I am usually not that attracted to red heads. Since my own hair tends to be more toward the reddish side I always usually fall for the darker haired guys. But, when I saw Patrick on the day of the shoot I realized he was one really hot motherfucker! See Patrick has that really hot shade of red hair. And a body that is so tight, and strong, and lean, and muscular,,,,,it could make my grandma moan! If you are a fan of really big cocks and foreskins then you will really want to nibble his up! I can't tell you how far Ireland traveled up the 'Countries I want to visit' list!
I shot this back in 2012 while covering an Elton John concert at the Neal Blaisdell Arena in Honolulu for the local daily. This is all the behind the scenes stuff that I like to document. I processed it like two years ago and forgot about it until today. All images taken with a Bessa R3A and 40mm Nokton f/1.4 SC. Ilford HP5+ pushed to 1600 in 1:1 D-76, scanned on a Plustek 7600i via Viewscan.
Fed2, Industar-26m, Fuji Superia 800, exposure by quessing and framing was probably some sort of questimation too... (Reaching the camera as high as my hands can reach to get a better shot from the audience.)
Yashica Electro GSN, Cinestill 800. Aperture not recorded, and of course there's no knowing the shutter speed.
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Alessia Cara burst onto the scene with her breakout hit “Here” and her EP Four Pink Walls. Now the 19-year-old Canadian is readying her full-length debut Know-It-All for release on Nov. 13. Today she debuts the unapologetic first single “Wild Things,” which finds her once again marching to the beat of her own drum.
So, anyway...I'm no longer in radio and...oh? Didn't I tell you? Darn, it must have slipped my mind. It's true! I resigned from my job as Production Director at modern rocker WDRE in September. I had been there for four years. Prior to that, I was Production Director at album rocker WBAB for ten years. Those of you who have read this column over the past six years are no doubt familiar with my many rants and raves about the creative life of a radio station Production Director. It's one hell of a tough job! A job that often goes unappreciated and unrewarded. Well, I quit! I'm mad as hell, and I'm not going to take this anymore!
What Happened, Part One: When I started at WDRE in 1990, we were the little radio station that could. The station had never had a solid production department until I came in with my partner and assistant. We turned the whole joint around! We had tons of creative freedom! Tons! We did the wildest bits and commercials of our joint careers. It was radio heaven! Then...the Program Director who hired us left. When the new one came, as is always the case, changes took place. For me, these initial changes were for the better. I became the voice of the station, doing all the programming oriented production. I worked out a trade agreement with a local studio and did all original music on all promos! We even composed music to pre-voiced reads. For two and a half years it was complete bliss! I experimented with all kinds of styles and approaches. My PD was very happy and told me so often. This, I thought, was my new calling in life! I even got some side jobs voicing other modern rock stations across the country. It was wonderful!! Naturally, it wasn't meant to last.
What Happened, Part Two: The beginning of the end for me, although I didn't know it at the time, was when the one station became two. WDRE expanded to the Philadelphia market. Soon, it expanded further, with additions out east on Long Island, in Albany, Georgia, and Tennessee. With this expansion came an expansion in my workload. A big expansion. In short, I was no longer working for one radio station. Internal changes in management also made things difficult. I didn't know who was my boss when. Mind you, I don't blame anybody for this specifically. The staff and upper management at WDRE are top notch! I have tons of respect for them all -- not a slacker among them! It was just not going in the direction I would have liked. My advice was sought only sporadically on issues I felt required my being in the loop. For me, things became a mess. I have often said in these pages that sitting around and bellyaching without taking action will never do anyone any good. I decided that it was time to leave.
Where I Went: What I'm about to tell is really going to blow the minds of those who have read my column all these years. Get this: I'm now the Broadcast Creative Director of an ad agency! Yes, children, an ad agency! I went to the other side! But wait, before you burn me in effigy, check this out. Way back in 1978 when I was a mere eighteen-year-old pup, I was hired by an ad agency called Topline Design to write some radio commercials. I ended up working there for two years. Since then, they've become one of the largest ad agencies in New York. I always remained friends with the owners. One night I was over there for dinner. I had a little wine in me, and I started to lament my present job situation. Within two weeks they put together a plan to bring me over! Not only would I become Creative Director of Broadcast, they also would become my partners in a production company! And Topline Design would be one of my accounts! They'd even build me my own studio in house! The result? One on One Productions, my new company. For years I've had offers to start a production company, but I always smelled a rat! This was a no lose situation! Built-in business!
So, here I now sit. Dennis Daniel, President of One on One Productions. Dennis Daniel, Broadcast Creative Director for Topline Design. I'm still doing tons of commercials, but now...I get a piece! All my previous free-lance clients have come over with me! In a way, I'm still in radio. But I'm also doing TV, film, print, and more! I'm expanding my creative horizons.
Life is change. I never would have guessed that I'd be here doing what I'm doing. As I learn, I hope to let you all know how it's going. It seems so strange to me. I thought I'd be a radio station Production Director until I died. Now, I find that my Tales of the Tape haven't ended...they're really just beginning.
I read with interest the February '96 issue [of Radio And Production, "Writing for the Non Pro"] and thought I'd add my two cents worth.
With the new era of fragmentation, stations are surely finding themselves with fewer and fewer resources--great equipment, yes indeed in this digital age, but limited on-station voices (becoming fewer through attrition?) and a market place that won't wear extra costs.
Given clients want their ads to "sound different," to "stand out," and/or wanting to add their personality/persona/whatever to their business, why not let them voice their own? With provisos of course! If the client doesn't cut it--couldn't sound human/half human even with station voices top and bottom--abandon project! If the client starts messing about with the copy/creative, i.e. starts trying to bully you about, give them a copy of "Save Big Advertising Bucks! Amateur Ad Writers" (RAP January 1996) and take control...with the full backing of Sales and Management! So long as that is stressed to the client and they understand it is for the good of their business, proceed with project.
We do heaps of them! A significant amount of our work uses the client in some capacity--full 30s, top tails, two voicers, one even sung her own! With only six male and one full-time on-station voices, 20+ clients voicing their own--(most) very successfully--it gives variety to the commercial sound of the station, probably even adds a bit of the personality liner cards have taken away! So long as you can make 'em sound good, through a good script, good direction and good production, you're onto a winner! Variety is the key, don't structure the spots the same way for all the clients. Use donuts, tops and/or tails, full 30s, humour. If it's the latter, it's generally the driest, most stagnant client. So when this occurs, give 'em that copy of "Save Big Advertising Bucks!" and hopefully they'll see how they can better utilize their Big Bucks.
A good script: succinct, positive statements well laid out, easy to read and comprehend. After all, if they understand what it is they are meant to be saying, they'll say it more convincingly. On this point, direction is paramount--gaining their confidence, getting the phrasing and intonation of the statement/sentence.
With emphasis: remember these are plumbers/retailers/car dealers. Don't go for added stress on a particular word, try getting them to stress "the phrase." Same with opening lines. If they think of them as the newspaper headline, in bold, catching the audience's attention--Hello! Light bulbs flash above client's head and they start to cotton on to what it is they are doing here behind a microphone in a booth.
Always give them the proverbial three reads through, all the way through! They'll keep stopping and wanting to stumble back over the opening lines, but make them keep going. Tell them, "We need this read for time." Keep them going so they know where it is they are going and always keep them positive till the last syllable.
Drop editing on a multitrack saves time. Grabbing the bits on a digital editor and splicing together, saves even more! Remember to listen for inflection when doing pick-ups. Finally, pump them up! Energy! "Give me more energy, sell this product...no, no, don't yell, you'll damage something...but come on! You've just been jogging. You're pumped. You're heightened. You're up there! Now, in your own time... positively, and sell it!"
They don't want to be made a fool of. You don't want stupid sounding spots on your radio station. There is a compromise. Get to know and write for your client. Pick up on their key phrases, words, etc.. Make them sound real with your words.
Of course these are only my opinions, but I believe our stable of client-voices sound pretty damned good, considering they are plumbers/retailers/car dealers.
Billing on the coveted Rough Ride t-shirt, print media, social media, and web site. Each Title Sponsor receives a commemorative platter designed and hand painted by local artist Merrill Strange.
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