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Press Release: lottie - Nervous

3/30/2021

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Emerging British singer, songwriter and producer lottie has recently released her latest single Nervous, an upbeat and catchy follow-up to her debut single Chloe. Signed to Flipside Productions, lottie’s lyrics are personal and related to her experiences as an LGBT artist, her smooth and feminine vocals are seamlessly combined with the producing expertise of renowned Iranian producer Hangi Tavakoli. 

lottie has written melodies and lyrics for as long as she can remember, but recently realized her potential in the last year and focused on building her career in music. She is a proud member of the LGBTQ+ community and all of her songs are voiced from a lesbian perspective. "When I came out, I was desperately searching for music that I could relate to - it’s my goal to make music that normalizes women singing about women." Said lottie. She continued "Combining my love of music with my pride for my identity has been an amazing experience and I can’t wait to make more!"
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Nervous focuses on themes of love and lust, exploring the late night interaction of two people as they meet for the first time. The song emits a nighttime feel, mysterious and elusive, drawing on the complicated emotions of love at first sight. 

lottie, together with Hangi Tavakoli, is currently working on her debut album which will be released later this year.
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COMMERCIAL VS. CREATIVE MUSIC

3/30/2021

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​One of the big questions I get over and over is whether writing commercial music requires you to sell your soul, abandon creativity, and forsake all that is good in this world. The answer is an emphatic “NO.” Basically this discussion of “art for art, or art for public” had always been going on and I never been solved, but here is my opinion about it. Any time this debate arises, there are those that say “Well, Jackson Browne did it his own way. He was poetic and commercial” or “Bob Dylan didn’t sell out; he wrote whatever he wanted”. It’s curious to me that every example that is ever thrown out to “prove” that you shouldn’t try to be commercial is a person that was commercially successful. No one ever says “I want to be like my neighbor Bob Smith. He writes crazy stuff that no one understands and plays it alone in his garage.” 
The people from the past that we try to model our work after were almost without exception successful commercial writers. They wrote what worked in their time. Those that are successful today are doing the same. 
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ARE YOU KEEPING YOURSELF FROM GETTING THAT FIRST SONG RECORDED?

3/23/2021

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I’ve been reading a book called “Big Magic” by Elizabeth Gilbert, the author of “Eat, Pray, Love”. In the first few pages of the book, Ms. Gilbert writes, “If you argue for your limitations, you get to keep them.” That hit me squarely between the eyes. I can’t count the number of times in the past that I have done exactly that. “I can’t play basketball”. “I’m no good at art.” “My songs aren’t good enough to play for anyone.” By defending my weaknesses, I strengthened them. I made them true. I can’t play basketball if I won’t play basketball. I won’t get a song cut if I don’t ever play them for anyone. The list goes on and on.

Turns out, I’m ok at basketball and it’s fun to play, I am decent at painting abstracts, and my songs are good enough to play for people. Who knew? The only thing that changed for me was getting rid of the debilitating fear that had held me hostage for years. I was afraid to do much of anything unless I was guaranteed success. I was a perfectionist and a coward. 

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I don’t know which one or maybe both. When I finally decided that the pain I was feeling from not doing things was greater than the pain of trying and failing, I was set free. Not instantly. Not magically. Day by day. Courageous choice by courageous choice – I changed me.

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HOW DO I WRITE COMMERCIAL MUSIC WITHOUT SELLING MY SOUL?

3/16/2021

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Often songwriters ask, “How do I write commercial music?” They are writers who would like to have commercial success and hear one of their songs on the radio or an album. But they want to know how to accomplish this and still be true to themselves. They don’t want to sell-out. The definition of commercial music generally means the music that is heard by millions and/or purchased by millions. That number could be hundreds, depending on your level of commercial success.  Over my years as a professional songwriter, I’ve lived a rollercoaster ride of commercial success, some years with three songs playing on the radio at once, and some years with no songs playing. In the commercial music, I can say the only person who was pretty stable in his position was Max Martin. He was on the top for almost all of his professional career until he stepped down a little bit and in one interview, he said that’s because of his personal reasons. Else than him everybody have to work hard to get to commercial level and work even harder to maintain it.
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OTHER PEOPLE’S OPINIONS – ARE THEY GOOD OR BAD FOR YOUR SONGWRITING?

3/9/2021

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I wrote with a writer who is actively looking for a publishing deal. He is a super talented young writer and while we were in the co-write, he was constantly expressing his frustration over how two publishers suggested changes on a song he wrote, and both gave exact opposite opinions on what his song needed. One said his chorus melody didn’t go anywhere and needed work. The next publisher, he played his song and loved the music and melody but thought his title was not strong enough. When I asked the young writer that what he thinks about his song and I wanted to know his personal opinion, “I like the song the way it is” he said to me in total frustration.
Since I mostly co-write songs, I’m a little more used to navigating the opinion waters. So, I offered my him my take on it. If my co-writers, publishers, a producer, or label person are all giving me feedback that my song is lacking somewhere then I’ve probably missed the mark on my song, and they are trying to come up with a reason. 

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ADD NEW SKILLS TO YOUR SONGWRITER’S TOOLBOX LIKE A PROFESSIONAL WRITER

3/2/2021

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Songwriters, like any craftsmen, rely on skill. But skill is often limited by the quality of tools in our toolbox. Here are 4 steps to get you on the path to constantly adding new tools to your toolbox.
 
Practice Active Listening. When we’re listening to music, it’s important to go beyond the “I like this” or “I hate that” Passive Listening. The next time you hear a song that catches your interest, ask yourself more specific questions like: Do I like this unique phrasing the singer is using? What rhyme scheme is being used? Does it work? Do I like this song because of the production, or is it a great song? Passive Listening promotes opinions rather than knowledge. Active Listening gets you inspired and develops your skills! This same method works for producers too. When listening to a song (especially electronic music) it would be good to think about what kind of synthesizer set up created this sound or what happened in the mixing that this song is so clear or even mistakes had been done that this song sounds like this!

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