Felice Hernandez chats about the Empowered Singer Workshops Seriesheld in Los Angeles. The series offers a supportive environment for singers to enrich their skills with workshops like Career and the Authentic Self, Percussion for Singers, Cover Band 101, Harmony at Play, Social Media Marketing, Get Paid: Negotiations & Contracts, Movement for Singers and more.
All workshops are held at the Epiphany Space 1763 N Gower Los Angeles, CA 90028. To reserve your spot follow “Empowered Singer Workshops” on Facebook. Visit www.empoweredsingerworkshops.com for more information.
Cabaret artist Pat Whiteman (Amanda McBroom, Carol Hall, Musical Performance Workshop) reveals what finally made her trust her life and take the leap and into being a full time singer. She also gives her insights on why workshops are important for an artist’s growth, her own process for developing her shows, and her observations on reality singing competitions.
Pat has performed in musical theater, teaches and coaches, is a voice over artist and has sung on several national jingles. Pat became an instructor at the Department of Entertainment Studies at UCLA Extension teaching its Finding Your Voice Workshop and currently teaches her own Musical Performance Workshop, Pat has also performed her show at the metropolitan room in NYC to rave reviews.
There are so many paths to your journey and sometimes it just take you a little bit longer because of that.
Give yourself that time and everything will fall into place. You’ll find your workshop, you’ll find your class you can take where you’ll meet other singers, and performers and then it’ll move from there.
Being brave enough to try and stretch is the work of the artist.
Most singers have earned their voices.
Open mics are a great forum to get better and try new things.
Just because the audience is polite or quiet doesn’t mean that they’re not liking it.
Put together a demo with you singing lead and doing your best work.
In the singing world, what people are looking for is all over the place. Don’t try to be what you think they want you to be. Do what you do well. If you’re faking it, it’ll be obvious and there’s somebody else out there authentic who does it right.
Don’t half ass anything. Take yourself seriously.
Singers hire other singers. They either will refer someone who does what they do because they’re not available or they refer someone who kills it in an area they don’t.
You should always work to be better.
We all have our own thing to offer. There are so many opportunities to make money in this industry, but you’ve got to know what’s right for you.
Effort and commitment are a big deal.
When work is slow that’s when you go to a place of gratitude.
Be sure to give and provide opportunities for others.
Can you separate the singing voice from the human being? What is the connection between trauma we experience in life and our singing voice? In this episode, Jamie Chamberlin speaks candidly about these subjects. She also discusses her work with Stewart Copeland (The Police), her relationship with her inner critic, body shaming in the music industry, the emotional toll of having a vocal injury, and much more.
What if you had to choose between embracing your true self and having the career you spent years building? Los Angeles-based performer, studio vocalist, arranger and composer, Connor Smith answers this question, discusses getting work as a session singer in Los Angeles, and what it means to have his compositions published.
As a touring artist and vocal director, Connor has performed throughout all of the United States and is regularly seen in live shows at the Disneyland Resort and Universal Studios Hollywood. In 2016, Connor traveled to Beijing, China, winning the Hope International Music Festival. As an in-demand Los Angeles session singer, Connor’s voice can be heard on film scores, television shows, albums, Disney Recordings®, live production shows and more. An avid a cappella vocalist, Connor was selected to be an original member of “DCappella”, Disney’s critically-acclaimed a cappella group, with the group’s debut album being released via Walt Disney Records.
How do you go from majoring in communications to touring the world as a one of Bette Midler’s Harlettes? Carol Hatchett chats about what she learned working with the likes of Bette Midler, Tina Turner and Sheila E., what compelled her to move from Chicago to Los Angeles, and golden wisdom she gives to her own students.
How do you go from working a day job as a legal assistant to spending almost two decades playing Janis Joplin on broadway? Kacee Clanton answers this question and more, revealing how she ended up on a Broadway stage, what she learned working with Joe Cocker, how she’s overcome stage fright, and techniques she uses to help her singing students to dig deeper in their own work.
Jay Jackson is a seasoned performer and as a singer has shared bills with Nancy Wilson, Poncho Sanchez and Sheila E. Jay has enjoyed a rich and varied career first working as a cook in the Navy, then as a television news reporter for 22 years which led to an accidental career as an actor where he was first cast as a tv reporter on Dexter. He’s gone on to play the hilarious Perd Hapley on Parks and Recreation, Scandal and most recently Good Girls. Jay also discusses the ups and downs of being a live talent booker on the music scene in Los Angeles.
In part two of this interview with Melanie Taylor she discusses her work with Donna Summer, what she’s learned working with Barry Manilow, her thoughts on cultivating interests outside of singing, and her advice on singing as a business.
She is a seasoned performer who in her extensive career has worked with the likes of Aerosmith, Barry Manilow, Bette Midler, The Righteous Brothers, Connie Stevens, Donna Summer, John Mayer, Joe Walsh and many more. Melanie shares what she’s learned along the way, how she helps young artists develop their creative process, and insights on what it takes to be a serious performer.
yourself. You never know what’s going to show up for you when you’re in a
singing you’re telling a story. You have to know who you’re speaking to or who
you’re singing about, why you’re singing to them, where you are, what you’re
doing and not doing, and know how the story is going to play out. These things
will completely change how we hear your song and the meaning behind it.
The work you do
is your investment in your craft. What
you put into it you will get out of it.
Watch yourself in
the mirror when you’re singing.
Figure out a way
to open up and have ease in your body that will make your song and performance
You have to be a
well-rounded person. Cultivate your interests and be interested in life –
travel, books, museums, culture, etc.