Landing A Successful Audition

Seven Steps To A Successful Audition

by: Marco Kasel

I have been a musician since the tender age of 7 and in my career I’ve passed a larger number of auditions all of which have taught me something. These days, however, as the owner of a talent agency, I seem to be learning a disproportioned amount more about these same auditions. There is something to be said about looking at an issue from different perspectives.

In this article, I want to shed some light on what an audition process looks like from the point of view of the “auditioner” rather than the “auditionee”. I’ll give you seven tips that hopefully provide some help.

I should mention that my company, Oceanbound Entertainment Inc., hires musicians, bands, and variety acts for placement on cruise ships and thus the auditions I’ll talk about will mostly relate to cruise line entertainment auditions.

Let me quickly outline the various types of auditions you can encounter when applying for a job on a cruise ship.

The most obvious type would be the live audition, where you go to the audition location in person and play what’s asked of you.

You may also be asked to record your audition on videotape and mail it to the company. This is very similar to the first category since you’d play almost exactly the same music.

And finally, you may be asked to submit a recording of your band or your solo act to the company. This audition differs from the previous two in that you don’t have to perform music that the company provides, but rather your own repertoire.

There are several problems that keep arising in regards to these different types of auditions that have led me to compile the following tips.

1. Get the details on the job description

This is one of the most important steps. If you know exactly what it is that the employer is looking for, you won’t waste time, money, and energy presenting the wrong package. There is no point in submitting a tape of your local blues band if the employer is looking for a cover band that plays all kinds of musical styles. Similarly, there is no point in applying as a clarinet player if the job description clearly indicates that woodwind players have to play saxophone, flute and clarinet.

Also, if sight-reading is the main focus of the job you’re applying for, there is no point in hoping you’ll slip by simply because you can improvise like Charlie Parker.

2. Be flexible enough to present what’s actually needed

Let’s assume that you got all the details on the job description and you realize that you don’t exactly fit that description. It is probably wiser for you to take some time to try to fit the description, rather than trying anyway, hoping it’ll pass somehow. Try to make changes to your line-up, add some repertoire or start a completely new project that’s geared to the job in question.

3. Audition only when you feel that you have a good chance of passing

Often musicians apply for a job they are not qualified for. Now, you could argue that that’s what auditions are for, and people couldn’t possibly know in every case whether they are qualified or not. I agree, all I’m saying is that if the job description mentions that strong sight-reading skills are required for example, musicians should ask themselves how good their sight-reading skills really are and be honest about it.

Being dishonest about what your skills really are can hurt you in more ways than one. Let’s assume for a minute that you slip through the cracks and you end up in an orchestra but you can’t cut the gig. First and foremost, you’ll be humiliated in front of other musicians, you’ll feel uncomfortable, you may actually feel guilty for not being able to do the job, and you will get fired on top of it, which will most likely kill your career before it’s begun. (This happens all too often…)

So if you are unsure about whether you are qualified or not, ask questions. Call the agency you are about to audition for and ask specific questions that will help you get a good picture of the job you’re about to apply for. With that knowledge you can always postpone the audition and work on the skills that you may feel you’re lacking.

4. Put some time and effort into preparing your best possible package

This applies to bands, small ensembles, and solo entertainers. Often artists get turned down, not because they are bad entertainers, but because they didn’t supply a package that’s appealing, that can be viewed quickly and that presents exactly what was asked for in the beginning. Often this happens because the artist already has some demo laying around that could kind of qualify but not really, and instead of modifying it or recording a new one that fits the specifications, they send it in anyway.

Usually, demo packages include the recording itself, which should present the exact repertoire you’re planning to play on the gig, a short resume of each member, and a list of your repertoire.

You won’t impress people with fancy DVD animations or 12-page resumes, but rather with short examples of the repertoire that’s asked of you, played with energy and skill.

5. Try to impress with your playing, not with your resume

I would say 7 people out of 10 probably fall under this category. Simply put, a masters degree from the best school in the country won’t get you a gig if you can’t play, yet all too often do people try to sway the decision in their favor by mailing in overly long resumes stating all the famous people they’ve played with. You’re doing yourself a disservice if you hype yourself up with your resume and you can’t back it up later during the audition.

6. If you fail, accept the criticism and use it to prepare better for your next audition

All the practicing in the world may sometimes not be enough to pass an audition. If that’s the case, accept the reasons that you’re given by the jury, and go home and practice those specific things. If they aren’t forthcoming with specific reasons, ask questions. I think it’s only fair that a jury tells you what your weaknesses are if they turn you down.

I’ll spare you the details of all the things we’ve heard from people that have been rejected. Just watch “American Idol”, and you’ll get a good idea of what we go through sometimes.

7. Be honest about your strengths and weaknesses

This step ties in with step #3. Keep in mind that the ideal candidate for a job is not always the best musician. Other qualities like, honesty, work ethic, respect for others and inter-communication skills, amongst others are qualities that you’re being judged on. Weaknesses you’ve been trying to hide prior to the audition will come out during the audition and will speak volumes about your character. Would you hire a dishonest person?

Those are my “7 Steps to a successful audition”. I hope that some of you will find this information helpful. Please visit my website for more information on the subject of “Music on Cruise Ships”. Contact me if you have questions or if you’d like to audition.

Good luck

Marco Kasel

President

Oceanbound Entertainment Inc.

http://ift.tt/1b48xum

About The Author

Marco Kasel is the owner/founder of Oceanbound Entertainment Inc., an international referral agency for musicians and entertainers. He has been a musician since the age of 7. Music is his passion.

Robert Recommends...

• Star Wars & The Heroes Journey


• The ET Interview


• Tips to Attract Superstar Employees


• The Key To The Right Career Path is Self-Knowledge


• How To Pass A Phone Interview


• Being Professional

The post Landing A Successful Audition appeared first on Robert JR Graham.

Landing A Successful Audition

Seven Steps To A Successful Audition

by: Marco Kasel

I have been a musician since the tender age of 7 and in my career I’ve passed a larger number of auditions all of which have taught me something. These days, however, as the owner of a talent agency, I seem to be learning a disproportioned amount more about these same auditions. There is something to be said about looking at an issue from different perspectives.

In this article, I want to shed some light on what an audition process looks like from the point of view of the “auditioner” rather than the “auditionee”. I’ll give you seven tips that hopefully provide some help.

I should mention that my company, Oceanbound Entertainment Inc., hires musicians, bands, and variety acts for placement on cruise ships and thus the auditions I’ll talk about will mostly relate to cruise line entertainment auditions.

Let me quickly outline the various types of auditions you can encounter when applying for a job on a cruise ship.

The most obvious type would be the live audition, where you go to the audition location in person and play what’s asked of you.

You may also be asked to record your audition on videotape and mail it to the company. This is very similar to the first category since you’d play almost exactly the same music.

And finally, you may be asked to submit a recording of your band or your solo act to the company. This audition differs from the previous two in that you don’t have to perform music that the company provides, but rather your own repertoire.

There are several problems that keep arising in regards to these different types of auditions that have led me to compile the following tips.

1. Get the details on the job description

This is one of the most important steps. If you know exactly what it is that the employer is looking for, you won’t waste time, money, and energy presenting the wrong package. There is no point in submitting a tape of your local blues band if the employer is looking for a cover band that plays all kinds of musical styles. Similarly, there is no point in applying as a clarinet player if the job description clearly indicates that woodwind players have to play saxophone, flute and clarinet.

Also, if sight-reading is the main focus of the job you’re applying for, there is no point in hoping you’ll slip by simply because you can improvise like Charlie Parker.

2. Be flexible enough to present what’s actually needed

Let’s assume that you got all the details on the job description and you realize that you don’t exactly fit that description. It is probably wiser for you to take some time to try to fit the description, rather than trying anyway, hoping it’ll pass somehow. Try to make changes to your line-up, add some repertoire or start a completely new project that’s geared to the job in question.

3. Audition only when you feel that you have a good chance of passing

Often musicians apply for a job they are not qualified for. Now, you could argue that that’s what auditions are for, and people couldn’t possibly know in every case whether they are qualified or not. I agree, all I’m saying is that if the job description mentions that strong sight-reading skills are required for example, musicians should ask themselves how good their sight-reading skills really are and be honest about it.

Being dishonest about what your skills really are can hurt you in more ways than one. Let’s assume for a minute that you slip through the cracks and you end up in an orchestra but you can’t cut the gig. First and foremost, you’ll be humiliated in front of other musicians, you’ll feel uncomfortable, you may actually feel guilty for not being able to do the job, and you will get fired on top of it, which will most likely kill your career before it’s begun. (This happens all too often…)

So if you are unsure about whether you are qualified or not, ask questions. Call the agency you are about to audition for and ask specific questions that will help you get a good picture of the job you’re about to apply for. With that knowledge you can always postpone the audition and work on the skills that you may feel you’re lacking.

4. Put some time and effort into preparing your best possible package

This applies to bands, small ensembles, and solo entertainers. Often artists get turned down, not because they are bad entertainers, but because they didn’t supply a package that’s appealing, that can be viewed quickly and that presents exactly what was asked for in the beginning. Often this happens because the artist already has some demo laying around that could kind of qualify but not really, and instead of modifying it or recording a new one that fits the specifications, they send it in anyway.

Usually, demo packages include the recording itself, which should present the exact repertoire you’re planning to play on the gig, a short resume of each member, and a list of your repertoire.

You won’t impress people with fancy DVD animations or 12-page resumes, but rather with short examples of the repertoire that’s asked of you, played with energy and skill.

5. Try to impress with your playing, not with your resume

I would say 7 people out of 10 probably fall under this category. Simply put, a masters degree from the best school in the country won’t get you a gig if you can’t play, yet all too often do people try to sway the decision in their favor by mailing in overly long resumes stating all the famous people they’ve played with. You’re doing yourself a disservice if you hype yourself up with your resume and you can’t back it up later during the audition.

6. If you fail, accept the criticism and use it to prepare better for your next audition

All the practicing in the world may sometimes not be enough to pass an audition. If that’s the case, accept the reasons that you’re given by the jury, and go home and practice those specific things. If they aren’t forthcoming with specific reasons, ask questions. I think it’s only fair that a jury tells you what your weaknesses are if they turn you down.

I’ll spare you the details of all the things we’ve heard from people that have been rejected. Just watch “American Idol”, and you’ll get a good idea of what we go through sometimes.

7. Be honest about your strengths and weaknesses

This step ties in with step #3. Keep in mind that the ideal candidate for a job is not always the best musician. Other qualities like, honesty, work ethic, respect for others and inter-communication skills, amongst others are qualities that you’re being judged on. Weaknesses you’ve been trying to hide prior to the audition will come out during the audition and will speak volumes about your character. Would you hire a dishonest person?

Those are my “7 Steps to a successful audition”. I hope that some of you will find this information helpful. Please visit my website for more information on the subject of “Music on Cruise Ships”. Contact me if you have questions or if you’d like to audition.

Good luck

Marco Kasel

President

Oceanbound Entertainment Inc.

http://ift.tt/1b48xum

About The Author

Marco Kasel is the owner/founder of Oceanbound Entertainment Inc., an international referral agency for musicians and entertainers. He has been a musician since the age of 7. Music is his passion.

Robert Recommends...

• Should You Publish a Book?


• Star Wars & The Heroes Journey


• The ET Interview


• Tips to Attract Superstar Employees


• How To Pass A Phone Interview


• The Key To The Right Career Path is Self-Knowledge

The post Landing A Successful Audition appeared first on Robert JR Graham.

Landing A Successful Audition

Seven Steps To A Successful Audition

by: Marco Kasel

I have been a musician since the tender age of 7 and in my career I’ve passed a larger number of auditions all of which have taught me something. These days, however, as the owner of a talent agency, I seem to be learning a disproportioned amount more about these same auditions. There is something to be said about looking at an issue from different perspectives.

In this article, I want to shed some light on what an audition process looks like from the point of view of the “auditioner” rather than the “auditionee”. I’ll give you seven tips that hopefully provide some help.

I should mention that my company, Oceanbound Entertainment Inc., hires musicians, bands, and variety acts for placement on cruise ships and thus the auditions I’ll talk about will mostly relate to cruise line entertainment auditions.

Let me quickly outline the various types of auditions you can encounter when applying for a job on a cruise ship.

The most obvious type would be the live audition, where you go to the audition location in person and play what’s asked of you.

You may also be asked to record your audition on videotape and mail it to the company. This is very similar to the first category since you’d play almost exactly the same music.

And finally, you may be asked to submit a recording of your band or your solo act to the company. This audition differs from the previous two in that you don’t have to perform music that the company provides, but rather your own repertoire.

There are several problems that keep arising in regards to these different types of auditions that have led me to compile the following tips.

1. Get the details on the job description

This is one of the most important steps. If you know exactly what it is that the employer is looking for, you won’t waste time, money, and energy presenting the wrong package. There is no point in submitting a tape of your local blues band if the employer is looking for a cover band that plays all kinds of musical styles. Similarly, there is no point in applying as a clarinet player if the job description clearly indicates that woodwind players have to play saxophone, flute and clarinet.

Also, if sight-reading is the main focus of the job you’re applying for, there is no point in hoping you’ll slip by simply because you can improvise like Charlie Parker.

2. Be flexible enough to present what’s actually needed

Let’s assume that you got all the details on the job description and you realize that you don’t exactly fit that description. It is probably wiser for you to take some time to try to fit the description, rather than trying anyway, hoping it’ll pass somehow. Try to make changes to your line-up, add some repertoire or start a completely new project that’s geared to the job in question.

3. Audition only when you feel that you have a good chance of passing

Often musicians apply for a job they are not qualified for. Now, you could argue that that’s what auditions are for, and people couldn’t possibly know in every case whether they are qualified or not. I agree, all I’m saying is that if the job description mentions that strong sight-reading skills are required for example, musicians should ask themselves how good their sight-reading skills really are and be honest about it.

Being dishonest about what your skills really are can hurt you in more ways than one. Let’s assume for a minute that you slip through the cracks and you end up in an orchestra but you can’t cut the gig. First and foremost, you’ll be humiliated in front of other musicians, you’ll feel uncomfortable, you may actually feel guilty for not being able to do the job, and you will get fired on top of it, which will most likely kill your career before it’s begun. (This happens all too often…)

So if you are unsure about whether you are qualified or not, ask questions. Call the agency you are about to audition for and ask specific questions that will help you get a good picture of the job you’re about to apply for. With that knowledge you can always postpone the audition and work on the skills that you may feel you’re lacking.

4. Put some time and effort into preparing your best possible package

This applies to bands, small ensembles, and solo entertainers. Often artists get turned down, not because they are bad entertainers, but because they didn’t supply a package that’s appealing, that can be viewed quickly and that presents exactly what was asked for in the beginning. Often this happens because the artist already has some demo laying around that could kind of qualify but not really, and instead of modifying it or recording a new one that fits the specifications, they send it in anyway.

Usually, demo packages include the recording itself, which should present the exact repertoire you’re planning to play on the gig, a short resume of each member, and a list of your repertoire.

You won’t impress people with fancy DVD animations or 12-page resumes, but rather with short examples of the repertoire that’s asked of you, played with energy and skill.

5. Try to impress with your playing, not with your resume

I would say 7 people out of 10 probably fall under this category. Simply put, a masters degree from the best school in the country won’t get you a gig if you can’t play, yet all too often do people try to sway the decision in their favor by mailing in overly long resumes stating all the famous people they’ve played with. You’re doing yourself a disservice if you hype yourself up with your resume and you can’t back it up later during the audition.

6. If you fail, accept the criticism and use it to prepare better for your next audition

All the practicing in the world may sometimes not be enough to pass an audition. If that’s the case, accept the reasons that you’re given by the jury, and go home and practice those specific things. If they aren’t forthcoming with specific reasons, ask questions. I think it’s only fair that a jury tells you what your weaknesses are if they turn you down.

I’ll spare you the details of all the things we’ve heard from people that have been rejected. Just watch “American Idol”, and you’ll get a good idea of what we go through sometimes.

7. Be honest about your strengths and weaknesses

This step ties in with step #3. Keep in mind that the ideal candidate for a job is not always the best musician. Other qualities like, honesty, work ethic, respect for others and inter-communication skills, amongst others are qualities that you’re being judged on. Weaknesses you’ve been trying to hide prior to the audition will come out during the audition and will speak volumes about your character. Would you hire a dishonest person?

Those are my “7 Steps to a successful audition”. I hope that some of you will find this information helpful. Please visit my website for more information on the subject of “Music on Cruise Ships”. Contact me if you have questions or if you’d like to audition.

Good luck

Marco Kasel

President

Oceanbound Entertainment Inc.

http://ift.tt/1b48xum

About The Author

Marco Kasel is the owner/founder of Oceanbound Entertainment Inc., an international referral agency for musicians and entertainers. He has been a musician since the age of 7. Music is his passion.

Robert Recommends...

• Should You Publish a Book?


• Star Wars & The Heroes Journey


• The ET Interview


• Tips to Attract Superstar Employees


• The Key To The Right Career Path is Self-Knowledge


• How To Pass A Phone Interview

Landing A Successful Audition

Seven Steps To A Successful Audition

by: Marco Kasel

I have been a musician since the tender age of 7 and in my career I’ve passed a larger number of auditions all of which have taught me something. These days, however, as the owner of a talent agency, I seem to be learning a disproportioned amount more about these same auditions. There is something to be said about looking at an issue from different perspectives.

In this article, I want to shed some light on what an audition process looks like from the point of view of the “auditioner” rather than the “auditionee”. I’ll give you seven tips that hopefully provide some help.

I should mention that my company, Oceanbound Entertainment Inc., hires musicians, bands, and variety acts for placement on cruise ships and thus the auditions I’ll talk about will mostly relate to cruise line entertainment auditions.

Let me quickly outline the various types of auditions you can encounter when applying for a job on a cruise ship.

The most obvious type would be the live audition, where you go to the audition location in person and play what’s asked of you.

You may also be asked to record your audition on videotape and mail it to the company. This is very similar to the first category since you’d play almost exactly the same music.

And finally, you may be asked to submit a recording of your band or your solo act to the company. This audition differs from the previous two in that you don’t have to perform music that the company provides, but rather your own repertoire.

There are several problems that keep arising in regards to these different types of auditions that have led me to compile the following tips.

1. Get the details on the job description

This is one of the most important steps. If you know exactly what it is that the employer is looking for, you won’t waste time, money, and energy presenting the wrong package. There is no point in submitting a tape of your local blues band if the employer is looking for a cover band that plays all kinds of musical styles. Similarly, there is no point in applying as a clarinet player if the job description clearly indicates that woodwind players have to play saxophone, flute and clarinet.

Also, if sight-reading is the main focus of the job you’re applying for, there is no point in hoping you’ll slip by simply because you can improvise like Charlie Parker.

2. Be flexible enough to present what’s actually needed

Let’s assume that you got all the details on the job description and you realize that you don’t exactly fit that description. It is probably wiser for you to take some time to try to fit the description, rather than trying anyway, hoping it’ll pass somehow. Try to make changes to your line-up, add some repertoire or start a completely new project that’s geared to the job in question.

3. Audition only when you feel that you have a good chance of passing

Often musicians apply for a job they are not qualified for. Now, you could argue that that’s what auditions are for, and people couldn’t possibly know in every case whether they are qualified or not. I agree, all I’m saying is that if the job description mentions that strong sight-reading skills are required for example, musicians should ask themselves how good their sight-reading skills really are and be honest about it.

Being dishonest about what your skills really are can hurt you in more ways than one. Let’s assume for a minute that you slip through the cracks and you end up in an orchestra but you can’t cut the gig. First and foremost, you’ll be humiliated in front of other musicians, you’ll feel uncomfortable, you may actually feel guilty for not being able to do the job, and you will get fired on top of it, which will most likely kill your career before it’s begun. (This happens all too often…)

So if you are unsure about whether you are qualified or not, ask questions. Call the agency you are about to audition for and ask specific questions that will help you get a good picture of the job you’re about to apply for. With that knowledge you can always postpone the audition and work on the skills that you may feel you’re lacking.

4. Put some time and effort into preparing your best possible package

This applies to bands, small ensembles, and solo entertainers. Often artists get turned down, not because they are bad entertainers, but because they didn’t supply a package that’s appealing, that can be viewed quickly and that presents exactly what was asked for in the beginning. Often this happens because the artist already has some demo laying around that could kind of qualify but not really, and instead of modifying it or recording a new one that fits the specifications, they send it in anyway.

Usually, demo packages include the recording itself, which should present the exact repertoire you’re planning to play on the gig, a short resume of each member, and a list of your repertoire.

You won’t impress people with fancy DVD animations or 12-page resumes, but rather with short examples of the repertoire that’s asked of you, played with energy and skill.

5. Try to impress with your playing, not with your resume

I would say 7 people out of 10 probably fall under this category. Simply put, a masters degree from the best school in the country won’t get you a gig if you can’t play, yet all too often do people try to sway the decision in their favor by mailing in overly long resumes stating all the famous people they’ve played with. You’re doing yourself a disservice if you hype yourself up with your resume and you can’t back it up later during the audition.

6. If you fail, accept the criticism and use it to prepare better for your next audition

All the practicing in the world may sometimes not be enough to pass an audition. If that’s the case, accept the reasons that you’re given by the jury, and go home and practice those specific things. If they aren’t forthcoming with specific reasons, ask questions. I think it’s only fair that a jury tells you what your weaknesses are if they turn you down.

I’ll spare you the details of all the things we’ve heard from people that have been rejected. Just watch “American Idol”, and you’ll get a good idea of what we go through sometimes.

7. Be honest about your strengths and weaknesses

This step ties in with step #3. Keep in mind that the ideal candidate for a job is not always the best musician. Other qualities like, honesty, work ethic, respect for others and inter-communication skills, amongst others are qualities that you’re being judged on. Weaknesses you’ve been trying to hide prior to the audition will come out during the audition and will speak volumes about your character. Would you hire a dishonest person?

Those are my “7 Steps to a successful audition”. I hope that some of you will find this information helpful. Please visit my website for more information on the subject of “Music on Cruise Ships”. Contact me if you have questions or if you’d like to audition.

Good luck

Marco Kasel

President

Oceanbound Entertainment Inc.

http://ift.tt/1b48xum

About The Author

Marco Kasel is the owner/founder of Oceanbound Entertainment Inc., an international referral agency for musicians and entertainers. He has been a musician since the age of 7. Music is his passion.

Robert Recommends...

• Should You Publish a Book?


• Star Wars & The Heroes Journey


• The ET Interview


• Tips to Attract Superstar Employees


• The Key To The Right Career Path is Self-Knowledge


• How To Pass A Phone Interview

The ET Interview

Background

The color video footage, which lasts for a total of two minutes and fifty-five seconds, was apparently smuggled out of the secret Groom Lake “Area 51” facility in Nevada by a man referring to himself as “Victor“.The video film depicts a Grey alien being interrogated at the government facility.

The footage first came to light on the Art Bell radio show on 13th March, 1997 when ufologist Sean David Morton was interviewed. Morton claimed the interrogation was fairly recent, sometime in 1996, and that renowned UFO expert Bob Dean apparently cried at the advanced screening of the film.

After claiming to have smuggled the film out of the Groom Lake facility in Nevada, Victor resolved to have the footage broadcast on network television as soon as possible in order to pulicly expose his claims. Victor believes that if his identity is discovered and he is subsequently assassinated, this would only further help to confirm the claims and authenticity behind the film.

Victor approached many television companies in his attempts to show the footage to the public. He first approached Fox TV, who turned him down after the problems in authenticity they had when the Roswell autopsy footage was shown by them. Fox felt they were being deceived for a second time. Eventually, in July 1996, Victor found an independent production company in Los Angeles, California called Rocket Home Pictures Productions, who agreed to produce a documentary based around the interview. Morton was brought in by Rocket’s president, Tom Coleman, to give his views, thus being the first “outsider” to view the footage.

Contents Of The Video

After seeing the interview footage, Morton provides a chilling and detailed description of what he saw:

“The film was shot through a large plane of glass. There was no sound accompanying the images. The interview took place in a darkened room, lit with an eerie greenish glow, I could make out the silhouettes of two men, one dressed in military uniform with what appeared to be the stars on the epaulet of his jacket, and another more casually dressed man with his hand occassionally rubbing his forehead. They sat with their backs to the camera at one end of a long table, which was littered with wires, chords and microphones. There were what appeared to be medical devices. One in particular was blinking erratically, as if it was monitoring a very sick heart. And there sitting at the end of the table was a small, beige-skinned, black-eyed, bulbous headed creature, the like of which haunt the nightmares of thousands of unwilling abductees.”

Morton made many references to the creature’s sick appearance and condition. The alien made very jerky movements and kept bobbing up and down. He continued to describe the apparently distressed state the creature was in.

“Its skin was a pinkish beige, but the rest of the head looked purple and bruised, as if it had suffered severe contusions across the skull.”

The contents of the tape grew progressively more disturbing. Towards the end of the tape, the creature goes into what appears to be violent spasms, as if it was having a seizure. The mouth of the alien opens and closes before a foam begins to come out. At that point the heart monitor (as described by Morton) begins to start jumping wildly, at which point the man in the military looking uniform signals to a couple of medics, who rush into the frame and aid the alien. As the doctors treat the alien, the footage suddenly comes to an abrupt end.

Fact or Fiction?

A grey alien; this depiction of aliens became popularized in Ufology subculture during the 1960s in the wake of the Betty and Barney Hill abduction reports. (Photo credit: Wikipedia)

The authenticity of the footage is seen differently by many people. Morton is convinced the footage is real due to strong relationships with stories of alien abductees and the information on the footage in the lower part of the frame.

I myself am dubious, but do recognise the factors which lead to its possible true authenticity. The ET’s appearance and features are recognisable as those mentioned by hundreds of abductees. Known as “The Gourdos” or the more feared “Grey” species, the alien is instantly recognisable by any Ufologist.

Another factor helping the video’s authenticity is the information etched into the bottom of the video.

The footage has the characters DNI/27 burnt into the bottom line of the frame, along with what appears to be the time code numbers for date, minutes and seconds. The letters DNI could be an acronym for the Department of Naval Intelligence, the group responsible for the Area 51 base, a fact not many people know about. The DNI connection to Area 51 has been widely investigated. George Knapp, the TV journalist who encouraged Bob Lazar to go public with his knowledge has shown that Lazar’s pay cheques from the time he claimed to be working at Area 51 had DNI stamped on them.

Victor’s Reasoning

The best place to possibly determine the authenticity of the alien interview footage is the source, in this case a mysterious man known as Victor who won’t reveal ANY specific details about himself in fear of discovery and assassination. If the man is telling the truth about his background at Area 51, then this is understandable. But how can the film be verified without any knowledge of it?

The producer of the documentary, Jeff Broadstreet, does know how Victor took the footage from the base. Victor told him he managed to obtain a copy of the video when in an unsupervised moment. Broadstreet stated the following:

“He was assisting in the process of downloading a large amount of video analogue tape to storage on DVD or digital video disc.”

He further explains that Victor deliberately removed the audio track to protect the identity of the men in the video and to also help protect his own anonymity. Victor also told the producer that he thought the man on the left, who is seen with his hand to his head during much of the segment, is a military telepath apparently used to assist in communication with the creature.

Since the creature is obviously in a great deal of distress, when Broadstreet asked if the creature died later, Victor replied cryptically, “I’m not sure, but I know it was retired from the interview process.”

According to Victor, the contents of the removed audio track involved an attempt at trying to obtain some form of technological information from the alien about the coordinates of a ship or object. He does not know, or wouldn’t tell, whether the alien was attending the interview voluntarily or against his will after he had been recovered from some UFO crash retrieval operation.

Source

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Landing A Successful Audition

Seven Steps To A Successful Audition

by: Marco Kasel

I have been a musician since the tender age of 7 and in my career I’ve passed a larger number of auditions all of which have taught me something. These days, however, as the owner of a talent agency, I seem to be learning a disproportioned amount more about these same auditions. There is something to be said about looking at an issue from different perspectives.

In this article, I want to shed some light on what an audition process looks like from the point of view of the “auditioner” rather than the “auditionee”. I’ll give you seven tips that hopefully provide some help.

I should mention that my company, Oceanbound Entertainment Inc., hires musicians, bands, and variety acts for placement on cruise ships and thus the auditions I’ll talk about will mostly relate to cruise line entertainment auditions.

Let me quickly outline the various types of auditions you can encounter when applying for a job on a cruise ship.

The most obvious type would be the live audition, where you go to the audition location in person and play what’s asked of you.

You may also be asked to record your audition on videotape and mail it to the company. This is very similar to the first category since you’d play almost exactly the same music.

And finally, you may be asked to submit a recording of your band or your solo act to the company. This audition differs from the previous two in that you don’t have to perform music that the company provides, but rather your own repertoire.

There are several problems that keep arising in regards to these different types of auditions that have led me to compile the following tips.

1. Get the details on the job description

This is one of the most important steps. If you know exactly what it is that the employer is looking for, you won’t waste time, money, and energy presenting the wrong package. There is no point in submitting a tape of your local blues band if the employer is looking for a cover band that plays all kinds of musical styles. Similarly, there is no point in applying as a clarinet player if the job description clearly indicates that woodwind players have to play saxophone, flute and clarinet.

Also, if sight-reading is the main focus of the job you’re applying for, there is no point in hoping you’ll slip by simply because you can improvise like Charlie Parker.

2. Be flexible enough to present what’s actually needed

Let’s assume that you got all the details on the job description and you realize that you don’t exactly fit that description. It is probably wiser for you to take some time to try to fit the description, rather than trying anyway, hoping it’ll pass somehow. Try to make changes to your line-up, add some repertoire or start a completely new project that’s geared to the job in question.

3. Audition only when you feel that you have a good chance of passing

Often musicians apply for a job they are not qualified for. Now, you could argue that that’s what auditions are for, and people couldn’t possibly know in every case whether they are qualified or not. I agree, all I’m saying is that if the job description mentions that strong sight-reading skills are required for example, musicians should ask themselves how good their sight-reading skills really are and be honest about it.

Being dishonest about what your skills really are can hurt you in more ways than one. Let’s assume for a minute that you slip through the cracks and you end up in an orchestra but you can’t cut the gig. First and foremost, you’ll be humiliated in front of other musicians, you’ll feel uncomfortable, you may actually feel guilty for not being able to do the job, and you will get fired on top of it, which will most likely kill your career before it’s begun. (This happens all too often…)

So if you are unsure about whether you are qualified or not, ask questions. Call the agency you are about to audition for and ask specific questions that will help you get a good picture of the job you’re about to apply for. With that knowledge you can always postpone the audition and work on the skills that you may feel you’re lacking.

4. Put some time and effort into preparing your best possible package

This applies to bands, small ensembles, and solo entertainers. Often artists get turned down, not because they are bad entertainers, but because they didn’t supply a package that’s appealing, that can be viewed quickly and that presents exactly what was asked for in the beginning. Often this happens because the artist already has some demo laying around that could kind of qualify but not really, and instead of modifying it or recording a new one that fits the specifications, they send it in anyway.

Usually, demo packages include the recording itself, which should present the exact repertoire you’re planning to play on the gig, a short resume of each member, and a list of your repertoire.

You won’t impress people with fancy DVD animations or 12-page resumes, but rather with short examples of the repertoire that’s asked of you, played with energy and skill.

5. Try to impress with your playing, not with your resume

I would say 7 people out of 10 probably fall under this category. Simply put, a masters degree from the best school in the country won’t get you a gig if you can’t play, yet all too often do people try to sway the decision in their favor by mailing in overly long resumes stating all the famous people they’ve played with. You’re doing yourself a disservice if you hype yourself up with your resume and you can’t back it up later during the audition.

6. If you fail, accept the criticism and use it to prepare better for your next audition

All the practicing in the world may sometimes not be enough to pass an audition. If that’s the case, accept the reasons that you’re given by the jury, and go home and practice those specific things. If they aren’t forthcoming with specific reasons, ask questions. I think it’s only fair that a jury tells you what your weaknesses are if they turn you down.

I’ll spare you the details of all the things we’ve heard from people that have been rejected. Just watch “American Idol”, and you’ll get a good idea of what we go through sometimes.

7. Be honest about your strengths and weaknesses

This step ties in with step #3. Keep in mind that the ideal candidate for a job is not always the best musician. Other qualities like, honesty, work ethic, respect for others and inter-communication skills, amongst others are qualities that you’re being judged on. Weaknesses you’ve been trying to hide prior to the audition will come out during the audition and will speak volumes about your character. Would you hire a dishonest person?

Those are my “7 Steps to a successful audition”. I hope that some of you will find this information helpful. Please visit my website for more information on the subject of “Music on Cruise Ships”. Contact me if you have questions or if you’d like to audition.

Good luck

Marco Kasel

President

Oceanbound Entertainment Inc.

http://ift.tt/1b48xum

About The Author

Marco Kasel is the owner/founder of Oceanbound Entertainment Inc., an international referral agency for musicians and entertainers. He has been a musician since the age of 7. Music is his passion.

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