Community Auditions: Star of the Day

Me? On TV?? Are you sure???

When I received an email over a year ago from the producers of “Community Auditions: Star of the Day” telling me that I was chosen to appear on the show, I wondered if it was spam. After reading a few times, I decided there was nothing in the email to convince me either way if it snuck past my junk folder by accident or was actually meant for my inbox. I sent a Thank You response and waited to see if it would bounce back to me or if the nice lady named Tina would respond. Lo and behold, it was Tina telling me she enjoyed my music and was so happy to hear that I would like to appear on their TV show. TV SHOW. Me? On television? I just got rid of my stage fright, like, 2 minutes ago. 

For those of you who haven’t heard of Community Auditions, you’re obviously living…in Delaware, or SOMEWHERE that’s not a New England state. CA (what we New Englanders call it) is a singing competition that began 65 years ago. Looooong before Ed McMahon called for that fateful drumroll as he announced star ratings, before Simon Cowell’s square head began crushing people’s hopes and dreams and even before Blake Shelton and Adam Levine started dating.  65 years old. Older than my DAD. Say what, now? It’s true. Not by much, but it’s true.

Over the next few weeks, I prepared for my first appearance on TV. I filled out interview paperwork, chose and edited a song (to make it fit for stage time), planned a few outfits (nothing too sparkly or busy) and took more selfies than I ever thought possible. (Photos were needed for promo reasons, the selfies were just for fun.) #kiddingnotkidding

At 8:30am on June 22nd, 2014 I had to be at Dorchester’s Strand Theater, formerly a vaudeville palace turned movie theater turned live performance venue…:::deep breath:::…turned video shoot location, turned broadway musical theater, turned TV set. Phew. I was literally ROLLING in history at this place. We’re talking B.B. King, Public Enemy, Joe Perry, New Kids on the Block (obvi), Ruben Studdard, Tracey Chapman, Till Tuesday, LL Cool J…now ARLANNA SNOW? Ridiculous cast of characters. I digress. So there I was, dressed in my non-bedazzled clothing, being assigned to “Episode Three” and shooed in to “hair and makeup.” Total diva. While I watched the judges: Candy O’Terry, Sid Hashian, David Osmond, Charlie Farren and Steve Sweeney as well as host Billy Costa get their hair and makeup done, I met and chatted with some of the other talented contestants. Hours (no exaggeration) later, it was my turn. After they painted my face and fluffed my hair, it was time for my “Backstage Buzz” interview. I began to realize I was a bit hungry and thirsty. I figured it wouldn’t be too much longer now. I could deal. 

Back out into the audience, I watched the filming of two whole episodes. It’s pretty crazy what goes into the filming of a TV show - especially a local, no-fuss TV show. Newsflash: a LOT more fuss than you’d think. About 400 takes, a few outfit changes, six pretty incredible performances and two “Stars of the Day” later, it was time to film Episode Three. Cue the Star Wars theme.

Before filming, they asked me to do a quick rehearsal with the house band; in my opinion, the TRUE stars of the day. These guys have talent coming out of their pores. I could’ve listened to them jam for hours, but we only had about 60 seconds. They played my song choice, KT Tunstall’s “Black Horse and a Cherry Tree,” like they’d been playing it their entire lives. Newsflash #2: They had NOT been playing it their entire lives. Nicest guys I’ve ever met, seriously. Mitch Chakour (on keys) made me feel at home the second I rolled out onto that stage. That’s the best feeling when you have a band behind you that just carries you through; their mere presence giving you the confidence and calm you need in front of those blinding lights and watchful eyes. 

I remember when I first starting singing I couldn’t hear myself at all. I thought “Oh God, am I singing? Are there words coming out? My mouth is definitely moving, right? Am I dreaming? Am I naked?” All of a sudden the music stopped and I heard “CUT! CUT! No sound in the mic. Sorry.” Okay, I was fully clothed. I was moving. My vocal chords still worked. Take 2! 

From that point on, it was like the finger that had been stuck on the slo-mo button skipped right over Play and hit FF (fast-forward for all you youngsters that just go by the double arrows now); everything was a blur but I still recall every important moment. I remember singing every lyric to one of my favorite songs, not missing any of the weird edits I had to make. I remember my voice cracking a few times but not minding because the song sounds a little cooler that way. I remember how warm the stage lights were on my face and I remember I couldn’t see a thing looking out into the theater. I remember feeling relieved when Billy Costa pronounced my name correctly and telling him how I had been writing songs for years. I remember the judges saying positive things while I nodded and smiled and appreciated their feedback, not caring too much about the numbers on their cards. I remember Andrew and Troy performing really well and feeling grateful that the three of us were like a little team in some strange way. I remember dancing to the closing theme song on stage with Troy and Andrew after Billy awarded Troy “Star of the Day.” I remember Mitch giving me a hug off stage, telling me he had a blast with my song and that I did really well. Mostly, I remember my Mom and Dad being the first two faces I saw when the door opened into the theater - both hugging me and saying they were so proud. 

Once back in the theater, I had the opportunity to talk a little more about my songwriting with David Osmond, some of the other contestants who had not yet performed and some of the producers involved in the show. It was great to hear their thoughts and advice, and, swapping contact information, we promised to keep in touch. Although I’d only just met these people that morning, it seemed like I left the theater with a new group of friends. 

Other than my one tiny regret of song choice (I wish I had gone with my gut and sang an original), my experience as a contestant on Community Auditions is one that I will file under “Highlights" in my Memory Catalog of Life. My niece watched my episode when it aired early last fall, turned to me and said “Auntie Lana, are you famous?” I answered “Not yet, Giovina. But hopefully someday one of my songs will be.” She responded “You’re definitely famous, you were on TV!” I’ll take it. :-) 

DreamBIG,

Arlanna

Read my Online Feature here: Community Auditions: Arlanna Snow

NOTE: The regular season of Community Auditions, although almost a year has passed, is STILL incomplete and being filmed at The Strand Theater. The votes that all of you so graciously gave me and that I am so very thankful for have yet to be counted. Once the regular season is complete, the votes will be counted and the contestant with the most votes will become a finalist. As soon as I know, I will let you know. Thanks for watching, reading, voting and always supporting me and my music. I appreciate it more than you know!

Hard Rock Boston - LIVE

I can officially add to my musician's resume that I have Rocked the Rock. Hard. Twice. That sounds a bit dirty...and maybe it kinda was.

Everyone and their uncle has heard of the Hard Rock Cafe. For nearly 50 years they've scattered the world over, a place that pretty much every musician - heck, every human being - has been to. Whether it be for food or live music, the Hard Rock Cafe is legendary. So when I was asked last fall 2013 to join the bill showcasing artists at the Hard Rock Boston, I jumped. Literally. You can even ask my producer. I think it made him a little nervous. 

Although the organization of that show (no finger-pointing) last year was "subpar" (to say the very least) and a huuuuuge pain in the ARSE (no one ever said being a rock star was easy) it was still pretty effing cool being up on that stage (which had a built-in ramp - my dream stage!) with my good friend BJ Knights playing a few tunes to a modest crowd (90% of that crowd being my own fans - that's how we do!). The Hard Rock. Little old me! Not only that but I was playing alongside some super talented people: Louie Bello, who you are already very familiar with (Exception), and Natalie Duffy, a KILLER singer/songwriter and most recent collaborator of mine on my song "A Little While." There were a handful of other artists, all great! However, Louie & Natalie were the artists I found myself connecting the most with.

Soon after, BJ suggested to me that with all of the hundreds of songs I had (and continue to write), I needed to have my own show with a full set. The mere thought of it made me tingle with excitement and shake with fear - fear that I wouldn't be able to take on the task of getting everything worked out - choosing the perfect venue, getting the artists I wanted to join me, finding the perfect date, pulling in a big enough crowd and having it all go smoothly. Overwhelming to even think about, yet the thought of NOT trying made me just plain sad. 

Now that I was exposed to playing the Hard Rock Boston I was determined to play there again. MY show. MY way. And with the unbelievably amazing help, encouragement, advisement and talent that I had from BJ, I did play there again. Or, I should say, WE did.

With Cory Paza rocking the bass, BJ shredding guitar and Eric Anderson killing on drums my songs were brought to life right before my very eyes...and ears. I hadn't played with a full band before and it gave me this really cool feeling. I was high on the best drug ever. (Note - I do not condone drug usage but absoLUTEly encourage music-making). The Hard Rock was awesome to work with and made every little detail seem effortless. Communication is key and they have it down to a science. Not only that but Louie and Natalie were on board immediately. They were doing their own sets, were totally cool with their stage times and were excited to join me during my set to sing our collaborations.

We had a much bigger crowd than the last experience, thanks to the fantastic promotion Louie, Natalie, BJ, Cory, Eric and I were able to accomplish via social media and word-of-mouth. The sound was great, the timing was perfect and everyone seemed to have a great night out.

I decided that for my set I wanted it to be my own version of VH1's "Storytellers Live." Like I explained to the crowd that 24th night in April, although I love to sing, I am, first and foremost, a songwriter. I have something to say and it's important to me that you know what it is. Whether I have to sing it myself or am lucky enough to use the talent of other artists, I need people to hear me. On stage I have found a comfort that I never dreamed I would. When I had to make business presentations in college, I froze. I broke out in a drenching sweat and my voice shook so much that all anyone could hear was this little mouse squeaking something about balance sheets, fiscal years and did she say "market share" or "park it there?" I had no idea what I was talking about and didn't care. What I understand now (better late than never) is that when you're talking about something that is a part of you, that you feel deep down in your soul, its not scary anymore. It's thrilling in the BEST way. 

Thank you so much to all who came out to see us a couple of weeks ago - and for those who didn't get the chance, I'd love to see your gorgeous faces from that stage sometime in the future. I hope you'll join me :)

For now, stay tuned for more music and...don't forget...dreamBIG! ~Arlanna

Interview Blog: Flowers In a Gun

I was interviewed and featured in blog "Flowers in a Gun" from New York City. I bared my soul in this one...check it out!

Flowers in a Gun: Songwriter Arlanna Snow

EXCEPTIONal 1st Collaboration

A songwriter's first collaboration may not come as easy or as utterly enjoyable as mine did with Boston's popular singer/songwriter, Louie Bello. Other than the fact that he's been a BMA Nominee more than once, is currently a Hollywood Media Award Nominee for 2013 and puts on one hell of a show - Louie is one of the most talented, dedicated, nicest guys you'll ever meet.

Let me start from the beginning. The birth of my latest release, Exception, went a little something like this: It was the dead of nite and I was sound asleep. I woke myself up with my own voice - I was partially humming, partially mumbling the phrase "with the exception of you" to this sort of haunting melody. Before it slipped away from me, like it has so many times,  I grabbed my phone (thank you again, voice memo app) and groggily recorded myself. I listened back the next morning and, apart from my sleepy voice I had a feeling that it was going to be one of my favorites. Lately I had been thinking about the formula for a happy life. I was always pretty confident that if you had your health, a supportive family, a loyal group of friends and the strength to pursue a dream, you were good; sunshine and rainbows would follow you wherever you went. Well, not exaaaactly. You may get that stubborn black cloud that looms overhead like I did, that one that blocks out that one last ray. In (unfortunately large amounts of) time, however, I learned this: figure it out and let it go before it consumes you.

I sat at my trusty (and a little rusty) piano and played it out. At the risk of sounding like a total cheese ball, those five mins were more therapeutic than I would bet any person could get from 25 sessions at their local psychiatrist. I'm not knocking therapy, I'm just saying - there are lots of ways to feel better and music--more specifically, this song--was mine.

This song was so much a part of me and more personal than anything I'd ever written before that I decided I would carry it around with me for awhile, nurturing it and helping it grow like a parent would their own child. I knew that whatever happened with it, it already was the best thing I'd done so far. When I showed it to Steve Catizone, my producer, he seemed to understand it instantly - in its entirety. That's the great thing about Steve - I don't need to explain anything. He just hears its potential in the first few notes and runs with it. It is important to mention here that my producer and I had the same idea for this song: a different vocalist - a male vocalist - would fit right into the current music world. I'd been toying with the idea for a very long time, listening to a ton of different local vocalists, not totally committing myself to it yet until I heard Louie Bello's song "Chasing Rainbows." And so began my first collaboration.

My first recording session with Louie was, to put it mildly: FUN. Fun for me is watching an artist who believes in their work and does it well without trying. Not only did Louie sing my song effortlessly, he sang it with so much emotion and passion you could almost swear he was saying goodbye to the most important person in his life, right there at the mic in the middle of Serenity East's live room. He is THAT good. Not only was I the songwriter, but before Louie I was also the vocalist. We had only one recorded version of Exception and it was my demo. Now, for this first session with Louie, I was standing in as producer (my producer was in his LA studio at the time). I was a little unsure of how it would all go, but Louie made it easy. He took every note that I had and did me 10 better. Louie is such a professional, 100% committed to his work and it shows. In just two short sessions the vocals were complete - and simply amazing.

When Steve completed a pretty awesome mix and sent it over I was floored. I couldn't stop listening to it. I kept thinking - wow, is this really my song? - and the funny thing is it wasn't that different from the original, it was just better. It was almost up to its full potential. I say almost because I felt it was still missing something that ended up being, other than Louie's sweet vocals, my very favorite part of this track -- the cello. I happen to be with a producer who works with some of the greatest musicians out there. One of them, Irina Chirkova, a Bulgarian cellist who has been playing since the age of five, has one of the most impressive resumes I've ever seen. She studied at The Boston Conservatory, won countless cello competitions all over the world, performed at the Grammy's with superstar Carrie Underwood, the Latin Grammy's, American Idol and much, much more. She is currently a member of Celine Dion's orchestra, Sully Erna's (Godsmack) solo band and, well...the list goes on and on. When Steve chose her for my track I was more than a little excited, to say the very least. She recorded at Serenity West studios with Steve in LA. When he sent over a picture of her about to lay it down, the smile on my face could've lit up all of Boston and its suburbs.

Once Steve had all of the ingredients (a guitarist also came in named Michael Woods to record some acoustic stuff that put the finishing touch on the track), he mixed it more than a few times. We worked together in Boston, he worked alone in LA. All the while he kept saying how this song was special. I hoped it was (as a songwriter I've never been more self-conscious) but its the greatest feeling to hear it from your producer who works with crazy talented artists every single day. Months later, after a few more working sessions, five mixes and close to 100 emails, phone calls and texts we were happy at the sixth mix. Not only did I have the official track but I also had an "Unplugged" version as well as the "Instrumental." I can't decide which is my favorite, but they're all amazing for different reasons. I think you'll understand when you hear them.

Before I send this baby out into the world, I thought a lot about how I wanted to release it. For such a special project I felt it needed an equally special cover. As far as I was concerned, the one and only person that could create amazing art out of a simple idea is talented graphic designer Brian Curran of Abacab Designs. When I sent him the song and lyrics his response and analyzation were so thoughtful that I couldn't have explained it any better myself. I was touched that he really spent time so closely listening to and working through Exception. We threw our ideas around and, finally, with all of our thoughts combined, I had a great idea. I sent it to Brian...he loved it, too. He pretty much created a masterpiece, as far as I'm concerned. Its exactly what I pictured in my mind and I'm certain is the best possible album cover for this song.

Thank you to all who helped turn my dream (literally, my dream!) into EXCEPTION. You have officially made this song my most popular and in record time! Please help me to keep it going - share, share, share! The goal for this song was always to sell it to a recording artist once we had the best possible version of it. Someday if it gets the attention and interest that it so deserves I will be ecstatic. For now, though, I think its a pretty solid and rocking track as is.

http://www.reverbnation.com/arlannasnow

If you like what you hear, you can hear MORE by purchasing/listening to the Exception single package on any one of your favorite digital music stores: (iTunes, Amazon...etc...) where you will also get the Unplugged version (Louie's voice really shines in this one!) and the Instrumental (Irina's notes are so rich and haunting in it) - you will not be disappointed!

One final thing - please, PLEASE check out Louie Bello, Irina Chirkova, Serenity East and West Recording studios and graphic designer, Brian Curran on their own sites. I only work with the best ;)

dreamBIG,
Arlanna

http://www.louiebello.com
http://www.irinachirkova.com
http://www.abacabdesigns.com
http://www.sanctumsound.com
http://www.serenitywestrecording.com

Acousticiiiiize the demons...

You know that moment at a great rock concert when you just don't think that it could get any better? Then out walks the lead singer, sans band, who sits down on a stool, guitar slung around his/her back and says "Hey, everybody. I'm going to take things down a notch or two." From that point on you are transported from a 15,000-full arena to an intimate moment between only you and your favorite storyteller, completely mesmerized as you sink into the most breath-takingly sweet, stripped-down version of your favorite song. Whether it be that artist's song or a cover, its one of the coolest musical experiences, like, ever. Remember when D.H.T. released that piano-only version of Roxette's power ballad "Listen to your Heart?" How about the Sundays haunting guitar rendition of the Rolling Stones' "Wild Horses?" I was blown away when 90's rock band Matchbox Twenty released their live acoustic version of "Push" - a hard-core, controversial alt/rock song when it was released as their first hit single; a sad, borderline-depressing ballad as the acoustic version helped you finally understand. It wasn't some abusive man pissed at his girlfriend; quite the opposite, in fact. The acousticity made you wonder how you could have missed that this was a sad boy being taken advantage of by someone he loved most, leaving him feeling worthless. Yes, the "singer" was leather-clad, eyes and fingernails coated in black makeup, his smoker-gravelly voice practically spitting at you when he sang "I wanna push you around, I wanna drag you down." However, the real story came from the songwriter underneath all that leather, being told from a not-so-nice girlfriend's point-of-view. This example is to point out how an acoustic set can take the audience on an entirely new journey. By peeling back each layer of a song right down to its core it becomes raw, allowing the audience to experience the singer's emotions in their purest sense. Its almost indescribable, but I'm doing my best! Anyway, I decided to take a little "acoustic journey" of my own; this time, I was the one doing the acousticizing, all with the help of one very talented, very kind and very talented (oh - did I already say talented?) guitarist and friend of mine, BJ Knights.

BJ and I were introduced at a local recording studio years ago. He recorded guitar on a few of my songs so he was already very familiar with my music when I proposed an open mic idea to him. Open mics are the best (and pretty much one of the only) avenues for unknown songwriters like myself to get their songs heard. I'd already done the gig where I sang to my own backing track (and we all know how that went down), but I felt that a one-on-one acoustic experience might really allow me to get creative with my songs. This time I hoped that the crowd would understand the lyrics as they were meant, using a more vulnerable, softer side of my voice to convey my stories better. Its always cool to slip in a cover song for the crowd's pleasure of singing along - and even cooler when that cover can mash into one of your own. After hearing an amazing acoustic version of one of my all-time favorite songs "Bittersweet Symphony" (The Verve) and realizing how similar the theme was to my own song "100," I thought - this is perfect.

I did some research on open mic nites and threw some places out to BJ. He suggested that we do a more laid-back open mic at Irish bar Mr. Dooley's in Wrentham, MA first and then take it to the bigger city crowd at Boston's King's Bowling Alley and Lounge.  BJ can play anything - if he doesn't know it yet, he makes it happen, no questions asked. With a guitarist like this, you quickly learn that you can play off of each other without planning too far ahead or even rehearsing more than once. BJ's super comfortable, laid-back attitude on stage made me feel instantly at ease. Stage fright and I officially said our last goodbye. I  had a blast! Not only did things go smoothly, but I had FUN, and that's the best part of performing. We got some great feedback and encouragement to do more and that is exactly what we're going to do.

So stay tuned and keep a lookout for some upcoming shows. You can go to a rock concert with thousands of other fans any time - for now, let this just be you, me and the music. ;)

reverbnation.com/arlannasnow

Hell, It feels SO GOOD to stand up here

Well, I did it. I grabbed stage fright by the gonads and, well, I kicked. HARD. I performed my very own songs to a crowded room without losing my breath, my lyrics or my mind. That's not to say that it went off without a hitch - there were plenty. Enough to break me? Nope. Enough to scare me from the stage? Never. Enough to make me bitch and complain? Hell to the Yes. But that's what I do: I experience, I write, I record, I perform and I bitch -- the entire time, most always for good reason. If you know me and still talk to me after all of that, God love ya! Seriously, though, let me back up and talk a bit about getting de-stagenized.

My first opportunity to let my babies - these songs of mine that I had kept to myself for years - loose into the world was not even close to what I had dreamed. That's not to say it wasn't fulfilling, it just wasn't what I had expected or envisioned. In preparing for my recording studio's "artist showcase," my name, my songs and my spirit got a bit beaten up in the process. Promotionally I was either non-existent or went by different versions of "Arlanna Snow." As for scheduled performance time, it was a constant back-and-forth. I was going on last, no I was going on first. FIRST!?!? I was performing two songs; never mind, just one. No, wait. I'm back up to two. Don't get excited!  Only one again. For an artist who was used to performing, this may not be a big deal. For someone who had never performed in her ENTIRE LIFE, this mattered. Like... A LOT. At the semi-famous Middle East Club in Cambridge, MA I was to take the "Upstairs" stage at 7:15. After driving up a very steep ramp situation (thanks, Dad), I was officially in it and I planned to win it. Then again, some things went beyond my control. Like the microphone stand being set for someone about a foot taller than me, a keyboard (sans pedal) in which I had never laid eyes (or fingers) on which produced a horrific, generic-like sound and where were those little monitors that performers wore on-stage to hear themselves? I was supposed to do sound-check, but again I was (or someone was) misinformed and I had to just go for it. So, blindly (really, all I could see were red lights) - I did. I was cranking out the song like no tomorrow until - wait a minute, where did the music go? My first-and-only song cut out smack dab in the middle! DJ wasn't playin' NO song all night, on and on and on. You'd think he'd at least start over from the beginning? Nope. I just had to find my way. I stumbled, oh yes I stumbled, but I didn't fall. Later on that night I got a second chance. I performed a second song and it felt better, easier, more fun. I still couldn't hear myself, but I was drunk, who the hell cared at that point anyway? I jammed. You jammed. We all jammed.

Let's get to the heart of it all, though. The energy I felt up on that stage looking out into the faces of everyone who supported me and loved me all these years, no matter if I sank or swam, singing the words that came from somewhere deep inside of me - it can only be described as what I would assume to be the best acid-trip ever. I left the stage that night (with applause I actually did only think I would hear in my dreams) to see first my producer, then friends, family and even strangers - who congratulated me and hugged me with a ferocity reserved only for those really proud moments; the kind that mean you did something in which only true courage and unbreakable passion are necessary for.

So, to all of you, THANK YOU. 100 TIMES, THANK YOU. I couldn't have done it without you! Cheers to many more! Dream BIG! ~Arlanna

It's ALL worth it.

When you first record a song in a recording studio, you think it's going to be simple stuff, right? Walk in, hit the record button, sing your song, walk out and have said song in a day. Boom. I can tell you this - the word "Boom" is not an appropriate word for this process. More like... "aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaannnnnnnnnnddddddddddddd....................................................................iiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiitttttttttttttttttttttttttttttttttttttttt'ssssssssssssssssssssssssssssss............................ssssssssssssssssssssssssssssssssstttttttttttttttttttttiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiilllllllllllllllllllllllllllllllllllll...........nnnnnnnnnnnooooooooooottttttttttttttt...........ddddddooooooonnnnneeeeee.................." Ok, you get the idea. I walked into my first recording studio experience with my wallet, my iPod and my piano. Yes, my PIANO. I'm not talkin' one of those little 44 key casio keyboards . No, no. I'm talking my....::::looking on ask.com for how much an upright weighs::::....roughly 400 lb piano. Yup! I thought "I have to record my song on the piano I use for writing so it sounds good, right?" Oh, Lana...(cuz that's what my peeps call me...you can call me that too. No you can't)...you stupid, stupid girl. A recording studio HAS a piano...several, in fact. And ridiculous software. And experienced engineers that make stuff sound sick - in a good way. Not only that but I wasn't leaving the studio in a few hours with my finished song. Try a few months...and then a few more. In other words, there's a lot more to recording a song than sitting at your own piano belting it out in your living room on a cassette player -- excuse me, iPhone app Voice Memo. That being said... after all of these months... meeting and working with crazy-talented people along the way... singing my ASS off...guess what!?!?

IT'S DONE. 

MY NEW SONG "100" IS COMPLETE.

That's right, everyone. You read correctly. My first song with producer Steve Catizone, many other great musicians and me - we did it! So, here's what you'll need to prepare for what's coming to you in the next few days:

1. Excitement

2. $0.99 to purchase "100" from iTunes (or Amazon, Rhapsody or Nokia)

3. Excitement

4. A kick-ass sound system (or mp3 player w/ earbuds) turned up SUPER DUPER loud

5. Excitement

6. A room with some space to jam 

7. Some more excitement

8. Friends and Family that you will share it with (and that, hopefully, also have $0.99. If they don't, be a pal...lend!)

9. Oh...um...Excitement

10. And FINALLY...Your ear. Not just to hear my song (obvi) but because you'll need it to hear me shout this from my rooftop:

                                !!!!!!!!!!!!!!!!!!!!!!!THANK YOU!!!!!!!!!!!!!!!!!!!!!!!!!!!

So remember - just ONE WEEK from today. ONE WEEK. You will be singing along to my new song "100." As one of the musicians on this song said to me in a very late recording session one night (technically, the wee hours of the morning): "Here's what I picture when I hear this song: Driving down the highway, windows open, song cranking out of my speakers. It's just that kinda jam." And that, my friends, is what makes this process ALL worth it. :)

dreamBIG,
Arlanna