My first foray into the world of music and technology was watching Play School (the music) on television (the technology).
I can still rote sing all the words to Bend and Stretch.
Except perhaps the magic mirror, who knew that would form the platform for untapped worklife potential?
Around the same time in my youth, I was also introduced to Glenn Campbell, Johhny Cash and others of the same genre via a reel to reel tape recorder.
My father loaded the deck, pushed play and turned the volume to max. It was his way of getting us out of bed on a weekend. If we got up, he’d turn it down.
Now of course I can rote sing all the words to Rhinestone Cowboy and Ring of Fire.
My interest in vinyl, singles and the very cutting-edge record player was a Waterloo moment, coinciding with all things ABBA.
My girlfriend and I would return from a netball game every Saturday and lower the needle to play the Swedish supergroup for hours underneath the house. My father (he keeps popping up like a pesty roadie) had painted the words Pop Shop on the inside of the garage door and he would lock us in to sing as loudly and off key as we liked. We both had blonde hair and thought we were Agnetha, so our dance moves weren’t super complementary like hers were to Frida’s, but they obviously imprinted muscle memories as I was able to rote dance them for my holograph (even more technology) debut at the Abba museum in Stockholm.
To this day my superior musical knowledge and understanding of the significant social subplots underpinning the Grease soundtrack can be traced to my highly skilled application of cassette recorder technology.
With quick fingers, excellent hand-eye coordination and the innate mastering of complicated sequences – stop, rewind, pause, play, repeat – I was able to write down and learn every lyric.
This skill must have been applied to every song I find myself mysteriously, like a sixth sense, singing by heart.
Walkmans, iPods, iTunes, downloading and streaming; of course, it goes without saying I have had my finger on the button for every new technology that has come, gone and evolved. My children may argue that it was their fingers on the keyboards and gadgets doing the techy bits but they can’t deny the influence I have had on their musical tastes which encompass everything from Ronan Keating, Shania Twain, the Young Divas and Elton.
This lifetime of combining musical and technological know-how has led me to my latest (release) position and will form the backbone of my untapped expertise helping to inform the world about Nightlife Music.
For those who don’t know (yet) Nightlife is a music technology company and one of the largest employers in the Australian music industry (increased recently by one).
It has developed the technology over decades to become the premier music subscription service for business providing licenced music to every industry sector imaginable, from hotels to gyms to casinos to cruise ships to sporting events and festivals.
The music is the sexy part with millions of tracks and video clips and super visuals, which are handpicked and curated by in-house maestros, matched to the individual businesses.
So, while my role is communications, it’s clear based on the life experience I have outlined above, it won’t be long before I again have to bend and stretch to mirror both the music department and the technical division to tap my latent music-tech talents.