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Shelly Peiken talks technological changes

Author of the book Confessions of a Serial Songwriter, Shelly Peiken, spoke with Argonaut Online about her book, the changes that the writing process seems to have taken, and more! Read an excerpt of the interview below and let us know your thoughts on the interview in the comments section below.


COASS-Final_CVR_152159“Hit songwriter” sounds oxymoronic, considering the process by which commercial pop songs are frequently constructed. But Shelly Peiken belongs to that echelon of “career songwriters” who’ve made a living crafting songs for other artists.

“I was actively getting up every day and writing and pitching to artists,” she recalls, estimating that she would write or co-write 30 songs a year. The sassy writer’s best-known cuts are “Bitch” (Meredith Brooks), “Who You Are” (Jessie J), “Almost Doesn’t Count” (Brandy), “What a Girl Wants” and “Come on Over” (Christina Aguilera).

A short list of other artists for whom she’s composed includes Aaliyah, Natasha Bedingfield, Joe Cocker, Natalie Cole, Miley Cyrus, Celine Dion, Selena Gomez, Gladys Knight, Lisa Loeb, Reba McEntire, the Pretenders, Britney Spears, Keith Urban, and the cast of “Glee.”

Now, 25 years into her career, Peiken has become choosier in her projects. As she spells out in her witty, compulsively readable book “Confessions of a Serial Songwriter,” she still joyfully sings along at the top of her lungs to songs she hears on her car radio.

But something fundamental has shifted in the way mainstream pop music is created, largely as a consequence of technological changes that continue to rewire the industry.

The thrill of connecting with a song that perfectly encapsulates the listener’s own circumstances — that three-minute rush that addicted Peiken to songs and songwriting in the first place — is rooted in very human experience.

She writes poignantly about how the Beatles and singer-songwriters such as Carole King, Joni Mitchell and Carly Simon “were all able to reach a place inside of me with their self-examination, honesty, incongruities, longings and whimsical pleasures.”

But when songs are treated as templates with interchangeable parts, rather than as vehicles for meaningful personal expression, their capacity to connect deeply with listeners is undercut, which in turn shortens their shelf life.

That lack of relationship between co-writers — the trust-building collaboration Peiken dubs “SongSex” — affects the quality of music and disenfranchises songwriters from the process of song creation, she argues.


To read the full interview click HERE.

 

Andy Babiuk talks Beatles Gear with AudioFanzine!

Author of Beatles Gear – The Ultimate Edition, Andy Babiuk, was interviewed by AudioFanzine, an online magazine with content and services in the fields of audio and musical instruments.   Here’s a sample of the interview.  Click on the link at the bottom to read the entire interview at AudioFanzine!


00333744Babiuk’s book, published by Backbeat Books, is a coffee-table style tome full of information, anecdotes, and tons of photos. This is the second edition of the book, significantly expanded from the original, which was published in Britain in 2001.

“I worked directly with Olivia Harrison and with Ringo,” says Babiuk about his research for the new edition, “and McCartney’s been really cool, and Yoko was great.” His other sources included the late George Martin, Geoff Emerick the late Neil Aspinall, and many others.

Babiuk owns a boutique guitar store called Fab Gear in Rochester, NY, and has played for a long time in The Chesterfield Kings, which he says was largely inspired by bands of the British Invasion era.

I really liked the way that the book weaves in the band’s history along with the gear info.

Thank you. I wanted it to be a story about the Beatles from their perspective as musicians. You’ve got to tell the story of the band, you can’t just make it a list of things. And also, I was very happy that we were able to put the album covers in. Because it’s another way to give perspective of what was happening and what was being used during different phases of the band. We all remember those records and the covers, and that helps tell the timeline of where you’re at.

Some of the band’s early instrument choices were influenced by how difficult it was to get American brands in England, right? For instance, Paul’s choice of the Hofner bass.

Well the Hofner was more because they were in Germany. You’ve got to remember the mentality and the age of these guys when this was happening. McCartney was a teenager. He was either going to be out of high school and into some sort of art college or something, or he was going to go with his buddies and drink beer and pick up chicks and play music all day in Germany for months at a time. “Screw it, man, let’s go have a party!” That was the mentality. But along with that, they didn’t have any money. They were all living in a room together with a candle. It was wacky. Hofner was a German company. They were in the center of Hamburg. There were a lot of music stores there. So the Beatles were actually able to access and look at instruments that were available. The “violin” bass was unique because it was symmetrical. And McCartney said this himself. Most basses, like Fenders and others, are asymmetrical.

Oh right, because he needed to flip it over to play it lefty.

He saw it and said, “Gee, you could flip this over it would be the same.” I’ll guarantee you this, and everybody from that time period told me this, you could never, ever walk into a music store and see a left-handed instrument. It was just never going to happen. So McCartney was thinking, “Hmm, I’m in Germany, this is a German company. Can they build one and put the electronics on the other side?” The guy said “sure.” He was just trying to make a sale. He called up Hofner, “Hey, we’ve got a sale for a lefty, can you build one” “Sure.” And there you go, it’s as simple as that. And plus, it wasn’t expensive. It was a German-made bass, and they weren’t really sought after. Nobody played them.

And yet Paul ended up sticking with the Hofner for the most part, right?

Yeah, he did. And I think a lot of it has to do with that it was lightweight. He told me that. It doesn’t weigh anything. You can have it on your shoulder for two or three hours and it’s not pulling on you, it doesn’t weigh anything. And the other thing, too, if you’re a guitarist you’ll relate to this, when you have an instrument that you’re really familiar with, you tend to like to play it, because you know everything about it. You don’t have to look at the neck and you know exactly where the fifth fret is. You can just feel it.


Read the whole article HERE.

Baseball On The Big Screen

Tom DeMichael’s book, Baseball FAQ All That’s Left to Know About America’s Pastime, is a lot more than just a lot of stats and records. It’s about baseball in every way imaginable — on TV, the Movies,  its history, and more! Tom De Michael talks about Baseball’s integration with Hollywood in a chapter he titled, “Baseball at the Movies.” Read an excerpt of the chapter below, and get your copy today!


00131156The love affair between Hollywood and the game of baseball has been long, torrid, and very public. Even pioneer inventor Thomas Edison made the game a subject of his early filming efforts, shooting less than a minute of a Newark team playing an unidentified opponent in 1896.

Called The Ball Game, it was the precursor to Edison’s silent version of Ernest Thayer’s “Casey at the Bat” poem filmed in 1899. Titled Casey at the Bat or the Fate of a “Rotten” Umpire, it was a dramatization of the verse, shot on the inventor’s New Jersey lawn. It would be the first of at least seven versions of the story, including two feature-length films in 1916 and 1927, and five short films.

The growing popularity of cinema ran parallel to the growth of baseball in the early 1900s. Shorts like 1909’s His Last Game and 1912’s The Ball Player and the Bandit—both just twelve minutes each—combined baseball with the Wild West. Before long, it wasn’t unusual to see many baseball stars appearing on the big screen, acting as . . . well, acting as ballplayers.

Pitchers Chief Bender and Jack Coombs showed up in a 1911 comedy short, The Baseball
Bug, while Frank “Home Run” Baker starred in a 1914 short, curiously titled Home Run Baker’s Double. Pitching great Christy Mathewson appeared in Love and Baseball and Matty’s Decision, in 1914 and 1915, respectively.

Ty Cobb got in the act, starring in Somewhere in Georgia in 1916. Based on a not-so-original story by sportswriter Grantland Rice, the film features Cobb as a ball-playing bank clerk (years later he probably owned the bank). Discovered by a scout for the Detroit Tigers, the bank clerk leaves his sweetheart—the banker’s daughter—behind to play ball and steal bases, while a sneaky coworker tries to steal his girl. When Cobb is kidnapped
by thugs hired by the competing cashier, the Georgia Peach beats the bejesus out of
them, then arrives at the big game in time to win it, and his girl. Cobb made a cozy $25,000 for the two-week project.

It wouldn’t be long before the Bambino himself—Babe Ruth—brought his broad face
and big personality to the screen. With only one season under his (then-slim) belt with
the Yankees, Ruth starred in a seventy-one-minute 1920 feature called Headin’ Home. Once more, the story was not complex. A simple country boy named Babe (what a stretch . . .) doesn’t play baseball very well, until he blasts a long homer one day against the local team. Branded as a traitor to his town, he moves to New York and becomes a Yankee. With a return to his hometown, Babe is now a hero.

BaseballFAQmovieRuth’s cinematic career continued as his success with the real Yankees grew. He starred in two comedy features in 1927 and 1928, Babe Comes Home and Speedy. The Babe also showed up in half a dozen shorts in the 1930s, making his final film appearance as himself in 1942’s Pride of the Yankees.

Early feature films focusing on the game included The Pinch Hitter in 1917, The Busher in 1919, and Slide, Kelly, Slide in 1927. The Great Stoneface, Buster Keaton, went out for baseball in 1927’s College and performed a masterful baseball pantomime in 1928’s The Cameraman. A real fan of the game, he was known to assemble pickup ball games with the film crew whenever there was a break in the shooting.

In the early 1930s, comic Joe E. Brown—he with the loving-cup ears and saucer-sized mouth—a former semipro ballplayer who passed on an offer to play with the Yankees, made three baseball films: Fireman, Save My Child in 1932, Elmer the Great in 1933, and Alibi Ike in 1935. In all three films, Brown was a simple man with a passion for baseball. As an interesting afterfact, Brown’s son eventually became the general manager with the
Pittsburgh Pirates.

Ever since then, dozens and dozens of films with a baseball theme have captured the attention (and, more often than not, the admission price) of millions of moviegoers.
Some of the cinema stands out more than others, just like the ballplayers portrayed on the screen.

For many fans of the game, certain scenes and certain quotes remain, long after the projector has been shut down and the stale popcorn is tossed in the bin. For me, two particular moments stand out, both from films to be addressed in just a few paragraphs.

A key exchange in A League of Their Own, between manager Jimmy Dugan and star player Dottie Hinson, reaches far beyond the game of baseball. The catcher has decided to quit because, as she puts it, “It just got too hard.” Jimmy replies with a corny but still very true observation: “It’s supposed to be hard! If it wasn’t hard, everyone would do it. The hard . . . is what makes it great.” Trite? Yes. Sappy? Yes. But a challenge to always reach higher? Yes.

In The Natural, slugger Roy Hobbs—confined to a hospital bed with his childhood sweetheart Iris Gaines at his side—reminisces about his life. Very simply, he pauses and quietly says, “God, I love baseball.” Truer words were never spoken, even if they’re just on film.

Shelly Peiken on the Standing “O” Project Podcast

Shelly Peiken, author of Confessions of a Serial Songwriter, was on the Standing “O” Project! She spoke with Viv Nesbitt about her book, creative process, the current situation with streaming services and more! The podcast is available below, click play to hear what they had to say!

>>Listen<<

COASS-Final_CVR_152159Shelly Peiken, well known for writing culturally resonant, female-empowerment anthems such as Christina Aguilera’s No. 1 hit “What a Girl Wants” and Meredith Brooks’s smash hit, “Bitch,” looks back on her career and inside the business of songwriting in her memoir, Confessions of a Serial Songwriter (March 2016, Backbeat Books, $19.99).

A humorous and poignant pop culture memoir about Peiken’s journey, Confessions of a Serial Songwriter takes readers into the rarefied world of the music business. From a young girl falling under the spell of magical songs to a working professional writing hits of her own, Peiken describes how she built a career, from fledgling songwriter, pounding the streets of New York City to Grammy nominations, international hits, and the first Number One song of the millennium.

David Wild, contributing editor for Rolling Stone, calls Confessions of a Serial Songwriter “a great book [that offers] an insightful, honest, often funny, emotional look inside the good, the bad, the ugly, and ultimately the transcendent aspects of trying to lead a creative life inside a competitive career.”

In addition to the fascinating biographical trajectory, Peiken presents invaluable information for the aspiring songwriter, including tips about the creative process and how to adapt to the constantly changing currents. “Now more than ever, people who want to enter this topsy-turvy world of professional songwriting need to know how to handle the inevitable ups and downs that accompany what, for me, has a been an incredibly gratifying journey,” said Peiken.

In Confessions of a Serial Songwriter, Peiken writes about personal growth, how to recognize your muse and navigate the creative process as well as the struggles that arise between motherhood and career success. While she’s not afraid to delve into the divas, celebrity egos and schemers, it is the talented and remarkable people she’s found along the way that predominate the text. And, finally, Confessions of a Serial Songwriter raises the obvious though universal challenge of getting older and staying relevant in a rapidly changing and youth-driven world.

Shelly Peiken on SongCraft: Spotlight on Songwriters

Shelly Peiken, author of Confessions of a Serial Songwriter, was on the SongCraft Show! She spoke with hosts Scott Bomar, author of Southbound, a book published by Backbeat books, and Paul Duncan. She talks about what inspired her to write songs, her experience with certain artist, and how the book came to be! The podcast is available below, click play to hear what they had to say!

>>Listen<<

COASS-Final_CVR_152159Shelly Peiken, well known for writing culturally resonant, female-empowerment anthems such as Christina Aguilera’s No. 1 hit “What a Girl Wants” and Meredith Brooks’s smash hit, “Bitch,” looks back on her career and inside the business of songwriting in her memoir, Confessions of a Serial Songwriter (March 2016, Backbeat Books, $19.99).

A humorous and poignant pop culture memoir about Peiken’s journey, Confessions of a Serial Songwriter takes readers into the rarefied world of the music business. From a young girl falling under the spell of magical songs to a working professional writing hits of her own, Peiken describes how she built a career, from fledgling songwriter, pounding the streets of New York City to Grammy nominations, international hits, and the first Number One song of the millennium.

David Wild, contributing editor for Rolling Stone, calls Confessions of a Serial Songwriter “a great book [that offers] an insightful, honest, often funny, emotional look inside the good, the bad, the ugly, and ultimately the transcendent aspects of trying to lead a creative life inside a competitive career.”

In addition to the fascinating biographical trajectory, Peiken presents invaluable information for the aspiring songwriter, including tips about the creative process and how to adapt to the constantly changing currents. “Now more than ever, people who want to enter this topsy-turvy world of professional songwriting need to know how to handle the inevitable ups and downs that accompany what, for me, has a been an incredibly gratifying journey,” said Peiken.

In Confessions of a Serial Songwriter, Peiken writes about personal growth, how to recognize your muse and navigate the creative process as well as the struggles that arise between motherhood and career success. While she’s not afraid to delve into the divas, celebrity egos and schemers, it is the talented and remarkable people she’s found along the way that predominate the text. And, finally, Confessions of a Serial Songwriter raises the obvious though universal challenge of getting older and staying relevant in a rapidly changing and youth-driven world.

Elliott Landy interviewed by Hudson Valley!

Elliott Landy, author of The Band Photographs 1968-1969, was interviewed by the Hudson Valley Magazine! Elliott speaks with writer for the Hudson Valley Magazine, Mary Forsell, about why he decided to put the book together and working with The Band. Read below for an excerpt of the interview, and let us know your thought in the comments below.


 

00146104Born in 1942, he started off as a complete unknown who published photos of Vietnam War protests in underground newspapers. When his work caught the eye of rock manager Albert Grossman (whose client list included Bob Dylan, Janis Joplin, and Peter, Paul and Mary, among others), photographer Elliott Landy suddenly had access to the biggest names in the rock and roll industry. In the ’60s, he took hundreds of thousands of photographs of rock music icons like Jim Morrison and Jimi Hendrix; he was also the official photographer for the 1969 Woodstock Festival. Now this legendary lensman has released The Band Photographs: 1968-1969 (Backbeat Books), a new book that is chockablock with some 200 photos, many of which have never been seen before. The book chronicles the intense year and a half that the group spent in the Saugerties-Woodstock area working on its first two albums. We caught up with Landy and asked him to share his thoughts on that incendiary period and its resonance today, as well as his love for his adopted hometown of Woodstock.

How did the photo sessions with the Band come about?
I was living in New York City and becoming a photographer, learning the craft and how to make money from it. I was asked to come [to Woodstock] and photograph the Band for the Music From Big Pink album. Albert Grossman, the Band’s manager, asked me. The album and the group didn’t have a name. First, they wanted to be anonymous. They didn’t want to label themselves with any particular “cutesy name” — they used that term. They wanted to remain free to change the kind of music they were playing. The Band was living in West Saugerties in a house they dubbed Big Pink. [Lead guitarist and songwriter] Robbie Robertson and his wife, Dominique, lived in Woodstock in another house by themselves.

How did the sessions work?
I went to Big Pink on Easter Sunday weekend in 1968. I was a fly on the wall. I don’t work conceptually at all; I try not to think about what I’m doing. I bring my camera and take pictures of whatever the person is offering up. I let the dance happen. There was no schedule, it was very casual.

What’s your favorite photo from the book?
One great photo is of them sitting on a bench in front of a pond [left]. You don’t know who they are. I didn’t set it up.

How did you come up with that iconic sepia image of the Band standing in a field?
After two shoots I’d gotten to know them, and I really liked and respected and admired them; I felt they were wise people. They were very grounded, and, in a way, very old-fashioned, polite. I had a book of Civil War-era photographs by Mathew Brady. I just felt that that style of photography was who they were. Once I established that, I had to analyze the mind space of 1860, what photography was like then. When the photographer came around, the people respected him, and got dressed up and faced the camera and focused on it. I explained it to them, you have to stand straight and pay attention and act like it’s very important and very unusual — like you haven’t seen a camera before.


 

Read the entire article HERE!

Want to play like the Grateful Dead? Relax.

Jeffrey Pepper Rodgers, author of The Complete Singer-Songwriter, taught Boston Globe reporter David Filipov how to play some Grateful Dead songs on the acoustic guitar, like the Grateful Dead would. David was rather stressed-out trying to play these songs, but Jeffrey says a key component is to try to stay relaxed. Read the article below to learn more and click on the link below to watch David’s guitar lesson take place!

>>Click here<<

00145576Jeffrey Pepper Rodgers teaches acoustic guitarists how to play Grateful Dead songs — which, he acknowledges, is a contradiction in terms.

The Dead never played their songs exactly as they sounded on their studio albums, instead reinterpreting them in pretty much every performance. And since improvisation was the foundation of their shows, each live rendition was unique.

So “learning” a Grateful Dead song is quite a different proposition from learning to play, say, “Yesterday” by the Beatles or “Wonderwall” by Oasis.

“Normally when people want to learn a band’s songs, they want to learn it like it is on the record,” said Rodgers, who will hold a workshop at the Passim School of Music in Cambridge on April 2. “That doesn’t really apply with the Dead.”

During a recent interview at the school, Rodgers demonstrated his approach: He teaches the basic chords of the song, adds in leads, inversions, and other embellishments that capture the feel, and encourages his students — who range from low intermediate to experts — to do the same.



Click here to watch David’s guitar lesson!

The 50th Anniversary of Buck Owens at Carnegie Hall!

This past Friday marked the 50th anniversary of the day that Buck Owens changed the course of country music, when he and the Buckaroos played Carnegie Hall, as well as the 10th anniversary of his death. The Bakersfield Californian marked both anniversaries in this article, which is filled with quotes from Buck Owen and Randy Poe’s book, “Buck ‘Em!”.


00151800Friday, March 25, marked two important anniversaries in the extraordinary saga of Buck Owens.

Ten years ago the iconic performer, Bakersfield’s best known citizen, died just a few hours after performing at his Crystal Palace dinner club and museum.

And 50 years ago, to the day, Owens changed the course of commercial country music with a concert he once would have never thought possible or desirable: He and his Buckaroos performed at New York’s Carnegie Hall.

The circumstances of Owens’ death in 2006, well chronicled, fit the narrative of his life perfectly. Scheduled to perform with his Buckaroos that Thursday night, he had come to the Palace earlier than usual to dine on his favorite meal, that unpretentious standard of southwestern cuisine, a chicken-fried steak.

He wasn’t feeling well, though, and so he told the band they’d have to go on without him; he was heading home. On the way to his car, however, a group of fans stopped him and introduced themselves. They’d traveled all the way from Oregon to see him.

Owens pivoted and walked back into the club. He just couldn’t bear to disappoint.

Owens gave it his best shot, groaning and wheezing through the show, still managing to deliver for those fans from Oregon and beyond. He died of an apparent heart attack early the next morning, March 25, sometime after 4:30 a.m. Within hours, the country music world, and his adopted hometown of Bakersfield, were in full mourning.

The other, happier anniversary is much more telling of his stature.

On March 25, 1966, at the height of his renown as a country hit-maker, Owens and the Buckaroos rolled into Manhattan to perform what would eventually be recognized as one of the best performances of his life; certainly among his finest performances preserved on record.

“Carnegie Hall Concert,” released four months after that landmark show, rose to No. 1 on the Billboard country charts. But then so did virtually everything Owens laid down on vinyl in those heady days of commercial success.

Owens hadn’t been especially thrilled by the prospect of playing at Carnegie Hall. He agreed to it only after his manager, Jack McFadden, pleaded.


 

Read the article in its entirety here!

John Kruth on The Vintage Rock & Pop Shop!

John Kruth, author of This Bird Has Flown, was on WFDU Radio! He spoke with Ghosty, host of The Vintage Rock & Pop Shop. They spent some time talking about This Bird Has Flown, and how Rubber Soul was a game changer for popular music.  The podcast is available below, click play to hear what they had to say!

>>Listen<<

00121941The Beatles’ sixth studio album, Rubber Soul, was a game changer, and in This Bird Has Flown: The Enduring Beauty of Rubber Soul, Fifty Years On, (November 2015, Backbeat Books, $19.99) John Kruth not only analyzes the songs and making of Rubber Soul, putting the album in context of the turbulent times in which it was created, but captures the spirit of musical innovation and poetry that makes the record a standout in the Beatle’s canon.

By December 1965, when the album was released, the Beatles had played the first arena rock show at Shea Stadium for 55,000 delirious fans, been awarded MBE (Member of British Empire) medals, and were indisputably the greatest musical phenomenon since Elvis Presley. With their first film, A Hard Day’s Night, John, Paul, George, and Ringo laid down the blueprint for everyone who ever wanted to form a group. The movie, entertaining as it was, became an instruction manual for aspiring pop stars of the day on how to play, dress, and act. Richard Lester’s 1964 comedy turned out to be the touchstone for every music video that followed.

Then, with the release of Rubber Soul, the Beatles created an artistic benchmark to which their peers measured their craft and creativity. Touring the world over two years, the band had grown up fast. Both musically and lyrically their new album represented a major leap. Upon hearing Rubber Soul, Bob Dylan allegedly remarked, “I get it, you’re not cute anymore.” Newsweek hailed the Beatles as “the Bards of Pop,” while critic Greil Marcus claimed Rubber Soul was “the best album they would ever make.” For Traffic’s Steve Winwood, the album “broke everything open. It crossed music into a whole new dimension and was responsible for kicking off the sixties rock era.”

A must-have for Fab Four devotees, This Bird Has Flown reaffirms Rubber Soul’s place as one of the most important rock ’n’ roll albums ever made.

Shelly Peiken on The Pauly Cast!

Shelly Peiken, author of Confessions of a Serial Songwriter, was on The Pauly Cast podcast. She spoke with Paul Samuel Dolman about her book, the importance of connecting with others, and much more! The podcast is available below, click play to hear what they had to say!

>>Listen<<

COASS-Final_CVR_152159Shelly Peiken, well known for writing culturally resonant, female-empowerment anthems such as Christina Aguilera’s No. 1 hit “What a Girl Wants” and Meredith Brooks’s smash hit, “Bitch,” looks back on her career and inside the business of songwriting in her memoir, Confessions of a Serial Songwriter (March 2016, Backbeat Books, $19.99).

A humorous and poignant pop culture memoir about Peiken’s journey, Confessions of a Serial Songwriter takes readers into the rarefied world of the music business. From a young girl falling under the spell of magical songs to a working professional writing hits of her own, Peiken describes how she built a career, from fledgling songwriter, pounding the streets of New York City to Grammy nominations, international hits, and the first Number One song of the millennium.

David Wild, contributing editor for Rolling Stone, calls Confessions of a Serial Songwriter “a great book [that offers] an insightful, honest, often funny, emotional look inside the good, the bad, the ugly, and ultimately the transcendent aspects of trying to lead a creative life inside a competitive career.”

In addition to the fascinating biographical trajectory, Peiken presents invaluable information for the aspiring songwriter, including tips about the creative process and how to adapt to the constantly changing currents. “Now more than ever, people who want to enter this topsy-turvy world of professional songwriting need to know how to handle the inevitable ups and downs that accompany what, for me, has a been an incredibly gratifying journey,” said Peiken.

In Confessions of a Serial Songwriter, Peiken writes about personal growth, how to recognize your muse and navigate the creative process as well as the struggles that arise between motherhood and career success. While she’s not afraid to delve into the divas, celebrity egos and schemers, it is the talented and remarkable people she’s found along the way that predominate the text. And, finally, Confessions of a Serial Songwriter raises the obvious though universal challenge of getting older and staying relevant in a rapidly changing and youth-driven world.

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