INSIDER'S ADVICE COLUMN

Our Insider's Advice Column Offers: 27 years Full-Time Experience FAQ about Hiring Music Entertainment FAQ about College Music Education FAQ about Music Lessons & Teachers FAQ about Memorizing Music FAQ about the Better Business Bureau FAQ about Bob Dylan & Dylan Days & Hibbing Provided FREE as a Public Service

         Question Index

• How do I go about hiring quality entertainment?
• I want to learn how to play piano again.
• When I practice piano I get a pain in my wrists. Help!
• I play better piano than my teacher! What should I do?
• What college should I go to for my music?
• What is required of music majors in college?
• Is Bob Dylan the greatest composer of the 21st century?
  

Dear Need to Know:  Your questions get to the real heart of the matter, don't they? How can one be sure one is hiring truly professional entertainment? What are the important questions to ask a prospective musician or DJ business to find out who is reliable and who is not?  I have prepared a list of questions which follows. This list is NOT exhaustive, but any truly professional entertainer or entertainment business will be able to answer these questions in a positive and forthright  manner without hedging. Listen for EXCUSES. EXCUSES are reasons to look elsewhere. True professionals will not shy away from these important questions. Here's what the "DJ POLICE" would ask:

1.  ARE YOU ENDORSED BY THE BETTER BUSINESS BUREAU? The BBB has been around since 1912, and they are an excellent source to inquire whether an entertainment business is legitimate and professional. You can be confident that a business endorsed by the BBB has been checked out and has legitimate, quality references to prove the reliability of their work.

2.  DO YOU HAVE A NUMBER OF PROFESSIONAL REFERENCES I CAN CONTACT? A bonafide professional entertainer or entertainment business should have MANY positive PROFESSIONAL references on hand for you to contact. Note the key words MANY and PROFESSIONAL. Please remember that two or three references is NOT enough. We recommend at least ten recommendations from previously satisfied clients to assure a HISTORY of professionalism. And remember that the word PROFESSIONAL denotes CLIENTS, NOT FAMILY members or friends. Plus, be sure to contact the references. Follow-up, and let the proof be in the pudding.

3.  DO YOU HAVE LIABILITY INSURANCE IN CASE OF INJURY TO GUESTS DURING THE EVENT? This is VERY important. You would not believe how many businesses DO NOT CARRY any sort of liability insurance. This is a big indicator whether or not you are dealing with a professional business or not.  "Fly-by-night" entertainers do not carry insurance, largely because they don't work enough to be able to afford it. But just like hiring a roofer or other contractor, MAKE SURE the entertainer or DJ carries A MINIMUM OF ONE MILLION DOLLARS LIABILITY INSURANCE.  What if something happens at your special event, like a guest trips and breaks a leg, or perhaps even worse.  YOU CAN BE HELD LIABLE if your entertainer is not covered. This if a no-brainer. There is too much to risk here, too much potential for getting into a world of hurt. DON'T SETTLE FOR A CHEAPER ENTERTAINER WHO WILL LEAVE YOU VULNERABLE TO LEGAL ACTION. A true professional will have a minimum of one million dollars liability insurance. Don't take a chance on this one.

4.  DO YOU DO MUSIC FULL-TIME, OR ARE YOU JUST A PART-TIME WEEKENDER? In the music entertainment business, the REAL professionals are employed in the music business FULL-TIME. They are totally immersed in the music field (as opposed to just tinkering in it) and are the best qualified to assist you because they are in touch with music and musicians ALL DAY, EVERY DAY. Since his/her ENTIRE LIVELIHOOD depends on it, he/she is compelled to saturate themselves in the field of music, to continue to learn and grow to meet the demands of the listening public. Part-time "week-enders" are usually employed full-time in another field and only supplement their income with occasional gigs here and there. Part-timers are, therefore, often "rusty" and "out of touch". Incidently, the author of this column has been doing music full-time for over twenty-five years. 

5. HOW MANY CONTINUOUS YEARS OF PROFESSIONAL MUSIC EXPERIENCE DO YOU HAVE? Many musicians and DJs, unfortunately, have only worked intermittently or occasionally. That means "on and off", "hot and cold" for their entire career, working very few nights a month or even a year.  Remember that "A FEW WEEKENDS A YEAR" does NOT equal "A YEAR OR EXPERIENCE".   Look for a no nonsense answer here. TEN YEARS of continuous full-time experience is a good rule of thumb to start with. Too little experience means they have not encountered a wide enough variety of audiences to have the tools necessary to do the job effectively. The author is still learning, even after twenty-five years in the music industry full-time.

6.  WHAT IS YOUR SPECIALTY? A typical radio DJ or school dance DJ, for example, is simply not qualified to do weddings. Weddings take an experienced DJ who knows how to play to the WHOLE CROWD, not just one or two segments of it. They know how to MOTIVATE your guests to GET INVOLVED in the party by being INTERACTIVE with them. Having done HUNDREDS of dances, they have MANY TRICKS UP THEIR SLEEVE, and they can find out what the crowd wants and serve it to them on a silver platter. They know WHAT to play and WHEN to play it. Be sure the entertainer has done hundreds of successful shows that fit the type and style of dance you envision for your event. Don't make the mistake of trying to fit the proverbial square peg in a round hole. A radio station that plays all pop and top 40 won't have a clue about country, swing, or 50s & 60s, for example, just like you won't find Classic Rock on MTV. Find out what the entertainers' STRENGTHS are, what their SPECIALTY is. And whatever you do, don't try to take those spots off that leopard.

7.  WHAT BRAND NAMES OF SOUND & LIGHTING GEAR WILL YOU HAVE AT OUR EVENT? True professionals invest what it takes to own the very best professional audio and lighting gear available. Be aware of name brands you see advertized at Best Buy and other department stores. These brands are fine for home stereo systems but are not designed to take the night-after-night peak performance of a professional road show. I have heard horror stories of well-meaning folks hiring a relative or a "friend of a friend" who just happens to have a "cool stereo" and a nice home CD collection. Usually these parties are an embarrassment to both the host or hostess and the "wannabe" entertainer, if not a total disaster caused by blown speakers or amps that are cranked up way too high for too long. A true professional should be able to rattle off a detailed list of equipment, including BACK-UP EQUIPMENT in case the first system fails. A true professional is prepared for the worst case scenario and has a plan of action in case Murphy's Law rears its ugly head.

I could go on and on, but these seven important questions will give you a very good idea who is professional and who is not.  These questions will be a big help in weeding out 95% of the "wannabees". Please do everyone (especially your guests) a favor and avoid the hassle and embarrassment of hiring non-professionals who can't answer these questions without making excuses.  You owe it to yourself to avoid that whole mess, and these questions will help
point you in the right direction.  Enjoy your party! 

Sincerely, The Insider AKA Craig LiaBraaten

P.S. If you have not already done so, please check out our 
Living Water Music Professional DJ Service.

Dear Insider:  I'm an adult, and I play piano. I took lessons as a child, but it seems I forgot a lot. I want to learn to play again and I don't really have the time. I can read music very slowly. Should I take lessons, or can I learn with a self-help book? How should I practice if my time is limited? Are there any secrets to succes in my case, or is it too late? Signed, No Time to Practice P.S. When you were at Louisiana U, did you ever visit my home state?  (Alabama)

To the P.S. first, let me relate that I have visited and concertized in Alabama, most notably at the University of Alabama (the Crimson Tide, I believe you are called), and I simply love your beautiful state and southern hospitality. I would love to visit again, perhaps when my agent schedules another engagement there. If you'd like us to keep you on our E-mail list of Concert Appearances in your area, please request at contact insider. Now to your questions regarding piano:

First of all, let me commend you for your interest in refreshing your skills at the piano. What an absolutely fun and fascinating time it can be, especially with a teacher who can answer your questions face to face.

It certainly would be convenient if we could use some sort of self-help book to guide us. But the reality of it is that WE ALL NEED A TEACHER, and here are just a handful of reasons why:

1)  WEEKLY LESSONS KEEP US ON TRACK, even with a busy schedule.      Regular lessons provide us short-and medium-range goals to achieve and a sure way to evaluate our progress.  Without weekly lessons from a qualified teacher (and I recommend weekly lessons instead of bi-weekly or monthly),    even the most self-motivated students tend to lose interest quickly.  Weekly lessons can be, therefore, a great motivator.

2)  WITHOUT PRIVATE LESSONS, WE LEARN BAD HABITS. Our teacher can see what we are doing more objectively and more accurately, because they observe our playing from a vantage point OUTSIDE OURSELVES.  Many times we are unable to adequately assess our problem areas ~ for example, PROPER TECHNIQUE ~ and because we are too easily distracted by the mundane and rudimentary aspects of playing ~ for example, note reading. An objective observer can always shed light on our deficiencies BEFORE they become engrained as bad habits. Remember that  BAD HABITS ARE HARD TO BREAK, AND GOOD HABITS NEED TIME AND PROPER GUIDANCE TO DEVELOP.

3)  PIANO PLAYING IS A SKILL, NOT A THEORY OR CONCEPT. I remember in junior high school when I fell in love with, of all things, bowling, and joined a league. I wanted to be a good bowler, so I checked out all the books on bowling from the library. One day a teacher of mine noticed me reading these "self-help" bowling books, and he taught me something I'll never forget. What I really needed to do to learn to bowl was not to read about it, but to GET OUT AND
DO IT. Bowling, like piano playing, is not a theory, idea, or concept, it is a PHYSICAL SKILL THAT REQUIRES PRACTICE. I needed to EXPERIENCE bowling, not just think about it. And so it is with piano. To successfully learn the skill of piano playing, it is not enough to THINK IT,  we must DO IT. What you need is not a self-help book with ideas, but a personal trainer with     exercises. That personal trainer is your mentor---your private  piano teacher.

4)  TO LEARN EFFICIENTLY, YOU MUST LEARN HOW TO PRACTICE. Too many students of all ages ~ especially adults ~ WASTE TIME PRACTICING.  Considering you have, as you and so many others complain, so little time to spare, then it would be prudent to use your practice time wisely, and to achieve the maximum results in the minimum amount of time. Competent teachers not only show their students WHAT to practice, but also HOW to practice to maximize your effort. Well-meaning students spend hours when they could spend minutes getting results.  Your personal trainer ~ your private piano teacher ~ can help personalize your practice regimen to achieve the most efficient progress possible.

5)  SKILLED TEACHERS RECOMMEND ASSIGNMENTS THAT FIT YOUR SKILL LEVEL. Again, precious time is lost if the assignments are either too difficult or too easy for you. And too often time is not expendable in today's lifestyles and vocations. Without a mentor, assignments often fail to reinforce one another, or fail to achieve a meaningful progression from one to the other.  With no rhyme or reason, a student without a teacher is destined for frustration and,
sad to say, failure.

In short, SUCCESSFUL PIANO PLAYING WILL ALWAYS BE LEARNED THE "OLD-FASHIONED" WAY, SITTING ONE-ON-ONE WITH THE MENTOR TO GUIDE AND LEAD FACE TO FACE AND BY EXAMPLE, something no "self-help" book can ever do. 

So good luck in your search for a qualified, competent teacher. If you readers need help finding a mentor in your area, feel free to E-mail me anytime at contact insider and I will do all I can to assist your search. Let me know how things turn out for you. For info on our music lessons, CHECK HERE.

Sincerely, Craig LiaBraaten (AKA, The Insider).

Dear Insider: I find that when I'm practicing the piano, I get pain in my wrists, and occasionally in my elbow, too. What am I doing wrong? I want to be a good player, but it really hurts sometimes. Sincerely, Tired of Hurting in Wisconsin.

Two famous pianists who experienced pain while practicing/playing and who today have ruined their careers are Leon Fleischer and Gary Grafman. Both of these concert pianists, at the height of their international careers, became incapacitated by pain while playing, and both are severely handicapped today.  Fleischer's hand curled up in a grotesque way, and to this day he is a one-handed pianist. How terrible are the results of not addressing this issue properly, and how sad these pianists must be at their great loss.

Now while repetitive movements, like those of a typist, are apt to create an environment where pain and injury can occur (carpal tunnel syndrome, for example), the real culprit is not the movements required, but tension produced by improper stance and technique. I believe ALL PAIN IN PRACTICING IS THE RESULT OF INCORRECT TECHNIQUE, which, if left unaddressed or unchanged, can ruin a gifted artist or even a talented beginner.

I am appalled at those who attempt to teach with NO CLUE as to what PROPER TECHNIQUE is all about. These "so-called" teachers do more harm than good, for they allow well-meaning students to hurt themselves because they never learned the ABC's of PROPER TECHNIQUE themselves. How I wish there were at least minimum requirements for private music teachers, for many have no basis or education upon which to teach their students how to play or sing without pain or discomfort.  Most of these teachers never mastered their own technique, so how could we expect them to be able to demonstrate PROPER TECHNIQUE. Always remember my motto: "THE BEST TEACHER IS A GOOD EXAMPLE".  If your teacher cannot play well, or no longer plays in public, take a clue and look for instruction from a competent instructor.

PROPER TECHNIQUE IS THE KEY TO UNLOCKING EVERY INSTRUMENT, including my two areas of expertise, voice and piano. It takes an understanding of many aspects ~ physiology, science, physics, logic, common sense ~ to fully comprehend what is required of the human body in accomplishing complex, difficult, even strenuous tasks WITH THE UTMOST RELAXATION AND RELEASE. 

When I decided to study music, I wanted to find the best teachers available, and I did ~ eventually. Coming from a small community in Northern Minnesota, my initial experiences with my first teacher were awkward, because I knew I could play better than her from the start. When she would attempt to demonstrate, I could see her lack of knowledge and talent, and I was embarrassed to be in that situation. We looked around and found a much more competent individual (who lived in the area, and had studied with Josef Levine at Julliard), and so we changed teachers. And I'll tell you, there was so much animosity and jealousy on the part of the first teacher, it was incredible. But for the first time, I had a teacher who knew something about PROPER TECHNIQUE, and my playing really took off. By the time I was a Junior in High School, I had won a national award at Interlochen Academy of Fine Arts in Interlochen, Michigan. And I was playing some incredibly difficult literature (Liszt's Rhapsodies, Chopin's Etudes, Beethoven's Sonatas) with ease. The key to my succes was having a teacher who understood PROPER TECHNIQUE.

The teachers I chose in undergraduate and graduate work, were even more knowledgeable and skilled in PROPER TECHNIQUE. Dr. Wee at St. Olaf was a joy to work with, and he introduced me to the master teacher Gyorgy Sebok, the finest teacher I have ever met. I first played for Distinguished Professor Sebok of Indiana University in a master class out in Oregon, and he immediately took me under his wing.  I received a full scholarship to Indiana Univeristy School of Music, where I had the privilege to study each week with Maestro Sebok for six years. And you wouldn't believe what he did.

At this point my resume was quite impressive with national awards of all kinds, so I had that self-assurance ~ let's call it cockiness ~ that I was some big bad piano player. But the Maestro took me aside, and in his broken Hungarian asked, "Do you really want to learn to play the piano?" 

Now at first, my pride welled up inside, and I just about blurted out something like "Listen, buddy, have you seen my resume? I'm already a national phenomenon!" But something inside me knew better, and instead I submitted to the wisdom of the master pianist, and I said "Yes, I do."

I honestly did not know what to expect, but what Sebok did is he started me from scratch, back to day one, beginning all over again. Sebok wanted to lose every vestige, every iota of stress, tension and imbalance in my technique, so we started completely over from ground zero. It was very, very trying on my patience, but I believed in the concept of PROPER TECHNIQUE, and since Sebok's teacher was Bartok at the Liszt Academy in Budapest, I knew I was being told the truth and I was learning PROPER TECHNIQUE in the truest sense.  (Liszt was, as the informed pianist will tell you, the greatest technician of all time. Liszt revolutionized piano technique in his quest to become "the Paganini of the piano". Liszt wrote pieces in his teens that no other pianist in the world could play. So I am tickled pink to know I am a musical descendant of the greatest pianist the world has ever known.)

While I was working on my PROPER TECHNIQUE, I took nine months off of public performing, just like Liszt himself did when he uncovered the mysteries of PROPER TECHNIQUE. And looking back, I wouldn't change a thing, for now THERE IS NO PIANO PIECE THAT I CANNOT PLAY, and PROPER TECHNIQUE ALLOWS ME TO PLAY THE MOST DIFFICULT WORKS FREE OF STRAIN. 

So dear Tired of Hurting, the pain you are experiencing while practicing is a stark indicator to me that you need a teacher who fully understands PROPER TECHNIQUE as Liszt taught it. You owe it to yourself to master PROPER TECHNIQUE before you, too, become a statistic.

Seriously consider you teacher's qualifications, and inquire of your propective teachers what their knowledge and background are  with regard to Liszt's technique. Ask them if they have battled with tension and pain in their own performing, and if they have been successful overcoming it. Have they ever had to stop practicing or playing because of pain? You see, we don't want the blind leading the blind. You need a real teacher who does not still battle with these issues, but has found the answers.  You need a teacher who is an active performer who can actually DEMONSTRATE what PROPER TECHNIQUE is.

Always remember my motto:  "THE BEST TEACHER IS A GOOD EXAMPLE" 

Please write to me again at contact the insider to let me know of your progress in finding a competent teacher. Be willing to travel some distance to find the best teacher available. If you need help locating a qualified teacher in your area, I would do my best to help. Take care and good luck. FYI CLICK HERE.

Sincerely, The Insider

Dear Insider: I'm 12 years old and I already play piano better than my teacher. What should I do? Sincerely, T.N.

Your teacher MUST be a performer ~ don't take lessons from a piano teacher who can't or doesn't play in public, or voice lessons from someone with a speaking difficulty (lisp). The key to learning is PROPER TECHNIQUE. Correct technique unlocks the instrument, and a teacher who can't play, can't show you how. They are out of touch. MY MOTTO has always been ~ THE BEST TEACHER IS A GOOD EXAMPLE!

Dear Insider: I'm a senior and I can't decide where to go for my college education. I love my music and I want to make the right choice.
Can you help me?
Signed, Desperate

Dear Insider: What is required of music majors in college? I'm considering piano performance as a career, but I'm not sure at this point.
Signed, Mikey.

If you are considering becoming a music major, you need to know some basic facts.  The following five disciplines are required of every music major (unless, of course, you attend Podunk U where there is no commitment to quality in education).  The five disciplines to get a grip on now are:

1)  Music Theory:  required of all music majors. Minimum four years of theory are required even for a Bachelor of Ed. in Music. If you haven't had much theory, get ready for your fill of it. Theory is different from some aspects of music (for example, style and interpretation) in that theory has black or white answers with little gray areas for discussion. Theory is the MATH of music, and it is either right or wrong. Many talented folks flunk out of college because they can't or won't pass the theory requirement. This is avoidable by enrolling in theory courses (like the ones we offer at Living Water Music) while you are yet in high school, or preferably, even younger. When I got to St. Olaf I tested out of most of the theory requirements because I was prepared when I got there. The results? I was TEACHING theory and keyboard at St. Olaf my freshman year!  You can too, if you prepare well beforehand.

2)  Singing: required of all music majors. Surprise, Surprise! No, you won't have to sing a recital (unless voice is your major or cognate field), but you will have to be able to sing a melody at sight that you have never seen before without touching an instrument. You'll have to do this in class in front of your classmates, and in tests with your teacher or assistant teacher. You will not NOT be graded on your tone production, but you WILL be graded on singing the correct pitches, intervals, rhythms, basic intonations and melodies ~ some of which are surprisingly complex. Sight singing is a required part (lab) in every quality music curriculum.

3)  Piano: Important! All music majors, regardless of their major or their principle instrument are required to pass what is called piano proficiency, which is a certain level of competency on the keyboard.  Specific requirements vary from school to school, but take my word for it, if you haven't had a piano lesson before you go to college, you will be wasting hour after hour in the practice room learning keyboard fundamentals, and you'll wish you had that time for other classwork, extra curriculars, or free time for your own sanity. Why not get prepared BEFORE you go? I have taught piano classes at St. Olaf College, Indiana University, and Louisiana State University, so I do know a bit about piano proficiency requirements. Drop a line if you need help or want to register for a piano class if you live in Northern Minnesota or Wisconsin.

4)  Live Performances/Memorized Music:
I'll never forget at Indiana University when a doctoral student lost her place in a major Bach work and tried repeatedly to jump start it. She forgot to bring her music to the recital as a back-up, so she couldn't even finish the piece. She stormed off the stage leaving her audience in limbo, and I heard she never did graduate. Sad. I inherit students from other teachers all the time, and I'm alarmed at how many of these students have never memorized a piece of music. They are in for a rude awakening in college, where memory is required in recitals, especially for vocalists and pianists. Some teachers never have their students play in public, and this is another requirement of any performance major. The better schools usually require at least a half recital by memory even if your major is not performance. So get busy now performing in public by memory. The faculty and graduate students at Indiana University were so impressed by my ability to memorize the most complex (and extremely dissonant) 20th century music, that they hired me to teach a course on memorization. Anyone can learn to memorize with my five-point system.  Interested? Write me at contact the insider. You can have my memorization system for just $9.95 which includes C.O.D. shipping and handling. Simply request "Music Memorization in 5 Easy Steps", offer #300. C.O.D.'s only, please, or order online from our catalog.

Concerning public performance, my students (I have 170 currently) are all encouraged (not forced) to do so, and most think it is fun. My students have appeared at virtually every festival and venue of stature in Northern Minnesota ~ Including Hibbing's Jubilee, Virginia's Land of the Loon, Ely's Blueberry Arts, Tower's Wild Rice Festival, Grand Rapids Judy Garland, Ironworld U.S.A., area schools and colleges and the DECC. By PARTICIPATING, students always learn more.

5)  Heavy Course Load: To the uninitiated, it might seem like music curriculum could be a cakewalk. Unfortunately, unless you attend a small community college program where little is offered in the music department, you will find the coursework to range from heavy to downright impossible. I roomed with a pre-med student as an undergraduate at St. Olaf, and I know my course-load was heavier than his, mainly because, in music, you put in comparable hours to earn 3 credits in another major but it earns you just a third or half of one credit in music. The labs are time-consuming, tedious, and you can expect to receive little reward for your intense labor, other than the pride in your work and (hopefully) a nice GPA. It seems the music faculties do this on purpose to weed out those less-industrious, less-disciplined characters from the rank and file.

If you want to excel in music school (I had a graduate school GPA of 3.98), then expect to pay your dues big time. For our competitions, CLICK HERE.

Trust me, there are a lot of hoops to jump through.  But after you're finished, it's all worthwhile. Take it from one who has been there, who has tread those long and lonely paths, and who now DONATES more to worthwhile causes each year than the average American MAKES in four years. If I can do it, you can do it, and if you're so inclined, I could help you get there, too.

Dear Insider: I read in the Hibbing Tribune, Dylan's home town, that  some local Minnesota fan thinks Dylan is quote "the greatest composer of the 21st century" and that Hibbing, where he grew up, should recognize Dylan for his contributions to the city of Hibbing. I read your biography on line and see you are from Hibbing, too. What do you think of Dylan and his contributions to your area?
Signed Undecided

Dear Undecided: The day I received your Dear Insider inquiry, I made the time in my busy schedule to research this timely and important question. Thank you for your inquisitiveness and curiosity, for inspiring me to put cyber pen to cyber paper, and ultimately, inspiring me to write a letter to editor Wanda Moeller of the Hibbing Daily Tribune. Fortunately freedom of the press still lives in Hibbing, MN. My letter was recently published 04-22-07. Undecided, below in my response to you here, is that letter in its entirety.

Undecided, the article about Bob Dylan (Robert Zimmerman) and Dylan Days that you describe appeared in the Hibbing Daily Tribune in April 2007 during a time in which Dylan's songs were being introduced to children in the Hibbing public school system (ISD 701) at the Lincoln Middle School. The HDT article was entitled: "Youth: Dedicating Class Time to Dylan" and Subtitled: "Students Prepare for Performances at Dylan Days" and written by Hibbing Daily Tribune staff writer Kjerstin Lang.

I believe the quote you refer to is attributed to Mike Miesbauer, a fifth-grade teacher at Lincoln Elementary School in Hibbing. The complete quote in context is as follows: "Miesbauer said he couldn't believe that many students didn't know who Dylan was. 'They do now', said Miesbauer. 'I think they should know him because when everything is said and done, I think history will show him [Dylan] as the greatest composer of the 20th century.' Miesbauer said although Dylan's music isn't very complicated, he is a musical genius when the lyrics and music are combined."

Later on in the same article there is this passage: "The [Lincoln Elementary] teachers agree Dylan is an important subject. 'It is important for the kids to know who Bob Dylan was and that he contributed to the community through poetry and music,' said [Lincoln Elementary Choir Director Judy] Laliberte. 'Perhaps through this we will tap the talents of one of the students here and inspire them to continue with music like Dylan did.' In a broader aspect it teaches about community pride, thought [Lincoln Elementary Co-Choir Director Karen] Adam. 'It is part of teaching our students about our community and taking pride in our community,' [Adam] said."

I will attempt to carefully answer your excellent question and comment on these quotes from the Hibbing Daily Tribune article on Bob Dylan.

First, here in blue is the letter which appeared in the Hibbing Daily Tribune on 04-22-07, with a couple small things interjected for clarity before I sent this into cyberspace:

"What are your songs about" Bob Dylan was once asked. "Oh," he said, "some of them are about three minutes..." My point exactly.

I attended Interlochen Academy of Fine Arts, St. Olaf College, Indiana University, LSU, Kindermusik International and other master classes to passionately and thoroughly study music to be certain that, when I opened my mouth, I told the truth and not just my "opinion". A Hibbing Daily Tribune article last week "Dedicating [Lincoln Elementary] Class Time to Dylan", fifth-grade teacher Mr. Miesbauer relates the following to reporter Kjerstin Lang: "...he couldn't believe that many students didn't know who Dylan was" but that "they do now" because "when everything is said and done, I think history will show [Dylan] as the greatest composer of the 20th century" and "a musical genius".

The goal of education, especially for the youngest and most impressionable kids in public school, should be to present every student with the facts - - the truth. Not brainwash the kids with biased and baseless opinions on a subject area in which the teacher lacks qualifications. What is needed in school is objectivity and truth.

Truth is, Dylan is a SONGWRITER, not a composer. Literary giant, perhaps. "Musical genius", NO.

First, the study of Music Composition is a multi-faceted and complicated craft. It involves much more than writing words, melody and strumming a few simple chords or jamming with other musicians. Songwriting is what Dylan does. Composing is what Stravinsky did (Rite of Spring, Firebird Suite, Pucinella). Or what Debussy, Ravel, Bartok, Scriabin, Poulenc, Schoenberg, Rutter, Gershwin did, or even what John Williams does. Thousands of other worthy musical artists have mastered the sister disciplines of music theory and music composition. Paul McCartney, Elton John and Billy Joel continue to lament the limitations and box-like commercialism of the "three-minute song"; all three have tip-toed into actual composition, understandably without much success or acclaim. Dylan wouldn't know higher tertian vocabulary, counterpoint, the art of fugue, three augmented sixth chords, seven hypo-modes, or authentic Roman Numeral analysis - - to name a few compositional techniques - - if they jumped up and bit him. Perhaps they did at University of Minnesota before Dylan dropped out?

Second, to the musically literate, "a musical genius" is something much rarer than Dylan's few chords. His words may have layers of meaning, but his musical vocabulary and architecture is more on the level of "The Cat In The Hat". Let me share a few examples of unfathomable musical geniuses. Leonard Bernstein (1918-1990), a gifted 20th century COMPOSER, performer and conductor, could read an entire symphonic score (more than twenty lines of music at the same time) and simultaneously play all the parts at the piano, including all their necessary transpositions (clarinet and trumpet in b-flat, horn in f, and so forth) - - at sight and up to tempo! Perhaps the greatest musical genius of all time was J. S. Bach (1685-1750). Bach created what experts have coined the "old testament" of piano music, the WTC I & II (two complete sets of preludes and fugues in all major and minor keys at a time when equal tempered tuning was just becoming accepted); but his true genius was heard in live performances. When given a new melody "on the spot" by anyone, Bach, the artistic equivalent of a Baroque-era "super-computer", could IMPROVISE an eight-part fugue on that subject instantly! Or W. A. Mozart (1756-1791), who, upon hearing firsthand the famed Sistine Chapel choir perform its highly secretive and complex antiphonal and polyphonic choral music in Latin, memorized the music upon hearing it once, went home and promptly wrote out all the parts note for note! In my "musical family tree" there is Beethoven (1770-1827), who wrote his "Chorale" Symphony and the Missa Solemnis while totally deaf! Then there is my musical great-great grandfather, pedagogically speaking, Franz Liszt (1811-1886), who, when presented the most difficult compositions that world-famous composers Frederic Chopin and Edvard Grieg had just penned, sight read from these original handwritten manuscripts and performed these compositions (which today's concert pianists practice for years) up to tempo the very first time he saw them! More examples exist - - but musical genius is indeed rare.

Dylan may be an effective SONGWRITER, poet, popular performer, and an astute businessman. COMPOSER he is not. Mr. Miesbauer's opinion that Dylan is "the greatest composer of the 20th century" is ridiculous because Dylan is not even a composer. If he has anywhere near that level of musical expertise, his output thus far has not revealed it.

Furthermore, the phrase "Musical Genius" is neither a popularity poll nor a bankroll. Few there be in history and in the 20th or 21st century (or any century, for that matter) who can be so described. Dylan is NOT one of them. More importantly to Hibbing, let's face the facts: Dylan's heart is not in his hometown. But I digress.

In the same Hibbing Daily Tribune article on Dylan and Dylan Days, Lincoln Choir Director Judy Laliberte is quoted saying "It is important for kids to know who Bob Dylan was and that he contributed to the [Hibbing] community through poetry and music", and that the Dylan Days "is part of teaching our [Hibbing's] students about our community and taking pride in our community."

Excuse me. What has Dylan contributed to this community? Has he performed here once in the last forty years? Played one benefit or fund raiser? Paid one local salary? Donated one penny to support our local chamber or other non-profits? Served in one local position? Patronized our businesses? Do his taxes support our local schools and help pay for Mr. Meisbauer's and Ms. Laliberte's positions? Was the school song he wrote performed at his HHS graduation? Do the profits from his CDs go back into this community? Does he volunteer in a local church? Does he teach our kids one-on-one life skills, music skills and self-confidence? Does he sacrifice year after year for Hibbing? Isn't it ironic?

Thanks to everyone who called, wrote and stopped by since our last letter to the HDT offering their kind support. Thanks to our loyal customer base, our students, and businesses, city representatives and friends who support what we're doing and who are just as surprised as we are that our community-minded efforts sometimes seem forgotten. Hibbing School of Music and Living Water Music, Inc. continue to sacrifice, to contribute, to donate our time, talents and treasure for innumerable local grassroots events. Does Bob Dylan have this effect on our hometown? Does the dollar bill from his wallet go around Hibbing?

Truth is, Dylan continues to make millions yet ignores Hibbing. Ask yourself, should our children be taught that Dylan's an important contributor to our community? What has his "poetry and music" done for us - - for you? Should public school teachers teach their exaggerated opinions to our children as if they are fact? Who brainstormed this strange campaign? Who endorsed it? Why is Dylan lauded yet we're ignored?

Hence our dilemma. We can look in the mirror and know we've done everything we've been asked for Hibbing. We've been blessed in the past. Now we find ourselves in a challenging position. Forgive our honesty, but if enrollment and bookings don't improve - - and we're unable to make a living here in music - - frankly tough decisions will be made. Perhaps more than a quarter million in unique student music scholarships may cease in our area. Forty some odd years after Dylan left town, will the same happen to one of Hibbing's most devoted sons?

Businesses, schools, community - - please make the choice to support the Hibbing School of Music and Living Water Music before it's too late.

The above blue font section of this reply concludes the letter to the editor which was inspired by your timely question, Undecided. Can see why this topic received an immediate response by yours truly? Your question touches on the tremendous differences between a musician like myself, who takes his time, talent and treasure and invests it in Hibbing - - and Bob Dylan, who has the wherewithal to do great things for Hibbing, but as of 04-23-07 has done nothing. Moreover, I don't believe Dylan has ever sanctioned or given his personal permission for the events given in Hibbing in his honor or the local for-profit restaurant-bar business that bears his namesake. To my knowledge, he has never granted permission. Presumably, since Dylan owns the trademark and rights to the professional use of his stage name and image for financial purposes, certain Hibbingites could potentially be in hot water for starting all these marketing and profit-making ventures without first getting his permission.  It's interesting to see how various photos of Dylan are being used in for-profit advertisements here locally in Hibbing with digital alterations - - such as a tacky Santa cap - - to fit the season's marketing message. I wonder if Bob is aware of this practice? So far it appears Dylan has much bigger fish to fry and is much too distracted with more important things than what is going on in his hometown.

Dylan did grant a rare telephone interview to the Hibbing High School Newspaper back when I was the HHS news staff artist - - I seem to remember my classmate at Greenhaven Elementary Pam Coleman was granted the interview, a copy of which I believe I have somewhere. But for the past 30 years it appears he's been too busy to give Hibbing the time of day. Consequently, Dylan's "contributions" to this great, historic community in northern Minnesota - - if any exist at all - - are neither direct nor tangible.

So the real question to ask is not how Dylan contributed to Hibbing, but, during Dylan's most impressionable and formative years, how my wonderful hometown of Hibbing contributed to Dylan's developing talent and metamorphosis as a human being, poet, songwriter and performer. All these years have we had the cart before the horse? Perhaps Bob Dylan is quiet on this subject because of this: Perhaps the impact Hibbing had on Mr. Robert Zimmerman has always been significantly greater than the impact he will ever have on Hibbing or any other community for that matter. This reality might be challenging and humbling for anyone, including Bob Dylan, to admit. I know firsthand how positively Hibbing influenced my early development. From delivering papers for the Hibbing Daily Tribune to attending the historic Alice School the last year it was open, I'm proud of my hometown.

Hibbing is a great place to raise a family - - with the single exception that the arts are not valued on par with sports around here. Folks will spend hundreds of dollars a week outfitting their son or daughter with hockey equipment, traveling two hundred miles for a game, paying for lodging and dining for their family, and so forth. But when it comes to paying $25 a week for music lessons from a qualified teacher, they decline and cite their concerns about the cost, or forget altogether to educate the whole child. There have only been a few hockey players who graduated from northern Minnesota who have made a living in professional hockey, but there are hundreds of area graduates who have made a living in music - - like Bob Dylan and yours truly, as well as many of my former students. Hockey lasts the typical student until they graduate high school. Music lasts until the day you die. There is no good reason to "retire" from music. It is a lifetime of learning, enjoyment, self-discipline and fulfillment. Considering all the research that has been done and published about the life-changing effects of music lessons (particularly piano lessons) on the development and enhancement of a child's brain, you would think more folks would value music and prioritize it around Hibbing. Alas, we at the Hibbing School of Music have surely done our part over the last fourteen years to try to educate the area on the benefits of taking private music lessons from a highly qualified and passionate teacher. If there be any negatives to living here, and I'm just being honest, this may be the one worst strike against Hibbing: music as an essential part of education is undervalued here.

Undecided, now you have the facts of the matter. Now you can make an educated decision.

Let me footnote one afterthought: My hope in publishing this Dylan discourse on the world wide web is to hopefully one day inspire Mr. Bob Dylan to do something marvelous for Hibbing. Just in case this cyber blog ever reaches the Dylan family, here is my open letter to Mr. Dylan: "Bob, you certainly have the ability and the wherewithal to do something big for Hibbing. All you need is the desire. Come on, Bob. Come and visit us. Come and spend time to get to know the great people of Hibbing. Come to Hibbing and give a concert. Give the city of Hibbing a nice chunk of dough (I suggest at least a few million) for the fine arts around here - - which are declining and dying due to lack of financial support. Why don't you donate some cool personal memorabalia for the Dylan museum at the Hibbing Public Library? Come and acknowledge the people in Hibbing who acknowledge you. Take the time to do the right thing, Bob. Use the amazing tools at your disposal to make a difference here. You can do it, Bob. All you have to do is hear that still small voice and heed it. Truthfully, Bob, after all that Hibbing did to shape you, mould you, introduce you to great writers, and inspire you, don't you agree the city deserves not only your acknowledgement but also your timely, sacrificial investment? Do it now, Bob, before the arts in this old town wither away and die completely. Can't you see it now, Bob? Just east down Dupont Road right by the shores of picturesque Lake Carey, there it sits: "Bob Dylan Cultural & Performing Arts Center" with "Zimmy's 'Blood On The Tracks' Preservation Concert Hall". Wouldn't that be great? If anybody can make it happen - - you can, Bob. This time I promise, Hibbing will be right there to support you. Thanks for your consideration, Bob. And if my music business survives and I'm still in town, I'd love to sit down and show you some cool music theory and music composition stuff. Deep stuff, fascinating gold nuggets and worthy of your time. We can sing some duets (I probably know more of your songs than you know of mine, but trust me, what you can teach me lyrically I can teach you musically). It's time, Bob, to celebrate the town that shaped you. Let me close by putting it this way: I know it for a fact, Bob. ' You can go home again.' "

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To all you budding musicians out there, write me or call me toll-free at (800) 248-7225 if I can be of service. Best wishes to everyone.

Sincerely,
Craig LiaBraaten, AKA "The Insider"

P.S.  For my brief bio, you may go to the Artist Background

DOCUMENT COPYRIGHT (C) 1998-2007 LIVING WATER MUSIC, INC.