Debbie Gisonni
Kelli Richards
June 27, 2013
Letter from Kelli for June – Linda Tucker, Saving the White Lions
Kelli Richards
June 25, 2013
This month I had the amazing opportunity to interview Linda Tucker on my weekly “All Access Radio” podcast (I’ll share that interview in my July newsletter, be sure to watch for it!). Linda has devoted her life to saving the white lion. Yes, the animal.
The sad reality is that African lion populations have decreased by nearly 70% in the past 50 years. Were it not for courageous activists like Linda Tucker, that number might be even more catastrophic. In her adventurous and suspenseful new memoir, Saving the White Lions, Linda describes her dangerous, decades-long struggle to protect the sacred white lion from the brutal mafia-like trophy-hunting industry, armed only with her indomitable spirit and total devotion.
Before devoting herself to this pursuit, Linda was a very successful advertising executive. And even before that success, Linda led an extraordinary life, growing up in South Africa during Apartheid and attended Cambridge in the UK. In 2002, after abandoning that successful marketing career, she’d honed so carefully, she founded the Global White Lion Protection Trust, an organization that works not only to protect the white lions, but also the indigenous communities and knowledge of the Tsonga and Sepedi cultures, which celebrate the white lion as a sacred living heritage. Linda is invited as guest speaker at international conservation congresses, and her work has been featured in documentaries produced by National Geographic and Animal Planet and through her tireless efforts she is an inspiration to us all. I’m grateful for her work, and also for her friendship. You can support Linda by purchasing her book (featured to the right of this newsletter as my “Book of the Month.”
To your HIGHEST success! Kelli Richards
Do Female Music Artists Have a Lock On The Industry?
Kelli Richards
June 24, 2013
After taking the stage at “Sound For Change” in London on June 1st, Jennifer Lopez declared that “women have taken over the music industry.” The event was presented by Gucci’s “Chime for Change” charity, which seeks to promote health, equality and justice “for every girl, every woman, everywhere.” J-Lo joined fellow female superstars Beyonce, Madonna, Ellie Goulding and Mary J Blige for a series of performances designed to “put girls’ and women’s issues on the world’s stage.”
Lopez, in an interview with Stylist magazine, went on to say that female artists have had a grip on the industry ”going back 20 years,” citing performers such as “Cher and Gloria Estefan,” followed by “Mariah Carey and Celine Dion, and then the next wave which was me and then Britney and Beyonce,” and culminating now with “Rihanna and Lady GaGa.” She admitted that in all this time, there have been “a few guys,” but overall the ladies “have really had it on lock for a bit.”
It’s clear that some of the biggest names in music right now belong to women. In addition to les femmes fatales who performed alongside J-Lo in June, one doesn’t have to think too hard to come up with more names: Taylor Swift, Katy Perry, Lana Del Rey, Adele, and even Ke$ha are a few that come to mind. The prevalence of female success stories makes it tempting to assume that J-Lo’s optimistic claims are well founded.
It is exciting to think that women are “taking over the music industry.” But it is one thing to command the spotlight; it is quite another to command an entire industry. One is forced to wonder how many female producers, agents, and record-label owners are working behind the scenes to back up J-Lo’s claim.
Indeed, as a recent BBC article reveals, “the story is not being replicated on the other side of the sound desk.” The article goes on to say that while we may recognize George Martin or Pharrell Williams as household names, “only three women have ever been nominated for best producer at the Brits or the Grammys. None of them went home with the prize.” Susan Rogers, one-time studio-engineer for Prince, pointed out that “women who want to enter the field face a boys’ club.”
But the spotlight is not a bad place for women to start. After all, one of the benefits is guaranteed global attention – which is perhaps the most powerful force imaginable. The real question is how our empowered female artists will use that spotlight to shed light on the real issues faced by the girls and women who look up to them. How will our contemporary female music stars use their influence to advance the causes of health, equality, and justice for every girl, every woman, everywhere?
Until next time,
Kelli Richards, CEO of The All Access Group, LLC
Michael Dorf
Kelli Richards
June 24, 2013
Zack Zalon
Kelli Richards
June 24, 2013
Kip Winger
Kelli Richards
June 24, 2013
An Exclusive Interview with Stewart Copeland, Drummer from The Police
Kelli Richards
June 20, 2013
I recently talked with my good friend, Stewart Copeland, a film composer, musician and the and the drummer for The Police on my Blog Talk Radio show, All Access Radio. Stewart has an extensive and diverse resume. We started the interview talking about what motivates him and what passions drive his choices. Steward said, “It has to be creatively amusing.”
We discussed his childhood, and living in Lebanon with a father who was unknowingly working for the CIA. His cultural environment in the Middle East very much influenced his music as a creator. He explained that the “cultural environment was Arabic music, which has that dropkick beat, which is very similar to the rhythm trick of reggae which has that dropkick beat; the absence of one an emphasis of three of the bar.”
Copeland described how his passion for drums began and shared with me hisfavorite memory with The Police. “Favorite experience, probably Shea Stadium. We probably all agree that out best, ultimate gig where we reached the pinnacle, -Sting likes to say ‘the only place we could go from now is down’ –and soon after that we broke up, but that was a really great gig, a really great evening, a wonderful experience and a pinnacle of everything that we had struggled to achieve.
To hear the whole interview, more stories and more about Copeland’s career as a film composer visit my website where I put out a new interview every Monday at 8:00 EST.
Until next time,
Kelli Richards, CEO of The All Access Group, LLC
Warp-Speed: A Promising Future for Spacecraft or a Trekkie’s Daydream?
Kelli Richards
June 17, 2013
Hollywood films have championed the image of spacecrafts moving at unimaginable speeds, traveling seemingly faster than the speed of light. Whether referred to as “warp speed,” “super drive,” or “time travel,” movies from Star Wars to Star Trek to the satirical Space Balls, have all taken advantage of an apparently unrealistic form of transportation. But what if this incredibly efficient yet fictional type of travel was more practical than we ever imagined? What if “warp speed” was no longer in the realm of science fiction, but a mainstream, sensible mode of transportation?
Now before I go on, I feel obligated to inform you that the research, and necessary technology needed for such manipulation of space and time is in an extremely rudimentary form; that being said, recent breakthroughs in the logistics, calculations and theoretical plausibility of such transportation devices have reawakened the dreams of NASA scientists, and science-fiction geeks alike. Who doesn’t get excited by the idea of traveling through space?
Physicist, Miguel Alcubierre, first formulated this notion of traveling near the speed of light in his 1994 paper, “The Warp Drive: Hyper-Fast Travel within General Relativity,” suggesting a manipulation of the time and space surrounding the vessel, rather than actual acceleration. Such manipulation of the space in front and behind the “space ship,” would focus on an expansion and contraction of space and time. (Think of space and time as one entity –the physical mass and structure of the universe surrounding the vessel.) Expanding the space behind the ship would cause a forward motion similar to the expanding and contracting of a rubber band. If you were to stretch out a rubber band, releasing one end you would send the band flying through the air. Such forward movement is caused by the elasticity of the rubber band, pulling it expands the rubber, which sends it forward- just as expanding the space behind a ship would, hypothetically, send it in a forward direction. This constant expansion and contraction, in front of and behind the ship, could allow for travel near the speed of light (as nothing itself can exceed the speed of light, according to Einstein. However, space is able to contract at any speed, allowing for an equally impressive contraction.)
Now Alcubierre’s theory for travel at the speed of light hit a speed bump early in its life as it was determined that in order to manipulate time and space in such a drastic way, one would need massive amounts of energy- around the mass-energy of Jupiter or 317 planet Earths. The theory was deemed impractical and was since laid dormant. However, recently, physicist Harold White has put this notion of faster than light warp drive back on the science fiction map. White, after making adjustments to the design of the craft and re-crunching numbers, has reduced the necessary mass needed for travel from a Jupiter sized planet to a common space craft, some 1,600 pounds (or the weight of Back to the Future’s 1981 DeLorean)- now that already seems way more plausible.
And while a functional warp drive space shift is still in the distant future, such advancements are extremely exciting and promising. Imagine traveling 4.3 light years in a matter of weeks, in order to visit other solar systems!
Until next time,
Kelli Richards, CEO of The All Access Group, LLC
An Inside Look At My Relationship with Irene Cara
Kelli Richards
June 10, 2013
In the video below, I briefly discuss my working relationship with Irene Cara, singer and actress. Cara is most famous for her role in Fame and her Academy Award winning song, “Flashdance…What a Feeling.”
One of the tag lines of her song Fame was, “Remember my name,” so the irony was apparent when she called me and said, “You don’t know me, but my name is Irene Cara.” Of course, I did know her. Watch the video below to hear about our relationship and to hear more, visit my website to hear our full interview.
Until next time,
Kelli Richards, CEO of The All Access Group, LLC
The Continued Convergence of Music & Tech: Laptop Orchestras
Kelli Richards
June 6, 2013
Remember lugging that giant trumpet case to and from school just so you could be a part of the school band? Half the time you forgot to bring it and the times you remembered, your arm was sore by the time you entered the school’s doors. Or maybe you just regret never having had the musical instrument experience at all. Well here is your opportunity to combine some of the skill sets you already possess to be part of an orchestra. But instead of the use of a traditional instrument, a laptop is all that is needed to become a part of a unique ensemble.
Schools are actually forming bands where student-manned laptop computers are the primary instruments. The most visible schools to be adapting to this modern orchestra are Stanford and Princeton. Students can take a seminar where the expectation is to make music with their laptop. Students are instructed to design their own software instrument, a “meta instrument,” using code.
To learn more about the technical process involved, watch the video below from the Stanford Laptop Orchestra:
My question is this: If laptop orchestras are the future of music classes, what effect will it have on traditional instrument learning and playing? Studies show that playing an instrument positively improves cognitive functions, enhances hand-eye coordination, sharpens concentration, and relieves stress. Of course, there are huge opportunities there for underserved populations who may not have the financial resources to outfit all of their schools with instruments – but could, perhaps, afford or acquire one or two laptops to be shared…
In the end, however, it comes down to this: Can making synthesized sounds from computers really compensate for traditional instruments? That is the question we have to ask.
Outside of bringing music and instruments into places that might not otherwise be able to participate, maybe the real question is: Should it?
Until next time,
Kelli Richards, CEO of The All Access Group, LLC
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