“Before the Music Dies”

By Connie Strong

“Music can save people. But not in the commercial way it’s being used. It’s just too much. It’s pollution.”

Bob Dylan

Imagine the music world with no Ray Charles, sans Stevie Wonder, void of icons like Bruce Springsteen or Elvis Presley. Where would we be if those who dared to be different had “played it safe” and sang the same song as everyone else? “Before the Music Dies,” a documentary by Andrew Shapter and Joseph Celis, examines the issue of art versus commerce and challenges the homogenization of today’s music.

Narrated by Forest Whitaker, this film seeks opinions from the legends– Bonnie Raitt, Eric Clapton, Dave Matthews and Elvis Costello, among others– in an effort to explore the effect that pop culture, synthesized sound and the video age has had on “original” music:  music that goes beyond technology, is borne of raw talent and can stand on its own, without artificial digitized intervention.

“Before the Music Dies” takes a brutally honest look at what the Telecommunications Act, and subsequent radio consolidation, has done to the industry and to today’s musicians.  Gone are the days of individuality, of having something unique to share with the listening public. The God-given talents that redefined music, introduced new music genres, and documented our cultural history have been replaced by redundant noise that sells—provided that “noise” is coming from someone that our culture considers beautiful and who fits the current definition of sexy. Sadly, sex and beauty sell music more so than gripping lyrics and memorable melodies.

Perhaps Grammy-winning jazz saxophonist Branford Marsalis said it best: “Superficiality is in and depth and quality is kind of out… Today, Ray Charles would not get a shot. Stevie Wonder would not get a shot; they’re blind.”

This documentary speaks directly to the fact that the music industry has a “bottom dollar” mentality that has killed the possibility of hearing anything other than the redundant offerings found on the vast majority of radio stations. There is a wealth of talent to be uncovered, but will not be heard on “the right side of the dial.”  Luckily, there is a movement by music fans, independent musicians, and venues like The Bugle Boy that is desperately fighting against this massacre of music.

Founder Lane Gosnay says, “Supporting original music always seems like an uphill battle. The hurdle for a venue like mine is the amount of time it takes to educate folks that there is plenty of amazing talent to
discover. There is music that you will never experience if you always use the noise of mainstream hype as your talent meter.”

One of the most revealing aspects of the film is a segment that shows how the viewing public is manipulated by videos. In the documentary, songwriter Steve Poltz (Jewel’s “You Were Meant for Me,”) is challenged to write a song, given no time for preparation. The song was then handed to the beautiful, but less than talented, Taylor Hannah for a recording session. “Lights, camera and action!” were added, along with MUCH digital correction to her vocal attempts and the end result was amazing:  a “star” is born, based solely on beauty, sex appeal, youth and technology.

Gosnay says, “This film is a marvelous educational tool that enlightens people to the fact that mainstream music is more often ‘smoke and mirrors’ for the end result of appealing to the masses than something that introduces the public to real talent on a wide-range scale.”

Music lovers have a choice: follow the lead of mass-marketing experts who offer only what is familiar, or take a chance and invest the time required to discover original talent in an acoustic setting. There are multitudes of “unsung” heroes that can bring predisposed talent back to the forefront of listening pleasure.

According to Gosnay, “It is far more fulfilling to discover wonderfully talented musicians that are worthy of your support on your own, or with friends, than it is to be persuaded by clever marketing skills. I recommend this film to everyone that enjoys live concerts; but more importantly I recommend it to those who may think they don’t [enjoy live concerts], or to those haven’t taken that chance in a long time.”

Director Andrew Shapter says, “We must do what we can to preserve the diversity of American music. It’s that diversity that is disappearing in favor of commercial formulas. Today, musical innovation and variety may be harder to find, but there is certainly no shortage. You just have to look under the surface of the commercial pavement.”

The Bugle Boy is presenting “Before the Music Dies” on Saturday, July 10, at 8:00. There will be no charge for this screening.

Gosnay concludes, “After you watch the film, I encourage you to search out a ‘listening room’ type concert. Go see someone you have never heard of. Be your own talent buyer.”

Is the music dying? Certainly not, if The Bugle Boy has any influence. Consider this: someone took a chance on the music of Ray, Stevie, Bruce and Elvis. Invest in the opportunity to experience originality.

As Lane Gosnay knows so well, “The joy is in the discovery!”

Make your reservations for the free screening.

You can support the work of The Bugle Boy with an online donation to The Bugle Boy Foundation, a 501(c)(3) non-profit organization.

Bugle Boy Founder on KEOS 89.1 FM

By Connie Strong

On Saturday morning, May 29, Lane Gosnay took her continuing efforts to save independent, quality music to the airwaves.

In the Bryan studio of KEOS 89.1 FM, Lane spent an hour with radio DJ Gary Mortensen—someone who shares The Bugle Boy founder’s passion for promoting original music, and the talented musicians who choose to “play by their own rules” and, many times, sacrifice fame in order to maintain creative independence and artistic excellence.

During the one-hour live program, Lane and Gary discussed the mission of La Grange’s listening room, the history of The Bugle Boy, their shared respect for independent musicians and Lane’s hope that her strong belief in her venue and its artists will encourage others to join in support of this worthy cause. It is her ultimate goal to “run [herself] out of business.”

In a perfect world, others who crave music that is not synthesized, or “generically engineered,” will recognize the need for opening venues such as The Bugle Boy: venues that—according to Lane—“elevate the artist” to a new level of presentation, expectation and opportunity.

Gary and Lane both agree that local house concerts and their hosts are also mainstays for keeping independent music alive and are “the crown jewel of the listening world.” Lane says that house concerts (along with listening rooms) are “the economic backbone of the independent artist.”

According to Gary, the hosts of house concerts are the “unsung heroes” of the industry.

Between the lively, thought-provoking conversation, listeners were treated to songs by Elizabeth Wills, Jonathan Byrd and Diana Jones, Tom Russell, and Natalia Zuckerman. To Lane, these musicians—and hundreds more like them—are more than just people that pass through on their way to something bigger, or more commercial. These are talents that she has nurtured and greatly respects.

Likewise, the artists love and respect a venue that is truly there to showcase what they have to offer. They know that they will receive the undivided attention of the listeners, and they know that they will leave The Bugle Boy having made a connection which cannot be made in a larger venue.

Listening rooms, house concerts, and radio stations like KEOS are for the discerning. They are for those with a discriminating music palate. They do not submit to the will of the masses.

Gary says, “For me, independent music serves as evidence that the human spirit hasn’t been totally subordinated by the forces of mass culture which dominate so much of our life experience. I need to hear the thoughts and sounds of the individual, created without concern for their mass appeal.”

If the artists are brave enough to think outside the box, and The Bugle Boy and stations like KEOS are courageous enough to continue the fight to save the vanishing breed of entertainment at its best, maybe we can all learn to “think outside the box” musically.

Gary is proud to volunteer at KEOS, the community station that claims it’s “the left end of the dial done right,” and which celebrates its 15th anniversary in June. Perhaps if we all think a little left of center, maintain our individuality and expect more from music than the “canned” offerings found on the right end of the dial, we could “raise the bar” when it comes to what we choose to spend our money and time enjoying.

Gary feels, “It’s really important to me to help support the independent musician, now more than ever.” Lane has devoted the last six years of her life to this effort. This is a fight worth fighting—the alternative is to live a redundant music existence on the right side of the dial, or in an over-crowded venue, listening to song after song that sounds just like the one before.

Let’s help them keep independent music alive.

Listen to the interview here

For more information about KEOS, www.keos.org.

You can support the work of The Bugle Boy with an online donation to The Bugle Boy Foundation, a 501(c)(3) non-profit organization.

***** Watch for Connie’s upcoming article about the film Before the Music Dies, a documentary that Lane will share, free of charge, with The Bugle Boy audience on July 10.

Make your reservations for the free screening.
Limited seating available.