Creative Sage Arts ™

2009 Garden of Memory Music / Performance Walk-Through Event at Chapel of the Chimes

June 7, 2009 – 12:45 pm

I’ll be performing next at the annual Garden of Memory performance walk-through event at Chapel of the Chimes, in Oakland, California, where I have performed every June 21st for the past several years, usually with the Cornelius Cardew Choir, a new music/sound art vocal ensemble. This is an amazing and totally unique performance event, which features a who’s who of the San Francisco Bay Area’s New Music scene and often includes composers, musicians and vocalists who cross musical genres. It is held in a historical landmark, a Julia Morgan-designed colombarium that has over 110 chambers or rooms, gardens, palm trees, ponds, trickling streams, skylights and other unusual features.

The best part—you can arrive anytime between 5:00 p.m. and 9:00 p.m. on June 21st, the Summer Solstice, and you can bring children, who are usually fascinated by the experience. You receive a map of the building at the door, and there are both stairways and elevators. The musicians are staked out in many different types of rooms and in some of the gardens on all of the floors, and as you make your way through the winding hallways, courtyards and passages, you hear a wonderful cross-blend of the music wafting from the different chambers. The range of performers is nothing short of amazing and includes anything from cutting edge electronics that interface with the natural elements of the space (trickling streams, the wind, etc.) to vocal ensembles and almost all acoustic instruments, to dancers, poets and experiments with text and sound, and much more.

Even the deceased seem to appreciate the event, to which some of the musicians dedicate their performances. The silent residents of Chapel of the Chimes are encased in urns that look like sculptured books on the “shelves” in each chamber. There are also two chapel spaces on the ground floor and several larger spaces on the upper floors where keyboardists, ensembles and those drawing larger audiences usually perform. You are drawn to explore each of the 3-4 floors and “discover” each performer or ensemble as you move through the extraordinary building. A palette of sunset colors streams through the skylights as the event progresses, adding an incredible atmosphere to what is truly a remarkable adventure. You can bring cameras and video equipment, but it is best to check first at the door and to remain unobtrusive so you won’t disturb the experiences of either the performing musicians or the “moving audience.”

On the map, you should be able to locate the ensemble I’ll be performing with this year, the Cornelius Cardew Choir. Come listen and join in—at least one piece we’ll be doing will involve optional audience participation. We’re still rehearsing, but at this point, I know we’ll be performing pieces by contemporary composers that include Pauline Oliveros, Joseph Zitt, and probably a few others (to be updated).

In 2005, an original composition of mine was performed by the Cardew Choir, entitled Wings of Silver Light, an anti-war (or pro-peace) piece, which was a memorial to those who have passed away in Iraq and Afghanistan, as well as a general memorial to loved ones who have passed on. I love the Chapel of the Chimes and this event, so it is likely that I’ll compose another piece for a future Solstice performance.

Here’s the vital information—please stop by and say hello if you come to the event!

New Music Bay Area
and
Lifemark Group Arts

present

Garden of Memory 2009:
a walk-through concert to celebrate the summer solstice

Sunday, June 21st, from 5:00 to 9:00 p.m.

at Chapel of the Chimes
4499 Piedmont Ave., in Oakland.

Admission is $15 general, $10 students and seniors, $5 kids under 12
(kids under 5 are free). Tickets available from
www.brownpapertickets.com or at the door.

For information, contact New Music Bay Area: listings@newmusicbayarea.org or call Allison at (510) 228-3207

Composers and Performers

Articles and Blog Posts

Photos and Videos

New Music Bay Area .
Chapel of the Chimes .
Directions

Maps . Press Release

Come join us!

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By admin | Posted in Accapella, Acoustic Music, Architecture, Composers, Contemporary Music, Digital Audio, Electronic Music, Instrumental Music, Interdisciplinary Arts, Julia Morgan, MIDI, Multidisciplinary Arts, Musical, New Music, Original Music, Photography, Sound Art, Sound Artists, Uncategorized, Video, Vocal Music, Walk-through performance event, composing, creativity, dance, garden, improvisation, landscape architecture, movement, performance art, public artworks, text in performance, twentieth century music, twenty first century music | Tagged Adam Fong, Amy X Neuburg, Beth Custer, Brassiosaurus, Byron Blackburn, Cardew Choir, Cathryn Hrudicka, Chapel of the Chimes, Cindy Cox, columbarium, Cornelius Cardew Choir, Crank Ensemble, Creative Sage, Creative Sage Arts, DelSol Quartet, Donald Swearingen, Dresher Ensemble, Garden of Memory, Gino Robair, Gregory Moore, Jaroba, Jaron Lanier, Jason Victor Serinus, Joe Colley, Joe Zitt, Joel Davel, John Bischoff, Julia Morgan, Kent Sparling, Kitka, Larnie Fox, Laura Inserra, Maggi Payne, Matthew Goodheart, Natto, Nature Sounds Society, New Music, New Music Bay Area, Orchestra Nostalgico, Pamela Z, Paul Dresher, Pauline Oliveros, Philip Perkins, Sarah Cahill, Shake the Air, Silvia Matheus, Stephen Kent, Svetlana Voronina, Tango No. 9, Theresa Wong, Thomas Dimuzio, Threshold Choir, Vorticella, Walter Kitundu, William Winant, William Winant Percussion Group, Wobbly | Comments (0)

I’m Performing with the Cornelius Cardew Choir at the San Francisco Public Library on May 17th…

May 14, 2009 – 10:38 pm

Interior of the Main Branch of the San Francisco Public Library.

San Francisco Public Library, Main Branch—Koret Auditorium

On Sunday, May 17th, from 2:00-4:00 p.m., the Cornelius Cardew Choir will present new music choral works at the Koret Auditorium of the San Francisco Public Library, Main Branch, at 100 Larkin St. (at Grove) in San Francisco, as part of the library’s music series. The choir engages audiences and each other with surprising vocal sounds and innovative music making. I’ll be performing as a member of the group, which crosses boundaries between what we consider “music,” “sound art” and “text” and often features original compositions by choir members and other contemporary composers of recent decades. This particular performance will also include the use of percussion instruments and found object props, plus text from various sources.

The program will include works by Pauline Oliveros, Sam Richards, and Cardew Choir member Sarah Rose Stiles. The list of performers for this event includes Bay Area musicians, composers and vocalists:

Rachel Wood-Rome
Tony Williams
Eric Theise
Sarah Rose Stiles
Katherine Setar
Jaime Robles
Bob Marsh, co-founder
Marianne Tomita McDonald
Cathryn Hrudicka
Brad Fischer
Tom Bickley, co-founder and director
Nancy Beckman

The price is right—admission is free.

About the Cornelius Cardew Choir…

Founded in 2001, the Cornelius Cardew Choir is a vocal performance ensemble based in the San Francisco Bay Area. The choir represents an exciting intersection of community and experimental music, brought together by a love for singing and sound. All choir members are free to make suggestions about how to perform a specific piece, while honoring the intention of the composer, or experimenting with a new approach to singing.

The next performance for the Cornelius Cardew Choir will be on the Summer Solstice, June 21st, between 5:00-9:00 p.m., at the annual Bay Area New Music walk-through performance event, Garden of Memory, held at the historic Julia Morgan-designed columbarium, the Chapel of the Chimes, in Piedmont, California. Keep checking this blog for an update, or better yet, subscribe!

For more information about the Cornelius Cardew Choir, contact:

Tom Bickley, Choir Director
Phone: (510) 204-0607
Email Tom

For more information about the San Francisco Public Library or its music series, contact:

San Francisco Public Library, Main Branch
Koret Auditorium
100 Larkin Street, San Francisco, California
(415) 557-4400
http://sfpl.org/

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By admin | Posted in Accapella, Acoustic Music, Composers, Contemporary Music, Instrumental Music, Multidisciplinary Arts, New Music, Original Music, Sound Art, Sound Artists, Uncategorized, Vocal Music, art in community, composing, creativity, improvisation, innovation, text in performance, twentieth century music, twenty first century music | Tagged Bob Marsh, Brad Fischer, Cathryn Hrudicka, Cornelius Cardew, Cornelius Cardew Choir, Eric Theise, Jaime Robles, Katherine Setar, Koret Auditorium, Marianne Tomita McDonald, Nancy Beckman, Pauline Oliveros, Rachel Wood-Rome, Sam Richards, San Francisco Public Library, Sarah Rose Stiles, Sarah Stiles, Tom Bickley, Tony Williams | Comments (0)

Abundant Sound Gardens—Art Exhibit and Performance at Meridian Gallery, on May 13th

May 11, 2009 – 10:42 pm

Stuart Dempster

Photo of Stuart Dempster, composer and musician

Meridian Gallery and Meridian Music: Composers in Performance present Abundant Sound Gardens, a joint commemorative concert and exhibition, presented by Stuart Dempster and Suiren, a.k.a. Renko Ishida Dempster, in memory of musician/composer Toyoji Tomita, whose generous volunteering of his time and knowledge made Meridian’s move into 535 Powell Street in 2007 possible.

I’ll be performing as a member of the new music/sound art vocal ensemble, the Cornelius Cardew Choir, which will be improvising along with Stuart Dempster and Suiren. Please join us for this exciting event! Stop by and say hello after the concert!

Photo of Toyoji Tomita

In memory of Toyoji Tomita, composer, musician and gardener

Here’s more information:

Abundant Sound Gardens: In Memory of Toyoji Tomita
A celebratory event by composer/performer Stuart Dempster
and artist Suiren, a.k.a. Renko Ishida Dempster, with the Cornelius Cardew Choir
and Musicians Andy Strain, Jen Baker, and Ron Heglin

Concert on May 13, 2009, at 7:30 PM
$10 general; $5 students/seniors (no one turned away for lack of funds)
Meridian Gallery, 535 Powell Street, San Francisco

Art Exhibition from May 14 - 30, 2009

Abundant Sound Gardens is a joint commemorative event that celebrates the life of Bay Area composer/trombonist/gardener Toyoji P. Tomita (1951 – 2008). On May 13th, as part of Meridian’s monthly concert series of New Music, Meridian Music: Composers in Performance, Stuart Dempster, a self-described Sound Gatherer, will be composing and performing various new pieces in real time, along with earlier pieces, with the assistance of “Toyoji Trombones,” Dempster Didjeridus, and the Cornelius Cardew Choir, directed by Tom Bickley. Toyoji Tomita’s widow, the accomplished multi-instrumentalist and vocalist Marianne Tomita McDonald, will be performing as a member of the Cardew Choir, and improvising with the other musicians.

In addition to trombone and didjeridu, Dempster will be performing on conches, garden hoses, and “sundries,” and will utilize all three floors of Meridian Gallery, including the backyard garden, for the performance. Musicians Andy Strain, Jen Baker, and Ron Heglin will also perform. Visual artist Suiren, a.k.a. Renko Ishida Dempster, will be creating visuals to some of the music performed as well as engaging in real time drawing with her Circles of Peace, which will serve as a score for performers to interact.

Suiren’s work created from the concert will hang in the gallery in an exhibition from May 14 – 30, which includes a recent series of “visual improvisations,” also done in collaboration with musicians.

“Visual/Sound improvisations in real time are used as a process for entry into one’s innermost nature, a meditation into the present moment. It draws upon the unconscious and opens up awareness transforming and healing life trauma. The essential elements of the universe: chi (earth), sui (water), ka (fire), fu (air), and ku (space) give life to all living beings here on earth, co-existing in the garden at Meridian Gallery.

“In memory of Toyoji, who tended and nurtured the garden with loving care, we celebrate his spirit that lives in the soil, water, sun, air, and space. We appreciate the ephemeral beauty of not only the outside garden but also the sound garden upstairs and the various other implied gardens, most of them greatly infl uenced by Toyoji Tomita, that are evident throughout the Meridian Gallery spaces.”
—Stuart Dempster and Suiren

Members of the Cornelius Cardew Choir who will perform at this event includes Bay Area musicians, composers and vocalists:

The program was funded in part by the Phyllis C. Wattis Foundation and Meet the Composer’s MetLife Creative Connections program.

M E R I D I A N G A L L E R Y
Society for Art Publications of the Americas
535 Powell Street San Francisco CA 94108
Email for information
http://www.meridiangallery.org
Phone: 415-398-7229

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By admin | Posted in Accapella, Acoustic Music, Composers, Contemporary Music, Instrumental Music, Interdisciplinary Arts, Multidisciplinary Arts, New Music, Original Music, Sound Art, Sound Artists, Uncategorized, Vocal Music, art in community, composing, creativity, garden, improvisation, innovation, landscape design, painting, performance art, sustainable gardening, twentieth century music, twenty first century music, visual art | Tagged Andy Strain, Bob Marsh, Brad Fischer, Cornelius Cardew Choir, Eric Theise, Jaime Robles, Jen Baker, Katherine Setar, Marianne Tomita McDonald, Meridian Gallery, Meridian Music: Composers in Performance, Rachel Wood-Rome, Renko Ishida Dempster, Ron Heglin, Sarah Rose Stiles, Stuart Dempster, Suiren, Tom Bickley, Tony Williams, Toyoji Tomita | Comments (1)

Experimental Cardew Choir Performs Works by Pauline Oliveros, Stuart Dempster & other Contemporary Composers

March 16, 2009 – 1:16 am

Composer Pauline Oliveros. Photo by Gisela Gamper.

Update on my performances—the Cornelius Cardew Choir will be performing this week at Laney College, in Oakland, California, at:

Thinking Globally / Singing Locally

Laney College World Music Series

Thursday, February 26, 2009, at noon
900 Fallon St., Oakland, California (BART to Lake Merritt station)
Room G-189, which has a street entrance on the corner of the G Complex buildings at Fallon St., near 10th St.

See the campus map
More information is available here.

Free Admission to the Public.

The program will feature the following works by contemporary composers, including several by members and colleagues of the Cardew Choir:

That Alphabet Thing (1995), by Joseph Zitt

Phoneme Forest (1997), by Joseph Zitt

3 Choirs, A Soundbank and a Conductor (2009), by Sarah Rose Stiles

Via Piazza (2004), by Viv Corringham

4 Hums 4 Times (2009), by Tom Bickley

Windhorse (1990), by Pauline Oliveros

The Tuning Meditation (1971), by Pauline Oliveros

The Cardew Choir sings at the intersection of community and experimental music, strongly influenced by Cornelius Cardew and his circle in the 1960’s and 1970’s in England. The ensemble draw inspiration from the experimental music tradition and composers and musicians such as Pauline Oliveros and John Cage. Members of the group are free to make suggestions about ways of performing a given piece and to exchange their ideas with the composers. Most members of the Cardew Choir have composed pieces for performance. A “diva-free zone” (and divo-free), the members of the group listen to each other and learn together, as pieces are developed in a co-composing or improvisational manner.

Members of the Cornelius Cardew Choir who will be performing at Laney College include:

Sarah Rose Stiles
Katherine Setar
Marianne McDonald
Cathryn Hrudicka
Nancy Beckman
Tom Duff
Dave Cowen
Bob Marsh (co-founder)
Tom Bickley (co-founder and director)

Cornelius Cardew, after whom the choir is named, was born on May 7, 1936, in Winchcombe, Gloucestershire, England, and was tragically killed in a hit and run automobile accident in London, December 13, 1981. He taught at the Royal Academy of Music in London, as well as other schools. With Michael Parsons and Howard Skempton, he formed an improvisational ensemble, The Scratch Orchestra, and was active in the seminal improvisational chamber ensemble, AMM, with Eddie Prevost, Keith Rowe, John Tilbury and Christopher Hobbs. Cardew’s concern for human rights and economic justice led him to Marxist politics and renunciation of his experimental music. He pursued popular styles of music-making. At the very end of his life (and after Mao Tse-Tung’s death), he appeared to be open to reclaiming aspects of his earlier broad approach to sonic art.

Stuart Dempster

Photo of Stuart Dempster

The Cardew Choir’s next performance will be on May 13th, at 7:30 p.m., with composer/musician Stuart Dempster, at the Meridian Gallery’s Composers in Performance Series, in San Francisco. The program is called Abundant Sound Gardens in Memory of Toyoji Tomita, for the Oakland-based composer and musician who passed away in 2008. Mr. Tomita’s widow, Marianne Tomita McDonald, is a member of the Cardew Choir; she is an accomplished harpist and vocalist.

Please keep checking this blog for updates on performances, recordings, books and other artistic works.

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By admin | Posted in Accapella, Acoustic Music, Composers, Contemporary Music, Digital Audio, Electronic Music, Instrumental Music, MIDI, New Music, Original Music, Sound Art, Sound Artists, Uncategorized, Vocal Music, art in community, composing, creativity, improvisation, innovation, political art, political performance, text in performance, twentieth century music, twenty first century music | Tagged 20th Century Composers, 21st Century Composers, Cardew Choir, Cornelius Cardew, Cornelius Cardew Choir, Experimental music, Laney College, Laney College World Music Series, Marianne McDonald, Meridian Gallery, New Music, New vocal music, Pauline Oliveros, Stuart Dempster, Toyoji Tomita | Comments (0)

More on my Performance in #4 in the Series, Greenlief@50—Five Concerts Celebrating the Saxophonist’s 50th Birthday

February 16, 2009 – 9:34 pm

As mentioned in my previous post, I’ll be performing tomorrow night, February 17th, in #4 of the series, Greenlief@50—five concerts celebrating the saxophonist’s 50th birthday. That would be none other than Phillip Greenlief (photo above), who is not only a fine saxophonist, but a well-respected composer, music teacher and leader in the Bay Area experimental music scene. Phillip’s own Evander Music web site is the best source for more information about his career, recordings and calendar of upcoming performances.

Here is the program for the concert:

Concert #4
Tuesday, Feb 17, 2009, beginning at 9 p.m.
at The Uptown
1928 Telegraph Avenue (at 19th St, about a block from BART)
Oakland, California

Free Admission

Opening sets by the ensembles Weasel Walter/Devin Hoff/Darren Johnston/Damon Smith and Kwisp

I’ll be performing with the Cornelius Cardew Choir, the new music/sound art vocal ensemble, in the following set, in all but the last piece, starting around 10:00 p.m.:

Music for Large Ensemble—Compositions by Phillip Greenlief

Compound 1 (for Matthew Sperry)

M (for Margaret Greenlief)

Map Series #9: Oakland (for 21 Grand)

Compound 2 (for Angela Davis)

Fantasy for Electronics and Orchestra (for Evan Parker)

All compositions performed by Orchesperry and special guests: the Cardew Choir

Orchesperry: David Boyce, Kyle Bruckmann, Doug Carroll, Ann Dentel, Tom Djll, Val Esway, Tara Flandreau, Ron Heglin, Matt Ingalls, Marielle Jakobson, Darren Johnston, Aurora Josephson, Ava Mendoza, Lisa Mezzacappa, Kristin Miltner, Polly Moller, Tim Perkis, Jon Raskin, Gino Robair, Scott Rosenberg, Aram Shelton, Damon Smith, Cory Wright.

Members of the Cornelius Cardew Choir who will be performing include:

Katherine Setar
Sarah Rose Stiles
Bob Marsh
Brad Fischer
Cathryn Hrudicka
Tom Duff
Tom Bickley
Nancy Beckman
Marianne McDonald
Dave Cowen

A few more notes from Phillip Greenlief, about some of the compositions:

Compound 1 & 2 are works for voices and an electro-acoustic large ensemble. The idea behind Compound is to present three “strata”, or layers of sound material. The three layers are stacked according to dynamic levels (soft—loud) throughout the performance and in general, the voices are always on top.

Mixed groupings of instruments create textures and thematic material for the voices to mirror or variate. The singers are offered a word or set of words in each section and they are free to present the words or deconstruct and variate their syllabic aspects. The text was improvised by the composer and was inspired by his late friend, composer/musician Matthew Sperry.

Compound 1, for example, has 52 sections. Each section lasts in duration from approximately 7 seconds to 1 minute, and uses different groupings of instruments to create textural layers of sound and musical material.

M is a conducted improvisation where each member enters the performance on cue. Once cued, the musician must present one idea that they develop until the idea reaches fruition. Once the idea has been developed, the musician exits and lays out until the piece closes.

Oakland is part of the Map Series Works by Greenlief, and uses maps as iconic material for free improvisation. Surrounding the map on the score are layers of compositional elements and game strategies, all are presented in a collage-style. The musician travels through the piece at their own pace, visiting any compositional element or free improvisation at their own discretion. For this performance of Oakland, there will be additional scores for sections (winds/voices—strings—percussion/electronics) and the musicians can cue events on multiple scores once the piece is in play.

We hope to see you there! Please stop by and say hello if you come to hear us, or feel free to comment here. I’ll be posting updates about other upcoming performances on this blog.

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By admin | Posted in Acoustic Music, Composers, Comprovisations, Contemporary Music, Digital Audio, Electronic Music, Instrumental Music, MIDI, New Music, Original Music, Sound Art, Sound Artists, Sound Design, Uncategorized, Vocal Music, composing, creativity, improvisation, political performance, text in performance, twentieth century music, twenty first century music | Tagged Aurora Josephson, Cardew Choir, Cornelius Cardew Choir, Evander Music, Greenlief@50, Matthew Sperry, Oakland, Orchesperry, Phillip Greenlief, The Uptown | Comments (0)

I’m Performing in Three Concerts of New Vocal Ensemble Music in February…

February 5, 2009 – 5:46 pm

The Cornelius Cardew Choir — Winter Performances 2009:

Friday 6 Feb., 8 pm, at Temescal Arts Center
511 48th Street, between Shattuck and Telegraph, Oakland, California
The CCC performs 3 Choirs, a Soundbank, and a Conductor, by Sarah Rose Stiles

The evening includes new music/sound art works by other performers and composers, as well as performances by experimental rock bands.

Recession price: $5 general admission

Tuesday 17 Feb., 9 pm, at The Uptown Night Club
1928 Telegraph Av Oakland (BART to 19th St), California
Avant Garde Tuesday, celebrating Phillip Greenlief’s 50th Birthday!

FREE, no cover charge.

Thursday, 26 Feb., at noon, Laney College, Oakland, California
900 Fallon Street, Oakland (BART to Lake Merritt)
Music by Pauline Oliveros and others
World Music Series: Thursdays in G-189

FREE, no cover charge.

Next performances in May, 2009, with Stuart Dempster (venue to be announced), and at the SF Public Library.

Experimental vocal music — collaborative creativity — thinking globally, singing locally — 21st Century Music — original compositions — improvisation — deep listening…

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By admin | Posted in Accapella, Acoustic Music, Composers, Contemporary Music, Digital Audio, Electronic Music, Instrumental Music, Interdisciplinary Arts, MIDI, Multidisciplinary Arts, Musical, New Music, Original Music, Sound Art, Sound Artists, Sound Design, Uncategorized, Vocal Music, art in community, composing, creative thinking, creativity, improvisation, performance art, text in performance, twentieth century music, twenty first century music | Tagged 21st Century Music, Cardew Choir, collaborative creativity, Cornelius Cardew Choir, Deep Listening, Evander Music, Experimental Vocal Music, improvisation, Laney College, New Music, Pauline Oliveros, Phillip Greenlief, San Francisco Public Library, Sarah Rose Stiles, singing locally, Sound Art, Sound Design, Stuart Dempster, Temescal Art Center, thinking globally | Comments (1)

This Land is Our Land: Let Us Plow the Hard Earth and Celebrate Our Simple Gifts

January 20, 2009 – 8:55 pm

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By admin | Posted in 2008 election, Art of Democracy, Instrumental Music, Politics, Uncategorized, Video, Vocal Music, equal rights, innovation, political art, political performance, twentieth century music | Tagged 2009 Pre-Inauguration Concert, Air and Simple Gifts, Anthony McGill, Aretha Franklin, Bruce Springsteen, Gabriela Montero, Higher Ground, History in the Making, Inauguration 2009, Itzhak Perlman, John Williams, My Country 'Tis of Thee, Obama Inauguration Speech, Pete Seeger, President Barack Obama, President Obama Swearing-In, Shakira, Stevie Wonder, Tao Rodriguez, This Land is Your Land, Usher, Yo-Yo Ma | Comments (0)

I’m a Contributing Author to a Business Book that All Artists and Nonprofits Should Know About…

December 22, 2008 – 6:20 pm

…The recently published book, Age of Conversation 2: Why Don’t They Get It?

$The Age of Conversation 2: Why Don\'t They Get It?$

Announcement—Recently Released:

Age of Conversation 2: Why Don’t They Get It? is now officially on sale in hardcover, paperback and ebook versions! You can also order it by going to the AOC2 widget in the left sidebar, which links to the Lulu Press sales site.

You also get access to a whole series of podcasts with the very same authors who populate these pages. Hurry, while this offer lasts—go to: http://www.ageofconversation.com

The first Age of Conversation book, published in 2007, featured 102 expert authors. David Armano, Vice President of Experience Design with Critical Mass, and a contributing author, designed the cover of this sequel, as he did for the first Age of Conversation. The unflappable co-editors, Drew McLellan and Gavin Heaton, located respectively in Iowa and Australia, have returned to shepherd the authors of the second book into submission—and they’ve done a great job again, persevering through challenges that would have driven other editors to distraction.

But they’ve kept their eyes on the prize, producing a truly updated and in-depth book that is a must-have resource for anyone planning to use the Web for marketing, branding, PR, or building an online community, including artists of all genres, and nonprofit organizations. Using social media tools to converse directly with your customers or fans, and creating community around your services, products, or fund-raising efforts can be a very effective method that yields real results. For some examples and results, contact me.

So, is it worth buying the sequel if you’ve already bought the first one? My honest response—if you bought the first book, you’re going to want this one, too. There’s so much new material and added topic areas in the new book, you’ll find you’ll want both as a set. There have been so many shifts in social media tools and the ways we do business just in the past year, it’s necessary to keep up with the new thinking in the 2008 sequel, which contains almost three times as many pages, written by 237 authors this time. For transparency here, I must admit that I’m one of them.

My own chapter in the book is entitled, “Creativity Comes from Conversation—What’s Innovation Got to Do with It?” As a sneak preview, I will only say that it was written for a section of the book called A New Brand of Creative, which explores the idea that now that many companies and organizations are integrating social media, social networks and online communities into their overall marketing and public relations outreach, does that mean we need some new thinking about the qualities and skills of people we hire to fill not only those roles, but also other positions in an organization? Does the Age of Conversation imply that we need to change not only hiring, but also, our staff training procedures? I’ve drawn upon my experiences as a creativity and innovation consultant, executive coach, management consultant and trainer, as well as my PR, social media and marketing background, in writing my chapter.

The intriguing content areas of the book, which were divided among the authors on a voluntary basis, are entitled:

Manifestos; The Accidental Marketer; A New Brand of Creative; My Marketing Tragedy; Life in the Conversation Lane; Keeping Secrets; From Conversation to Action; and Business Models.

Another great reason to buy The Age of Conversation 2008: Why Don’t They Get It? is that, like the first book, net proceeds will go to Variety, the Children’s Charity, which has raised over $1.5 billion to date for children’s causes around the world, according to the organization’s web site. I was pleasantly surprised to see a van in my own Berkeley neighborhood that is used to transport disabled children to programs run by Bay Area Outreach & Recreation Program, which was partially funded by Variety.

Here’s a SlideShare presentation about The Age of Conversation 2: Why Don’t They Get It?, put together by contributing author Faris Yakob:

Age Of Conversation (second edition)

View SlideShare presentation or Upload your own. (tags: conversation age)

In alphabetical order by first name, here are the 237 Contributing Authors, who are located around the globe, making AOC2 one of the most ambitious collaborative literary projects about Web 2.0:

A Adrian Ho, Aki Spicer, Alex Henault, Amy Jussel, Andrew Odom, Andy Nulman, Andy Sernovitz, Andy Whitlock, Angela Maiers, Ann Handley, Anna Farmery, Armando Alves, Arun Rajagopal, Asi Sharabi

B Becky Carroll, Becky McCray, Bernie Scheffler, Bill Gammell, Bob LeDrew, Brad Shorr, Brandon Murphy, Branislav Peric, Brent Dixon, Brett Macfarlane, Brian Reich

C C.C. Chapman, Cam Beck, Casper Willer, Cathleen Rittereiser, Cathryn Hrudicka, Cedric Giorgi, Charles Sipe, Chris Kieff, Chris Cree, Chris Wilson, Christina Kerley (CK), C.B. Whittemore, Chris Brown, Connie Bensen, Connie Reece, Corentin Monot, Craig Wilson

D Daniel Honigman, Dan Schawbel, Dan Sitter, Daria Radota Rasmussen, Darren Herman, Dave Davison, David Armano, David Berkowitz, David Koopmans, David Meerman Scott, David Petherick, David Reich, David Weinfeld, David Zinger, Deanna Gernert, Deborah Brown, Dennis Price, Derrick Kwa, Dino Demopoulos, Doug Haslam,