need to know they can do it.”

While the main program will not be growing, a summer session in Piano Technology is offered to graduates and practicing technicians. A similar one-month program will also be offered for residents of China, an area desperate to educate technicians.

“This will be for those who already have some experience and want to take it to the next level,” Fleming-Read said.

Tholhuijsen joked that despite waiting the year-and-a half to begin at Western, he still graduated before his former classmates in Amsterdam. And a few months into his internship, despite all his training, he admits the learning never stops.

“You are always developing your listening skills,” said Tholhuijsen, who, while not a pianist, dables on the piano. “Everybody has it, everyone hears it, but you really need to develop it, which is why it’s important to put those 60-70 hours in.

“Most people who listen to music will hear different things we hear, as tuners. At the beginning, you barely hear anything, but then you slowly start developing your listening skills and begin hearing more and more. It takes time and, still now, it’s improving for me.”

Posted with permission, Western News

A Footloose Life

By Tahirih Foroozan, WorkStory Contributor

Sabrina Naz’s dance career didn’t start in the dance studio…it began with her journey of self-discovery.  Sabrina is half Trinidadian and half Romanian.  Growing up she struggled to find her place between the two. It was at her mother’s dance studio, Diversity Performing Dance Club, where she not only started to understand her culture but her flare for Caribbean dance and performance art.

“Dance was one of those vehicles that drove me into knowing what my culture was and who I am.” Sabrina says.

Now, she specializes in Soca, Dancehall and Caribbean dance. 

While other professions require more traditional training, Sabrina took on a more holistic approach.  She describes her approach to training as “really learning through performance.” By attending different workshops, in Calgary, New York and Trinidad, attending the Decidedly Jazz Danceworks extension program, taking a variety of workshops and auditioning for everything she could find, Sabrina has perfected her craft.  Now Sabrina teaches Soca and dancehall in Calgary, heads the dance group Casa de Naz and is a part of the performance group the Bad Girls Club.

When Sabrina’s not dancing she uses her time wisely by relaxing, attending Caribbean fetes, going for a massage…anything that sparks inspiration that she can later bring to the dance floor. She says the main thing to becoming a dancer is perseverance, commitment and struggle, but it’s important to maintain balance.  Of course a healthy diet, regular exercise and stretch all come with being a dancer, but rest and relaxation becomes just as important.

Although Sabrina does work as a dancer and performer full time, she does have to be honest, like most artists she has a part time job.  To supplement her income Sabrina works as a “restaurant hostess with the most-ess.”

Sabrina shows no signs of stopping.  She spent this past summer performing and traveling in British Columbia and dancing in Toronto’s Caribana Festival and Cariwest in Edmonton.  Sabrina says she can’t imagine doing anything else. “It’s so exciting, it’s such a high.  Honestly, I don’t think there is a moment when I am not doing anything pertaining to dance.”