Rod MacDonald at the Cul-de-Sac Soundtrack, Ann Arbor, MIWeb: rodmacdonald.com

Contact: Via website

Players: Rod MacDonald, vocals, acoustic guitar, harmonica; Cheryl Dawdy, vocals

A traveling poet, composer, musician and street performer—these are all the requisite qualities of one known as a troubadour. Singer-songwriter Rod MacDonald has fulfilled all those roles, including the author of three books, for nearly five decades. He’s released over 15 albums, with his latest being Undo the Damage. 

MacDonald learned the craft of songwriting the old-fashioned way, by rolling up his sleeves, putting pen to paper and absorbing all the information he could consume from experiences as a resident of the storied Greenwich Village café and folk club scene for over 20 years. A number of his songs have been recorded by such luminaries as Jonathan Edwards, Dave Van Ronk, Four Bitchin’ Babes, Shawn Colvin and Garnet Rogers. 

MacDonald has played various folk festivals, theaters and sheds around the globe, but, assuredly, one of the forums where he exceptionally shines is within the intimacy of a living room house concert. It is a setting that appeared most comfortable for the 70-something singer-songwriter where there was no artifice; just the man and his music.

Over a series of two sets MacDonald played a treasure trove of his own compositions that were reflective of his views on society, politics, love and romance and an overall smattering of personal philosophy. The opening tune, based on a Scottish fiddle reel, was called “Come Out, Come Out Annie.”

It was a decidedly upbeat and lighthearted number that aroused the crowd and thoroughly engaged the attendees from the get-go. That was followed by another lively and clever take on married life called “You’re Already My Wife.” MacDonald is certainly an artist that immediately knows how to read a room, and his autobiographical tale of mid-life marital bliss connected with his demographic. He offers commentary on all aspects of the human condition and demonstrates his ability to break down a political regime on the calypso-flavored “Banana Republic.” 

The diversity of subject matter expanded into some Chuck Berry-like rock ‘n roll for one of his newer songs called “Leather Jacket.” It was simply about the joys of purchasing his first leather and all the exploits and memories they’ve shared. After that, MacDonald invited a friend and colleague Cheryl Dawdy to join him on one of her original compositions called “The Last Time.”

Dawdy was a member of the celebrated Ann Arbor-based vocal trio The Chenille Sisters for many years and it was nice to see her connect with MacDonald once again on a truly beautiful ballad. They collaborated on a couple more tunes throughout the night. The troubadour capped the first set performing the title track off his latest album. With lyrics inspired by our nation’s turbulent course of events, it appeared to be a rallying cry for many in the audience.The post Rod MacDonald at the Cul-de-Sac Soundtrack, Ann Arbor, MI first appeared on Music Connection Magazine.

Universal Music Group generated $3.90B in Q3, up 11.7% YoY – driven by Mrs. Green Apple, Olivia Rodrigo, Stray Kids, Ariana Grande, and The BeatlesAdjusted EBITDA came in at €729 million ($838.7m), a margin of 21.5%, down from 22.0% in Q3 2025 but up on the 20.5% margin it posted in the prior quarter (Q2 2026)
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How a 'Raw' Guitar Sound on a 1973 Album Changed Rock Music ForeverJames Williamson brought a fierce edge to the Stooges' sound with Raw Power. Discover how his sharp riffs and explosive guitar playing helped shape punk rock.

Exclusive: Create Music Group now owns a minority stake in DistroKidCreate, supported by private capital backers Flexpoint Ford and Ares, made the investment earlier this year
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Riot Grrl Carmen Stuns at the LA OperaComposed by Georges Bizet and premiering in 1875, Carmen is a widely adored opera that's performed in French and set in 1820's Southern Spain. Even casual fans of the art form know the aria "L’amour est un Oiseau Rebelle" (aka "The Habanera"--you'd know it if you heard it), and "Votre Toast, Je Peux Bous le Rendre" (aka "Toreador Song"). These are tunes that have become ingrained in popular culture; they're uplifting, joyous and, in the case of the former, sensual.

But, as is often the case with operas, the arias are infinitely more satisfying when placed in the context of the full show. This latest LA Opera production of Carmen, the first show of the new season, is directed by Thaddeus Strassberger. The conductor is Domingo Hindoyan, while costumes and choreography (both of which are vital and beautiful here) are by Mattie Ullrich and Antonio Najarro respectively.

Tenor Joshua Guerrero is the spurned Don José, bass-baritone Liam James Karai is valiant toreador Escamillo, and soprano Kathleen O'Mara is the unfairly-ignored (by Don José) Micaëla. All are magnificent, as is the entire cast. Special mention to the village children.

But the star is mezzo-soprano Rihab Chaieb in the title role. First of all, Carmen is an iconic character; determined to remain free of patriarchal bindings, there's a punk rock energy about her from the very start. We first meet her during an argument involving donkey-based name calling, that quickly escalates into a knife fight. Carmen is eventually jailed for slashing a woman's face. It's a proper street brawl, a gutter war, and Carmen swaggers through it all with the slightest hint of a smile on her face.

The character of Carmen is also intoxicating. The men that cross her path are apparently hypnotized into acting like fools and throwing their lives away. While imprisoned, she convinces Don José to release her which results in him getting jailed himself! A buffoon-like officer, Zuniga, keeps showing up to woo her (badly), while super-masculine Escamillo swoops in (his teeth practically twinkling like a cartoon hero). Carmen has her pick, and she knows it. But more important than love, certainly than any man, is her freedom.

"Her freedom is more important than anything else--any person, religion or society," Chaieb said in an interview printed in the event program. "And she says it in the opera: 'Libre elle est nee et libre elle mourra'--free she was born, free she will die. And she will see it through."

"At the time the opera was written, a woman was as good as the man she married," Chaieb continued. "Carmen makes her own decisions. She has power over her body, her sexual life, whether she works or not--everything."

Ultimately, she does die. After 150 years, the word is probably out on that spoiler, and it is an opera after all. The main character usually kicks the bucket. In this case, Don José can't handle the fact that she chose to be with Escamillo, and he runs her through with a sword. But the key is, she knows that death is near and she still chooses freedom over an abusive, imprisoning relationship.

Dear lord, we love the character of Carmen so much. Fans of Deborah Harry, Siouxsie Sioux, Alice Bag, Patti Smith, L7 and any other punk rock and/or riot grrl icon will love her too if they give themselves the chance to. Chaieb is perfect in the role; her voice soars and you simply can't take your eyes off of her.

Get out to see Carmen at the first available opportunity.

laopera.org

Photos by Cory Weaver

The post Riot Grrl Carmen Stuns at the LA Opera first appeared on Music Connection Magazine.

10 Albums From 1986 That Deserve More AttentionThink 1986 was all about the big hits? These 10 overlooked albums tell a different story, from raw punk and experimental rock to heavy metal and power pop.

In the Studio with The Album Leaf: A Body of VoicesThe Band: The Album Leaf - Jimmy LaValle

Produced, Engineered, and Mixed by: Jimmy LaValle

Additional Mixing by: Joshua Eustis, Austin Tufts, Patrick Ryan Heaney, and Caesar Edmunds

Recorded at: Barking Dog Studios

Mastered by: Jared Hirshland

The Origin:   Capturing a multitude of delicate, dreamy melodic mementos and intertwining them into a wide array of escapist acoustic panoramas, The Album Leaf—sonic auteur Jimmy LaValle's solo project for over twenty-five years—has remained at the forefront of composing ambient leitmotifs that arrest the subconscious. His electro-ambient style has been noted for its devastatingly fragile cinematics, due in part to his ability to incorporate the abrasive punk sound of San Diego’s hardcore scene. While cutting his teeth as an active member of vanguard projects like The Locust, Guyver-One, and The Crimson Curse, LaValle played in parallel with the instrumental post-rock band Tristeza. This collision course served as the catalyst for his work alongside the somber, gothic world of The Black Heart Procession: these multiplicities fortify a midrib of musicality that remains emblematic of his hypnotic songwriting and continues to inspire generations of electronic and indie-ambient artists today.

LaValle’s insatiable curiosity for dissecting intense, dissonant noise began with his early four-track cassette recorder forays in recording that abrasive subculture, with those gritty instincts somehow influencing the lush, meditative textures of Tristeza. Working from early bedroom setups where tracks were pieced together during brief interludes between active band schedules, he perfected the art of finding music within the noise—led by the thought that there is beauty in the sounds all around.This creative urge became The Album Leaf. Two albums deep into his experimental solo pursuits, LaValle caught the ear of Sigur Rós with his intimate aesthetic after they picked up One Day I'll Be on Time. This critical introduction launched him into their Icelandic touring circle and eventually brought him to their Sundlaugin studio to record In a Safe Place. By fusing his experimental punk origins with his expanding ambient soundscapes and newfound studio connection, LaValle was able to bridge his work into a widescreen world of electro-acoustic songwriting, ultimately setting the stage for future shifts between solo work and full-scale collaborations.

That Icelandic session thrust The Album Leaf from an underground cult favorite directly onto the international stage, establishing LaValle as a vanguard of the vast indie-ambient scene. As demand surged for his emotive soundscapes across film scoring, television cues, and brand commissions, his sonic palette expanded exponentially, amassing an overwhelming library of music comprised of field recordings, the warmth of his vintage Rhodes pianos, and custom synthesizer sound design.

Yet even as his work grew into a massive discography of scores and studio releases, the brilliance of his melodies remained—an ongoing, overflowing album amicorum filled with sonic notations for all to discover. With his recent release A Body of Voices—an album elevated by seamless collaborations with artists like Theresa Wayman (TT) of Warpaint, Twin Shadow, and Stephen McBean of Black Mountain—LaValle carries forward this shared memento between creator and listener alongside a wide constellation of creative cohorts.

The Production: Every time Jimmy LaValle steps into the studio to create, he draws from a deep reservoir of acoustic sketches and unreleased ideas—a practice, more evident than ever before, of pulling pieces ready to be reimagined into expansive soundscapes. He is constantly thinking, trying to find the forgotten fragments of sound until he finally unearths that forlorn melody calling out for a current counterpoint harmony. This exploratory method has become front and center as he searches for the hidden musical threads within A Body of Voices.

“I have a lot of music that I've made and that I'm sitting on,” LaValle explains, reflecting on his backlog of instrumental sketches. “Some of those are more realized ideas than others. Some of them are unfinished and just a simple melody line or a chord progression. I'm pretty melodic to a fault and could hear where things could go. For this album, it was finding songs that I felt had room for another voice or could straight-up benefit from a vocal.”

Because he could naturally hear where those underlying tracks wanted to go, LaValle began identifying the specific vocal timbres and tonalities needed to complete them. For A Body of Voices, he reached out to artists who inspired him, tracking down the exact singers whose unique sonic identities he could already envision weaving seamlessly into his music.

This acoustic second sight allowed LaValle to treat the incoming contributions from his acclaimed collaborators as a modern serialization of the original album leaf tradition. Instead of rigid stems, these files became the guests' sonic notations in a shared digital journal—crafting their own sort of handwritten story within his space. By letting these distinct perspectives merge with his compositions, LaValle found the missing links needed to transform his isolated sketches into ambient dream-pop compositions that sit well within his sonic worlds.

This digital dialogue quickly shifted from passive file-sharing to an active, real-time creative loop as the incoming vocal tracks began to reshape LaValle’s own production choices.

When working with Theresa Wayman’s vocal contributions on "Intertwine," for example, LaValle allowed her unmediated cadences to illuminate the initial emotions of the track:

“Theresa gave me three vocal cadences set over the same subsection of the music: three different vocal takes, vocal ideas, directions,” LaValle explains. “I was able to take those and play what would be a verse, and then I caught the little things she did and thought, ‘oh, that's cool.’ I would then take that uniqueness, put it into Ableton, and do my own process with simple vocal production techniques.”

Yet even as his work grew into a massive discography of scores and studio releases, the brilliance of his melodies remained—an ongoing, overflowing album amicorum filled with sonic notations for all to discover. With his recent release A Body of Voices—an album elevated by seamless collaborations with artists like Theresa Wayman (TT) of Warpaint, Twin Shadow, and Stephen McBean of Black Mountain—LaValle carries forward this shared memento between creator and listener alongside a wide constellation of creative cohorts.

The Production: Every time Jimmy LaValle steps into the studio to create, he draws from a deep reservoir of acoustic sketches and unreleased ideas—a practice, more evident than ever before, of pulling pieces ready to be reimagined into expansive soundscapes. He is constantly thinking, trying to find the forgotten fragments of sound until he finally unearths that forlorn melody calling out for a current counterpoint harmony. This exploratory method has become front and center as he searches for the hidden musical threads within A Body of Voices.

“I have a lot of music that I've made and that I'm sitting on,” LaValle explains, reflecting on his backlog of instrumental sketches. “Some of those are more realized ideas than others. Some of them are unfinished and just a simple melody line or a chord progression. I'm pretty melodic to a fault and could hear where things could go. For this album, it was finding songs that I felt had room for another voice or could straight-up benefit from a vocal.”

Because he could naturally hear where those underlying tracks wanted to go, LaValle began identifying the specific vocal timbres and tonalities needed to complete them. For A Body of Voices, he reached out to artists who inspired him, tracking down the exact singers whose unique sonic identities he could already envision weaving seamlessly into his music.

This acoustic second sight allowed LaValle to treat the incoming contributions from his acclaimed collaborators as a modern serialization of the original album leaf tradition. Instead of rigid stems, these files became the guests' sonic notations in a shared digital journal—crafting their own sort of handwritten story within his space. By letting these distinct perspectives merge with his compositions, LaValle found the missing links needed to transform his isolated sketches into ambient dream-pop compositions that sit well within his sonic worlds.

This digital dialogue quickly shifted from passive file-sharing to an active, real-time creative loop as the incoming vocal tracks began to reshape LaValle’s own production choices.

When working with Theresa Wayman’s vocal contributions on "Intertwine," for example, LaValle allowed her unmediated cadences to illuminate the initial emotions of the track:

“Theresa gave me three vocal cadences set over the same subsection of the music: three different vocal takes, vocal ideas, directions,” LaValle explains. “I was able to take those and play what would be a verse, and then I caught the little things she did and thought, ‘oh, that's cool.’ I would then take that uniqueness, put it into Ableton, and do my own process with simple vocal production techniques.”

Photo Credit: Devin Oktar YalkinThe post In the Studio with The Album Leaf: A Body of Voices first appeared on Music Connection Magazine.

Spotify’s potential bill if The MLC wins its ‘bundling’ lawsuit outright rises to $619MPotential liability if The MLC wins its 'bundling' lawsuit outright has risen to approximately EUR €538M, according to Spotify’s Q3 2026 financial statements
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10 Songs That Sound Nothing Like the Artists That Recorded ThemEver heard famous bands sound completely different from their usual style? Discover 10 unexpected songs from Kiss, Metallica, Green Day, and more that showed a different side of these artists.

THOMSON REUTERS WINS A.I. FAIR USE CASEOn September 29, 2026, the US Court of Appeals for the Thirds Circuit upheld a district court judgment and ruled in favor of Thomas Reuters (the owner of the legal research engine, Westlaw) and against Ross Intelligence rejecting its fair use defense. Ross was a competing platform to Westlaw which took down its search engine in 2021 indicating that it did so because of the cost of the litigation. 

Ross used Westlaw’s summaries known as “headnotes.” Ross asserted as a defense that its use of the headnotes to construct its training data was fair use. Headnotes are brief summaries of legal points in a court’s decision. 

The Fair use defense provides for limited use of copyrighted works without the permission of the owner. It analyses four factors:

1. Purpose and Character of the Use

2. Nature of the Copyrighted Work

3. Amount and Substantiality Used

4. Effect on the Potential Market

A brief in the case was filed by The Recording Association of America and the National Music Publishers Association. The brief argued that training an A.I. model on copyrighted works with the intention of creating a competing service or product “cannot qualify as fair use.” The RIAA and NIMP brief noted:

“But as daunting as past challenges have been, they are dwarfed in scope and jeopardy by A.I. services that produce digital files that emulate and compete with human-authored music.

To train these models, A.I. companies unlawfully duplicate virtually all copyrighted music on the internet to ensure that the resulting outputs sound credibly similar in style and genre to the music on which the models were trained and to the music users seek in prompting the models.

The resulting outputs are proliferating in the marketplace at alarming rates. They flood streaming platforms, displace human-authored music, dilute royalty pools by diverting payments to fictional bands, and deceive consumers, who cannot tell whether they are listening to human artists or digital files created by a computer.”

The judge in the court of appeals case stated:

“Ross took an intermediate step of using the headnotes to train an A.I. program, which arguably presents a slight degree of difference in use,” the judge wrote. “But the undisputed evidence demonstrates that Ross used the headnotes to train an A.I. program for the benefit of its legal-research platform.”

“The undisputed evidence reflects that Thomson Reuters’ materials possess a creative spark, and Ross aspired to be a direct competitor by using them for a highly similar purpose. We therefore hold that Thomson Reuters’ materials are copyrightable and that Ross’ use was not fair use.”

Thomson Reuters released a statement:

“We are pleased that the appellate court affirmed the trial court’s decision in our favor. The appellate court agreed that Westlaw’s editorial content ---- created and maintained by our attorney editors --- is protected by copyright and that Ross’ copying of Thomson Reuters content did not constitute fair use.”

There has been a proliferation in the last few years of cases regarding the use of A.I. This case is a landmark case which addresses several issues.

Glenn T. Litwak is a veteran music and entertainment attorney based in Santa Monica, CA. He has represented platinum selling recording artists, music producers and hit songwriters, as well as management and production companies, music publishers and independent record labels.  Glenn is also a frequent speaker at music industry conferences around the country, such as SXSW and the Billboard Music in Film and TV Conference. Glenn has been selected as a “Super Lawyer” by Super Lawyer Magazine for 2022-2026. Email Glenn at gtllaw59@gmail.com or check out his website at glennlitwak.comThe post THOMSON REUTERS WINS A.I. FAIR USE CASE first appeared on Music Connection Magazine.

HYBE AMERICAS launches Latin pop label TRU Records, with SANTOS BRAVOS as its first artistAlejandro Mejía has been appointed General Manager of TRU Records, overseeing its artistic and business strategy.
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How an Alternative-Rock Band Turned a Neil Diamond Song Into an Unexpected Hit in 1994Urge Overkill’s cover of Neil Diamond’s “Girl, You’ll Be a Woman Soon” found unexpected fame in Pulp Fiction, changing the band’s career forever.

An Artist Profile of Peter Hook: Out of OrderPeter Hook On New Order’s Ongoing Turmoil, the Rock Hall and… Dogs

“Sometimes you literally do have to pinch yourself…how lucky I’ve been.” Peter Hook, co-founder of Joy Division and New Order, is in a place of immense gratitude. His career, which has spanned six decades, has given him a life most musicians only dream of. Now, as the frontman for Peter Hook & the Light, he tours the world playing some of Joy Division and New Order’s most beloved albums and hits, including the highest-selling 12” single of all time, “Blue Monday,” along with selections from the Light’s catalog. 

But to say New Order’s legacy is a complicated one would be an understatement. The original lineup—Bernard Sumner, Hook, Stephen Morris and Gillian Gilbert—hasn’t played together since 2007, when Hook announced the split. However, Hook maintained a 25 percent stake in Vitalturn Company Ltd. to maintain royalty rights in a secure manner once their label, Factory Records, closed down.

Sumner and Morris initially denied the breakup, then Sumner, Morris and Gilbert regrouped as New Order in 2011 without Hook, leading to scathing memoirs, contentious legal battles and royalty disputes over using the band name. Hook sued Sumner, Morris and Gilbert in 2015, alleging they’d formed a new company behind his back, one that generated an income close to $11 million. A final settlement was reached in 2017.

“What they did was, in my mind, absolutely unforgivable,” Hook says via Zoom. “It’s not particularly what they did, because it was basically about money and carrying on, which I sort of do get, but I didn’t get the et tu Brute bit.” 

The ongoing disputes have plagued the relationship between Hook and Sumner to such a degree that Hook doesn’t anticipate sharing the podium with him when both groups are inducted into the Rock & Roll Hall of Fame on November 14. Nonetheless, Hook doesn’t shy away from discussing it and offers his own insights into New Order’s latest lineup change. 

“Do you know what’s the weirdest thing?” he asks. “Now that Barney’s [Bernard] doing it on his own, it seems even more ridiculous than ever. Stephen and Gillian quit touring with him in June.” 

Hook’s candor recently landed him in hot water with Sumner once again. Speaking to Rolling Stone in April, he evidently made some comments that didn’t sit right with his former mate. 

“I did get a letter telling me off for my comments, so we’re still each at each other’s throats,” he says. “It’s quite interesting. I was looking up freedom of speech, which is a big thing, isn’t it? Even with old Donald [Trump], especially in America, freedom of speech is a big thing. I was quite shocked that they are criticizing my freedom of speech. I cannot tell you exactly what they took issue with, for legal reasons, but I think you can probably guess. But you’re entitled to tell your side and your story—you’re entitled to that.” 

The most perplexing part for Hook is the lack of communication at the onset of the dispute. Considering they’d been friends and bandmates for decades, he wonders why Sumner and the rest of the group didn’t simply start a dialogue. There’s a sense he’d much rather be on good terms with them than not. After all, the Rock Hall induction is a big deal. 

“They have a team round them in the same way that I do, and surely your first port of call would be to talk,” he says. “Then, if you couldn’t get anywhere, then do it. But the thing is that we’re all still here and we should be celebrating that fact that we’re getting in the Rock & Roll Hall of Fame.” 

The conversation suddenly pivots to dogs after Hook’s daughter arrives. She has a little guy named Ned that Hook clearly adores. On his desk, he points out, sit the ashes of his beloved Labrador, who died at 15. His tone softens as he talks about her, then he notices this writer's chihuahua Paco. Though he initially thought Paco was a cat, we explain he’s just a small dog that has somehow managed to live to 17 (and counting). He seems genuinely interested in hearing about him and, in that moment, it’s obvious just how caring and sensitive Hook really is. It’s no surprise the betrayal he felt from his bandmates cut so deeply.

But despite the dissolution of New Order, Hook’s career has continued to flourish. In addition to his work with Peter Hook & the Light, he was the guest bassist for Gorillaz’s 2020 single “Aries” from the band’s Song Machine, Season One: Strange Timez project. His relationship with frontman Damon Albarn stretches back to the Blur days. 

“Someone like Damon Albarn is incredible,” he says. “I find him to be incredible. He’s so consistent. He writes non-stop. It’s unbelievable.”

He asks me if I’ve seen the Blur documentary and with a tinge of embarrassment I reply, “No, but I need to.” 

He continues, “Well, Damon lives in a lighthouse at the edge of England. It’s a beautiful place. The band convened there in his studio, and there was a really sad moment when he was talking about the lighthouse. He turned around and he goes, ‘I never thought I’d end up here on my own.’ It was a really sad moment for somebody as successful as him with all the things that he’s achieved for him to say that he was lonely. And weirdly, the other three members of Blur ignored it, and that’s probably one of the most profound things he could have said. Mate, if I’d have been there, I’d have gone and given him a hug. No one gave him a hug or anything, not even a slap on the back.” 

One can’t help but wonder if he sees himself in Albarn and that maybe—just maybe—he needs a hug from Sumner, Gilbert and Morris to finally be at peace.

peterhookandthelight.live

Photo by Jason MooneyThe post An Artist Profile of Peter Hook: Out of Order first appeared on Music Connection Magazine.

D'Addario Foundation's Karen Shelley, Executive DirectorYears with Company: 2.5

Address: New York, NY

Web: daddariofoundation.org

Email: foundation@daddario.com

Grantees: Over 200 nonprofit organizations

BACKGROUND

Playing an instrument brings many benefits, but not everyone has access to instruction. The D’Addario Foundation—the charitable arm of the renowned instrument accessory brand—has been bringing music education to high-needs communities for decades. Karen Shelley is in her third year as the nonprofit’s Executive Director.

From One Student to Another

I played clarinet as a kid. I also played saxophone and piano, but clarinet was my primary instrument. As an adult, I’ve been learning guitar. [Having played an instrument] makes me feel more connected to our grantees and partners. I have a sense of what it means to be a 12-year-old learning an instrument. 

Supporting the Classics

Jim D’Addario is still involved at D’Addario & Co. He and his late wife, Janet, were the ones who launched the foundation, I believe in concert with their son John D’Addario, Jr. It started with recording up-and-coming classical guitarists. They brought artists to Carnegie Hall and would have them perform. It also meant they were in New York and could take some U.S. touring opportunities, because some were coming from overseas. Then we shifted to music education. 

Play Time

We support hands-on music making as opposed to music exposure. We get a lot of grant requests from folks who are bringing concerts to schools, for instance. While that’s great, we must have parameters for what we support. And we support putting music into the hands of individuals of any age and teaching them, turning them into music makers.

Mission No.1: Funding Nonprofits

I like to think of our work falling into three different buckets. One is our nonprofit partnerships. We’ve got about 200 around the world. They are all teaching music, and we support them with cash and in-kind grants, which are product donations. Those partners are, for the most part, teaching music to high-needs communities. So, it’s either individuals who come from low-income households or have something that would otherwise block them from accessing music education—an individual who is currently incarcerated, going through the foster care system, or unhoused. Our partners are going into these communities and teaching music. There might be a small registration fee but for the most part these are free programs with free instruments. 

Mission No.2: Doing Research

The Immersive Music Challenge has two components. The original is this five-year study, where we’re evaluating the impact that music education has on a child’s academic performance and social-emotional wellbeing. We consider “immersive” to be four hours a week or more of instruction; they also have an opportunity for sectionals and ensembles, for both practice and performance. In most cases, there are wraparound services, like transportation or homework help. We’ve got a third-party team at the University of Chicago conducting that evaluation. And then this year we introduced the IMC Ecosystem, which is our effort to expand this work and bring attention to the study by bringing on partners from nonprofit music education providers. 

Mission No.3: Granting Scholarships

Each year, we give college scholarships to up to 10 recipients. The primary qualification is that the applicant has grown up in one of our partners’ music programs. Beyond that, we prioritize students who will be the first generation in their family to attend college. We also prioritize students who have a demonstrated financial need. It’s a hard decision to make, because we get about 100 applications each year. Once they have that award, it stays with them for all four years of college as long as they’re in an accredited program. 

Prison Songs

Our most common [partners] are nonprofit, after school programs. But we’re agnostic—if you’re helping people make music, we want to support that. We have one partner who teaches music inside prisons, working with incarcerated individuals. There are concerts produced right there behind bars. 

In-Kind Contributions

We’re providing any product that D’Addario & Co. manufactures. When we give out a cash grant, it’s literally a check. But all our cash grants also come with an in-kind contribution. The partner receives a promo code that they input on checkout at daddario.com. If it’s worth $1,000, it will knock off $1,000 from their total for that purchase. That way, we’re able to donate products they need, as opposed to us saying, “We’ve got some drumsticks, pads, and reeds,” and passing those out. They’re able to select what is most needed for their programs. 

Qualifications

We have clear eligibility guidelines on our website. But generally speaking, it must be a nonprofit organization specifically teaching music education. We’re looking at the percentage of individuals an organization serves that are high need. That’s important to us. This is a competitive process; those who get awarded are those who match highest with our criteria. We prioritize organizations that are teaching either year-round or for the full academic school year. We also prioritize organizations on the length of time the individual is engaged. For in-kind contributions, they must be teaching at least one student on average at least two hours per week. For cash grant consideration, it must be a minimum of three hours. But we have organizations that are teaching six hours a week. 

By the Numbers

For 2026, we have 35 states and 22 countries represented in our grantees. Last year, we were in 34 states and 16 countries, so we’ve grown a bit. And each year we have around 200 partners. In 2025, we awarded $455,000 in cash awards and $155,000 in product. In 2026, it will be $615,000 in cash grants. I don’t yet have a total for in-kind, because those awards continue to happen, whereas the cash awards are done.

Make a Difference

We have an interactive map on our website of who we support, and it has all 200 or so grantees and partners. Those groups may need teaching artists, volunteers, patrons, even just people to come to their concerts. 

First-Hand Experience

Going on visits is amazing. To see how engaged the students are is incredible. I visited a site in Miami a couple months ago, and afterwards a couple of the kids gave me a picture they drew that said thanks for listening. As a visitor, I don’t want to intrude. I want them to have their day the way they would normally. But they saw it as someone coming out to listen.

Two-Year Grants

Historically, we’ve only given one-year grants, and our partners have had to reapply for additional funding the next year. They would still go through the same competition process for that grant. This year, we introduced two-year grants. We had to introduce that over the course of a couple years, because if we did it all in one then the next year our entire budget would be spent just on those renewals. 

Internships and Beyond

The D’Addario Foundation occasionally offers paid internships, and we prioritize applicants who are recipients of the D’Addario Foundation College Scholarship or students who are alumni of our partner organizations. The post D'Addario Foundation's Karen Shelley, Executive Director first appeared on Music Connection Magazine.

GARY CALAMAR NEW ALBUM ODD NUMB3RS AND SLANTED RHYMES NOW OUT ON BIG STIR RECORDSGary Calamar is a film and television music supervisor who has been nominated five times for Grammy Awards. His credits include The Man In The High Castle, Six Feet Under, True Blood, House, Weeds, Entourage, Dexter, Varsity Blues, and 3 Body Problem.  

As a DJ this century, he hosted a lengthy stint on radio station KCRW-FM before moving to 88.5 KCSN-FM in September 2018 with his Sunday 2-4 p.m. shift, The Open Road.

In 2010, Calamar’s first book was published by Sterling, Record Store Days: From Vinyl to Digital and Back Again, co-authored by music journalist Phil Gallo, with a foreword by REM’s Peter Buck. It examines the story of the development of record stores.     

Calamar is also a singer, songwriter, and recording artist.

In 2014, Atlantic Records issued Gary’s debut EP, You Are What You Listen To.

Calamar's new album, ODD NUMB3RS and SLANTED RHYMES, is now available via Big Stir Records. The album is a compilation of his previous singles along with 3 new tracks featuring Devo’s Mark Mothersbaugh on “I Got An Idea,” and Robyn Hitchcock on "Who Are We Gonna Be Today."

Calamar lives with his wife in Los Angeles, California. They have a daughter, Zoe.

If you are in Studio City, CA, on November 24th at 7:00 pm, Gary will have a record release party at Licorice Pizza. 12230 Ventura Blvd. 

Q: Besides your radio and music supervision work, over the years, did you ever have plans to record as a solo artist? Were you in teenage bands or ever played in clubs?  

A: NO. I was a big music nerd fan growing up, but it never crossed my mind that I would ever have an album of original songs out. Ever since seeing The Fab Four on my grandparents’ black and white TV in the Bronx in February 1964, I wanted to somehow get involved with this Rock and Roll thing one way or another. Fortunately, I had an older brother, Ronny, who guided me in the early days and turned me on to the great artists of the British Invasion and L.A. scene. My favorite afternoon was going through the racks in a record store.  I always loved wordplay, and I would make up little songs about teasing my brother or mocking my teachers at school, but it never got to the point where I would call myself a songwriter.

I had a friend who taught me a few chords that I tried to wrap my fingers around, and I played, just for fun, in my bedroom. Eventually I got a little better and made some progress. I was playing sloppy versions of “Wild Thing” and “My Generation” and eventually started to write some songs.  I recorded a rough cassette, “Four Dead Presidents”, and slipped it to Gary Stewart at Rhino Records, and he gave me $500.00 to go and properly record my handful of songs. I recorded the songs with Mike Randle and John Would and “released” a cassette, ADVANCE in 1991. I played a few local shows, and I continued to write.

When I was music supervising the HBO show Six Feet Under, I was working with Atlantic Records on the soundtrack, and I played the VP, Kevin Weaver, some of my songs. He liked them, and he offered to have them recorded, and we released the EP, You Are What You Listen To, which got some good reviews and airplay in 2014.

Q: You emerged from the record retail world and had managerial stints at Moby Disc, Rhino, and Licorice Pizza. Looking back, how might the retail experience have influenced your journey in the record and music world?  You did write a book last decade about record stores and shops that coincided with Record Store Day. 

A: I wanted to get close to the music anyway I could, and working at a record store seemed achievable. My first job was part-time at the record department at Gimbels in Yonkers, NY. I was so excited and so into it that they made me a manager after about a month. They eventually closed down that department, and I joined some friends on a road trip to Los Angeles. The weekend I got here, The Talking Heads were doing a free show at UCLA, Nick Lowe was playing at The Roxy Theatre, everybody was raving about a band called The Knack, and I was tuning in to Rodney Bingenheimer on the radio at KROQ. This Yonkers boy was thrilled to be in the land of The Beach Boys and The Byrds. It took a while, but I eventually landed a job as a manager trainee at Licorice Pizza in Pasadena, and I loved it. I eventually managed the Norwalk and West L.A. stores. We did in-store appearances with Madness and ASIA. I was offered an in-store with X early in their career, but I was afraid the punks would tear the store down, and regretfully I passed.

It was later at Moby Disc where I met my producer, John Would, who owned a cassette duplication business upstairs, and we worked on music together. Listening to full albums all day long was a perfect education for the radio and music supervision jobs which came later.

When working at the Rhino store in Westwood, I was introduced to KCRW who had a close relationship to the store. Several of the people I connected with at record stores are still in my life today.

Q: Let’s talk about your Sunday afternoon radio shift, The Open Road, on KCSN- FM (88.5), playing the signature sounds of "Adventurous Pop Music both timely and timeless." How do you program your shift, and what is the intention behind the programming and sequencing? You really don’t do interviews.

A: My wife, Ali, was friends with one of the DJ’s at KCRW, and I was very interested in getting my foot in there. They had a spot for me in the music library a few hours a week, but she made it very clear that if my goal is to get a show on the air, I should forget it. It’s not gonna happen. I got friendly with the then music director Chris Douridas, and he could see I was a serious music guy. One day, as I was entering CD titles in the computer, he mentioned that they were going to be looking for a Saturday overnight person. What? I jumped out of my chair and literally got on my knees and begged him to give me a shot. He did, and I am forever grateful to Chris. 

Being a DJ on the radio is my favorite job. Fortunately, on KCRW and now at KCSN, I get to play what I want to play and don’t have to follow any pre- arranged playlists. I came up with that slogan “Adventurous Pop Music Both Timely and Timeless,” and it’s a good description for what I try to do every week.  There is such a wealth of great music on my personal playlist since I saw The Beatles on The Ed Sullivan Show in The Bronx, and more great artists coming out all the time. I like to have some fun with the music, and let people know about bands coming to town and reflect on current events with fun and creative sets.

Q: You were previously heard on KCRW-FM. You did interviews with Brian Wilson, Jeff Tweedy, Wayne Coyne, and film composers Elmer Bernstein, Thomas Newman, Lalo Schiffrin, and Danny Elfman. Reflect on your tenure at KCRW-FM?      

A: I owe a lot to my time at KCRW. I feel I was there during a great time for the station, and it really put me on the map.  The station was the cultural center of Los Angeles, and I was honored to be a part of the team. I learned a lot from DJ’s Chris Douridas, Liza Richardson, and later Nic Harcourt. I was also impressed by their music supervision projects and inspired to try and follow their lead.  I had some great interview guests at KCRW. At KCSN, I don’t do that as much but have had John Doe from X and Robyn Hitchcock sit in with me.

Q:  You have a new album just released by Big Stir Records. It follows your 2014 EP on Atlantic Records. How did this just-issued album come together for Big Stir? I know the endeavor was partially birthed emerging out of your produced Mimosa Music Series at the Federal Bar.

A: Releasing an album was always something that was in the back of my mind, but I didn’t actively pursue it. I didn’t send tapes to record labels or anything like that. When I met Rex and Christina from Big Stir Records at The Federal Bar, they told me about their label, and we found that we had a common love for left-field pop music. They were somewhat familiar with my work as they were fans of the band Eggplant, who had done an early cover of my song, “I Got An Idea”. I casually mentioned that they should put out an album of mine and left it there. I didn’t really think anything would come of it, but they reached out to me a few months later to discuss a release.  

Q: How did the series begin? I know it was first a gathering at your home, and artists like Donovan played in your backyard.

A: When I started The Mimosa Music Series my work as a music supervisor was peaking. I was working on Six Feet Under, Dexter, Weeds, House, True Blood, and others. So, I worked with the record labels to do a showcase series for their artists and invite music supervisors to my house in Laurel Canyon. It was a daytime series so it didn’t conflict with their evening shows. It caught on, and it was fun. We had great artists like Donovan, John Doe, Steve Earle, Roseanne Cash, Robyn Hitchcock, Dave Alvin, Iron and Wine, John Hiatt and many more. The crowds were getting bigger, too big for the house.

My beautiful wife strongly suggested that we move these shows out of the house. Fortunately, The Federal Bar in North Hollywood was very happy to continue the series there. It was great. We had more amazing showcases with free admission, free bagels, and free mimosas. When the pandemic hit, we pulled the plug, but it was a very special time.

Q: Mark Mothersbaugh and Robyn Hitchcock collaborated with you on the album. I imagine you knew them from your radio shifts. How was the creative process with them on the songs they were involved with? Did you have demos that were then brought to fruition?

A: YES. “I Got An Idea” was one of the first songs I ever wrote, and now having Mark Mothersbaugh on the track it feels complete. It came about organically. We live in the same neighborhood in Laurel Canyon in Los Angeles, and our daughters went to school together, and we shared carpools. Although we are friends, I was nervous about asking him, but thankfully he dug the track, and I am grateful that he wanted to work with me on it.

Robyn is an amazing artist and a beautiful guy, and our paths have crossed many times over the years. One thing I always remember is when I did my very first radio show, I was subbing for someone on the overnight shift. One of the songs I played was Bob Dylan’s “Desolation Row”, all eleven minutes. As it turns out, Robyn was scheduled to be a guest on the popular morning show at the station the next day, and he was driving into L.A. from Northern California. He tuned in to KCRW, and he heard me play the Dylan song.

When he was a guest on the morning show, he said on the air that he loved hearing Gary Calamari (sp) play “Desolation Row” last night as he was driving in. And I was ecstatic that Robyn heard me play it. So, we first bonded through the airwaves, and since then I would see him at his shows. We kept in touch and became pen pals. I had him as a guest on my radio shows several times over the years, and he’s played a showcase at my house as well.

I was working on “Who Are Gonna Be Today,” and I was happy how it was progressing. I thought, if I can get Robyn involved, it would take it over the top. He’s a busy guy, but thankfully he found time to work on it with me.

Q: Was there a concept behind the actual album title?

A: My daughter Zoe introduced me to the term “slanted rhymes,” which I was not familiar with but thought it was a cool term, and I thought my songs or “numbers” were a bit odd, so it just came to me.

Q: Discuss with me the other tunes/recordings on the album. 

A: I had the idea for “She’s So Mid-Century” and liked the idea of comparing the cool lady in the song with mid-century architecture and pop culture. I had a good start to the song but was stuck, so I reached out to a new friend at the time, trash pop rocker Palmyra Delran and rockabilly queen Kim Lenz to see if they had any lyrical ideas. I thought they had a great sensibility for the song and they came up with some great lyrics.

“The Prince Of Pico Blvd.” This one came to me when I was a DJ at KCRW. I always thought it was cool that some of the great DJs all had a cool radio name like Cousin Brucie, Wolfman Jack, The Real Don Steele. So, I wanted a cool radio nickname too, and I came up with The Prince of Pico Blvd., as that was the street that KCRW was located in Santa Monica. I never really used it on the radio show, but I got a good song out of it.

Q: You produced five soundtrack albums for Alan Ball’s HBO Series' Six Feet Under and True Blood. How was working with Alan Ball and HBO? 

A: He’s the best. Not only is he super smart and a very creative guy. He is very respectful to everyone on his crew. He loves to use a lot of music in his projects. So he keeps a music supervisor busy and is open to ideas and collaboration. It was funny. I started working with him on True Blood after working with him on Six Feet Under.

On Six Feet Under, we used some sophisticated and serious music. When I first started pitching music to him for True Blood, I started thinking in that direction, and he said, “Hey, this is a show about sexy vampires, and let’s have some fun with the music”.

Q: As a music supervisor, it seems this century, how has the role of a music supervisor for movies and television developed? Can you walk us through a typical scenario of getting the job and the various functions working with studios, directors, producers, and suggesting and coordinating licensing for film and TV?    

A: Well, where to begin. I often think that it’s harder to get the job than to actually do the job. There’s a lot of talented music supervisors in town, and we are all competing for the good jobs in film and TV.  In a nutshell, I start working when I receive the initial script and do some internal brainstorming of what style or genre might work overall as well as for each of the characters. Next, we have a spotting where we watch the rough cut with the showrunner or producer as well as the composer, writer, and editor. We go through the show and stop at all potential music spots and discuss what may be right for the scene.

After that, I go back to my music cave and try out different songs against the scene and see what is working. I report back to the showrunner with a handful of song ideas, and a favorite is picked. Then I reach out to the record label and the publisher and request the use and negotiate a fee.

Q: Is there a vast difference in working on a feature movie and a television series? 

A: Yes. It’s case by case, but there is long lead time on a movie. It may be a year or more from when you start on a project and final decisions are made, and the movie gets mixed. On a TV series, once you get started, you are generally on a schedule, and things move more quickly. But these days of miniseries and shows that take a long time between seasons, anything can happen.

Q: You now have Go Music. When did this company formally begin?

A: I named my company GO Music after we wrapped Six Feet Under, which I co-supervised with fellow music supervisor Thomas Golubic, and our company was Super Music Vision. It was a good name but too long for me. When Thomas and I went in different directions, I decided I wanted a name a bit snappier and took the name from a free music paper that I used to pick up as a kid, GO Magazine.

.The post GARY CALAMAR NEW ALBUM ODD NUMB3RS AND SLANTED RHYMES NOW OUT ON BIG STIR RECORDS first appeared on Music Connection Magazine.