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| South Normal Meets The 3-Headed Evil Genius |
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 It doesn’t happen often, but every once in a while I manage to escape my working-class container and venture out among people who are doing something productive with their lives. In this case, I went to Frog Island Park (where there are no frogs and there is no island) to witness South Normal draft Suzie Ferro to lip-sync for a three-headed Evil Genius who's been hired to sell new & used cars to the young and hip in Colorado. Huh? Click “read more” below for an exhaustive account with lots of pics. - Mitch
Frog Island Park 5.26.06:
It’s a balmy spring evening at Frog Island Park near Ypsilanti’s historic Depot Town. Despite what you might expect, there’s no island in sight and any of the legendary, fur-covered, flying “smeet” frogs that might be lurking among the moss-covered rocks have yet to make their presence known. But the week’s rains have finally subsided leaving a dense blanket of humidity in their wake and allowing tonight’s big plans to commence after yesterday’s cancellation.
Frog Island Park consists of a large sunken field surrounded by trees and grass-covered banks. According to a local resident, it acts as an emergency flood basin for the nearby Huron River, but it’s mostly used for soccer games, community events and Ypsilanti’s annual Jazz Festival. Tonight it will be ground-zero for a unique performance featuring South Normal, a popular indie-rock band from Chelsea, MI.
A break in an overgrown tree line reveals the park’s street-level entrance. A handwritten sign is taped to a stair railing and simply reads, “South Normal Extras”. Twenty feet below, down a wide flight of iron-framed steps, people fill out release forms at a sign-in table and receive neon yellow glo-sticks and t-shirts bearing the slogan “Burtapalooza”; props intended for tonight’s main event. Lyric sheets are also provided so participants can sing along on demand.
The park is encircled by a paved walking path that connects to nearby Riverside Park. Pedestrians wander in and out, some jogging, some walking dogs, some simply enjoying the evening air on a warm holiday weekend. A dozen or so people sit midfield on a pair of weathered wooden bleachers watching the events unfold. If they’re expecting a concert, they might be a bit disappointed.
The object of their curiosity is a festival-sized stage that’s been erected on the south side of the park. It’s crowded with speakers, amps, monitors, drums as well as the band who are mulling about on stage awaiting direction. Rows of multicolored par lights hang on trusses over their heads and two fifteen-foot scaffolds sit thirty yards to the north, each supporting a crew member and a large spotlight.
Next to the stage, a camera crane on a dolly track is being tested by the production crew. It swoops over the band; up and down, in and out, left and right, like the neck of a black mechanical giraffe searching for some eye candy.
To the east, three production vans and three white tents shelter the crew, their gear and heaps of electronic gadgetry. A tangle of cables spill out of one tent and snake toward the stage.
Judging from the set-up, it’s understandable why passers by might think they were going to be treated to an evening concert in the park. And they’ll get one too, as long as they don’t mind hearing the same song over and over and over again.
What kind of evil !@#$% would plan such a thing?
Evil Genius
Evil Genius insists on its web site (www.thisisevilgenius.com) that it’s not an “advertising agency”. The St. Claire Shores-based company who organized this grand facade thinks the term too restrictive, too inside-the-box to accurately describe what they do for their clients.
According to their “vision” statement, what they really do is ‘scheme and plot to find better, more innovative and effective ways of infiltrating popular culture...or even a niche group’.
For those who pride themselves on holding the intrusiveness of consumer culture at bay, that “vision” is the epitome of corporate evil. But for an advertiser who want to rise above the din of white noise in a media-saturated world, and reach potential customers - say indie fans between the ages of 16 and 35 who might purchase a new or “pre-owned” vehicle in the state of Colorado during July or August- it’s pure genius.
More specifically, it’s an Evil Genius with three heads - namely founding partners Matt O'Mara, Doug VanAndel and Gary Topolewski who, prior to becoming an Evil Genius, brought the term “Hockeytown” to Detroit and brought Zeppelin’s “Rock & Roll” to Cadillac. These are tried and true veterans of advertising evil, a cunning cabal of viral marketers who, together with MBC Productions (think of them as the Evil Genius’ hired henchmen), have descended on Frog Island Park to practice their dark magic.
Tonight their goal is to create a authentic representation of an outdoor indie music festival for a series of thirty to sixty second spots that will hook potential television viewers and radio listeners with the phrase “It’s Burt”. That’s for the Burt Automotive Network, a group of nine Colorado-based dealerships that sell GM, Ford, Toyota, Subaru, Mazda and Honda products, as well as financing, insurance, service, parts and a multitude of other automotive goods and services your average Coloradan indie music fan might need in order to get to that next gig. And judging from the scope of the production, Burt has what every Evil Genius needs to execute a nefarious plan - a hefty bankroll.
After all, “Burtapalooza”, as the promotion’s been dubbed, isn’t an old-school video shoot at Joe-Bob’s Used Car Lot - this is a big-time creative campaign for a big-time company. According to HispanicBusiness.com, Burt Automotive Network posted 1.48 Billion (with a “B”) in revenue for 2002 and is one of, if not the, largest hispanic-owned businesses in the United States.
But that was 2002 and this is 2006. As anyone who lives in Michigan can tell you, the car business ain’t what it used to be (at least not the domestic car business), so cultivating a loyal customer base among the young and hip will be key to future sales. Unfortunately, you can’t always reach that audience with traditional advertising. You need to grab them on tv, on the radio, on the web and in the real world.
That’s why Evil Genius is negotiating a series of possible appearances by South Normal in Colorado this summer, a real “Burtapalooza” to go with the television and radio commercials, further blurring the line between reality and advertising for a demographic who may be growing cynical of both. Authenticity will be key to infiltration.
South Normal +1
Nathan Mackinder is nearly unrecognizable from the promo shot on the South Normal website. His clean-shaven, fully-exposed dome has sprouted a crop of thick dark hair and is covered by a black military patrol cap, making him look much younger. He paces the stage with his guitar until a drum track bursts from the PA. That’s his cue to approach the mic and begin moving his lips along with the familiar voice coming out of the speakers.
His brother Jeremy Mackinder rises from his comfortable spot on the edge of Ken Blaznek’s drum riser and begins picking his bass. He’s growing his hair out too, but the result is more Danny Bonaducci meets Ben Wallace, save for the regulation sideburns befitting a member of Whitey Morgan and the Waycross Georgia Farmboys - his other gig.
Guitarist Jason Schaller is standing stage left, sporting a knit skull-cap and a soul-patch ala The Edge while strumming a white Les Paul with gold hardware. His counterpart, guitarist Ben Vermaylen, is strumming a gold Les Paul with white trim stage right, his face obscured by long bangs as he stares at a point somewhere beyond and below him.
Suzie Ferro is shaking a tambourine and “singing” back-up. It’s a welcome demotion from her usual duties as front-woman for Radiocraft, another popular local indie band. Since her distinctive, raspy voice graces the recording that will be used as tonight’s soundtrack, it’s only right she lip-sync for the show. Besides, her presence tempers the abundance of testosterone on stage and will no doubt help win the attention of male Coloradans. But the thick, dark curls she so carefully primped back stage before the shoot are collapsing under the weight of the oppressive humidity and the heat of the parabolic lights. After five or six takes, the cool fantasy of television surrenders to the sweaty reality of rock & roll. Perfect. Authenticity will be key to infiltration.
The Song:
“It’s Burt” is blaring from the P.A. for the nth time. The single (i.e. song+jingle) was crafted by singer/songwriter Nathan Mackinder and his partner Andy Sacks at the behest of Executive Producer Rob Demilner in the weeks prior to the shoot. Originally, Demilner hired South Normal only as the “talent”, a ‘nationally known music house’ was supposed to write the music. But when Demilner, Evil Genius & the board at Burt Automotive Network heard Mackinder & Sacks’ version, South Normal got the gig.
“When (Nathan) presented the demo it blew everybody away, “ wrote Demilner in an e-mail related to this story. “Musically it was catchy and memorable and the performance had subtleties of pain and angst. It was authentic. He totally got the idea.”
Not surprising. The song is typical of South Normal’s music: infectious MOR rock with a broad appeal - perfect for advertising. Best of all for diehard South Normal fans who like to keep their music and their commercials in separate worlds, they won’t be bastardizing any past favorites to sell cars; “It’s Burt” was created for the commercial.
Gregg Leonard engineered the track at Big Sky Studios in Ann Arbor where he co-produced South Normal’s latest release, “No More Songs About Girls”. His work with the band has already led to licensing deals with two major motion pictures (“Feed”; Becker Entertainment. and “Dimples”; Lions Gate Films) with a deal for a third already in the works. Over the past year, licensing and publishing have become a viable source of revenue for the band.
“We aren't quitting our jobs yet,” said Nathan Mackinder in an e-mail related to this story. “But publishing will be paying out over the next few years. We’re constantly soliciting more and getting more inquiries. The more we get, the more credible we become, and the more we can charge.”
In recent years, advertising agencies, television and film companies have increasingly used independently produced music for their projects, likely because it can be acquired for a fraction of the cost demanded by major-label acts and with less hassle. It’s a win-win proposition: producers get high-quality original music at a decent price and independent artists get much needed exposure and/or income from their music.
Several Michigan bands (Liz Larin, Jocaine, Cobalt Party Revolution, The Bomb Pops among others) have taken advantage of the trend, licensing existing material or creating original music for commercials, movies or television shows such as Dawson’s Creek, a television drama that has created a new revenue stream for itself by selling CD’s of the independent music they use. No longer do world-class indie bands have to rely on meager record sales (due in no small part to a dearth of regular rotation on major-market radio stations - but that’s another story) and small gigs as their only source of revenue.
Business vs. Pleasure
So diversifying your revenue streams is great for the portfolio, but has all the contractual legalese of the modern music business sucked the romance out of being in rock band? What happened to writing and performing great music, getting discovered by a good label’s A&R director, touring, selling a million records and waiting for the royalty checks to come pouring in while you trash hotel rooms?
“Its a very different business than the one I dreamed of as a kid...” wrote Mackinder. “The days of signing bands because of their "talent" are over, but I’m starting to understand it more and more.”
What labels are looking for nowadays, he explains, are "assets", such as publishing deals that pay royalties. The more a band earns, the less risk there is promoting them.
“If an investor, such as a label, sees your group with royalties paying over a period of time, their risk is much lower and recoupment is a bit more definite,” Mackinder added. “It’s a business and how a band earns is most important.”
With an overabundance of musical talent out there, any indie band serious about competing for the brass ring will have to increase their attractiveness to investors. Mackinder recommends local bands learn everything they can about the business themselves. The more they do on their own, the more money they can make. As evidence, Mackinder is not only one-sixth of the hired talent for tonight’s shoot, but he’s also the co-writer, co-producer, arranger and copyright holder of the music being used. As music producer, he hired his own band, South Normal, to record tonight’s theme song.
Nathan’s brother Jeremy is a bit more philosophical about the whole arrangement. At a pause between takes he quips, “It was just nice to leave the studio and get a paycheck for once, ya know what I mean?”
The Crowd:
Many of tonight's extras showed up via “evite”, an electronic invitation connected to the MySpace.com social networking phenomena. “Friends” in the South Normal network (916 at last count) were able to r.s.v.p online, eliminating the need to search for extras among the general public who might want to be paid for an evenings worth of feigned enthusiasm. MySpace gives the band instant access to authentic South Normal fans who are more than happy to cheer on the band they love - and they won't have to fake it. Authenticity will be key to infiltration.
About four dozen people are standing in front of the stage, enough to create a respectable “front-row” of genuinely enthusiastic festival fans, including two bona fide freaks who are more than ready to cause some rock & roll ruckus. Grant Bollinger, a close friend of the band, has drawn “I (heart) Burt” (see photo) in magic marker across his bare chest and stomach -at no one’s request. Eric Kluiber, former metal hellion of Inner Recipe and current lead guitarist for Overloaded, jumps up on stage during the shoot to dive headfirst into the crowd. Director Ron Castorri seems genuinely surprised and delighted by the spontaneity.
“Somebody get that guy a shot of Jack!” Castorri yells between takes.
Not to be outdone, Bollinger follows with his own stage dive shortly thereafter and repeats the stunt several times for the camera . You couldn’t write a better script for an indie music festival. Where else could you find convincing actors who would be willing to stage-dive for the price of a t-shirt and the chance to be on television? Authenticity will be key to infiltration.
A motley-looking crew member who looks like a veteran roadie holds a clapboard for the camera before each take. Another crew member is standing just outside the crowd, poised to launch beach balls into the air when the tape starts rolling. A cameraman with a hand-held and a still photographer swarm the periphery of the stage, capturing choice moments in the action.
About midway through the shoot, the camera crane & dolly tracks are moved to the back of the crowd to get an entirely different series of shots. It takes a half-dozen crew members doubling as grips to push it onto the relocated tracks. There’s lot of waiting around between takes, but Castorri uses the opportunity to re-energize and re-focus the crowd.
“That’s really, really great everybody. But it’s Burt with a “T”, okay? Bur-Ta. Now let’s try it again.” Moments later, “We need more arms in the air. Lots of cheering and arm-waving okay? Okay, here we go. Lots of arms.” He dashes off-stage and the entire process begins again.
There are dozens of takes; some with music, some without, some just the duration of the chorus, some the entire length of the song, some of individual band-members and some just of the crowd, some with smoke and some without. When you're spending this kind of money, you make sure you cover every possible angle.
By the end of four hours, a few of the extras are becoming irritable and fatigued. They look like they’re ready to ditch and get on with their Friday nights. The Dirty Americans are playing just down the street and a number of extras are talking about catching the show. By 11:30 pm, Evil Genius, MBC Productions and South Normal have soaked up all the energy and enthusiasm that was available to them.
Burtapalooza is a wrap.
Opportunity Seized
Director of Sales, Angelo Chavez, takes the stage to thank everybody for coming on behalf of Burt Automotive Network. There’s a hearty round of traditional, end-of-production applause and the extras start trailing off, some disappearing down the walking path toward town and some climbing the stairs that will take them out of Frog Island Park and into the night.
By all accounts, Burtapalooza is a huge success. The producer’s happy, the client’s happy, the band is happy - even the Evil Genius is happy. With any luck or justice, the campaign will leads to more opportunities for talented local bands to earn money from their music. Nathan Mackinder is optimistic.
“Things look good as to being able to do more of these projects and start spreading them out to other acts and give clients a diversity to choose from, rather than computer generated sound beds made by some rich engineer in the suburbs. People want real music and so do today's advertisers.”
Authenticity will be key to infiltration.
- Mitch Phillips
Send comments to:Editor@Michiganbands.com
See A Picture of the Burtapalooza Big Whigs and Evil Geniuses
Visit SouthNormal.com
Visit RadiocraftMusic.com
Learn about Frog Island Parks Legendary "Smeet Frogs"
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