September 2, 2025 • 34 mins
2x Grammy Award-winning music artist Kitt Wakeley joins us to chat about all things Grammys, his new music, and so much more!
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Episode Transcript
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Speaker 1 (00:00):
Hello everyone. I'm Jo Facentino Boone.
Speaker 2 (00:02):
And I'm Tina Marie Pasentino, and.
Speaker 1 (00:04):
We are so excited for another great episode of The
Josie Show because we have with us a wonderful, wonderful man,
very talented guy. We're so excited. Today we're joined by
a governor of the Recording Academy to help demystify the
Grammy Words process, from membership to voting, the Academy's relationship
with independent music platforms. He has the answers, so he
is our go to guy, and our goal is to
(00:27):
empower artists with clarity and truth and have it be
more of a learning experience. So we're really excited about this.
Let's get started.
Speaker 3 (00:35):
Huh.
Speaker 1 (00:35):
Hello everyone, We are so excited. We have two time
Grammy winner here with us Ker Wakely.
Speaker 4 (00:40):
Hi, Hey there, how are you this morning?
Speaker 1 (00:44):
We are doing wonderful, wonderful. I am so excited to
talk to you along with my mom here.
Speaker 2 (00:49):
Hello, We're so glad to have you on the program today.
Thank you for coming, you know.
Speaker 4 (00:54):
Thank you for having me on.
Speaker 3 (00:55):
I know that you know, from the very first time
I ever attended to JMA, so impressive, and I remember
going and Heck, I didn't even win anything, but I
sent a message just saying I'm just so impressed that whatever.
Speaker 4 (01:10):
You need help with, please let me know.
Speaker 3 (01:13):
I love I just love the spirit what you guys
do and how you how you lift up others, and
that's rare these days.
Speaker 1 (01:20):
Thank you. We appreciate that. That's wonderful. I appreciate that.
And you know, it's always We're so happy to to
you know, talk to you, and you are just a
wonderful artist and person. So we're really looking forward to
kind of talking to you about the grammycause if anybody
you know were to know, you definitely would be one
to talk to. So what First off, let's start with
(01:42):
what types of Grammy memberships are available for individuals in
the music business to apply for. Let's start there right
at the basics.
Speaker 3 (01:50):
Yeah, so if you're you know, eighteen to twenty four,
twenty five, there's Grammy. You that used to be a
thing where you had to be a student, and now
it's just if you're interested in the music industry and
you're that age and you're trying to climb the ranks,
it's a great program for everyone.
Speaker 4 (02:12):
Then there's professional membership. So if you're in a and R,
if you're.
Speaker 3 (02:17):
A studio manager, whatever that might be, entertainment attorney pr
then you can join as a professional member, and then
of course there is the voting member status, and the
only difference between a voting member and a professional member
is pretty much the ability to vote. Everything else you
(02:38):
can't really tell the difference.
Speaker 1 (02:41):
Gotcha perfect? Perfect? And what steps? Because we get this
question a lot, what steps should independent music artists take
to be considered for Recording Academy memberships and eventually Grammy eligibility?
How would that work for an independent music artist who
really wants to kind of get their feet in the game.
Speaker 3 (03:00):
So it's one, you have to have twelve songs on
streaming sides or the least that can be recognized nationally
in some capacity that you can really document.
Speaker 4 (03:13):
So it's just best to have about twelve songs and
more on soci media.
Speaker 3 (03:19):
You want at least two to three that have been
released in the past five years, and you know, the
more the better, and there's all kinds of ways to
get more tracks online.
Speaker 4 (03:30):
So if anyone has any questions, I'll be glad to help.
Speaker 3 (03:33):
And then you know, once you have those twelve songs
a lot of times.
Speaker 4 (03:37):
You know, the review committee, what they look at is.
Speaker 3 (03:40):
Your website, how robust does it? You know, is it
what does it really represent and does it represent that
you are really pursuing music. And then the third thing
we look at is your social media. Are you a
dentist playing the clubs on the weekends. If you all,
(04:00):
you're probably not going to be a good VET. But
if you're a dentist just playing the clubs on the weekend,
and you can tell from your social media that your
pack really is music and you want to make a
difference in the industry, we can see that too. And
so to backtrack, when the review committee is looking at
your application, the first thing that happens is you have
(04:23):
to have two voting members to recommend you. We've been
even more lax that you just have to have two
members recommend you.
Speaker 4 (04:33):
And then we've gotten even.
Speaker 3 (04:34):
More lax in that you have to have two reputable
industry professionals recommend you. So, for example, you two are
very well recognized.
Speaker 4 (04:44):
You're very well respected.
Speaker 3 (04:46):
So if you decided to recommend someone, your clout is
just as effective as a voting member, a governor, a trustee.
Speaker 4 (04:56):
So that's another way.
Speaker 3 (04:57):
So you start with those credits to us are more
a robust website, a social media pattern that is very
indicative that you're involved in the industry. Two recommendations from
either professionals.
Speaker 4 (05:13):
That are really well respected or members.
Speaker 3 (05:18):
And then once you get your two recommendations, that's when
you get an email from the Academy says congratulations, and
you apply. There's some things that you need to take
in consideration when responding that help your chances.
Speaker 4 (05:35):
But the final thing that.
Speaker 3 (05:37):
I would say, I think that people who apply is
they really need to make sure that they have third.
Speaker 4 (05:43):
Party credit validation.
Speaker 3 (05:45):
In other words, there's Jacksta, there's AllMusic, there is discogs,
there's Musso the Academy needs to be going on there
and see that you have third party credit validation.
Speaker 4 (05:59):
So even if you're on.
Speaker 3 (06:02):
Uh Spotify and you have fifty songs, that's great, but
they're going to go to a third party site to
validate that. And if anyone ever needs help with those things,
you know, give me a call. I do dozens and
dozens of calls like that a year. I don't charge anything,
it's just a pay it forward thing.
Speaker 4 (06:20):
And so that's a long answer. But I feel like
it's the most complete antarch to give you. Oh.
Speaker 1 (06:25):
Yes, you definitely answered pretty much anything that anybody would want.
And we get this question so often, so that was perfect.
And if anybody wanted to contact you, I know you
are on Facebook, I know you're you're You're well documented
on there that people can reach out to you. And
what I love is that you are willing to mentor
you know, via phone or wherever it may be. So
(06:46):
I really appreciate that. That's wonderful.
Speaker 3 (06:48):
Yeah, absolutely, I appreciate the fact that someone appreciates it sometimes,
but yeah, they can reach out. There's a there's a
vibe when people reach out that I can tell they're sincere.
And we'll start out on you know, Facebook, Messenger or
whatever it is, and usually we end up, you know,
exchanging phone numbers and getting on Zoom and I'll be.
Speaker 4 (07:10):
Glad to do any of that.
Speaker 1 (07:12):
Perfect. That's wonderful. That's so great to know. And you know,
another question that we get quite often for independent music artists,
are they able to submit their own material or do
you have to be a member?
Speaker 3 (07:26):
No, you have to have a voting member to submit
you But that's not hard. I mean there are eight
thousand voting members. There's twenty thousand members all together between
professional members and Grammy you, but there's eight thousand or
so voting members.
Speaker 4 (07:42):
Some are really, you.
Speaker 3 (07:43):
Know, strict about whether they'll submit or not, but I
would say ninety percent are going to be glad to
submit for you.
Speaker 4 (07:50):
I submitted for.
Speaker 3 (07:51):
Several non members this year. The only drawback is we
get five free submissions.
Speaker 4 (07:57):
After that it starts to cost.
Speaker 3 (08:00):
So, for example, if you came to me in late
July said, kick, can you smid for me?
Speaker 4 (08:06):
Absolutely, I'll be glad to And what I'll do.
Speaker 3 (08:10):
Is it's free at that point. But let's assume I've
already had my five that I've done. It costs about
fifty bucks. But if you start to do that in
August the first of August, I'll sudden it's seventy five.
And if you're doing it right before. I had several
people the day of the last day, it cost them
one hundred and twenty.
Speaker 4 (08:29):
Five bucks a pop.
Speaker 3 (08:31):
So you want to get your request in early so
that it doesn't cost you one hundred and twenty five
dollars or fifty dollars. As a curtsy for me, I've
never asked anyone to give me one hundred and twenty five,
but as a courtesy, you might go ahead and offer
fifty bucks or one hundred and twenty five as an
(08:52):
our member. Because what you don't want to do is
come to, for example, me and say, hey, will you
do this for me for free? Well, what happens if
in late August I've got you know, people that really
need their stuff submitted for them.
Speaker 4 (09:08):
It puts them at a disadvantage.
Speaker 3 (09:10):
So, you know, but stay away from anybody that just
charges you.
Speaker 4 (09:15):
Just don't do that.
Speaker 3 (09:17):
You know, there's other ways to get around that so
that you're not inconvenient in conveniencing someone else.
Speaker 4 (09:23):
So yeah, get too early.
Speaker 1 (09:25):
So it's free, perfect, perfect. See for those out there
who are not members, they wouldn't know that that there
is even a fee for members, you know, past the five.
So that's also really interesting for people to know as well.
So thank you for that as well. And let's see here,
I think let's I think you ask more questions, don't you.
Speaker 2 (09:42):
Yeah, so we'll want to ask a couple other questions.
Somewhere on the website, I noticed that there's something called
media approval. So someone who has a media membership or approval.
Are they able to also it even though they're not
a voting member.
Speaker 3 (10:03):
No, they're not able to do that, but they're able
to go to a lot of Army events.
Speaker 4 (10:09):
They can apply to be.
Speaker 3 (10:12):
On the red carpet to So, for example, let's assume
that you have someone.
Speaker 4 (10:21):
That has won JMA. Maybe they haven't won a JMA.
Speaker 3 (10:26):
Maybe they're a Grammy member, they're part of the JMAS
and they are nominated.
Speaker 4 (10:33):
They can ask.
Speaker 3 (10:34):
You, you know, to apply for your media credentials at
the with the Academy so that you can walk them
down the red carpet and introduce them to.
Speaker 4 (10:45):
You know, all the media. It works better to do that.
Speaker 3 (10:51):
There's some other advantages for the day of the Grammys
for media.
Speaker 4 (10:56):
Yeah, so I think it's always.
Speaker 3 (10:58):
Great to become a affiliated with the Grammy sue of
the media representation.
Speaker 2 (11:03):
Sure that sounds like great opportunity. Okay, great, Now, of course,
everybody knows the Recording Academy is viewed as the gold
standard in music recognition. Can you clarify do the Grammys
team up with or affiliate with other music award shows?
Speaker 3 (11:19):
No, I mean you have to, they have a brand.
You know, there's a reason that when you see the
word Grammy or the Academy or Recording Academy, that that
little registered trademark is on there.
Speaker 4 (11:34):
They're very protective. You also have to consider they're affiliated
with music Cares where they are.
Speaker 3 (11:43):
You know, they have a passion for helping others, and
they don't need anything to taint the sanctity of music Cares.
And then third reason is we have a very active
legislative arm and so we're very active with legislators, you know,
state government agencies, national government agencies, and we what we
(12:06):
can't do is jeopardize our brand or our reputation when
we walk into a senator's office, you know, or whatever
that might be.
Speaker 4 (12:16):
We have to stand on our own.
Speaker 3 (12:17):
Now, that doesn't mean we won't team up with the RIAA,
It doesn't mean we won't team up with other organizations
to help the legislation.
Speaker 4 (12:27):
But that's a very formal acknowledgement.
Speaker 3 (12:30):
We try to make sure it's a very formal acknowledgement
and understanding that we're all, you know, pull them on
the same road.
Speaker 2 (12:38):
Sure, sure, no, that makes sense, and you know that
keeps you know, it keeps the integrity of the program.
I think probably you know, which is great. I mean,
that's you know, that's what everybody strives for. Of course,
can you explain whether the Recording Academy of the Grammys
track winners from other shows? So would they ever, you know,
pull out my list or anybody's list and say, let
(12:58):
me look at these winners or is it is handled
through this other own submission and voting process.
Speaker 3 (13:04):
The only time that I'm aware of that the Academy
recognizes or wants to know, whatever that might be, is
when you apply to be they'll ask, you know, hey,
what what awards do you want? It doesn't necessarily impact,
you know, whether you become a member or not. It's
(13:25):
a matter of are you involved actively in the music industry.
Speaker 4 (13:31):
They're not going to look.
Speaker 3 (13:32):
At it and say, oh, you know, Kit Wakeley, Warn
x Y or Z. Rather, you know, they just want
to know, Okay, he's active and he's won awards.
Speaker 4 (13:42):
But that is about as much weight as it covers.
Speaker 2 (13:45):
Yeah, okay, that makes sense. So as many in the
independent music industry always keep an eye out for the
safety of music artists. Of course, in the independent world,
are independent businesses of any kind allowed to you the
Grammy logo or wording of affiliation with the Grammys and
promised the missions to be a part of their organization.
Speaker 3 (14:08):
Absolutely, not that I would say perverting the system, if
you will. First of all, back to the you know
that registered trademark has a lot of value.
Speaker 4 (14:18):
Number two, the Academy wants to stand on its.
Speaker 3 (14:21):
Own about you know, their membership, who they're affiliated with,
because it's that brand factor. You know, you have to
also look at it as you can't even use the
Grammy logo. Members can't use it when we're you know,
campaigning or whatever.
Speaker 4 (14:38):
That might be.
Speaker 3 (14:39):
That logo is off off limits. And what does that
have to do with your question? Only to validate that
the Academy takes their brand very seriously and if they
found out that, you know, someone else is using that
to their benefit.
Speaker 4 (14:56):
It would be detrimental. So I'll give another example.
Speaker 3 (15:00):
When I'm personally host hosting event that is obviously going
to be Grammy dominant, I go through the Academy.
Speaker 4 (15:09):
I let them know what I'm doing.
Speaker 3 (15:11):
I'm very upfront, transparent, and if I'm, for example, meeting
with legislators, I let the Advocacy committee know I'm going
to be doing that, and even though they understand what
my premise, in my goal is, they are very careful
to say you cannot say I am representing the Academy.
(15:34):
Rather I am here on behalf of the music industry,
and I'm an Academy member, and I know that the
fine line of threshold. But you just cannot be a
representative of the Academy without their approval.
Speaker 2 (15:48):
Gotcha, that makes sense. Now, that makes perfect sense.
Speaker 1 (15:51):
Wonderful, Thank you, that's perfect. So you know, I'm so
glad that we're we're talking about this just a clear error,
because I don't want independent artists to, you know, be
obviously taken intoage over whatnot. So where is the best place,
first and foremost for independent artists to go in order
to receive all the correct information to get the full
process of the Grammys. So I'm assuming the website first
(16:12):
and foremost correct.
Speaker 3 (16:13):
Absolutely, it helps to I mean, even Grammy members are
sometimes confused.
Speaker 4 (16:24):
I do dozens.
Speaker 3 (16:25):
And dozens of other kind of calls where members are
confused and they need clarification. But there are a lot
of us that know the rules, and I think most
of us are very very transparent.
Speaker 4 (16:40):
About will helpful we can.
Speaker 3 (16:42):
But Yeah, always start with the website, and if you
can find a good resource.
Speaker 4 (16:47):
Do that as well.
Speaker 3 (16:48):
And let's assume you know Kitwaken, he tells you something. Yeah,
it's always wise to validate that, you know, trust it verified.
I'll be so hurrogan as to say that I feel
like I know much stuff.
Speaker 4 (17:00):
Really really well.
Speaker 3 (17:02):
You know, I'm a governor. I've been so active I work.
You know, I'm very like I said, I'm I'm proud
of the Academy and what they do, so I try
to take it very seriously about knowing what the rules
are and how we operate. Yeah.
Speaker 1 (17:17):
See, and that's why we had to come to you,
because if anybody were to know, I knew you were
like literally the first person in my mind just popped up.
I was like, Kit would know. So I'm so glad
you did this because we get these questions so so often,
so we appreciate that. And of course we have to
talk about your music because you have a new album out.
Speaker 4 (17:37):
Do.
Speaker 3 (17:38):
I'm really proud of it and it's called Seven Seasons.
And usually when we when we write a song as
artists or an album as an artist, it's usually based
on our own experiences and our personal creativity and base it.
We put that on our our search sleeve and hope
the world loves it and can identify with what we're
(18:01):
going through.
Speaker 4 (18:02):
But this is different.
Speaker 3 (18:03):
I flipped the script and said this is gonna be
about the listener. So what I did is I did
dozens and dozens of interviews and I hit them down
to forty one interviews of people who've been through tragedy.
So I interviewed people from nine to eleven, people from
OKC bombing, people from you know, who got an unexpected
divorce paper, who lost their son in a car wreck
(18:26):
due to drunk driving, lost their job unexpectedly. You know,
tragedy and tronta come in a number of ways. And
so I did all these interviews. I charted all the
key things that they said, and what we noticed is
every one of them brought up, you.
Speaker 4 (18:43):
Know, the day before nine to eleven, you know it.
You know, people are at the park, they're you know,
they were having a.
Speaker 3 (18:50):
Picnic with their family, and that was the day of innocence.
Speaker 4 (18:53):
You know. I talked to one gentleman.
Speaker 3 (18:55):
He was at an anniversary party with his wife and
friends and they're celebrating, you know, and then the next
day he gets divorce papers at his office.
Speaker 4 (19:06):
The tragedy they just believe, you.
Speaker 3 (19:10):
Know, did someone really get behind a wheel drunk and
kill my son in a car wreck?
Speaker 4 (19:20):
You know, people had to contemplate that.
Speaker 3 (19:22):
Then there's confusion, you know, we we we're all familiar
with the big things like nine to eleven, you know,
my conspiracy whatever. But then there's also you know, I'll
break it down to someone who's their their wife was
killing a car wreck head on? And okay, was it
a drunk driver? Did somebody did the dog really jump in.
Speaker 4 (19:44):
The lady's lap and cause her to swerve?
Speaker 3 (19:47):
Were they trying to avoid a homeless person? And then
there's the day of why, And we always, you know,
we were the most familiar is why do bad things
happen to good people? But it goes past that. I
always give the example of John Stewart was the first
(20:07):
television show to go on live after nine to eleven.
He was prepared to come out and give up a
you know, look, get back to a normal stand up
routine monologue. But all he could do is cheer up
and ask why why did you think flying two planes
into our iconic buildings was going to change something.
Speaker 4 (20:27):
Why would you?
Speaker 3 (20:29):
And he just kept asking why he couldn't stop, And
everybody I interviewed had why, and then they reflected.
Speaker 4 (20:37):
I talked to a lady.
Speaker 3 (20:39):
She was reflecting on all of it, and she got
to a point where.
Speaker 4 (20:44):
She was telling me in the interview she went to
the site.
Speaker 3 (20:48):
Where this particular tragedy happened and she sees her daughter.
Fireman has her daughter in his hands, and she starts
running towards him, and she tells us emotional story where
the closer she gets, the more lifeless she can see
the body, the closer she gets, the more disparaged she
can see in the fireman's eyes. And she knew ten
(21:10):
yards out that her daughter was dead. And so but
they always have this moment of hope. You know, people
who are.
Speaker 5 (21:20):
Who people are you know in new jobs, or people
who are are doing national speaking engagements about drunk driving,
or you know, we have a new tower, we have.
Speaker 3 (21:32):
Museums in honor of things. And so it's a long
answer to see what the album's about. But that's the
scope of it. And if someone's listening to the album,
my hope is it's all about them and what they're
reflecting on not oh you know, Kit adopted some kids
and he's writing an album about it, or lost the
(21:54):
love and they broke up. Now, this is all about
the listener, right.
Speaker 1 (22:00):
That's what I love. And this is actually I feel
like one of its kind because I don't I can't
recall an album that dives into this, you know what
I mean, And actually, you know, goes out of their
way to do interviews, you know what I mean. I
just I just haven't heard anything like this, and that's
why I think, I really and I hope people check
it out. And it is available everywhere now, right, so
(22:23):
I hope they did.
Speaker 4 (22:24):
Yes, I'm ashamed a little bit that I was.
Speaker 3 (22:28):
I've produced a lot of other artists from hip hop
to jazz, you know, Broadway whatever, and I've been so
busy helping people get their albums out time for Grammy
submission that I forgot to make sure some things were
taken care of to get my streaming and everything going.
So we're about two weeks late, but we'll do much
(22:50):
better promotion here over the next few weeks.
Speaker 1 (22:53):
Absolutely, I want that about you. If you always think
of others and you're helping others get their music out
and find their footing and you know, working on their
stuff before your own. And I think that's I think
that's what you know. So many love about you and
the legacy that you have, and I think that's wonderful
and I can't wait to share.
Speaker 4 (23:12):
You know.
Speaker 1 (23:12):
One seven Seasons is available like everywhere and people are
able to you know, get it. And I will be
sharing this, my friend, everywhere.
Speaker 3 (23:21):
Trust me, I need that point zero zero one four
cents uh for stream you know mine, And right now
I haven't whopping five thousand streams on this album and
I'm like, oh god, I gotta get My management is
not happy with me.
Speaker 1 (23:34):
Right now, so we gotta get it. Come on. That
is so funny listen streaming. I know all about that,
Oh my goodness. But yes, I also wanted to talk
about because I seen this. So the album features Star Parodi.
I hope I'm saying the name right, and the Royal
Philharmonic Orchestras tell us about that.
Speaker 4 (23:55):
Sure.
Speaker 3 (23:55):
So Star Paroti is probably one of the most famous
people you've never heard of. Uh.
Speaker 4 (24:01):
You know.
Speaker 3 (24:01):
When I was a little kid, there was a show
called Arstini of Haug.
Speaker 4 (24:04):
She was the bandleader.
Speaker 3 (24:06):
She was an. She was this beautiful woman that was
on every poster and every I mean, she was just
you know, star and that's where she developed her career,
working with everybody from Stevie Wonder to Jimmy Jammed, Whitney Houston,
and so you know, for her to work with me,
you know, I produced other people, but I ain't somebody
(24:26):
who produced me.
Speaker 4 (24:27):
And she's incredible.
Speaker 3 (24:29):
And as far as the Royal for Harmonic, I've just
found my comfort zone with the London Symphony and the
Royal for Harmonic and the Abbey Road studios.
Speaker 4 (24:39):
So that's where I do most of my personal projects.
Speaker 3 (24:41):
And having that quality of just that room, that live room,
and caliber of those engineers and then you know the
caliber of that orchestra, it's amazing. And that doesn't mean
there's not incredible studios right here the United States. It
just means that that's you know, in fact, I record
(25:04):
everywhere in LA and oh yeah, but yeah, that's that's
just kind of my that's my comfort zone and I
I know that I'm going to get quality when I
do that.
Speaker 1 (25:16):
That's amazing. Wow, five star, five stars team, I'm telling you,
And that's just incredible, you know, having you know, the
opportunity to work with so many incredible talents, and I
mean that just must be so thrilling for you. And
also getting the chance to meet so many people. I
seen you posted right after the unfortunate passing of Malcolm
(25:37):
Jamul Warner something that was so touching because he actually
was there to hand you your first Grammy, right, and
you put something so touching on Facebook, and it just
shows that you could meet so many incredible people throughout
your journey. It's not always just about music. You can
meet so many incredible friends down the line, collaborator, and
(26:01):
I think that's what people love so so much about
this industry as well.
Speaker 3 (26:04):
You know, absolutely when people go to the j m
as they meet new people, right and my.
Speaker 4 (26:11):
Friends, they're exchanging Instagrams and phone numbers and then all of.
Speaker 3 (26:15):
A sudden they're they're hanging out together on vacations or
and I tell new members of the academy, look, being
going for a Grammy.
Speaker 4 (26:27):
Is awful, but the real value is going to be.
Speaker 3 (26:30):
All the relationships and networking and and you know, uh,
and you're gonna get some incredible experiences. I never dreamt
that I would get to work with Sting or Josh
Grogan or anything. I never dreamt that my heart was
going to be broken over someone like Malcolm h and you.
And I have to say I tell people this all
(26:52):
the time when when you start going to like the JMAS,
and I always tell people, just d m as are them,
you know, can of that preemptive strike to winning Grammys.
It gives you the confidence to go, Wow, I want
a JMA. Can you believe this? Well, maybe maybe I
(27:14):
should submit.
Speaker 4 (27:14):
For a Grammy.
Speaker 3 (27:16):
And it sets a tone for your reputation as an
award winner with the JMA. The JMAS carry a lot
of count opposed to you know, I'm sorry, but there's
a lot of other awards that I just don't have
the trity. So the JMA feel like it wonders for
(27:39):
me to give me street cred if you will, so
that when people are considering you for for a Grammy, wait, Okay,
this person's this person's wants some legit stuff. And I
think people need to I know people appreciate their JMA,
but I think that they need to do.
Speaker 4 (27:57):
A reflection of just how important.
Speaker 3 (28:01):
Getting a JMA is for so many other intangibles. So, yeah,
there's so much you're gonna get out of.
Speaker 4 (28:11):
All of our things in the music industry.
Speaker 1 (28:13):
Absolutely. I always find everything is a learning experience, you know,
when you when you know, go through the process, you
know of of submitting your work, like for instance, at
the Jmas, you're learning to submit yourself to you know
what I mean. So it's kind of a it's kind
of we always think of it as like kind of
a stepping stone. We want to kind of help you
on your way, you know type situation. So we're we
(28:35):
appreciate you seeing that in us definitely. But yeah, I
just think I just think it's wonderful that independent artists
after they leave our show have the confidence to be
able to move forward, you know what I mean, And
that's what we that's what we want to do. And
also the networking, you know what I mean, is always
(28:56):
what gets me. But thank you. I appreciate that, and
I want everyone to be able to make sure to
go to get your latest works and check out all
the music that you have. All of your music is
available on all of the social streaming platforms that there
are out today. But you've got a chance to work
with so many incredible albums as well. So let's talk
(29:19):
about that, because I know, Aaron, tell us about that project.
I mean, you got to work work with so many
Kristin Chenna with Come on now, I mean, tell.
Speaker 4 (29:28):
Us about that Christmas everyone take wonder. You know, I
was blessed. I had. I had been blessed when that.
Speaker 3 (29:38):
It's unfortunate that it takes sometimes a JMA or a
Grammy some street cred to work on bigger projects, but
you know, hey, that's live. And I had started producing
other artists and other genres besides the orchestral or besides rock,
and like.
Speaker 4 (29:56):
I said, I do everything from hip hop or whatever,
and so so one and Aaron was this he still is.
Speaker 3 (30:04):
Uh.
Speaker 4 (30:05):
He was this great actor.
Speaker 3 (30:09):
You know, he'd been the Broadway and watched uh you
know Le Massarel or Fendom of the Opera. You knew
who he was, and he's one of those guys on
television and movies you've seen.
Speaker 4 (30:21):
You don't know his name, and life was really taking
off for him. He did a brilliant.
Speaker 3 (30:28):
Play for Steing, Yeah, the Last Ship, and one day
it comes to a halt. He has als and we
know that that's we know, the ultimate demise. And so
someone said, hey, let's do an album for him, and
Thing was the first one to step on board. And
someone said, well, who are we going to get to
(30:48):
produce this? And I have no idea what people were
drinking that day, but they said we should call.
Speaker 4 (30:55):
And uh, I got the gig.
Speaker 3 (30:57):
And you know, it was in a amazing experience because
I got to work with so many you know, I
didn't have to work with someone on their tuning or phrasing.
Speaker 4 (31:05):
I just got to work on I mean, when Lauren already.
Speaker 3 (31:08):
Comes in and sings it, You're like, my gosh, this
is the lady from you know, the Greatest Showman. We're
not We're not worried about tuning or phrasing. We're we're thinking, oh,
let's change a.
Speaker 4 (31:19):
Word here, and let's try this.
Speaker 3 (31:21):
And you get to be creative and you get to
appreciate people's talent. Uh. You learn about who may not
be way up there on the talent level, but that's okay,
that's our job as a producer. We're supposed to make
them sound great. And then all the with all the people,
I just learned so much about so many different people.
Speaker 4 (31:41):
I learned, Oh my gosh. I never dreamed that I would
have to deal with so many attorneys and reps and contracts.
Speaker 3 (31:47):
I think the biggest thing was we we did this
thing where we brought in all these Broadway stars to
saying almost so we are the world.
Speaker 4 (31:56):
Type of vibe.
Speaker 3 (31:57):
Mm hmm.
Speaker 4 (31:58):
It was.
Speaker 3 (31:59):
I walked in thinking, yeah, we're gonna go to be
here at the studio and holy holy crap.
Speaker 4 (32:07):
Every media you could.
Speaker 3 (32:08):
Imagine, from entertainment Tonight to people to you know, Good
Morning America, they're all there. And they pulled me in
for this interview and they're like, so, what's it like
to produce Broadway History? And that's when it hit me,
I better, I better bring my a game. So I
think that question alone.
Speaker 4 (32:28):
It was the best thing you could ever happened to me.
Speaker 3 (32:30):
Not that I wasn't taking the project seriously before that,
but I knew to sharpen my skills even more and.
Speaker 4 (32:37):
Less that question.
Speaker 3 (32:39):
So amazing experience has led to some other phenomenal projects
that I never dreamt I would get.
Speaker 4 (32:45):
So we'll keep our fingers crossed. At that momentum stace.
Speaker 1 (32:50):
Let's do it. Absolutely I could see it, and I'm
just so excited to see what is next on the
horizon for you. Everyone please make sure you stay tuned
to of course you're on Facebook, book and everything, so
please make sure you stay tuned to his Facebook page,
and also you give out your website as well.
Speaker 4 (33:06):
Correct.
Speaker 3 (33:06):
It's just pretty darn and simple, you know, dot com and.
Speaker 4 (33:13):
Uh, you know, websites are still have a ton of value.
Speaker 3 (33:17):
But I'm going to read I don't get to work
with Josh Trobin or Neil Patrick Carricter, whoever that might be,
had I not won that first jama And I don't
know how to get people to understand it doesn't take
awards to to.
Speaker 4 (33:37):
Garner whether you're successful or not.
Speaker 3 (33:38):
But I can just you my appreciation for what you
guys do and how impacted my my career.
Speaker 4 (33:47):
It just cannot go understated.
Speaker 1 (33:50):
Thank you. That means, that means a lot to us.
And that's why we want to do this, is we
just want to constantly help artists out there. And that's
exactly what you do too. I mean, you are an
incredible mentor to so many out there, and you know
the I mean, just just today just prove that I
had a question for you. I wanted you to come
on and explain you know, some things and needing an
explice about it. You're like, you know, listen to it,
(34:11):
you know, so you're always willing to help out. And
I just want to thank you so much for your time,
and we're just so excited to see what is next
for pit Wakely.
Speaker 3 (34:20):
We're Excitedly would like Brett, I appreciate.
Speaker 1 (34:25):
It well of course, my pleasure, and please send your
beautiful family for us, and we'll see you again soon.
Speaker 4 (34:31):
Okay, well here I'm looking forward to it.
Speaker 1 (34:34):
Sounds great, see you then.
Speaker 4 (34:37):
Bye.
Speaker 1 (34:39):
We want to thank our guest Kit Wakely for helping
us clarify these important topics and for sharing all the
information on his current work with us as well. And
at the Judge Musicals, we believe in transparency, art is
safety and celebrating excellence at every level, and today's conversation
reinforces that mission. So I hope you all enjoyed it.
Thank you all for tuning in.
Hello everyone. I'm Jo Facentino Boone.
Speaker 2 (00:02):
And I'm Tina Marie Pasentino, and.
Speaker 1 (00:04):
We are so excited for another great episode of The
Josie Show because we have with us a wonderful, wonderful man,
very talented guy. We're so excited. Today we're joined by
a governor of the Recording Academy to help demystify the
Grammy Words process, from membership to voting, the Academy's relationship
with independent music platforms. He has the answers, so he
is our go to guy, and our goal is to
(00:27):
empower artists with clarity and truth and have it be
more of a learning experience. So we're really excited about this.
Let's get started.
Speaker 3 (00:35):
Huh.
Speaker 1 (00:35):
Hello everyone, We are so excited. We have two time
Grammy winner here with us Ker Wakely.
Speaker 4 (00:40):
Hi, Hey there, how are you this morning?
Speaker 1 (00:44):
We are doing wonderful, wonderful. I am so excited to
talk to you along with my mom here.
Speaker 2 (00:49):
Hello, We're so glad to have you on the program today.
Thank you for coming, you know.
Speaker 4 (00:54):
Thank you for having me on.
Speaker 3 (00:55):
I know that you know, from the very first time
I ever attended to JMA, so impressive, and I remember
going and Heck, I didn't even win anything, but I
sent a message just saying I'm just so impressed that whatever.
Speaker 4 (01:10):
You need help with, please let me know.
Speaker 3 (01:13):
I love I just love the spirit what you guys
do and how you how you lift up others, and
that's rare these days.
Speaker 1 (01:20):
Thank you. We appreciate that. That's wonderful. I appreciate that.
And you know, it's always We're so happy to to
you know, talk to you, and you are just a
wonderful artist and person. So we're really looking forward to
kind of talking to you about the grammycause if anybody
you know were to know, you definitely would be one
to talk to. So what First off, let's start with
(01:42):
what types of Grammy memberships are available for individuals in
the music business to apply for. Let's start there right
at the basics.
Speaker 3 (01:50):
Yeah, so if you're you know, eighteen to twenty four,
twenty five, there's Grammy. You that used to be a
thing where you had to be a student, and now
it's just if you're interested in the music industry and
you're that age and you're trying to climb the ranks,
it's a great program for everyone.
Speaker 4 (02:12):
Then there's professional membership. So if you're in a and R,
if you're.
Speaker 3 (02:17):
A studio manager, whatever that might be, entertainment attorney pr
then you can join as a professional member, and then
of course there is the voting member status, and the
only difference between a voting member and a professional member
is pretty much the ability to vote. Everything else you
(02:38):
can't really tell the difference.
Speaker 1 (02:41):
Gotcha perfect? Perfect? And what steps? Because we get this
question a lot, what steps should independent music artists take
to be considered for Recording Academy memberships and eventually Grammy eligibility?
How would that work for an independent music artist who
really wants to kind of get their feet in the game.
Speaker 3 (03:00):
So it's one, you have to have twelve songs on
streaming sides or the least that can be recognized nationally
in some capacity that you can really document.
Speaker 4 (03:13):
So it's just best to have about twelve songs and
more on soci media.
Speaker 3 (03:19):
You want at least two to three that have been
released in the past five years, and you know, the
more the better, and there's all kinds of ways to
get more tracks online.
Speaker 4 (03:30):
So if anyone has any questions, I'll be glad to help.
Speaker 3 (03:33):
And then you know, once you have those twelve songs
a lot of times.
Speaker 4 (03:37):
You know, the review committee, what they look at is.
Speaker 3 (03:40):
Your website, how robust does it? You know, is it
what does it really represent and does it represent that
you are really pursuing music. And then the third thing
we look at is your social media. Are you a
dentist playing the clubs on the weekends. If you all,
(04:00):
you're probably not going to be a good VET. But
if you're a dentist just playing the clubs on the weekend,
and you can tell from your social media that your
pack really is music and you want to make a
difference in the industry, we can see that too. And
so to backtrack, when the review committee is looking at
your application, the first thing that happens is you have
(04:23):
to have two voting members to recommend you. We've been
even more lax that you just have to have two
members recommend you.
Speaker 4 (04:33):
And then we've gotten even.
Speaker 3 (04:34):
More lax in that you have to have two reputable
industry professionals recommend you. So, for example, you two are
very well recognized.
Speaker 4 (04:44):
You're very well respected.
Speaker 3 (04:46):
So if you decided to recommend someone, your clout is
just as effective as a voting member, a governor, a trustee.
Speaker 4 (04:56):
So that's another way.
Speaker 3 (04:57):
So you start with those credits to us are more
a robust website, a social media pattern that is very
indicative that you're involved in the industry. Two recommendations from
either professionals.
Speaker 4 (05:13):
That are really well respected or members.
Speaker 3 (05:18):
And then once you get your two recommendations, that's when
you get an email from the Academy says congratulations, and
you apply. There's some things that you need to take
in consideration when responding that help your chances.
Speaker 4 (05:35):
But the final thing that.
Speaker 3 (05:37):
I would say, I think that people who apply is
they really need to make sure that they have third.
Speaker 4 (05:43):
Party credit validation.
Speaker 3 (05:45):
In other words, there's Jacksta, there's AllMusic, there is discogs,
there's Musso the Academy needs to be going on there
and see that you have third party credit validation.
Speaker 4 (05:59):
So even if you're on.
Speaker 3 (06:02):
Uh Spotify and you have fifty songs, that's great, but
they're going to go to a third party site to
validate that. And if anyone ever needs help with those things,
you know, give me a call. I do dozens and
dozens of calls like that a year. I don't charge anything,
it's just a pay it forward thing.
Speaker 4 (06:20):
And so that's a long answer. But I feel like
it's the most complete antarch to give you. Oh.
Speaker 1 (06:25):
Yes, you definitely answered pretty much anything that anybody would want.
And we get this question so often, so that was perfect.
And if anybody wanted to contact you, I know you
are on Facebook, I know you're you're You're well documented
on there that people can reach out to you. And
what I love is that you are willing to mentor
you know, via phone or wherever it may be. So
(06:46):
I really appreciate that. That's wonderful.
Speaker 3 (06:48):
Yeah, absolutely, I appreciate the fact that someone appreciates it sometimes,
but yeah, they can reach out. There's a there's a
vibe when people reach out that I can tell they're sincere.
And we'll start out on you know, Facebook, Messenger or
whatever it is, and usually we end up, you know,
exchanging phone numbers and getting on Zoom and I'll be.
Speaker 4 (07:10):
Glad to do any of that.
Speaker 1 (07:12):
Perfect. That's wonderful. That's so great to know. And you know,
another question that we get quite often for independent music artists,
are they able to submit their own material or do
you have to be a member?
Speaker 3 (07:26):
No, you have to have a voting member to submit
you But that's not hard. I mean there are eight
thousand voting members. There's twenty thousand members all together between
professional members and Grammy you, but there's eight thousand or
so voting members.
Speaker 4 (07:42):
Some are really, you.
Speaker 3 (07:43):
Know, strict about whether they'll submit or not, but I
would say ninety percent are going to be glad to
submit for you.
Speaker 4 (07:50):
I submitted for.
Speaker 3 (07:51):
Several non members this year. The only drawback is we
get five free submissions.
Speaker 4 (07:57):
After that it starts to cost.
Speaker 3 (08:00):
So, for example, if you came to me in late
July said, kick, can you smid for me?
Speaker 4 (08:06):
Absolutely, I'll be glad to And what I'll do.
Speaker 3 (08:10):
Is it's free at that point. But let's assume I've
already had my five that I've done. It costs about
fifty bucks. But if you start to do that in
August the first of August, I'll sudden it's seventy five.
And if you're doing it right before. I had several
people the day of the last day, it cost them
one hundred and twenty.
Speaker 4 (08:29):
Five bucks a pop.
Speaker 3 (08:31):
So you want to get your request in early so
that it doesn't cost you one hundred and twenty five
dollars or fifty dollars. As a curtsy for me, I've
never asked anyone to give me one hundred and twenty five,
but as a courtesy, you might go ahead and offer
fifty bucks or one hundred and twenty five as an
(08:52):
our member. Because what you don't want to do is
come to, for example, me and say, hey, will you
do this for me for free? Well, what happens if
in late August I've got you know, people that really
need their stuff submitted for them.
Speaker 4 (09:08):
It puts them at a disadvantage.
Speaker 3 (09:10):
So, you know, but stay away from anybody that just
charges you.
Speaker 4 (09:15):
Just don't do that.
Speaker 3 (09:17):
You know, there's other ways to get around that so
that you're not inconvenient in conveniencing someone else.
Speaker 4 (09:23):
So yeah, get too early.
Speaker 1 (09:25):
So it's free, perfect, perfect. See for those out there
who are not members, they wouldn't know that that there
is even a fee for members, you know, past the five.
So that's also really interesting for people to know as well.
So thank you for that as well. And let's see here,
I think let's I think you ask more questions, don't you.
Speaker 2 (09:42):
Yeah, so we'll want to ask a couple other questions.
Somewhere on the website, I noticed that there's something called
media approval. So someone who has a media membership or approval.
Are they able to also it even though they're not
a voting member.
Speaker 3 (10:03):
No, they're not able to do that, but they're able
to go to a lot of Army events.
Speaker 4 (10:09):
They can apply to be.
Speaker 3 (10:12):
On the red carpet to So, for example, let's assume
that you have someone.
Speaker 4 (10:21):
That has won JMA. Maybe they haven't won a JMA.
Speaker 3 (10:26):
Maybe they're a Grammy member, they're part of the JMAS
and they are nominated.
Speaker 4 (10:33):
They can ask.
Speaker 3 (10:34):
You, you know, to apply for your media credentials at
the with the Academy so that you can walk them
down the red carpet and introduce them to.
Speaker 4 (10:45):
You know, all the media. It works better to do that.
Speaker 3 (10:51):
There's some other advantages for the day of the Grammys
for media.
Speaker 4 (10:56):
Yeah, so I think it's always.
Speaker 3 (10:58):
Great to become a affiliated with the Grammy sue of
the media representation.
Speaker 2 (11:03):
Sure that sounds like great opportunity. Okay, great, Now, of course,
everybody knows the Recording Academy is viewed as the gold
standard in music recognition. Can you clarify do the Grammys
team up with or affiliate with other music award shows?
Speaker 3 (11:19):
No, I mean you have to, they have a brand.
You know, there's a reason that when you see the
word Grammy or the Academy or Recording Academy, that that
little registered trademark is on there.
Speaker 4 (11:34):
They're very protective. You also have to consider they're affiliated
with music Cares where they are.
Speaker 3 (11:43):
You know, they have a passion for helping others, and
they don't need anything to taint the sanctity of music Cares.
And then third reason is we have a very active
legislative arm and so we're very active with legislators, you know,
state government agencies, national government agencies, and we what we
(12:06):
can't do is jeopardize our brand or our reputation when
we walk into a senator's office, you know, or whatever
that might be.
Speaker 4 (12:16):
We have to stand on our own.
Speaker 3 (12:17):
Now, that doesn't mean we won't team up with the RIAA,
It doesn't mean we won't team up with other organizations
to help the legislation.
Speaker 4 (12:27):
But that's a very formal acknowledgement.
Speaker 3 (12:30):
We try to make sure it's a very formal acknowledgement
and understanding that we're all, you know, pull them on
the same road.
Speaker 2 (12:38):
Sure, sure, no, that makes sense, and you know that
keeps you know, it keeps the integrity of the program.
I think probably you know, which is great. I mean,
that's you know, that's what everybody strives for. Of course,
can you explain whether the Recording Academy of the Grammys
track winners from other shows? So would they ever, you know,
pull out my list or anybody's list and say, let
(12:58):
me look at these winners or is it is handled
through this other own submission and voting process.
Speaker 3 (13:04):
The only time that I'm aware of that the Academy
recognizes or wants to know, whatever that might be, is
when you apply to be they'll ask, you know, hey,
what what awards do you want? It doesn't necessarily impact,
you know, whether you become a member or not. It's
(13:25):
a matter of are you involved actively in the music industry.
Speaker 4 (13:31):
They're not going to look.
Speaker 3 (13:32):
At it and say, oh, you know, Kit Wakeley, Warn
x Y or Z. Rather, you know, they just want
to know, Okay, he's active and he's won awards.
Speaker 4 (13:42):
But that is about as much weight as it covers.
Speaker 2 (13:45):
Yeah, okay, that makes sense. So as many in the
independent music industry always keep an eye out for the
safety of music artists. Of course, in the independent world,
are independent businesses of any kind allowed to you the
Grammy logo or wording of affiliation with the Grammys and
promised the missions to be a part of their organization.
Speaker 3 (14:08):
Absolutely, not that I would say perverting the system, if
you will. First of all, back to the you know
that registered trademark has a lot of value.
Speaker 4 (14:18):
Number two, the Academy wants to stand on its.
Speaker 3 (14:21):
Own about you know, their membership, who they're affiliated with,
because it's that brand factor. You know, you have to
also look at it as you can't even use the
Grammy logo. Members can't use it when we're you know,
campaigning or whatever.
Speaker 4 (14:38):
That might be.
Speaker 3 (14:39):
That logo is off off limits. And what does that
have to do with your question? Only to validate that
the Academy takes their brand very seriously and if they
found out that, you know, someone else is using that
to their benefit.
Speaker 4 (14:56):
It would be detrimental. So I'll give another example.
Speaker 3 (15:00):
When I'm personally host hosting event that is obviously going
to be Grammy dominant, I go through the Academy.
Speaker 4 (15:09):
I let them know what I'm doing.
Speaker 3 (15:11):
I'm very upfront, transparent, and if I'm, for example, meeting
with legislators, I let the Advocacy committee know I'm going
to be doing that, and even though they understand what
my premise, in my goal is, they are very careful
to say you cannot say I am representing the Academy.
(15:34):
Rather I am here on behalf of the music industry,
and I'm an Academy member, and I know that the
fine line of threshold. But you just cannot be a
representative of the Academy without their approval.
Speaker 2 (15:48):
Gotcha, that makes sense. Now, that makes perfect sense.
Speaker 1 (15:51):
Wonderful, Thank you, that's perfect. So you know, I'm so
glad that we're we're talking about this just a clear error,
because I don't want independent artists to, you know, be
obviously taken intoage over whatnot. So where is the best place,
first and foremost for independent artists to go in order
to receive all the correct information to get the full
process of the Grammys. So I'm assuming the website first
(16:12):
and foremost correct.
Speaker 3 (16:13):
Absolutely, it helps to I mean, even Grammy members are
sometimes confused.
Speaker 4 (16:24):
I do dozens.
Speaker 3 (16:25):
And dozens of other kind of calls where members are
confused and they need clarification. But there are a lot
of us that know the rules, and I think most
of us are very very transparent.
Speaker 4 (16:40):
About will helpful we can.
Speaker 3 (16:42):
But Yeah, always start with the website, and if you
can find a good resource.
Speaker 4 (16:47):
Do that as well.
Speaker 3 (16:48):
And let's assume you know Kitwaken, he tells you something. Yeah,
it's always wise to validate that, you know, trust it verified.
I'll be so hurrogan as to say that I feel
like I know much stuff.
Speaker 4 (17:00):
Really really well.
Speaker 3 (17:02):
You know, I'm a governor. I've been so active I work.
You know, I'm very like I said, I'm I'm proud
of the Academy and what they do, so I try
to take it very seriously about knowing what the rules
are and how we operate. Yeah.
Speaker 1 (17:17):
See, and that's why we had to come to you,
because if anybody were to know, I knew you were
like literally the first person in my mind just popped up.
I was like, Kit would know. So I'm so glad
you did this because we get these questions so so often,
so we appreciate that. And of course we have to
talk about your music because you have a new album out.
Speaker 4 (17:37):
Do.
Speaker 3 (17:38):
I'm really proud of it and it's called Seven Seasons.
And usually when we when we write a song as
artists or an album as an artist, it's usually based
on our own experiences and our personal creativity and base it.
We put that on our our search sleeve and hope
the world loves it and can identify with what we're
(18:01):
going through.
Speaker 4 (18:02):
But this is different.
Speaker 3 (18:03):
I flipped the script and said this is gonna be
about the listener. So what I did is I did
dozens and dozens of interviews and I hit them down
to forty one interviews of people who've been through tragedy.
So I interviewed people from nine to eleven, people from
OKC bombing, people from you know, who got an unexpected
divorce paper, who lost their son in a car wreck
(18:26):
due to drunk driving, lost their job unexpectedly. You know,
tragedy and tronta come in a number of ways. And
so I did all these interviews. I charted all the
key things that they said, and what we noticed is
every one of them brought up, you.
Speaker 4 (18:43):
Know, the day before nine to eleven, you know it.
You know, people are at the park, they're you know,
they were having a.
Speaker 3 (18:50):
Picnic with their family, and that was the day of innocence.
Speaker 4 (18:53):
You know. I talked to one gentleman.
Speaker 3 (18:55):
He was at an anniversary party with his wife and
friends and they're celebrating, you know, and then the next
day he gets divorce papers at his office.
Speaker 4 (19:06):
The tragedy they just believe, you.
Speaker 3 (19:10):
Know, did someone really get behind a wheel drunk and
kill my son in a car wreck?
Speaker 4 (19:20):
You know, people had to contemplate that.
Speaker 3 (19:22):
Then there's confusion, you know, we we we're all familiar
with the big things like nine to eleven, you know,
my conspiracy whatever. But then there's also you know, I'll
break it down to someone who's their their wife was
killing a car wreck head on? And okay, was it
a drunk driver? Did somebody did the dog really jump in.
Speaker 4 (19:44):
The lady's lap and cause her to swerve?
Speaker 3 (19:47):
Were they trying to avoid a homeless person? And then
there's the day of why, And we always, you know,
we were the most familiar is why do bad things
happen to good people? But it goes past that. I
always give the example of John Stewart was the first
(20:07):
television show to go on live after nine to eleven.
He was prepared to come out and give up a
you know, look, get back to a normal stand up
routine monologue. But all he could do is cheer up
and ask why why did you think flying two planes
into our iconic buildings was going to change something.
Speaker 4 (20:27):
Why would you?
Speaker 3 (20:29):
And he just kept asking why he couldn't stop, And
everybody I interviewed had why, and then they reflected.
Speaker 4 (20:37):
I talked to a lady.
Speaker 3 (20:39):
She was reflecting on all of it, and she got
to a point where.
Speaker 4 (20:44):
She was telling me in the interview she went to
the site.
Speaker 3 (20:48):
Where this particular tragedy happened and she sees her daughter.
Fireman has her daughter in his hands, and she starts
running towards him, and she tells us emotional story where
the closer she gets, the more lifeless she can see
the body, the closer she gets, the more disparaged she
can see in the fireman's eyes. And she knew ten
(21:10):
yards out that her daughter was dead. And so but
they always have this moment of hope. You know, people
who are.
Speaker 5 (21:20):
Who people are you know in new jobs, or people
who are are doing national speaking engagements about drunk driving,
or you know, we have a new tower, we have.
Speaker 3 (21:32):
Museums in honor of things. And so it's a long
answer to see what the album's about. But that's the
scope of it. And if someone's listening to the album,
my hope is it's all about them and what they're
reflecting on not oh you know, Kit adopted some kids
and he's writing an album about it, or lost the
(21:54):
love and they broke up. Now, this is all about
the listener, right.
Speaker 1 (22:00):
That's what I love. And this is actually I feel
like one of its kind because I don't I can't
recall an album that dives into this, you know what
I mean, And actually, you know, goes out of their
way to do interviews, you know what I mean. I
just I just haven't heard anything like this, and that's
why I think, I really and I hope people check
it out. And it is available everywhere now, right, so
(22:23):
I hope they did.
Speaker 4 (22:24):
Yes, I'm ashamed a little bit that I was.
Speaker 3 (22:28):
I've produced a lot of other artists from hip hop
to jazz, you know, Broadway whatever, and I've been so
busy helping people get their albums out time for Grammy
submission that I forgot to make sure some things were
taken care of to get my streaming and everything going.
So we're about two weeks late, but we'll do much
(22:50):
better promotion here over the next few weeks.
Speaker 1 (22:53):
Absolutely, I want that about you. If you always think
of others and you're helping others get their music out
and find their footing and you know, working on their
stuff before your own. And I think that's I think
that's what you know. So many love about you and
the legacy that you have, and I think that's wonderful
and I can't wait to share.
Speaker 4 (23:12):
You know.
Speaker 1 (23:12):
One seven Seasons is available like everywhere and people are
able to you know, get it. And I will be
sharing this, my friend, everywhere.
Speaker 3 (23:21):
Trust me, I need that point zero zero one four
cents uh for stream you know mine, And right now
I haven't whopping five thousand streams on this album and
I'm like, oh god, I gotta get My management is
not happy with me.
Speaker 1 (23:34):
Right now, so we gotta get it. Come on. That
is so funny listen streaming. I know all about that,
Oh my goodness. But yes, I also wanted to talk
about because I seen this. So the album features Star Parodi.
I hope I'm saying the name right, and the Royal
Philharmonic Orchestras tell us about that.
Speaker 4 (23:55):
Sure.
Speaker 3 (23:55):
So Star Paroti is probably one of the most famous
people you've never heard of. Uh.
Speaker 4 (24:01):
You know.
Speaker 3 (24:01):
When I was a little kid, there was a show
called Arstini of Haug.
Speaker 4 (24:04):
She was the bandleader.
Speaker 3 (24:06):
She was an. She was this beautiful woman that was
on every poster and every I mean, she was just
you know, star and that's where she developed her career,
working with everybody from Stevie Wonder to Jimmy Jammed, Whitney Houston,
and so you know, for her to work with me,
you know, I produced other people, but I ain't somebody
(24:26):
who produced me.
Speaker 4 (24:27):
And she's incredible.
Speaker 3 (24:29):
And as far as the Royal for Harmonic, I've just
found my comfort zone with the London Symphony and the
Royal for Harmonic and the Abbey Road studios.
Speaker 4 (24:39):
So that's where I do most of my personal projects.
Speaker 3 (24:41):
And having that quality of just that room, that live room,
and caliber of those engineers and then you know the
caliber of that orchestra, it's amazing. And that doesn't mean
there's not incredible studios right here the United States. It
just means that that's you know, in fact, I record
(25:04):
everywhere in LA and oh yeah, but yeah, that's that's
just kind of my that's my comfort zone and I
I know that I'm going to get quality when I
do that.
Speaker 1 (25:16):
That's amazing. Wow, five star, five stars team, I'm telling you,
And that's just incredible, you know, having you know, the
opportunity to work with so many incredible talents, and I
mean that just must be so thrilling for you. And
also getting the chance to meet so many people. I
seen you posted right after the unfortunate passing of Malcolm
(25:37):
Jamul Warner something that was so touching because he actually
was there to hand you your first Grammy, right, and
you put something so touching on Facebook, and it just
shows that you could meet so many incredible people throughout
your journey. It's not always just about music. You can
meet so many incredible friends down the line, collaborator, and
(26:01):
I think that's what people love so so much about
this industry as well.
Speaker 3 (26:04):
You know, absolutely when people go to the j m
as they meet new people, right and my.
Speaker 4 (26:11):
Friends, they're exchanging Instagrams and phone numbers and then all of.
Speaker 3 (26:15):
A sudden they're they're hanging out together on vacations or
and I tell new members of the academy, look, being
going for a Grammy.
Speaker 4 (26:27):
Is awful, but the real value is going to be.
Speaker 3 (26:30):
All the relationships and networking and and you know, uh,
and you're gonna get some incredible experiences. I never dreamt
that I would get to work with Sting or Josh
Grogan or anything. I never dreamt that my heart was
going to be broken over someone like Malcolm h and you.
And I have to say I tell people this all
(26:52):
the time when when you start going to like the JMAS,
and I always tell people, just d m as are them,
you know, can of that preemptive strike to winning Grammys.
It gives you the confidence to go, Wow, I want
a JMA. Can you believe this? Well, maybe maybe I
(27:14):
should submit.
Speaker 4 (27:14):
For a Grammy.
Speaker 3 (27:16):
And it sets a tone for your reputation as an
award winner with the JMA. The JMAS carry a lot
of count opposed to you know, I'm sorry, but there's
a lot of other awards that I just don't have
the trity. So the JMA feel like it wonders for
(27:39):
me to give me street cred if you will, so
that when people are considering you for for a Grammy, wait, Okay,
this person's this person's wants some legit stuff. And I
think people need to I know people appreciate their JMA,
but I think that they need to do.
Speaker 4 (27:57):
A reflection of just how important.
Speaker 3 (28:01):
Getting a JMA is for so many other intangibles. So, yeah,
there's so much you're gonna get out of.
Speaker 4 (28:11):
All of our things in the music industry.
Speaker 1 (28:13):
Absolutely. I always find everything is a learning experience, you know,
when you when you know, go through the process, you
know of of submitting your work, like for instance, at
the Jmas, you're learning to submit yourself to you know
what I mean. So it's kind of a it's kind
of we always think of it as like kind of
a stepping stone. We want to kind of help you
on your way, you know type situation. So we're we
(28:35):
appreciate you seeing that in us definitely. But yeah, I
just think I just think it's wonderful that independent artists
after they leave our show have the confidence to be
able to move forward, you know what I mean, And
that's what we that's what we want to do. And
also the networking, you know what I mean, is always
(28:56):
what gets me. But thank you. I appreciate that, and
I want everyone to be able to make sure to
go to get your latest works and check out all
the music that you have. All of your music is
available on all of the social streaming platforms that there
are out today. But you've got a chance to work
with so many incredible albums as well. So let's talk
(29:19):
about that, because I know, Aaron, tell us about that project.
I mean, you got to work work with so many
Kristin Chenna with Come on now, I mean, tell.
Speaker 4 (29:28):
Us about that Christmas everyone take wonder. You know, I
was blessed. I had. I had been blessed when that.
Speaker 3 (29:38):
It's unfortunate that it takes sometimes a JMA or a
Grammy some street cred to work on bigger projects, but
you know, hey, that's live. And I had started producing
other artists and other genres besides the orchestral or besides rock,
and like.
Speaker 4 (29:56):
I said, I do everything from hip hop or whatever,
and so so one and Aaron was this he still is.
Speaker 3 (30:04):
Uh.
Speaker 4 (30:05):
He was this great actor.
Speaker 3 (30:09):
You know, he'd been the Broadway and watched uh you
know Le Massarel or Fendom of the Opera. You knew
who he was, and he's one of those guys on
television and movies you've seen.
Speaker 4 (30:21):
You don't know his name, and life was really taking
off for him. He did a brilliant.
Speaker 3 (30:28):
Play for Steing, Yeah, the Last Ship, and one day
it comes to a halt. He has als and we
know that that's we know, the ultimate demise. And so
someone said, hey, let's do an album for him, and
Thing was the first one to step on board. And
someone said, well, who are we going to get to
(30:48):
produce this? And I have no idea what people were
drinking that day, but they said we should call.
Speaker 4 (30:55):
And uh, I got the gig.
Speaker 3 (30:57):
And you know, it was in a amazing experience because
I got to work with so many you know, I
didn't have to work with someone on their tuning or phrasing.
Speaker 4 (31:05):
I just got to work on I mean, when Lauren already.
Speaker 3 (31:08):
Comes in and sings it, You're like, my gosh, this
is the lady from you know, the Greatest Showman. We're
not We're not worried about tuning or phrasing. We're we're thinking, oh,
let's change a.
Speaker 4 (31:19):
Word here, and let's try this.
Speaker 3 (31:21):
And you get to be creative and you get to
appreciate people's talent. Uh. You learn about who may not
be way up there on the talent level, but that's okay,
that's our job as a producer. We're supposed to make
them sound great. And then all the with all the people,
I just learned so much about so many different people.
Speaker 4 (31:41):
I learned, Oh my gosh. I never dreamed that I would
have to deal with so many attorneys and reps and contracts.
Speaker 3 (31:47):
I think the biggest thing was we we did this
thing where we brought in all these Broadway stars to
saying almost so we are the world.
Speaker 4 (31:56):
Type of vibe.
Speaker 3 (31:57):
Mm hmm.
Speaker 4 (31:58):
It was.
Speaker 3 (31:59):
I walked in thinking, yeah, we're gonna go to be
here at the studio and holy holy crap.
Speaker 4 (32:07):
Every media you could.
Speaker 3 (32:08):
Imagine, from entertainment Tonight to people to you know, Good
Morning America, they're all there. And they pulled me in
for this interview and they're like, so, what's it like
to produce Broadway History? And that's when it hit me,
I better, I better bring my a game. So I
think that question alone.
Speaker 4 (32:28):
It was the best thing you could ever happened to me.
Speaker 3 (32:30):
Not that I wasn't taking the project seriously before that,
but I knew to sharpen my skills even more and.
Speaker 4 (32:37):
Less that question.
Speaker 3 (32:39):
So amazing experience has led to some other phenomenal projects
that I never dreamt I would get.
Speaker 4 (32:45):
So we'll keep our fingers crossed. At that momentum stace.
Speaker 1 (32:50):
Let's do it. Absolutely I could see it, and I'm
just so excited to see what is next on the
horizon for you. Everyone please make sure you stay tuned
to of course you're on Facebook, book and everything, so
please make sure you stay tuned to his Facebook page,
and also you give out your website as well.
Speaker 4 (33:06):
Correct.
Speaker 3 (33:06):
It's just pretty darn and simple, you know, dot com and.
Speaker 4 (33:13):
Uh, you know, websites are still have a ton of value.
Speaker 3 (33:17):
But I'm going to read I don't get to work
with Josh Trobin or Neil Patrick Carricter, whoever that might be,
had I not won that first jama And I don't
know how to get people to understand it doesn't take
awards to to.
Speaker 4 (33:37):
Garner whether you're successful or not.
Speaker 3 (33:38):
But I can just you my appreciation for what you
guys do and how impacted my my career.
Speaker 4 (33:47):
It just cannot go understated.
Speaker 1 (33:50):
Thank you. That means, that means a lot to us.
And that's why we want to do this, is we
just want to constantly help artists out there. And that's
exactly what you do too. I mean, you are an
incredible mentor to so many out there, and you know
the I mean, just just today just prove that I
had a question for you. I wanted you to come
on and explain you know, some things and needing an
explice about it. You're like, you know, listen to it,
(34:11):
you know, so you're always willing to help out. And
I just want to thank you so much for your time,
and we're just so excited to see what is next
for pit Wakely.
Speaker 3 (34:20):
We're Excitedly would like Brett, I appreciate.
Speaker 1 (34:25):
It well of course, my pleasure, and please send your
beautiful family for us, and we'll see you again soon.
Speaker 4 (34:31):
Okay, well here I'm looking forward to it.
Speaker 1 (34:34):
Sounds great, see you then.
Speaker 4 (34:37):
Bye.
Speaker 1 (34:39):
We want to thank our guest Kit Wakely for helping
us clarify these important topics and for sharing all the
information on his current work with us as well. And
at the Judge Musicals, we believe in transparency, art is
safety and celebrating excellence at every level, and today's conversation
reinforces that mission. So I hope you all enjoyed it.
Thank you all for tuning in.
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