Women-Powered Music Panel Offers Solid Advice in Gracious Spirit of Sharing

California’s Laemmle Monica Theatre in Santa Monica hosted the Fifth Annual Artemis Women in Action Film Festival the weekend of April 26–28. The event honored writers, producers, directors, music composers, arrangers and stuntwomen—whose careers have brought them to recognition long deserved. Festival attendees found inspiration from group and individual mentoring, which flowed from panel discussions after various film premieres.

Paul Feig presents The Artemis Women in Action Film Festival was cofounded five years ago by Melanie Wise and Zac Baldwin and is supported by Board of Directors members Sheena Metal and Heidi Mastrogiovanni, financial advisor Malissa Wise, Marketing/PR director Eric Vollweiler, and Iranian correspondent, Maryann Haddadi.

On Saturday afternoon, award-winning journalist Sheryl Aronson led an accomplished group on the Women-Powered Music Panel, sponsored by Bella Composers, featuring three multifaceted speakers who shared passions for music, each having chosen three distinct paths towards achieving their goals. [Photo (R): L to R: Kaylene Peoples, Sheryl Aronson, Kiki Ebsen, and Starr Parodi.]

The panel included Kaylene Peoples, Founder of Bella Composers and CEO of KL Publishing; Kiki Ebsen, Composer, Recording/Touring Artist, Actor, Writer,and Producer; and, Starr Parodi, Composer, Recording Artist and President of the Alliance for Women Film Composers. The group was moderated by Aronson, who covers music, entertainment and theatre for national audiences in her Agenda Magazine online blog “Arting Around,” and is a feature writer for their print edition.

What was the audience’s common denominator? All came brimming with talent and hope, but no defined understanding of how to reach their next level. When Kaylene Peoples inaugurated the “women-powered music” panel, she chose wise, experienced professionals to inspire the audience. Peoples, Ebsen, Parodi, and Aronson possess an abundance of talent and the willingness to share advice and encouragement.

Sheryl introduced each panelist and asked them to describe their path to their first career success. Delightful stories were shared, with honesty and humor, immediately putting the audience at ease. Each panelist shared how, while searching for their first open door, the resounding thud of silence confronted them once, twice, or more, so they had to keep going, determining not to quit until they’d achieved their first breaks.

Modest, beautiful, and just a tad shy, Starr Parodi lights up when she speaks of the opportunities she’s found on her musical path. An award-winning composer and recording artist, you might have first seen her in the house band on TV’s “The Arsenio Hall Show.” Given millions of people watched that show, they saw Starr nightly—that’s a great place to start!

Ultimately, Parodi became highly respected for her motion picture and television scores. In 2017, Parodi was invited by the New York Times to conduct “To All the Little Girls,” a work she produced at Lincoln Center, another example of her inspiration to future achievers with dreams. Forbes magazine noted Starr had “reinvented the modern action movie trailer” with her production and arrangement of the “James Bond” movie theme. Starr spoke of the importance of having an agent representing your work, depending on your specialty, and how each artist should evaluate and monitor their own progress rather than turn your career future completely over to someone else.

Kiki Ebsen recognized early in life that she and music would be together forever. As early as high school, Ebsen wrote her own music and played with an established band, then started two of her own bands. Kiki found national acclaim early, winning a national collegiate competition. She and her band made it into final rounds on “Star Search” before elimination. Ebsen didn’t quit after the first loss; she began a solo career and eventually recorded and released her first CD.

A few years later Ebsen was performing internationally on stage (or behind the curtain for the band Chicago) as a sideman on keyboards and vocals for Grammy-winning and platinum-selling artists including Al Jarreau, Tracy Chapman, Boz Scaggs, Michael McDonald, and Namie Amuro. Her talents resonated with audiences she found early in her travels.

While touring, Ebsen used breaks to write her own songs and perform them in small venues wherever she was, feeding her own soul as an artist while helping major stars shine. Some of her early compositions were autobiographical; others were fueled by her imagination. Panel members agreed that, at first, you might have to keep the “day job,” but you can always pursue your passions during your free time.

Kiki noted how “important it is to have your own unique voice, to follow your heart, and to not take ‘no’ for an answer.” Writing what you know assures your songs are authentic, which may mean tackling some uncomfortable subjects in exercising and exorcising your feelings. Ebsen says, “There’s a lot of pain in this world, but the arts can lift us up and bring us out, and get us to where we want our lives to be.” Seven solo CDs later, Kiki is excited about her next CD of original songs, saying “It’s hard to decide which ones to record now, and which to save for another time.”

Kaylene Peoples is, first at heart, a musician. With each story she told, you could feel her warrior spirit gently confined inside a dignified beauty as she explained how “no” was a word that was not going to sit well with her, much less any suggestion that a path involving the “me, too” world was going to fly. Rather than sitting bitter on the sidelines waiting for the business to change to adapt to her, Kaylene found a path around the norm.

Creating many of her own opportunities as musician and writer, Peoples built on her early music experiences and persevered, and almost like magic, doors kept opening. Ultimately, she became an accomplished musician, songwriter, arranger, composer, and publisher. And she’s not finished. Peoples never forgot the feelings of doubt and the need for affirmation that she had early on her journey. She could only look to herself then, and progressed forward, one step at a time. Heads nodded in the audience affirming that the road was long and hard but worth it.

As the audience posed questions about how you get your music heard and your story told, Kaylene encouraged attendees to "stay the course and not give up." Importantly, she patiently guided one talented audience member who almost missed Peoples’ message while listening to her own internal fears of rejection.

Everyone in the audience benefited from the panel’s answers; no one was left behind. Sometimes it’s a kind word, a solid idea, or literally it’s a woman of strength and courage reaching an outstretched hand to another like-minded soul with affirmation, “You can do this; you’re almost there” to drive home a victory.

Sheryl Aronson is author of “Passing Myself Down to the Grave: A Woman’s Rise from Darkness” (KL Publishing Group), released last year. Her story chronicles her personal journey from cancer diagnosis to survivor with powerful emotion. Sheryl strongly believes that more women need to be in the spotlight, especially women composers. Aronson’s journalism goal was to be a published author which, at first, seemed beyond reach. How to get your first assignment? She didn’t know, but she persisted until she found outlets to publish her interviews and profiles with artists who inspired and moved her to write about them. She never gave up.

One of Sheryl’s first interviews was prodigy Terri Lyne Carrington before Carrington’s career took off. It just seemed to springboard from there. Aronson emphasized her ability to say “yes” to an assignment, even when initially she lacked the required background. Sheryl quickly learned from an accomplished sound man, Bryan Bell, who gave her a brief master class in sound gear, as he patiently and clearly taught her technical details so she could finish her story.

Panel attendees were enthralled, inspired, excited, and encouraged to continue their journey toward their next accomplishment. With each question the audience was revealed to be an exceptional group of achievers with great potential, as they interacted with the panelists so enthusiastically. One woman had just completed a beautiful CD of healing music, and Kiki pointed out several areas of the healing industry as potential markets. Starr added that the more metadata the woman could tag and furnish in her music compositions submitted to collections and libraries would help. Identifying more potential audiences for her music would move her closer to being picked up when a film or television producer searched for a certain feel or background for their work.

There were some discussions of the impacts of Apple Music, YouTube, individual Web sites and personal social media in impacting and safeguarding an artist’s creative identity. No label deal? Don’t worry. Peoples said, "Not everyone needs a label to succeed when social media is free."

A Midwestern woman posed a question regarding a symphony she’d written. “How could she get PR?” she asked, having never done publicity before. Turns out, with the panel’s encouragement, the audience learned that she was an Artemis award winner with her latest symphony. Kiki noted, “See, you’re an award-winning composer and that title remains with you forever.” The woman was stunned but pleased to hear that said out loud. Even though she had received the distinction, the woman had not yet connected herself as an “award-winning composer.” That’s the beauty of looking at yourself through the eyes of other accomplished artists. They see you as the “best you” possible. When one has attained their own level of excellence, then they can help and serve as a mentor to someone else.

Kaylene, who owns a PR firm, shared, “Everyone needs publicity to get the word out. Whether you have a budget to hire a major firm to create and project your image, or you have to save up to hire a publicist for one project, you need PR.” She also noted, “Many established artists choose PR firms to help reinvent their careers or to rebrand a performer’s image.” For those who have no budget to hire a professional, Peoples recommended searching Amazon for books on PR for beginners.

Another audience member highlighted she had multiple types of music projects and described how she’d created a new name for a duo project, separate from her individual work. Branding, then, was another topic about defining one’s image, keeping elements of information consistent so that, over time, the brand comes to stand for exactly what you want to communicate.

Starr Parodi shared that you can be established in one area, but if there’s another area you want to pursue, you must communicate to others that you’d like to expand what people know you for. Diversity keeps you from being trapped in a single talent area. Parodi’s own career as musician, composer, producer, and arranger appeared to flow smoothly from one area into another, as her interests and options grew. Hearing her share her thoughts, each attendee got the sense that they, too, could flow and grow in their accomplishments.

After the panel ended, Peoples, Parodi, Ebsen, and Aronson offered one-on-one advice and more encouragement to attendees, who clearly didn’t want their time together to end. Kiki noted that the “energy in the room had gone from respectfully quiet to wildly effusive.” It’s always helpful to focus on your dreams inspired by like-minded achievers with a similar mindset and determination to accomplish their goals. Women can champion other women to help preserve their dreams. When you climb the stairs on your pathway to success, when a hand reaches out for you, clasp it tightly in yours and hold on. And when you get where you’re going, reach out your hand to another who needs encouragement. And on it flows.

~~~

For more information on the Artemis Women in Action Film Festival, visit www.artemisfilmfestival.com/

For more on Bella Composers, visit www.bellacomposers.org

For the Alliance for Women Film Composers, https://www.theawfc.com/

Women-Powered Music Panel Members’ Web sites include: www.KaylenePeoples.com, www.KikiEbsen.com, www.StarrParodi.com, and www.SherylAronsonauthor.com.

Aggie Women’s Basketball Team Refuses to Quit in Quest for Sweet 16 Spot

You know that point in the game where you have tried to coach, along with the head coach, what might happen yet to get from a tie game to a championship win? Today, I was dead wrong because I didn’t think there was any way that the natural go-to shooter, Shambria Washington, would have the adrenaline left in her system to find the position and take the shot she did. I’ve never been so happy to be wrong in recent memory. The final score was 78 to 76, Aggies over Marquette, but yet another big victory beyond that was the Aggie WBB team gelling to smooth operating efficiency in the most important game of their season (thus far).

After playing the entire game without a break, just one minute previously, we all saw Sham moving in a labored, exhaustive fashion up and down the court, having played the game of her life already. Marquette was all about expecting Chennedy Carter to go for the money shot, which was all Sham needed to show opponents not to ever put her into the offense equation. She made her third 3-pointer of four attempts to give the Aggies the lead they needed to claim the trip to Chicago that was on the line.

Three hours ago I just stood and stared blankly at the slowly clearing floor of Reed Arena after today’s crowd of 2767 basketball fans. Never in my (mumbles something) years of attending Texas A&M women’s basketball games have I ever witnessed such an exciting, breathtaking and exhausting competition between two really good teams as today. No. 5 seed Marquette had played hard Friday afternoon, March 22, in a surprising defeat of the Rice Owls that, frankly, I didn’t see coming. I had Coach Tina Langley’s team in my bracket to face the Aggies today as I’d been paying attention to Rice’s progress all season, and I also follow Coach Brenda Frese’s Maryland Terrapins team.

Just as exciting as this team’s victory was that it was, truly, for the first time this season, in this writer’s opinion, that the Aggies played like a team that had truly gelled, that finally had all five players focused on team. For 40 minutes, Chennedy Carter, Shambria Washington, Ciera Johnson and N’dea Jones played every minute of the game; Jada Walton substituted for Kayla Wells for one minute and then Kayla came back in with Blair’s info to share. Caylinne Martin came in on a free throw shot to stand guard and rebound. So, for 99% of the game, these five young women guaranteed several outcomes for the appreciative audience who, frankly, didn’t know what to expect.

It used to be a slogan for Aggie men’s basketball, slapped on a t-shirt: “Play smart, play together.” And, for most of this season, the Aggie women have played smart, when it came to what was best for them. Individual records were set and every single week of the season, we'd see a press release of yet another regional or national award that Chennedy Carter had become eligible, or stayed in the running. Each week I ignored them, because what I was seeing on the court, in my highly overly opinionated view, was a team that was fractured between trying to win and making sure the star remained the star for the stat books and records.

Understandably, when other players are not having their best games and are committing errors, at some point in the game, you just have to let whoever is hot and can make the shots take and/or make the shots. But it was very disappointing after one particular game. Kayla Wells had just made the game high score, might have been career high, but no matter. She shot lights out and basically saved our necks to win that game. She was ushered over to talk to the SEC hosts on camera, and the first question Nell Fortner asked her was, “Kayla you played great tonight. Let me ask you, ‘What’s it like to play with Chennedy Carter’?” Nell, NO! to purloin her own catch phrase.

There’s been no greater advocate and friend of Chennedy Carter since last year than Kayla Wells. Journalists and viewers alike saw Kayla’s huge smile fall and she recovered quickly and spoke so highly of her dear friend and teammate. It’s the 2019 version of “Marcia, Marcia, Marcia” out there from some journalists, but each of our players deserves their time in the spotlight. Coach Blair corrected that tonight in a major way.

As he needed both hands to hold the microphone, filled with emotion and holding back tears, Blair thanked everyone for their attendance and support of this team, this school, and this sport. He lauded Marquette and said, honestly, that he wasn’t sure who was the better team tonight and that they had fought hard. Blair asked the audience to consider “How about Sham Washington?” and the Jumbotron showed Sham next to Chennedy Carter, each of them dealing with ESPN and other TV journalists on the sidelines. Both young women were smiling, but definitely gratefully sitting down on comfortable chairs because if you’d have asked either of them to stand another moment, surely they could not have.

They were both in overdrive or overload but total exhaustion was the outcome, exhilarated though they were. The score was 70-70 with 4:10 left, part of 11 times the score was tied and 9 lead changes during the game. The audience wanted to collapse, to be sure, but we were between exhilaration and exhaustion. It would be just like that, and more, for the next four minutes for team and the audience to reach the final destination.

Next, Blair asked team captain Ciera Johnson to address the crowd. Showing her leadership and composure, Ciera was gracious, welcoming and showed the poise of a senior, even though she’s not. The final and best “play of the day” came in the post-game press conference. Journalists gathered to ask the individual players about the game, with Coach Blair holding up Shambria’s 3-point shot with 0:22 left in the game as the turning point, as it was.

In her individual remarks, Chennedy Carter was truly gracious, sharing, complimentary of all of her teammates and spoke of them proudly. She knew they had her back and she had theirs. How refreshing that was to see and hear.

When it was Sham’s turn at the mike, one of the journalists asked her (paraphrasing) “How does it feel tonight to have done well when most of the time you play in the shadow of Chennedy Carter?” And Sham just smiled quietly, and said, “I don’t mind being in Chennedy’s shadow,” and more to the effect of “we all play on this team together.” Further, she spoke highly of how Chennedy was an amazing guard on defense tonight and how an early assignment of hers was to guard Chennedy during practice, so it prepared her well for the SEC players and today’s as well.

Chennedy quickly jumped right in with “Sham is NOT playing in my shadow,” noting that she’s got her own play and she’s outstanding and you couldn’t ask for better. Never was I prouder of Chennedy Carter than that remark. First, last and always, these Aggies are a team, for a season and for life. It’s hard to bring together people from all over Texas much less all over the United States and ask for personalities, work styles, and dedication to excellence to all gel in the same fixed set of airspace on a basketball court. You can look to Bob Starkey on defense, Kelly Bond-White on offense, and Amy Wright on point guard play to shine some light where it belongs, along with Gary Blair for keeping the entire battalion marching forward all night long.

Perhaps what more journalists can do to help teams come together is to find a way to focus on all the players on the court, whether their statistics give them cause to be lifted up or not. Unsung heroes are the backbone of this team all day every day, and this includes the unseen practice squad who puts our team through their paces to give them new challenges each day. Even though Caylinne Martin played one play and Jada Walton played for one minute tonight, they were not only ready to come in when needed, they were tearing up the bench standing, cheering, and encouraging their teammates on, and few people ever spot that and lift them up for it.

The dynamic duo of N'dea Jones and Ciera Johnson combined for 25 rebounds and 24 points between them. Every Aggie scored in double figures and each player had assists in this game, more evidence of true team play. Chennedy Carter finished with 30 points, 9 rebounds, 5 assists, 1 block and 1 steal, Shambria Washington had 13 points, 6 assists, and 1 rebound. Kayla Wells had a key 3-pointer among her 11 points, 3 rebounds, and 1 assist. N'dea Jones had 13 points, 3 assists, 1 block, and 13 rebounds, while Ciera Johnson had 11 points, 12 rebounds, 2 assists and 1 block.

Hats off to Marquette, who played 8 players with only one, the legend in her own right, Natisha Hiedeman, playing all 40 minutes, for which she garnered 18 points, 7 assists, 6 rebounds, and was a major force in what has to be Marquette's best game of the season. They were well coached, well prepared, and they had a great band, cheerleaders and fan base in attendance, given the distance between schools.

Tomorrow night we’ll find out whether the Aggies face Notre Dame or Michigan State this weekend in Chicago. One thing is for certain: the team riding the charter up north will indeed be the best possible compilation of quality players who are united for a purpose. Reaching the Sweet Sixteen status is something they get to do all day tomorrow between classes, because Coach Blair is giving them the day off, which it will take for them to rest each sore, tired, and hobbled muscle left in their bodies.

Their spirits and hearts are all fresh and ready to go, though, because of true team play. When one wins, they all win, and thus, there’s not the giant hoopla made about this achievement as they deserve, one of these days Texas A&M will be considered a “basketball school” and Aggie women’s basketball will have been the driving force behind that distinction.

As Coach Blair said tonight, if the opponent is Notre Dame, they could have as many as 8,000-9,000 fans on “their side.” May Aggies everywhere and anywhere near Chicagoland get over to Wintrust Arena at McCormick Square. It’s where DePaul plays their home games and they have 10,387 seats available to sit. If you can, let your maroon flag fly high. Best of luck to our truly fightin’ Texas A&M Women’s Basketball team.

“Recording Academy” Overlooks Peter Tork’s Passing: They Missed the Boat Again

As one of probably thousands of media members on the distribution list for press releases for “all things Grammy,” my inbox has been waiting for about twelve hours now. I’ve been wondering whether “News from the Recording Academy” would land, to let me know what most of America already knows, that a Baby Boomer favorite musician, Peter Tork, passed away today at the age of 77. So far, I’ve received two communiques from that august body known simply as the “Recording Academy,” neither of which referenced Tork.

The first missive arrived at 5:02 CST, “Recording Academy™ Statement RE: Fred Foster. Everyone knows Fred, right? Fred was a good fellow alright, and he had a 60-year career as a “famed producer, songwriter, and music business executive” who is credited with the “...launch of many iconic artists into the spotlight, including Kris Kristofferson, Dolly Parton, and Roy Orbison.” The release continues: “Fred will be deeply missed by many, but remembered as a pioneer within our industry. Our thoughts are with his loved ones during this difficult time.” Signed by (good ol’) Neil Portnow, President/CEO Recording Academy.

My thoughts at 5:02pm ran something akin to “Hey Neil, Peter Tork died today. Anyone run down the hall to tell you?” I must confess I pictured the former head of Casablanca Records with a cartoon balloon over his head with the caption: “Unless someone brings me something to sign, I don’t have anything left to do today.” Again, I’m miffed, and my emotions could possibly be guiding my dispirited thoughts.

But wait, there’s more! At 6:18 pm CST, there was a new e-mail in my inbox from the “Recording Academy” alright, but this time it was a “Recording Academy™ Statement RE: Dominick Argento.”

Naturally, he’s an important figure in classical music with unquestioned contributions to the music industry—no disrespect there. However, I learned only today that “Dominick was a GRAMMY® and Pulitzer Prize-winning composer recognized for creating musical masterpieces inspired by the literary works of renowned writers such as Charles Dickens, Edgar Allen Poe, and Virginia Woolf…In 2003 he was honored with the Best Classical Contemporary Composition GRAMMY for ‘Argento: Casa Guidi at the 46th Annual GRAMMY Awards®.”

Here’s the thing. Fred Foster and Dominick Argento are most deserving of recognition and remembrance in their fields, unquestionably so. But the point is that Peter Tork also deserves a statement from the Recording Academy®.

To be sure, the individuals in the made-by-TV-for-Baby Boomers group, The Monkees, may arguably not top your list of favorite singers, musicians, and none of them were (at that point, save Mike Nesmith) considered composers, at least initially. They were actors who brought personalities on paper to real-life pop music fun, the remembrance of which has endured for six decades now. The popularity of The Monkees, however, and the death of Peter Tork has spread across social media today. The notice of his passing made a real impact. The Monkees’ vocals were unique at the least and considered the very best, especially if you were an impressionable teenage girl who read “Tiger Beat,” “16 Magazine” and similar publications among those that advertised Dippity Do, Noxema, and Breck and Prell shampoos. Let’s face it, in the summers of love that were the 1960s, the eyes heard what they wanted to hear.

The Monkees, created in the clever mind of Don Kirshner, were manufactured to meet the need that Kirshner was visionary enough to see—four “zany” guys who could capture the hearts of teenage girls sufficient for them to buy their albums. Estimates are that The Monkees sold over 75,000,000 records. Their first label, of course, was Colgems, because of Don Kirshner’s relationship as director of Screen Gems’ Music Division as he’d sold his Aldon Music to Screen Gems-Columbia Music. (Those interested in the definitive book on Don Kirshner should check out Rich Podolsky’s “The Man with the Golden Ear.”)

And, cards on the table, those in the know realize exactly who it was in the studios and on their instruments, and whose voices were augmented now and again, same as virtually 90% of every other 1960s pop band in the country—manufactured for consumption. Also, as virtually everyone knows, without The Wrecking Crew, virtually every single album pressed in California for at least a decade of pop-rock would not be the hitmakers they were for the performers whose photos were all over the album covers and teen magazines.

To be fair, the musicians portraying The Monkees on TV, without much time to learn their instruments and practice together certainly did a terrific job of coming together sufficiently to perform their hits for audiences’ delight and 100% satisfaction. You could estimate that millions of approving fans who respect and regard Peter Tork have seen him over the decades, whether in the first go-round of The Monkees, or his own band, Shoe Suede Blues, or since 2012, the various configurations of Dolenz-Nesmith-Tork as whomever could work their schedules around appearing together for tours of varying lengths. Micky Dolenz, of course, was a popular regular in the “Happy Together” reunion tours, currently enjoying their 10th anniversary season.

Those at the “Recording Academy” who overlook the contribution made by Peter Tork by not noting his passing today along with two others who died have missed the boat…again.

The most recent example of missing the boat before this was their failure to include the 2016 passing of songwriter/musician/recording artist, Rob Meurer in their 2017 ‘In Memoriam’ segment, in print and on the GRAMMY® telecast. It’s like the lyricist to cowrite nearly 50 songs with Christopher Cross wasn’t important enough. I’ve stated my opinion on that topic before. But here today, the “Recording Academy” has done it again. As we say in Texas, “Y’all goofed up.”

Anyone who’s slogged through the GRAMMY® telecast the past few years has been dragged through the sea of banality and boredom that comes with pyrotechnics, yelling, and a few performers pretending they deserve to be on stage, attempting to add to the case for why various musicians are deserving of adulation, even if they’re 100% autotune and Brylcreem. Your mileage may vary. Some acts (can’t bring myself to call them musicians) you simply cannot unsee.

One might argue that The Monkees were not (originally) accomplished musicians, though Peter Tork played keyboard, guitar and banjo, but very quickly they became a genuine musical group. Their music is still in demand in concert today. So are the performances of their contemporaries, the pop-rock veterans. For example, the latest Concerts at Sea cruise currently sailing has The Buckinghams, Paul Revere’s Raiders, Joey Molland’s Badfinger, 1910 Fruitgum Company, Gary Lewis and the Playboys, Peter Rivera (original singer/Rare Earth), and Danny & the Juniors.

Their genre is still wildly popular as the same group that includes The Monkees. The upcoming Flower Power Cruise is similarly packed with 60s acts who have lodged themselves well into the hearts and minds of Baby Boomers who can afford a week or two away from the office to have the opportunity to meet favorite musicians from their teenage years. It’s not just floating concerts—these artists still fill arenas, theatres, state fairs, and perform individually and in package shows.

Of Tork’s passing, fellow Monkee, Micky Dolenz (@TheMickyDolenz1), said, “There are no words right now…heart broken over the loss of my Monkee brother, Peter Tork.” Rolling Stone (@RollingStone) magazine tweeted Monkee Michael Nesmith’s words, ”I can only pray his songs reach the heights that can lift us and that our childhood lives forever—that special sparkle that was the Monkees.” Iconic songwriter Brian Wilson (@BrianWilsonLife) tweeted, “There are no words right now…heart broken over the loss of my Monkee brother, Peter Tork. #paperwork #Themonkees.”

Actor Mark Hamill (@HamillHimself) tweeted, “So sorry to hear we lost #PeterTork. The Monkees never got the respect they deserved. Their music catalogue remains one of the richest in Pop History. Thanks for being such a big part of my childhood & beyond, Pete. #RIPPeterTork”.

It would be my hope that, given the number of people who’ve posted their photos of, or with, Peter Tork on Facebook today, they’d all appreciate the “Recording Academy” doing the decent thing. Well, I guess, if Neil has a few spare minutes tomorrow, he can do the right thing. I'll be right here watching my inbox.