Oklahoma Entertainment

Did you ever wish that it was your song playing on the radio? It could be. It is not that hard once you know the formula. With a little creativity, a little knowledge, a little luck and a good formula to follow, your song could be one of the next biggest hits.

Songwriting comes easy for some, and is very difficult for others. I have actually written songs in my sleep, and immediately upon awaking, written it as quickly as I could get the words on down on paper.

What I want to discuss here is popular songwriting, like the songs you hear on the radio. A good pop song, whether rock, country, middle of the road, is composed of two things: a catchy tune and some good lyrics.

There is a formula that most great songwriters use to write great songs. It regards the structure used to write a song. Granted, it is music and it is art, so the rules are not hard and fast. But if you want to increase your chances of getting your song on the radio, it is a good starting point.

Here is the formula. Verse, chorus, verse, chorus, bridge, chorus.

Write that down on paper leaving plenty of space between each word and this will be your script.

Verse

The verse is the part of the song that tells the story, the part that leads to the chorus. Each verse is usually different, telling a different part of, or adding to, the story. It usually explains how you got to the things you are singing about in the chorus.

Chorus.

The chorus is the part of the song that is repeated after each verse. The lyrics are usually the same each time the chorus comes around. The verse usually leads to the chorus, and the chorus is usually the pay off for listening to the verse. Does that make sense?

Here is a lame example (you did not think I would give you my best work, did you?):

(verse)
My dog is sick, he’s got a tick
He’s my best friend, don’t let it end

(chorus)
Oh, woe is me, can’t you see
Woe is me, will I ever be free

(verse)
My car broke down, just out of town
It got towed in, but it’s broke again

(chorus)
Oh, woe is me, can’t you see
Woe is me, will I ever be free

Now, if you would kindly stop laughing at my lame song for a minute, I want you to think about whether or not you understand my point. Songwriting is story telling. The verse tells the problems, the chorus expresses the results or the emotions.

All right, now that you have that mastered, let’s tackle the bridge. Ah, yeah, there is more to the song than the pain and the release. We need the diversion. That is what the bridge is; it is the diversion from the verse and the chorus.

The bridge may have a slightly different melody to it, or it could even have a different rhythm or a different tempo (Elvis’ “Suspicious Minds” did a great job on this technique).

Let’s go back to the lame song and add a bridge:

(verse)
My dog is sick, he’s got a tick
He’s my best friend, don’t let it end

(chorus)
Oh, woe is me, can’t you see
Woe is me, will I ever be free

(verse)
My car broke down, just out of town
It got towed in, but it’s broke again

(chorus)
Oh, woe is me, can’t you see
Woe is me, will I ever be free

(bridge)
Tomorrow is a better day, I’ve got a new truck on the way
My dog just had a flea it seems, so once again I’ll live my dreams

(chorus)
Oh, woe was me, can’t you see
Woe was me, but now I’m free

The bridge offers a solution to the problems I was having. You don’t want to leave your listener on the edge of suicide, you want to give them hope.

Notice, I also changed up the wording of the chorus. This was done to reflect my new found joy.

One more thing on formula. It can be anyway you want, but most verses and chorus come in lines of 4. So, instead of this:

(verse)
Oh, woe is me, can’t you see
Woe is me, will I ever be free

(verse)
My car broke down, just out of town
It got towed in, but it’s broke again

it would be:

Oh, woe is me, can’t you see
Woe is me, will I ever be free
My car broke down, just out of town
It got towed in, but it’s broke again

The same goes for the chorus. Again, if you are creative, do it however you want. But for a new songwriter, this gives you some guidelines to scratch out and start carving out your new creation.

One more thing, do not make the notes to the melody so high that your fans cannot sing along. We are certainly all not Stevie Wonder.

Michael Russell
MgrCentral.com
Established 2001
Home Business Training and Information Guides

Pakistan is blessed with talent and when we talk about Pakistani Music, you can never stop picking up one of the best Pakistani pop song uptill now because there are number of such hit songs nobody can judge the best one in past decades such as “Dil Dil Pakistan” , “Huwa Huwa”, “Mehndi ki Raat”, “Na Kaho”, “Dil Haray”, “Ankhain Milanay Walay”, “Wakt”, “Neeli Neeli Ankhain”, “Jaisay Chao Jeo”, “Garuj Burus”, “No More”, “Ankhoun ki Sagar”, “Na Tu Aigi”, “Addat” left the audience agape and many more. Our artists’ are popular all over the world. Many new talented artists in Pakistan are still working hard to bring quality Pakistani music.

We can easily judge Alamgir as the pioneer of music industry who’s first big hit was “DEKHA NA THA KABHI HUM NAY YEH SUMMA”, and remains the song he is still most identified with, though later songs such as “Yeh Shaam Aur Tera Naam” and “Mein Ne Tumhare Gagar Se Kabhi Pani” continued to add to his composition. Alamgir, it must be said, laid the groundwork that countless others used to break into the music industry. He not only sang well, he was a performer in the true sense of the word. There is no denying Alamgir’s contribution to the evolution of the pop music genre in Pakistan.

NAZIA HASSAN was the first one to cross the forbidden Pakistan-India border to sing in an Indian film called “Qurbani” which was “APP JAISA KOI”. And later this song became a youth anthem in both India and Pakistan. And next NAZIA, ZOHAIB and BIDDU (an Indian composer) teamed up to release “DISCO DEEWANE” which became the biggest pop selling album till then in Pakistan. The Hasan siblings released one more album, “Boom Boom”, in 1984. This second collaboration with Biddu, the undisputed king of Indian filmi disco music, was also a huge success. Their success marked a turning point in the pop history.

And later Vital Sign ventured on to Pakistani television screens with their guitars and a catchy, patriotic song named “Dil Dil Pakistan” in 1986. Their album released in 1987 with gems like “Yeh Shaam” and funky “Goray Rung Ka Zamana”.

Then came Jupitars with their evergreen hit songs “Yaroun Yehi Dosti Hai”, continued with Hassan Jehangir’s “Hawa Hawa” in 1990, “Sanwali Saloni” by Vital Signs in 1991, “Sar Kiye Yeh Pahar” in 1992 by the Strings, Sajjad Ali’s “Didi” ripoff “Babia” in 1993, Najam Shiraz’s “In Se Nain” in 1995, Junoon’s “Saeein” in 1996 or Awaz’s “Mr. Fraudiye” in 1997. Junoon came into the race with their World Cup Hit song “Jazaba-e-Junoon Tou Himat na Har”. This is only to be expected in a growing industry.

Perhaps the biggest unexpected success of an experimental song, however, was Sajjad Ali’s street-wise 1995 hit “Chief Saab”. Full of Karachi slang and tough imagery, “Chief Saab”, perhaps more than anything else signified the coming age of pop music. It showed that one did not necessarily have to remain within pre-determined saccharine-sweet boundaries to be popular, and that people liked hearing of issues other than puppy love. Partly, as a result of this expansion of the pop market, established musicians from non-pop genres such as qawwali maestro Nusrat Fateh Ali Khan were also drawn towards experimenting within it. Nusrat Fateh Ali Khan gave numerous hit one after another and he gave the music for Hollywood movies and as well as for many Bollywood movies too.

The pop band that most successfully seized upon this idea was, of course, Junoon, which used its success with the haunting “Saeein” to recast itself as a completely different sort of band. Here we saw pop again intersecting with folk and vice versa.

In 1994, FM radio brought about another mini-revolution in Pakistani music. From Landhi in Karachi to Krishan Nagar in Lahore, names like female vocalist Hadiqa Kiyani and young Shehzad Roy suddenly became household names. Even iconoclastic recluse virtuosos like guitarist Amir Zaki (whose almost purely instrumental album “Signature” did well in the market) were receiving the kind of airplay the big bands of the ’80s could only have dreamed of.

Pop industry had big turnaround when private channels came into the scene, Like IM which became the medium to introduce young talents in the pop industry names like Fuzon, Aaroh, noori, Aks, Ahmad Jehanzaib, Mizraab, Karavan, Ali Zafar, Jal which not only rock the Pakistani pop music but also made their names worldwide. The new arrivals made their presence felt through remarkable individual songs, even though full albums for now seemed beyond most new acts. Ahmad Jehanzaib’s Ek Bar Kaho, Fuzon’s Ankhon Ke Saagar and Schehzad Mughal’s Bas Yunheen were each excellent. The first two were carried by soulful, ardent vocals and the last shone through affecting lyrics. Hot on their heels, honourable mentions must also go to Aks stunningly understated Neela Aasman, noori’s jangle-pop perfection Tum Hans Diyae, Junoon’s excellent Garaj Baras, Sajjad Ali with Teri Yaad, Aamir Zaki’s insightful and incisive People Are People, EP’s piledriving Hum Ko Aazma, Najam’s infinitely catchy !

Jaisay Chaho Jiyo and Aao Wahan Chalain, Ali Zafar’s startling Chanoo ki Ankh, Jal’s splendid addat and yes even Ali Haider’s insipid but still memorably melodic Chandi Ratain. Abrar’s Preeto was the novelty hit of the year. The Pepsi Battle of the Bands did a great job in throwing up a wealth of talent. EP, Aaroh, Brain Massala, Messiah, Schahzad Hameed and others all have Pepsi to thank. The Pepsi Battle of the Bands got all these fledgling bands great exposure.

Recently, a team of talented Pakistani musicians and artists took the long road to Mumbai, via Dubai, possibly to make history, for this was the first time in recent memory that Pakistanis had gone to India to create the background score for a Bollywood film. The film in question is Pooja Bhatt’s Paap, and former Vital Sign Shehzad ‘Shahi’ Hasan, cinematographer Faisal Rafi, singer Rahat Fateh Ali Khan and studio session player and keyboardist Faiz Ali Naqvi, were the foursome representing the world of Pakistani music in India.

Strings enjoyed considerable success with Dhaani. Probably the most hyped album of the year, with lead single Chaaye Chaaye being the standout favourite. String gave the soundtrack for Spiderman 2 which was a remarkable effort.

Junaid Jamshed’s Dil Ki Baat was understated but assured and notwithstanding JJ’s quite public and tortured ruminations over religion and music, the album showed that JJ is still competent at middle of the road pop and that Shoaib Mansoor still has the magic touch. Shahzad Roy’s Rab Jane was hobbled by his illness and yet catches the fire while Karavan’s Gardish seems to have suddenly picked up and was sold like hot-cakes. Schahzad Mughal’s Jhoom Lay was one of the most pleasant of surprises of the year.

So this proves that our music industry has dared to move forward with hope rather than skepticism.

About The Author

Faiza Kamal

Hi, i am a student of BS Software Engineering in first year from Karachi University and i am 19 years old.

siddiqi_fai@hotmail.com

Give disc jockey’s credit. Many of them have endured so much criticism. The banquet managers sometimes won’t acknowledge their existence or tries to dictate what they have to do and when. They am forced to haul their $15,000 worth of sound equipment through a greasy kitchen or up a rickety flight of stairs because they don’t want them to be seen loading in the nice ramp in front. Wedding professionals need to work together because they should all have the same goal – please the customer (the bride and groom). So many times other professionals forget that fact too easily.

Let’s look at the basic facts. The disc jockey relies on the banquet facility to provide the meals and drinks in a timely fashion for the guests. The banquet facility will help coordinate timing to line up with meal service. Some facilities even go as far as supporting the disc jockey during introductions by directing the wedding party and collecting their flowers. For the most part, once the meal is done – you won’t see the staff until it’s time to clean up. They will walk away from your event and leave everything in the hands of the entertainment.

Without entertainment, people will just leave after the meal. It’s up to the disc jockey to entertain your guests for the next three hours. If you took them to a 2-hour movie, you’d pay $9.75 per person to entertain them. You probably just paid $75 per person to feed them (before the 18% gratuity). The $500 ice sculpture, $300 printed napkins and the $3 per person champagne toast pretty much go unnoticed and unappreciated. It is so easy to get caught up in the wedding planning that you just think that you “have” to have it. Sometimes you have to step back and look at the big picture. A wedding reception is an “entertainment” function. Your entertainment choice will clearly make or break your event.

If a party is a flop – the DJ is blamed. Never do you hear the guests complain that the meal was dragged out over 2 hours and that it killed the party. People don’t realize that by having a photographer pull a couple out of the festivities for 45 minutes can drain the energy from a wedding reception just as quickly as having the banquet manager turn the lights on full or strip clear the tables to push guests towards leaving.

With that said – your professional disc jockey does more than play music and make a few announcements. They are your event coordinator for the day. They will guide you every step of the way – from telling you where to stand while waiting for the start of parental dances to guiding you to return to the room when you’ve been out too long. They will make your party come alive with excitement while still maintaining a professional demeanor and not rely on cheesy antics and props. Your disc jockey will advise you when it is time to get the party started after dinner or if the meal is slow, they might suggest that you do some dancing between courses to mask the fact that the banquet staff is behind.

Your disc jockey will play the music you want and avoid the songs that you have placed on your no-play list. They will make sure things go as planned. If your uncle comes up and says he wants to sing you a song in the middle of your reception – they’ll stop him until they’ve cleared it with you first. There will be no surprises with a professional disc jockey.

The fact that your disc jockey mimics so many of the duties of a professional wedding planner during the wedding reception are not by accident. It is what they do. Some disc jockeys have even gone as far as to now provide pre-wedding coordination and planning duties (including menu review, vendor contract negotiations, vendor approval, invitation wording, wine pairing and so much more) through an in-house dedicated wedding planner. This way your wedding planner and your entertainment are working together in harmony with your plans.

In order to facilitate better events, our company has started to email clients a week before to give them every opportunity to have the best event possible. Here are some of the hints that we provide:

Hello, it’s your DJ. Your wedding is about a week away and I just wanted to email you and let you know a few things that you can do to help make your event run smoothly and get the most out of your time at the reception. Please circulate this email to your parents and everyone in your wedding party. The more people that are in tune with what to do that day – the better your event will be.

1. If there are any last minute changes to your itinerary – LET US KNOW AHEAD OF TIME. We need to be prepared and can help you orchestrate things much smoother only if we know about them before it’s too late. We can help guide you as to the best way to flow from one event to the next. Call or email us with those changes immediately. Thank you.

2. All formal photos should be completed by the end of dinner. That means – if you need to get a group photo of your college friends, grandmother or whomever – by the time they clear the main entr

It’s the middle of the second quarter, inside the opposing teams 20 yard line. Aaron Brooks throws a strike to Joe Horn for his second touchdown of the game. But instead of giving the ball to the ref and running back to the sideline, Joe runs over to the goal post, lifts up the pad and pulls out a cell phone! Horn dials his home phone number and calls his son. That call may have been the most expensive call of Horn’s life.

“I had told my kids to be at home, watching the game, and I told my momma, Mom, if I score the second one, I’m going to get my cell phone out.” Joe said. But the NFL didn’t see it as a joke and fined Horn $15,000 for exclusive celebrating. Horn said he was sorry, but later said it was all worth it.

A similar incident came in a game last year between the San Fransico 49ers and the Seattle Seahawks. Terrell Owens had his second touchdown grab and then did the unthinkable; he pulled a sharpie out of his sock, autographed the ball, and gave it to a nearby fan. T.O. said it was all in good taste but the NFL fined him $5000. The game was on Monday night so the whole nation was watching and that was when he decided to make his mark. You have to remember, Terrell scored earlier in the game and didn’t do any celebration, so that means Owens was so confident that he would score again that he held off until later (as with the case of Joe Horn, he pulled out the cell phone on his second of FOUR touchdowns that night). That touchdown celebration may have been the greatest and most original of all time.

As memorable as those are, no one can forget about Tony Gonzales’ “slam-dunk” over the goal post, and teammate Johnny Mortin’s “Worm.” Bengal wide receiver, Chad Johnson, also stepped into the spotlight with a nice touchdown catch then running over to grab his letter. Chad holds up an orange poster-board that reads: “Dear NFL, Please don’t fine me AGAIN.” They did, that letter that contained no vulgarity and didn’t hurt or offend anyone cost Johnson $30,000.

For professional athletes $30,000 isn’t such a big deal, but why fine somone that much for something so innocent. If the NFL is going to fine anyone that amount of money, make it Warren Sapp when he shakes his 300+ pound “booty” after he makes a 1 yard touchdown grab. No one cares to see that anyway. Oh well, with professional athletes doing more and more to gain attention, it looks like the NFL will have to put up with it or find a new way to stop it. By the way, can’t wait for T.O.’s next touchdown celebration to see if he tries to top Joe Horn’s.

About The Author

Fortier is 15 and soon to become a stand-out cornerback for Michigan. Leding his divsion in interceptions and tackles, Fortier will be the player to watch in the near future.

Fortier617@aol.com