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CHILDREN Soundtracks Of My Life

album. I am not a big fan of this song, but I included it
because the lyrics had some meaning to me to include
on the album, but not as written. So, I contrafacted it.
Great word, huh?

My favorite on the album is a beautiful rendition
of “Vaya Con Dios”. I loved this version from a
Connie Francis album from the 60s, and I could not
find the “karaoke” version that suited me, so I sang
over Connie and changed the key more to my vocal
range. The song is sung entirely in Spanish, and the
version pretty closely matches the theme of the song
you are familiar with from Les Paul and Mary Ford.

“My Buddy” is also a favorite because my dad
was indeed my buddy. It was written in 1923 and
recorded by many artists. Now I am among those
covers, and the meaning is special to me.

I miss you, Dad.
“Music With A Message”. I think most songs
have a message of one kind or another. I recorded this
album, really to thank everyone for amazing support

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and unending love for me in 1996 when I experienced
some extremely critical and life-threatening health
problems. I had suffered a heart attack in April, heart
bypass surgery, and in August my wife and I
separated. That may only sound like 3 issues, but the
biggest I had ever experienced in my life. I had to
choose songs that represented how I felt to put an
album together thanking everyone.

The album opens with “I Made It Through The
Rain”. I chose that as the opener because when times
got tough and I thought this was the end, I looked back
and realized that I did in fact make it.

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The closing song, “Thanks Again” was another
contrafaction. This was one of those songs that as I
wrote, I couldn’t stop. The words just seemed to flow,
and I am incredibly pleased with the results. It’s one
of my favorites.

My only religious album, “No Other Name”
was really recorded and produced as a gift to a woman
I worked with, Catherine Hipple, who was a church
follower. She specifically asked for “In The Garden”
which is one I knew. The rest just followed.

The album opens with “Chronicles / No Other
Name” and I think the best on the album. How I kept
this a secret from her is beyond me because everyone

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knows I have a big mouth. But I was able to, and I just
loved the delight in her face when I gave it to her.

“I Walked Today Where Jesus Walked” was a song
I knew from church, and the arrangement I chose was
identical to the one we sang in church choir. I had
always loved singing that song, and it just naturally
fell into place in the album. The others are pretty much
standard religious songs, a couple of which I had never
heard before and had to learn from scratch (I hate
doing that) but they seemed to work.

Ah yes, “Old Time Rock ‘n Roll”. I am a child
of the 60s, and rock ‘n roll music found its way to my
heart as it did to millions of teenagers. Do I have
favorites? Yeah, I do. All of them.

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Some of them took more work than others
because of voice-over soundtracks, like “Wake Up
Little Susie” and “Bye Bye Love” because they were
sung in the style of The Everly Brothers.

This was a fun album to do and was completed
in one day.

Oh, the cover.
My friend, Howard, who was as musically
involved as I was, suggested a black and white cover
with a ‘57 Chevy. What could be more “rock ‘n roll”?
After a day of scouting the neighborhoods, we
found a white 1957 Chevy sitting on the street, and I
was dressed prepared for this with the jeans and the t-
shirt with the rolled-up sleeves. I looked tough doncha
think??
Last but never least, “When Sings The Heart”.
A challenging album to say the least. It was produced
in

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two different locations with many obstacles. Cricket
sounds that I didn’t put in, choosing the right songs,
mixing and remixing, harmonizing with myself (“A
Grandfather’s Song”) and speaking a song (“A Song
For Moms”), and singing with emotions (“You’ll
Never Know”) that took many takes.

I usually don’t want pictures of myself on my albums
unless really necessary, so for this album, I chose the
rose. The album was dedicated to my mom, and as
much as she loved the roses that grew in her backyard
and were frequently harvested, I thought it appropriate
to use one for the cover.

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Many roses were chosen and this was the one
that we thought was perfect for the cover. After
carefully selecting the right one, we cleaned it up a bit,
put the petals in the right place, and as I held the stem
from the bottom against a background of our kitchen
table, Carlos did the photography. I think it turned out
great.

Favorites on the album? A couple. “A
Grandfather’s Song” , “You’ll Never Know”, “The
First Time”, “What’ll I Do?” . I like them all.

Lastly, a yet to be released Christmas album,
“Till The Season Comes ‘Round Again”. I love that
Vince Gill song and was able to find the tracks. I lost
my hearing before this album was produced. Will it
happen? I have no idea.

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Two songs on the album are re-releases from
another: “The Best Gift” and “Dor Ye Hudi”.

The others are still on the computer and in my
head. I may not be able to sing anymore, but nothing
or no one can take away the beautiful and cherished
memories I have of my music and the days of
recording.

Some of the happiest times and memories of my
life.

www.michaeldardenelle.com/music. I hope you
enjoy it.

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Those Good Old Barbershop Days
In June 1992, a friend from church, Ron Craig, and
I, decided to look for a couple of guys to form a
Barbershop Quartet for a church Ice Cream Social
coming up in September. I sang high tenor and Ron
sang low bass. What we needed was a guy to sing the
melody and another guy to make up the 4th guy. We
didn't know anything about parts in a quartet, other
than that 4 people who know how to sing sound good.
Ron had an uncle who was a member of a Barbershop
chorus in Newhall, so we contacted him, and he
invited us up to a meeting of about 30 guys to listen. I
hate meetings like this, where you don't know anyone
except the guy you go with, but I was game and

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nervously went up that Tuesday evening. Before I
took my seat with the 25 or so others, I was asked what
part I sing. I have always been a tenor but was not
aware that "Tenor" in a barbershop quartet was like a
soprano in a mixed choir. My idea of a tenor was their
idea of a "Lead", or melody singer.

So here I am in the tenor section, along with Don
Buchanan, Ron’s uncle, who also sang tenor - very
loudly. They gave me a guest book and we opened it
to "Carry Me Back To Ole' Virginny" and because I
harmonize naturally, it wasn't too difficult to pick up.
The sounds we made sent chills down my spine, and
right then I knew I wanted to be a part of this group. I
didn't know anything about the chorus or the society.
Nationally they are known as SPEBSQSA - The
Society for the Preservation and Encouragement of
BarberShop Quartet Singing in America
(incorporated!), having members all across the United
States - about 36,000 strong. Ron and I decided to join.

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As a new member of the Santa Clarita Valley
Chapter, Harmony Hills Chorus, I looked forward to
each Tuesday night to get away from it all and relieve
the stresses of the daily grind. When I came home that
night, I was so excited
I couldn't sleep. They loved my voice and enthusiasm
and "spunk" because on that first night there, I was up
singing with 3 other guys to a tune we had just learned.

Weeks went on, still on a cloud, and learning more
and more each week. We sang at all kinds of
performances. Some were paid, most were not, but the
experience was priceless. As time went on, naturally,
we met more and more of the group and became close
friends with a few of them. In fact, the very reason we
came up there (remember the quartet we needed??),
we met this guy named Bill Searcy, a baritone, and
Bob Lang, a lead. The 4 of us rehearsed about a 20-
minute package of songs that we could do for the
church ice cream social, and we sounded decent
enough to do it. The social was scheduled for a

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Saturday afternoon in mid-September, and on a
Tuesday before, I got this call from Bob who had to
bow out at the last minute. Panic-stricken, I called
another lead named Jim Marshall, who I had never met
nor spoken to during the previous few weeks we were
in chorus. I didn't think Jim knew who I was, so I
called him and left the following message on his
answering machine:

"Hi, Jim. My name is Mike
Dardenelle, a new member of the
Barbershop Chorus, and I'll be your best
friend for life if you can help me out of a
jam. Bob Lang was supposed to sing
with me this weekend and had to cancel.
Can you help? Please?"
I get this call back from Jim, willing, ready, and
more than able to help out. We made arrangements to
meet at our house on the Thursday before the gig, so
here I have Ron and me, and my two new friends who
I hadn't known from Adam a month before, in our den

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rehearsing a 20-minute show. It was going very well;
Jim has this mellow voice that is extremely pleasing to
listen to; the perfect replacement. Boy, was I happy.
Bill, a heavy man with a rich baritone voice had been
in barbershopping many many years and like me,
literally ached for people to sing to. The four of us
really hit it off well right from the beginning.

Almost through the end of the night, we were
trying to come up with a name to call ourselves
Saturday night. We thought of many names conducive
to a quartet, when Jim pops up and says, "What
Happened To Bob?" What a great name, we thought.
Catchy, cute. But Jim says, "I wasn't suggesting that
for a name. I really meant really, what happened to
Bob?" After we explained the story, we all decided
that WHTB was such a neat sounding name, we
adopted it for the show.

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Bill Searcy, Ron Craig, Mike Dardenelle, Jim Marshall
What Happened To Bob?

The show was a great success, and afterward, we
hung around and "quartetted" for the audience. After
our thinking how well it went, we decided to see about
making this quartet thing a regular sound. Before
long, we had regular rehearsals, registered the name,
and began getting some real shows to do. Since the
inception of the quartet, we have sung at The
Hollywood Palace, The Ventura Harbor ($350 gig!),

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various parties, my mother’s wedding, lots of places.
We ended up with about a dozen or so uniforms in the
year we were together, but more importantly,
cultivated some wonderful friendships with Jim and
Bill.

We were paid to do a party for a friend of mine at
work who had died from AIDS, and he didn't want a
funeral. . .he wanted a party, and he wanted WHTB to
sing. Bill wasn't feeling too well, though. He had a
heart condition and his weight put a lot of stress on his
problem. He sang though, true to form for Bill. The
next day he went to the doctors and was told he was in
desperate need of a by-pass operation. It was to be
scheduled for a couple of weeks away, but as time
drew near, after further testing, the doctors told him
that the condition does not look good, and there is a
chance he may not make it through the surgery.

Bill and I were very close, and we talked about this
in some depth, and he decided to take the risk. Surgery
was scheduled for early August, and when it was

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complete, the doctors said that he had absolutely sailed
through without complications. A QUINTUPLE by-
pass, yet! He recuperated in the hospital for about 10
days, then released.

Bill's 51st birthday was Monday, September 27, 5
weeks after his surgery, and Ron and I went out to his
home in Simi and took him out to lunch. His progress
was phenomenal, and his prognosis was better than the
doctors ever thought. Bill was going to make it.

Later, on a Tuesday afternoon, I received a call
from one of the members of the chorus to inform me
that Bill had died earlier during the day. I was dozing
at the time and wondered if I heard correctly. "That
can't be. I just saw him yesterday", I said. I was told
that Bill never made it out of surgery (now I KNEW
the information was wrong because his surgery was 5
weeks before). Stunned, I called Jim at work, and
through the tears, was able to tell him that our dear
friend had died. Jim was in disbelief. He left work
and came over to our house and he and I went out for

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a consoling drive, some yogurt, and some tears that
best friends share. Being more emotional than Jim, I
needed his comfort now more than ever. We were
very comforting to each other, naturally, and had some
heavy conversation that evening. Neither of us could
even believe that Bill was gone.

That Saturday morning, Bill was laid to rest at
Oakwood Memorial Park in Chatsworth, to a plethora
of Barbershop brothers. During the week, Bill's son
asked me to arrange for some music at the service, so
I asked Keith Goudy, our director, to direct us in
"From The First Hello To The Last Goodbye", Dave
Norman to direct "Sweet Sweet Roses Of Morn" and I
chose to direct "Thank You, Dear Lord, For Music".
As I began to direct the final song, I announced that
this particular song was the one song our quartet sang
at the end of each rehearsal because not only is it
giving thanks for the music, but thanks for the
friendship that goes with it. After each rehearsal

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singing that song, we never sang another. It was the
WHTB rule.

The send-off to Bill was very moving, but
especially for me because of the very special
relationship Bill and I had.

And so ended the career of "What Happened To
Bob", an ensemble of 4 very special friends.

One of the most memorable experiences of my
barbershopping days was during a trip to Dallas for
work. It had nothing to do with the chorus, but I knew
the internationally known and world-famous Vocal
Majority was based out of Dallas. They rehearsed on
Thursday nights, and I happened to be in Dallas on a
Thursday night. I arranged with the director, Jim
Clancy, prior to my coming to Dallas, to visit them
during a rehearsal. He arranged for me to be picked up
at my hotel, taken to dinner and then rehearsal.

I walked into the rehearsal hall, sat myself down,
and saw nearly 300 internationally famous men
prepare for the evening. I sat for nearly 3 hours

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engrossed in their sound. I was familiar with the

chorus through my limited time with Harmony Hills

singers. I met Jim Clancy, the founder and director,

and his son Greg, the associate director. Neither could

have been warmer and more welcoming. The entire

chorus was this way, and when I was introduced at the

end of the rehearsal, Jim asked me if I would like to
direct the closing song, “Keep The Whole World
Singing.” It’s a standard barbershop song that every

barbershopper knows and is usually sung at the end of

rehearsals.

Keep The Whole World Singing
Keep the whole world singing,

All day long
Watch good will come a winging,

On a song
Smile the while you are singing,

Oh, carry, carry your part.
Keep the melody ringing and ringing

In your heart.

I could not believe I was being asked to direct an

international contest winning chorus. I confidently

said yes to the invitation, and as I stood before 250

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men, with my arms up and prepared, I directed the
Vocal Majority.

I was told later, upon returning to my home chorus,
that Jim NEVER lets someone else direct his chorus.
Never.

But I directed the Vocal Majority. Let me say it
again in case you missed it:

I directed the Vocal Majority!
Due to political reasons in the Santa Clarita

Chapter, Jim and I sought refuge in the San Fernando
Valley chapter, "The Valleyaires", a 5-time division
champion chorus. We had since outgrown our stay in
Santa Clarita and wanted to move ahead. We
auditioned and were warmly accepted by the 40-50
men in the chorus.

I clearly, even after all these years, remember my
audition for the Valleyaires, under the direction of
Roger Dixon. The first time I saw Roger direct was at
Fulton Jr. High School where his chorus put on a show
about travel. The music, the choreography,

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everything...just splendid. I knew I had to be a part of
this group. I didn’t know that much about the group,
other than it was in the valley and closer to my home
than Santa Clarita, so that was a plus.

I knew NO ONE in the Valleyaires. I just knew
they existed. I was nervous about going in, singing for
total strangers but it was a very simple and intimate
audition. Just Roger the director and Tom Raffety, the
music team leader. Jim also auditioned, and we were
both invited to join.

The audition consisted of us singing (alone) a scale
to determine our vocal range, and a “Pole Cat” song (a
song that every barbershopper knows; songs from the
early years of barbershop singing with the tight 4 part
harmony). The song they gave me was “Down Our
Way”, a typical barbershop song that is short, easy,
and memorable after the first time listening to it. It’s
the kind of song that loops in your head.

When I finished my singing, without any pomp,
Roger got up from his chair, and said, “You’re in.”

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That was it. I was in. I was a Valleyaire...in less than
10 minutes. I thought I’d arrived.

The years I spent with the Valleyaires were some
of the brightest times of my musical life. I was able to
sing the kind of music I loved; popular, harmonic,
meaningful. Every Wednesday night was a retreat
night for me. No work, no family, no worries. Just
music and camaraderie that I’d not known before.

We sang at many different venues and events;
some private, some very public. Roger was the kind of
director who knew what he wanted and spared nothing
to get what he knew was right. He was very well
respected in the barbershop society (yeah, there really
is a barbershop society….SPEBSQSA...Society for
the Preservation and Encouragement of Barber Shop
Quartet Singing in America) and his musical talents
were astounding. Everyone in the district loved him
and anyone who sang for him was considered very
fortunate to be under his direction.

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I sang with the Valleyaires for many years, joined
several quartets, took many trips to various parts of the
country where barbershopping events were held. I
eventually found myself at “Director’s College” to
learn about directing a chorus. It was suggested to me
by Roger and was approved by the board to pay for me
to go. It was in Northern California, and the small
classes were presented by major directors of choruses.
I passed the course, and one of our “tests” was to direct
a room full of barbershoppers to view our talents, our
expressions, etc. It was very enjoyable, and everyone
seemed to enjoy my directing.

I was on my way. (insert LOL here)
I remember one international convention held in
Salt Lake City, Utah, where Tom and I (we had
become very close friends by now) attended. The
choruses presented two songs to the audience and were
judged by a panel of judges on style, harmony,
emotions...the whole thing. I don’t remember how we
placed; I was just a member at the time, not directing.

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I remember coming out of the concert hall after a
session, and as Tom and I were coming down the hall’s
staircase, we saw a woman in front of us (I’ll not soon
forget this…) she was wearing a bright lime green
polyester 2 piece pants’ suit. At the bottom of her
jacket (matching the pants, of course) hung a piece of
toilet paper about 6 feet long, trailing behind her. Tom
pointed her out to me and said, “Mike, look at that…”
and I fell to the floor laughing so hard, I probably wet
myself. It was the funniest thing I had ever seen. I can
still picture it today.

Roger died in April 1995, in Tucson. I had been
taking care of him the best I could while he was here
but towards the end of his life, he wanted to go to
Tucson to be with a friend. As it turns out, Roger
ended up in hospice care. Alone.

Tom and I would go to Tucson every so often to
visit with him. I was Roger’s legal guardian at this
point, so I oversaw his money and doled it out to him
as he needed. One less burden for him, but one more

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for me. Roger wanted me to use his money to fly Tom
and me for a visit, and as much as we said no, he
continued to say yes.

When Roger died, part of me went with him. I was
working near the airport at the time of his death, and I
was at lunch, in my car, out by the beach as I watched
planes take off and land. It was very calming for me.
A few weeks before that, I had started to write a poem
for Roger and how he invited me into the chorus. I was
having trouble for several weeks finishing the poem
but that day, April 25, 1995, thoughts were running
furiously through my head as I ate my lunch. The
words would stop.

As I finished the last line of the poem, I got a page
from hospice in Tucson. We didn’t have cell phones
then, so I had to return the call once I got back to my
office.

It was Paul from hospice.

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“I’m sorry to tell you that Roger died 10 minutes
ago. He told me to tell you he loved you and thank you
for taking care of him.”

Roger died as I was finishing my poem.

I Wanted To Sing
Michael Dardenelle

April 25, 1995
Dedicated to Roger Dixon

Far back as I remember, from days of long ago
I fondly think back through the years gone by.
I’d close my eyes and realize how much I miss them so
It never came to me wo wonder why

I wanted to sing.

Through all my years of learning, education I went through,
My music overpowered my every whim.
I ached at times to sing my rhymes yes, anyone would do
The light inside my head just wouldn’t dim.

I wanted to sing.

I never knew its power, my music finely timed
The will to sing my songs forever grew.
The harmony inside of me becoming finely primed
By someone who I hardly even knew.

I wanted to sing.

I heard his voices from afar, so rich and very near me

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It truly left my head in quite a spin.
Then came the day, a thrill I’d say, when he sat down to
hear me
He stood straight up and quietly said, “You’re in.”

I wanted to sing.

So now I stand before you, loving music like the rest
Through all the years I’ve come to know one thing.
I’ve come to know friends come and go, and I’ve been truly
blessed
By this man who simply knew

I wanted to sing.

This poem was recited at Roger’s memorial

service I had planned for the chorus, and after I read
the poem, the Valleyaires Chorus sang, in Roger’s

honor, the two songs he became known for, his
signature songs, “Take Me To The Land of Jazz” and
“I Used To Call Her Baby”. Two rousing songs with

lots of movement and choreography that involved the

chorus and the director. They really had me moving on

my feet! The audience loved the tribute because

everyone in attendance saw Roger direct these songs

to perfection many times over. We had them stomping

on the floors.

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Our final tribute to him was “When I Lost You”
and as uplifting as the first two were, was how
emotional the last one was.

I’ll never forget that day, or the days of taking care
of Roger - my friend - who truly knew how important
it was for me to release my spirit, to sing and perform.

One of the highlights of being with the chorus was
after Roger had passed away, I became artistic director
which meant I had to take the chorus to new heights
and perform as the “leader of the show” for contests.

My first contest was held in Lompoc, at a local
church. The church venue was selected because there
is no “concert hall” in Lompoc, so we hired a church
for the venue. This was for a contest within our own
district, the Far Western District, so although it wasn’t
a national convention, it was regional, and we had to
do what we could.

We sang “Waitin’ For The Robert E. Lee” and
“When I Lost You” (Irving Berlin). Roger had just died
a couple months earlier, and the chorus was still

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reeling in his death. “When I Lost You” was very

meaningful to the chorus as it was written by Berlin

when his wife had died. He was inconsolable and was

told by his brother to write a song to help ease the pain.

When I Lost You

Irving Berlin
1912

The roses each one
Met with the sun
Sweetheart when I met you
The smiles turned to tears,
The days turned to years,
Sweetheart when I lost you

I lost the sunshine and roses
I lost the heavens of blue
I lost the beautiful rainbow
I lost the morning dew
I lost the angel who gave me
Summer, the whole winter through
I lost the gladness that turned into sadness
When I lost you

The song was quite powerful in its meaning, and

especially now that our beloved director had died. The

chorus really had no direction because Roger had been

at the helm for about 15 years and really didn’t have a

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backup. I was honored to be asked to step into his
shoes. Big shoes to fill.

Our opening song, “Waitin’ For The Robert E.
Lee” was very upbeat, had a lot of choreography, and
was truly fun to sing. It’s not easy for a director to
direct AND do the choreography but somehow, I
managed. The guys outdid themselves.

Our second number, “When I Lost You”, the
tearjerker, was in such contrast to our opener. It was
sad, it was emotional, it was beautiful.

One thing I had learned in director’s college, was
that the idea of singing softly was to get the audience
to almost strain to hear...while still keeping the energy
going. You don’t have to sing loud to produce energy.

The song as we were singing brought tears to my
eyes. Literally. I was crying on stage, remembering
Roger and what he meant not only to the chorus, but
to me as a dear friend.

The guys performed this song beyond my wildest
imagination. The harmonies were spot on, the guys

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watched me with great intent, and as I started to cry,
they saw my tears, which affected them emotionally
and it showed in the song. It was one of the most
beautiful and powerful songs I have ever directed. The
audience was joyful and gleeful at our first number,
but when we finished our second number, the audience
went silent except for some sniffles I heard behind me.
The audience was moved.

That was my intent. And we won first place for the
district.

In 2010, I was honored with the Barbershopper Of
The Year Award given by the chorus to the most
outstanding contributor. By that time, I had been the
director, on the music team, the board of directors,
section leader for the leads and the tenors, and I had
proven myself to be a valuable asset. It never felt like
the work that it was because I loved it so much. Yes, it
was work, but the benefits I received far
overshadowed the work.

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As a quartet member for several quartets, the last
one I was part of was “The GAS Co.” The Great
American Sound Company. It included Tom Raffety,
Mike Henson, Gary Bailer, and me. We always placed
high in contests and were requested by many to
perform for private functions. The four of us
intertwined well with each other with our music, our
banter, and our personalities. I miss those guys but
fondly remember the great times we had.

There are people in this world who love music and
love to sing but couldn’t carry a tune if it were in a
basket. How sad to not be able to vocalize what you
hear in your heart. But I was able to.

Because after all,
I wanted to sing.

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I have always enjoyed...no, loved...male
choruses. The deep rich sounds of a low bass and the
high crystal-clear voices of a tenor.

I first heard the Gay Men’s Chorus of Los
Angeles at a performance at the Alex Theater in
Glendale. Carlos at one time was a member and he
took me to hear them. I was in awe. I was almost star-
struck. I put them all on a pedestal as I watched them
and listened to their sounds. It was the most glorious
sound I had ever heard, and each one of them was a
celebrity to me. When Carlos introduced me to some
of them after the show, I felt like I was meeting stars.

In 2008. Carlos re-joined the chorus. I would
accompany him on Monday nights to rehearsal and sat
in the back enjoying the sounds and the beautiful
camaraderie they all shared with each other. I was part

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of a group, though not officially, who welcomed guest
artists from time to time. Every now and then I would
bring some goodies, or maybe a meal for the guys
because I knew many of them came directly from their
jobs and didn’t have time to eat. I would bring
spaghetti, chili, barbecue sandwiches, cookies...I
enjoyed doing that and the guys seemed appreciative.

I decided it was time for me to join the chorus’ “5th
Section”. It’s a non-singing membership. Carlos sang.
I didn't. I was made to feel at home with 250 men who
shared this love of music and love of each other. I
listened from afar as they prepared for an upcoming
concert. I enjoyed the time as a non-singing member
because it truly made me feel like a part of the chorus.
Carlos says I already was because of my frequent visits
at rehearsal. The guys got to know me, I got to know
them.

Usually at every show, a guest artist performed
with us; We’ve seen the likes of Jennifer Holliday,

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Lily Tomlin, Jerry Herman...Melissa Manchester...so
many others I can’t recall off hand.

One Monday evening, our guest was Leann Rimes,
famed country / western artist who was to be our guest
at an upcoming concert entitled “Fade To Blue.”
Leann was warm and down to earth with all the guys.
This happened to be one evening when I brought some
homemade chili for break time.

When break time came, Leann had eaten 2 bowls
of chili and came to me and called me by name (how
she knew is a mystery) but she said, “Mike, I’m from
Texas and I have to tell you, this is some of the best
chili I’ve ever eaten.” How wonderful to have that kind
of compliment.

This was on Monday, June 18, 2012. I know the
date because that Thursday, the 21st, was when I
suffered a serious eye issue, and it was just the day
before the chorus concert at the Saban Theater in
Beverly Hills. This emergency caused me great
consternation because I was blinded in the right eye.

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The next day, Friday, I managed to get myself to the
show in the afternoon / evening and before the show, I
went backstage to see my friend Michael to tell him
about the eye. Leann was there chatting with the boys,
and I guess she saw the look of despair on my face and
came up to me and said, “Mike, what’s wrong??” I
explained the eye situation to her which greatly moved
her. I asked her to dedicate one of her songs to me (to
kind of make me feel better) and she said as much as
she’d love to, she can’t because she’d start bawling on
stage. She was so compassionate with her hugs and
understanding about the eye problem and that really
made me feel good.

One particular Christmas show at the Alex, our
guest was Melissa Manchester. I always felt when we
had special guests, that as part of the group, unless told
otherwise, I would try and introduce myself to the
guest. Melissa was such a hit for the audience and a
very warm lady.

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As we left the theater after the show, Carlos and I
walked in the parking lot towards our car, and loading
her car up with her personal things, was Melissa. She
was by herself at her car, so Carlos and I stopped and
chatted with her for a few minutes. I hope that by doing
that, she was made to feel welcomed and perhaps
return sometime. She said she would.

After a couple of years of being in the “fifth
section”, I was convinced to try out as a singing
member. It was scary because I hadn't sung for some
time, so I was very nervous at the audition. I knew I
wouldn’t be able to read the music; I knew I'd be off-
key. I knew it wasn’t the right time for me, but I went
anyway. Carlos was very supportive of me, so we went
to the audition and I met with the director and the
section leaders. "OK, which one of you is Simon?" I
asked, referring to Simon Crowell of American Idol.
When I walked in, they were all there sitting at a table
that reminded me of the judges on America’s Got
Talent. I knew the audition had 3 parts: A solo with

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musical accompaniment, singing with the piano, and
reading music. My solo was “Many Tears Ago”
(Connie Francis song). Afterwards, I was asked to
repeat some of the piano notes played. So far, I felt
good about both those parts. Then I was given sheet
music to a song I had never heard of. I did fine with
the simple notes but when I was asked to sing 3 bars
of notes that were so close together, I thought it was a
misprint. They were 32nd notes. Mikie don’t do 32nd
notes. I made mincemeat out of those notes. I'd tell you
what they were musically, but I doubt you'd
understand. (they were not 1/2 or 1/4 notes. They were
1/32 notes, which means there were 32 beats to the
bar). I was unable to read the music because I hadn't
for so long. I knew by the end of the audition I had
blown it. There was no question.

I got a note from one of the leaders a couple of
days later…the proverbial "don't call us…and we
won't call you" I had never failed musically at

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anything in my life so it was kind of a blow to my
ego…but in a matter of a couple of days, I got over it.

There were so many chorus performances that I
was so pleased and proud to be a member of; I always
wore the same outfits the singing members wore, and
I was always part of the usher crew and welcoming to
the guests, ticket sales, etc. It was an important role
that the 5th section handled, and concert time was busy
time. It was fun to meet the guests, fun to be a part of
the group.

Every year, usually in July, the chorus hosted a
membership dinner. It was a fun time to get together
for dinner with about 300 guys, watch an incoming and
outgoing president and officers, and in general, a great
time for everyone. One award in particular was the
“Atta
Girl” award, presented to the member who generally
went above and beyond in some way. One evening at
a dinner, my name was called for an “Atta Girl” award,
for bring the chili a few months before and for all the

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goodies I’d brought. I won a second “Atta Girl” award
that night, the first in the history of the chorus, for one
person to win 2 awards the same night. The other
award was for trying to sell a portable commode on the
chorus’ website. It never sold but the team thought it
was hysterical that I tried to do that, so I was awarded
for that as well. This was the kind of nonsense that
made being a part of the chorus so much fun.

In July 2014 I was hospitalized for a few weeks
with a fractured and replaced left hip. Many of the
guys either came to the hospital to visit, or to bring
food, or call to check up on me. When I was
transferred to a rehab facility, several of the guys drove
the distance to come visit me. It was simply amazing
to get that kind of attention.

I was released from rehab on July 23, 2014 and
it was important to me that I be out of rehab because
the following Saturday, the 26th, was the chorus
dinner and I was determined to be there. I was only 2
weeks out of surgery, but it was important to be there.

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Carlos and I drove to West Hollywood for the
dinner and arrived early. As I sat in my wheelchair
everyone came up to me to see how I was, to give me
hugs and kisses, to welcome me back. Once inside,
MORE guys came up to me. I couldn’t keep them off
me. There was an actual line forming of guys waiting
their turn to hug me and welcome me back. It was one
of the most memorable and emotional times I ever had.

Carlos and I remained in the chorus until 2017.
As the demands of the music became more difficult for
him, and my hearing loss prevented me from enjoying
what I once heard, we both felt it was time to say our
good-byes.

It’s another chapter in my life’s book that has
come to a close, but during those 6 years, I made some
of the best friends I have ever known in such a short
period of time.

The times I spent as a member of GMCLA were
times I will cherish the rest of my days. I was part of a
family - a group of over 250 men - who shared mutual

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loves: First of music, and then of each other. I miss
them.

Goodbye Joe. Goodbye Chris. Goodbye
Michael. Goodbye Alex. Goodbye Mark. Goodbye
Tod.

Goodbye our boys. Our friends. Our Monday
nights.

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Contrafactum (or contrafact, pl. contrafacta): "the
substitution of one text for another without
substantial change to the music"

What a great word. I “contrafact” he, she, or it
“confratacts”. We have “contrafacted”.

I used to just say “I’ve rewritten the words to
this popular song.” Or “sing the song with these
lyrics.” I never knew there was a name for it.

But...I have contrafacted many songs over the
years. It’s the poetry in motion in me. I guess I’m the
Weird Al Yankovich of the family, but I really do love

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to make rhymes, write poetry, create stuff I’m proud
of...or be made fun of or was laughed at.

Why do people contrafact? Well, because they
can It sounds like a word that can be used sexually,
medically, philosophically...lots of uses.

“Honey, would you like to contrafact later on?”
“Doctor, is there anything I can take for this?”
“Well yes. I can prescribe Contrafactum, three
times a day and it will clear that right up.”
You get the idea.
So here are a few songs I have contrafacted.
Even if you don’t know the melody, you might be able
to maybe make one up in your head as you read the
poetry behind them.
First up on your contrafacted hit parade, is
“Where The Boys Are”. When I was performing
publicly, I always tried to include a Connie Francis
song because as I said earlier, at one time she was a
favorite. I still enjoy her music from yesteryear, and

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this was a song that I actually didn’t like, but the

words came pretty easy, so I rewrote it:

Where The Boys Are
Michael Dardenelle

rewritten

Where the boys are
What a stupid song
I don’t know why, it’s just that I
Don’t even try to sing along

Where the boys are,
It's not meant for me

It’s just a song,
The words are wrong
It’ll never be what it should be.

Other songs sung by Connie Francis
I’d love to sing for you
As you can tell
I would get some glances
So this song won’t do

Till I find one
A song that's meant to be

Where the boys are
Where the boys are
Where the boys are…

It’s not meant for me

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“Thanks Again” is a country song by Ricky
Skaggs from 1988. It’s a very moving song of the artist
thank his mom and dad for bring him up right, and
providing, and always being there. It was a tribute to
them.

I loved the song and the meaning, and when I
was so terribly ill in 1996, I recorded my album,
“Music With A Message” that included the rewrite I
did.

A friend of mine in England heard me sing it,
and she asked if she could use it for her daughter to
sing. Her daughter was performing locally in London
and was recovering from cancer and she wanted to
thank everyone for being part of her life and her
recovery. I gladly said yes. She sent me a DVD of the
performance, and I was beyond touched that one of
MY songs was performed by someone else. I was
amazed. She did a beautiful job of the song and the
interpretation.

I was blown away.

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Here is “Thanks Again”

Thanks Again
Michael Dardenelle

Rewritten 1996

I’ve spent more years and many tears,
So many more than you’ll ever see
And while it comes from heart,
It all falls short

Of saying how special you are to me.

It wasn’t I had closed my eyes
Thinking and wondering, I realized

Putting the pieces together now
That I’m gonna get through this,

Some way, somehow….

So thanks again
For being there with me
Through all of the changes that I’ve been through

Thanks again
For your constantly caring
For all your support, and for all that you do
For being there with me,
When nights were so long.

For making things right
When they seemed to go wrong.

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To my wonderful dearest friends,
I just have to say it,
Thanks again.

I’m still a young man, ‘least I think I am
But I’m not about to give up this fight

With the help from above, and friends who love
You all have a way of making things right

So, thanks again for worryin’ about me
You never did doubt me, you’re always there
Thanks again, for the help that you gave me
Your cards and your calls and the way that you care.

The kindness you’d show when I was so low
Those times you said “yes”

When you could have said “no”

To my beautiful lifelong friends,
I just have to say it,
Thanks Again

You’re my beautiful lifelong friends
I can’t say enough…Thanks again.

Country singer Kathy Mattea sang her hit,
“Where’ve You Been?” that was released in November
1989. She won a Grammy Award for her performance.

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The song is about two lovers, Edwin and Claire.
It uses three interpretations of the phrase "where've
you been?", all spoken by Claire toward Edwin in
various situations. In the first verse, she asks him
where he has been all her life; in the second, she asks
him where he has been after coming home late one
night; and in the third, the two are elderly hospital
patients: Claire has "lost her memory" of family and
friends, and close to death, asks Edwin upon seeing
him, "where've you been?"

This song is very touching, very moving, very
emotional. It wasn’t as difficult to rewrite it as it was
to record it. This was a tough one. My version is about
losing my dad in 1989 and recorded the year after for
my album “My Father And Me” and tells the story of
my dad in his younger years, marrying then having
children then quietly passing away in October, 1989.

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Where’ve You Gone?
Michael Dardenelle

Rewritten 1990

He had a childhood, all his own
He kept his mem’ries all alone
He never shared his childhood days
With those he loved so many ways

He left his home, his family life
And soon thereafter, found a wife

Where’ve you gone?
I miss you more with every passing day

Where’ve you gone?
I’m just not myself when you’re away.

He joined the Navy, saw the world
Got married to
a Navy girl.

They settled down, they had their fun
And soon thereafter had a son.

And two years later, so it seems,
Another son had filled their dreams.

Where’ve you gone?
I miss you more with every passing day

Where’ve you gone?
I’m just not myself when you’re away.

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