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"Let It Snow"
the unreleased bootleg recording
Joshua Crawford
Herb Alpert and the Tijuena Brass

"It's A Wondferful Life" hits 4K for Christmas 2019 !
UPC# 032429328793

"Play Me"
the most passed around DEMO of all time
Joshua Crawford

The original "iRadio LA indie 104.7 Los Angeles" radio promo spot, released shortly after the turn of the 21st century once "PLAY ME" went viral; much to Crawford's unawareness!
By which time the 1993 recorded song was already roughly 10 years old. )
Once iRadio had finally found him in Midland, Texas, they requested he throw some sort of brief radio-jingle together, in which they could then use to promote the song. It was Crawford's idea, merely as a friendly gesture, to toss in an alternate version of the jingle by coming up with the declaration all on his own, "The only STATION ... in the NATION ... that plays nothing but 104.7% unsigned and independent artists!" to which he thought they'd never use. To his shock, they soon wrote him back a letter of gratitude for ever coming up with something so original; informing him that they had already borrowed HIS original declaration, to use as their OWN. In particular, because he had done such a spot-on vocal imitation of the 1980s famed radio DJ Casey Kasem
that had raised his ThrillerBaby generation in which Crawford named while writing his second novel, "Signature Place," in the mid 1990s while still in his late teens.
The brief 23-second jingle was modestly recorded by means of the poverty-stricken Crawford looping his voice through a $49-dollar DVD player in the living room of his humble apartment. The irony was, that due to this "early-streaming" station being based in Los Angeles, more Californians in the WEST, were becoming familiar with hearing "Play Me" and Crawford's unique voice, than they were in his own MID-west America in which spawned him, where he resided. An area of the U.S. that didn't even know what streaming WAS just yet; including Crawford himself. As internet radio was still in its early infancy. With Japan being one of the first to ever place Crawford online before the millennium, to which he was again, unaware of for quite some time. And the birth of iTunes and the iPod had yet to even occur.

  I wrote "Play Me" in 5 minutes, in my mind, with lyrics on this old, early-model laptop-computer that weighed a ton and was bigger than some suitcases, in which my father had given me to suffice my homebound years following 1989's tragic circumstances when I was a teenager. The first 10 or so songs I wrote, were written this way--TYPED on a computer--in addition to writing them on a small spiraled steno-pad, before I soon concluded that handwriting songs on actual paper … versus  typing them on something that could accidentally be deleted … was far more wise. The melody for “Play Me”, and the lyrics, entered my head in just those 5 minutes. I typed the lyrics onto that huge laptop with the THEN-GREEN blinking font; as 'Windows' software hadn't quite arrived to the masses yet. And most laptop computers of that era were just word-processors at that time in the early 1990s. I was a month passed 18; which meant a month had passed since I had been in Spielberg's office for my birthday. "Play Me" was my 3rd I ever wrote, and what I thought might be my FINAL song; and contrary to how it may have come to be misperceived, the title of the song was not selected to be a written  ‘commanding verb’ to executives ‘to PLAY the demo.’ It just sort of worked out the way; with the title serving several purposes in one; both lyrically to the listening ear and music lover with its lyrics, and then literally, to the name of the actual demo itself. I 'processed those words' by typing what had just entered my head, out onto the laptop in my bedroom in which I then waited until everyone fell asleep, around the midnight hour that night, before attempting to bring the ‘laptop with the typed green lyrics on its screen’ … to the piano in the dark, and then read them for the first time, to PLAY them for the first time, and sing them to my audience; the piano.

   I had waited till nighttime because I had been too afraid to play ‘this little song I wrote in my head in 5 minutes’ in front of my family; I was a middle-kid; and as is common with MANY middle-kids, it wasn’t acceptable for me to speak up much. Have an opinion on things. Be granted a turn to talk. It’s just kind of innate in middle-kids, not so much by way of force, but by way of being in the middle of the seesaw; you’re not supposed to disrupt everyone’s ride and somehow you know it, until you eventually realize--if you’re lucky--that there’s other parks to play in …  where you don’t always have to be the one operating the rides to make sure everyone’s enjoying themselves to their fullest potential, but you actually get to enjoy riding one for yourself for a change. And we all know what happens if you remove the middle part of a seesaw; disruption occurs; where everyone in the family is brought out of their comfort zone, and often, this sudden ‘unaccustomed-to-stillness-after-all-rides-have-been-in-motion’ gets mistranslated by them that you’ve somehow caused a problem with the balance of the family and that you need go back to being what you didn’t know was always expected of you; quiet; passive. TOO passive sometimes, to the point where when you finally DO gain a voice of some sort, in some way, everyone’s shocked you’re speaking; like it’s a crime to communicate how you feel. So you’re expected, so many times, to go back into your shell a bit longer, in order to keep things in the family the same; stagnant. As family, once it gains ‘routine,’ doesn’t like change; but instead, prefers tradition; not quite realizing that with stagnation, nothing can change or evolve or grow.

   I somehow knew these were intense lyrics that didn't make sense to even me, but they made sense to the song, and where that song had come from. MUSIC is its own audience when you are a creator of it. When a song first enters you, it's a baby just born; screaming to be loved, and very hungry. You feed it all you have, or it will die. You have no choice. And you aim to give it the best time of its life with all your qualities and skills because it's born with wings that are already flapping, ready to be set free. ‘Embracing it quickly’ is a way to THANK the unseen force that GAVE you such a gift in which you never knew you had; you adopt this thing that was shared with you, and then set it free shortly after … to the audience called ‘the world’, so both IT, and the WORLD, will never forget the ‘experience.’ I never did either. And I truly had no idea that six years later, the song would gain such a reputation online; graduating into this thing known as the 'most passed around demo of all time'; long after all major labels and studios had rejected it, 1,000 times over! I also had no idea I'd write over half a thousand MORE songs.

   One has to remember, this was the era ‘right-before-the-birth-of-the-internet’ that itself, would birth ‘the download’ and ‘the streaming’, and quite a few years before I would start saving things like a sentence on a napkin, or a lyric or two by a friend or fan, or a little gift or two from others, and then place such objects around my piano so that the next time I laid down a melody at the piano, my eyes might take a look around, and then select from which object the melody was desiring to tell its certain story; and then CREATE that story. Author Ray Bradbury once said he did this same sort of thing if I recall, and I remember I was like 9 or 10 when I learned this of him, despite knowing him by his film-translations as opposed to his books, and I didn’t realize I’d ever even be an author myself, much less a musician. I don’t always write lyrics like that, where I glance at someone’s personal salutation to me before laying down my own; as these were also the days before I had completed my own novels. So words are usually just there for me, and always have been, despite not really attempting to lay them down in such a long form as a novel until I was fifteen, and even then, only as a hobby. But deciding which ‘genre’ of storytelling the melody is desiring to tell, is a unique process. So just keeping odds and ends or brief words from others around my living-space, I feel, has always served as motivation to keep up the gift, even if it’s merely on a subconscious level that such words or tiny tokens are even influencing me; especially once I realized I had reached the 300-songs mark by the turn of the 21st century.

   You want to give every kid ‘equal’ love, but when you generate that many children, you start realizing children aren’t replicants of you, but are more gemstones of various types that have only a tiny bit of you IN them , and THEY decide which and what kind of gem they’ll be. But ‘carving away the rock to reveal them,’ is your biggest job as their parent. Despite equaled love and intelligence, each kid will always be different from the other. Yet you always want each and every one of them to shine. To change the world. To make it a better place. THAT is the way I personally look at MUSIC; as the ‘crown jewel’ of the universe. It is a much more quicker and harmonious means of communication than the spoken word is, and a bit quicker than watching a film that might achieve that same story. Most films average 2 hours give or take. Most songs average 5 minutes or less. So when I look back at ‘Play Me’ NOW, I look back at it as this certain bookmark if you will, where compressing a very in-depth story into roughly five minutes, versus directing several hours or so of footage to then compress it into roughly 2 hours, became my more desired way of realizing I had many more stories to tell than perhaps my life might let me tell in film. MUSIC took me over full force with that song, where up until it, playing piano was merely a hobby, and directing was my desired career. And unless you’re born into the industry, or are willing to compromise your self-integrity and morals, both careers usually start out in poverty.

   When I authored “Play Me” and its neighboring songs “Cryin’ Party” and “Sing Along”, I was also a film-director in-the-making--and MEETING its maker--at the time, and I thought I'd be lucky if I ever wrote another piece of music at this hobby I had only uncovered at the time, given I couldn't READ music; and not reading music, can really confuse you--AND your piano teachers--if you know you can’t write it, but yet you can in your head, and through your fingers, and voice. Even to me, “Play Me” still doesn't sound like a ‘demo.’ Even though I duped it so many times for everyone; both on cassette, then on CD, thousands and thousands of times for folks in America and then around the world, to the point where I still have calluses on my fingers from spinning all those cassette-tapes in the ‘90s, to just the right position, so that whichever industry-executive it was being submitted to, would hear the music IMMEDIATELY if they popped the cassette into their car-stereo. And those holes in the CDs! That many times! GOSH those things can cut you. Taking each and every CD out of the case, then placing them into the cd-player to dupe them, then back into the case. THOUSANDS of cases. Hundreds of times per month. But truly, it really is a DEMO … but to even my own shock, a very unusual one at that; as it was also meant to be the actual final-cut recording. It's a question the Heavens can answer as to why it wasn't enough to attract the music-business.

   There’s a line 1980s’s film “The Blues Brothers” that I never noticed how authentic it was until after the turn of the 21st century, where the two musicians unknowingly arrive at a honky-tonk bar, instead of their intended blues bar, and one of them asks a waitress with fret, something to the extent of “What kind of music do you play here?” And she responds gleefully and matter-of-factishly “Oh, we play BOTH kinds. Country … AND western.”

I think THAT right there … was the problem that my own particular sound was facing with executives at the time, without me even aware of it. The complete ‘labeling’ in the 1990s record-labels placed on their musicians in order to market them to a target demographic audience in retail stores: “heavy metal”, “rock”, “grunge”, “alternative”, “adult-contemporary”, “country”, “R&B”, “middle of the road”, all of this had something to do with the “Play Me” recordings being continually placed in the entertainment-industry’s ‘MAYBE’-files, but never quite being taken OUT of those files, in order to finally be greenlit into a full album, much less, several of them. As half a thousand-songs is a lot of albums.

   I literally am FROM middle-America; with a town’s name to prove it; MIDLAND, Texas. And despite Roswell, New Mexico--my place of origin and foundation--not being too far FROM Midland, I either wasn’t ‘middle-of-the-road’ enough, and thus, wasn’t ‘American’ enough, or wasn’t ‘rock n’ roll’ enough, wasn’t ‘country’ enough, and sure wasn’t SOFT enough; according to all those rejections I saved. There wasn’t a mainstream radio-station at the time designed to handle Joshua Crawford it seemed in these years where FM-radio was in full control of everything, never thinking something like the internet would ever replace them. Ironically, Lubbock, Texas, the town where the “Play Me” recordings were recorded, is home to Buddy Holly; who also suffered the same fate in his home town, which is why he left it, and thus in the process, helped create rock n’ roll; with Al Jolson serving as the genre's forefather. But Lubbock just wouldn’t PLAY HIM to the degree he needed. Holly had already been canned by a previous record-label who didn’t like his desired sound before he recorded “That’ll Be The Day”, for the second time, under a new name. “That’ll Be The Day” WAS a demo … that STAYED a demo. There WAS NO re-recording of that song once Holly landed a new contract with another label who let him have power over his own sound. Most people don’t know this; that “That’ll Be The Day”, the song that finally launched Holly into the stratosphere, was a demo. One would think this factor of ‘middle-America-not-quite-realizing-their-own-originality’ would have changed, given that a period of 40 years or so had transpired between Holly’s initial early recordings … and my own, but strangely, it didn’t. This indeed, after all, is the area of Texas of course that opens up the first five minutes of 1969’s “Midnight Cowboy” and its extremely ‘desolate-as-the-norm’ beginnings for its lead character; which of course, won BEST PICTURE, and only then, did critical re-evaluation of the film occur so much so in the industry, that Hollywood had to break its own rules and change its own film-rating to match the opinion of audiences in the masses who had already grown to love it for how authentic to life it was. But that’s not how Hollywood first saw it. They saw it as an X-rated threat to their G-rated industry--like Lubbock did with Holly--until of course, Cowboy’s box-office receipts started coming in. Same thing with “Easy Rider” and “Last Picture Show.” Hollywood was very hypocritical of itself regarding those then-shocking cutting-edge films about middle-America. America however, wasn’t. And though those particular three films may look like relics of their time here and there, and perhaps even rather tame in comparison to the ultra-violent and pre-packaged-to-a-certain-demographic films of today, their ‘themes’ of ‘growing-up-against-all-odds-of-RURAL-middle-America’ … are timeless. And somehow, audiences knew this before even the very industry that produced the films did. I am very fortunate that ‘audiences’ GOT me, and always did, right from the beginning. However, I’m also very UNfortunate that they didn’t get MORE of me; as in ‘more of my work.’ This wasn’t THEIR fault however, it was the music industry’s, long before the industry would almost completely resort itself to ‘homogenized pre-packaged sold-in-a-can reality-shows’ as a means to discover its talent … versus literally ‘digging’ throughout middle-America for it, the way it was once done, yielding much more diverse and original results in the process. And we all now know those shows that posed themselves as talent-scouters, were mostly thinly-disguised flash-in-pan one-take auditions for 15 minutes of fame. To this day, I have never quite HEARD much more from any of the artists who were so-called ‘discovered’ this way -- off those shows--passed the show itself -- other than a select few. And we’re talking VERY few. Those shows are mostly about brief peaks in TV-ratings, than they are about actual long-lasting music, which we all now know.

That’s saying something about why the music industry has gotten so ‘stale.’ And why there’s not more ‘memorable’ music and musicians as there were, prior to the turn of the 21st century, and prior to those shows that tried to sell career-spanning artists … in less than 1 tenth OF a career.

It’s real simple: the industry got lazy, and thought they could pre-package everybody into rock-stars in merely one-season at the ludicrous age of 15 or whatever. Trying to turn 15 year-olds into Madonna … by the age of only 16.
We all know how far their talent lasted beyond the show.
Not long.

   The three recordings that make up the “Play Me” DEMO, although very different in context and melody from the other, which was my whole point … to give the industry a good short selection … as that’s where the word DEMO got its name from … ‘DEMOnstration’ … I personally thought, and still do, that they each had just enough familiarity to them, to sound like they were created by the same guy; me. The industry, it would seem however, did not share my opinion; despite time, itself, being so agreeable with me, and the fans.

   The old Donnie & Marie song, “I’m a little bit country, I’m a little bit rock and roll,” … was NOT a factor my music ever had the luxury to suffer from. As the “Play Me” demo was neither. Yet, nor do I think it was something in the ‘middle’ of rock and country; even though it still sounds like it could be played in either category. It was just its own genre I guess. And when someone comes along and ADDS a genre to the already established genres, where do you place them? It’s like the John Hughes films, and how they’re looked at by high-end critics NOW. Me and my ThrillerBaby generation KNEW that they were quite ‘different-from-the-usual-teen-film’ at the very time they first arrived in theaters, and we LOVED them for how authentic and NEW that was. Critics didn’t. And it sent Hughes back into a bit of a shell.
He died before he could see mass critical re-evaluation of those films to the point where a few of them deserved to be nominated in the BEST PICTURE category. But that’s not how the adults in the 1980s felt at the time in which the Hughes films first played. They do now, only partially because all us thriller-babies whom Hughes was preaching too, grew up, and now kicked the old critics out of the way. “Play Me” might’ve just been too ‘unlike anything at the time’ sounding, to be taken seriously by the entertainment industry. So was “The Breakfast Club.”

But I wouldn't give it back for anything. It seems to have attracted everyone else OTHER than the music industry. It's my 3rd child. And I enjoy listening to it all these years later, and can do so finally from the side of the audience. It's nearly 3 decades old now, but I think it still sounds ok. It always did. I hum the INTRO piano part of it sometimes when I'm surfing the web or taking out the trash or cooking or laying down for bed, and every time, I forget it's mine; because I raised it and set it free to go out into the world so long ago. It is a great-GRANDchild to me now; among the many I now have. But a very special one, because it's the ONLY one that was fully written and composed and raised and grown in 5 minutes flat. And it's one of only a handful of that now ‘half-thousands songs’ that after I read my lyrics just once to sing them to the piano while I played it, I never had to read them ever again. They were engraved into my mind forever. I've never missed a lyric of that song since.

I'll never forget when I first heard the playback FINAL CUT of the song after I had completed the recording over three long nights in Lubbock, Texas, in November of 1993. It was through my earphones while I was still in the actual studio, having just laid down the final set of background vocals for the chorus. I closed my eyes to listen to it for the first time once it was completed; thinking I'd find an imperfection or two and would want to modify something. But I didn't. I knew right then, we had the keeper. My eyes grew misty. I couldn't believe such a song had been given to me to translate to the masses. The engineer in the mixing-room of the recording-studio I was paying to help me lay it all down, I remember him telling me that I'd 'ruin' it with the heavy BASS portion of the song from the local guitarist I wrote the portion for to play. I think the heavy BASS has only helped it sound even better NOW, than it perhaps did THEN. ‘Grunge’ music was at its peak of popularity then … with many feeling IT’s what prevented the labels from taking a chance on me; that I wasn’t ‘grungy’ enough, and Play Me even had more bass than some of Nirvana's and the Smashing Pumpkins' stuff. But now, all these years later, because I used only organic instruments for my session-players -- and I was blessed with some good ones, even though I wrote all their parts FOR them because I knew what sound I was going for -- sometimes, I think the song actually sounds better to specifically ‘me’ NOW  … than it did then, if only because time has separated me from a time when I shockingly once had to argue to ‘keep that bass IN.’ And I don’t have to listen to it anymore with that one brief argument always bringing me a laugh; it’s grown and has been absorbed in a way I couldn’t have ever imagined. How could I? The internet wasn’t even called ‘the net’ or even ‘the web’ at the time; it was simply called ‘the computer modem world.’ It’s wild that Play Me, Cryin’ Party, and Sing Along grew up so fast in their ‘afterlife’ on things like iTunes and Amazon towards the 21st century when music first became available online, long after the recordings themselves ... died such a long death in those mid 1990s with all those ‘self-addressed-stamped-envelope’ rejections in the mail; thousands of them. And you can’t ungrow something like that when it’s been that absorbed.

   In a pair of high-quality earphones, it takes it to a whole new level of freshness. I'm proud of it. Despite what the industry thought, I think I did ok for my third song ever written, and first ever recorded. If Buddy Holly had lived, I would like to think he would’ve been most proud of me, above ALL; given we both recorded our ‘DEMOS-that-sounded-much-better-than-demos-are-SUPPOSED-to-sound’ … in the very area of America where they weren’t even first appreciated

( 2018)


The anticipated novel by Joshua Crawford,
SIGNATURE  PLACE  part 1: the saga of the "ThrillerBaby Generation" ...
has now FINALLY been officially turned over to Amazon.com to go to PRESS, and is now awaiting the natural process of gaining its own "display-page" on Amazon so that ORDERS for the book can be placed. This process is expected to last anywhere from 1 to 60 days. Please check back here on this website daily. As soon as a street-date for this display page is announced,
you'll hear about it HERE first!

In  light  of  the  many  who  are  currently  wondering  what  Mr.  Crawford's  thoughts  are  on  the  death  of  the  beloved  pop  icon,  Michael  Jackson,  whom  Crawford  named  his  entire  "ThrillerBaby"  generation  after  a  mere  15  years  before  Jackson  ever  died,  Mr.  Crawford  has  forgone  addressing  the  public  on  such  matters,  but  will  do  so  in  a  massive  123-page  introduction  for  PART  ONE   of  Crawford's  " SIGNATURE  PLACE "  3-part  epic-novel,  which  was  initially  set  to  go  to  Jackson  himself  on  the  very  day  that  he  shockingly  DIED;  June  25th,  2009.
Naturally,  his  death  delayed  the  release  of  the  book  for  11 long  years ...

 Crawford  has  had  to  spend  much time "rewriting"  the  entire  introduction  of  his  novel,  to  take  into  affect  the  morbid  and  sad  circumstances  surrounding  the  gloved-one's  untimely  death.

SIGNATURE  PLACE  will  soon  make  its  worldwide  premiere  on  Amazon.com,  in 2021 !
Keep  checking  for  updates!  And follow Crawford's official "ThrillerBaby News" page on Facebook for up-to-date news about the novel's highly anticipated release HERE:
as well as on Twitter: www.twitter.com/ThrillerBaby

Amazon's  criteria  guidelines  for  a  book  of  this  magnitude,  require  a  waiting-process  in  order  to  generate  the  book's  "display  page"  for  purchase. 
We  realize  how  important  it  is  to  each  and  every  one  of  you  who  are  aiming  to  understand  how  Jackson's  1982  mega-selling  album, Thriller,  spawned  an  entire  generation  to  which  Crawford's  book  coined.
Our  thoughts  and  prayers  go  out  to  the  millions  of  ThrillerBabies  around  the  world ... and  throughout  the  universe.
 Please  bare  with  us,  and  check  back  here  often  for  the  latest  updates  on  "Signature  Place - the  complete  1,000-page  3-part  saga  of  the  ThrillerBaby  generation   which  Crawford  first  started  authoring  at  the  age  of  19  in  1994.
(And  yes,  for  those  wondering,  Mr.  Crawford  was  invited  to  the  funeral.)


"Let us not forget what this brilliant musician ... did for our planet; uniting us all during his life of 50 years, then once more, upon his graduation into the heavens. But most importantly, he fathered an entire generation; ThrillerBabies (those born 1965-1980).
In Heaven, he's 'timeless' ... and not near as 'sleepless.' And I imagine he's uniting far more than just a mere planet; more like an entire universe of universes.

Signature Place, the book that coined the word 'ThrillerBaby' ... and one that was on its way to him the very day he passed ... (some believe he read it, others believe he never got to)
is almost ready to LAUNCH onto AMAZON!
1,000 pages ... in the form of a 3-part novel about the generation in which Jackson fathered ... is heading your way shortly.
Thanks to all the many Crawford fans and Jackson fans who have been anticipating this novel of mine for over 8 long years, and for understanding the nature in which its release ... had to be placed on pause for a while.
Until now.
Once you've read it, you won't regret it!
Your extreme patience with allowing me to finally deliver this novel to the public, as I had intended to do over 8 years ago (with Mr. Thriller himself to be the first to get the very first copy, fresh off the press ... until he tragically died the very day the novel was due to arrive to him) is greatly appreciated.
I wrote it for ALL of you. All ages, races, colors, and creeds.
And I would be lying if I said that I didn't have a little help from the heavens themselves.
Afterall, they're the ones who gave it to me.
And thank YOU 'MJ' ... for trying your best ... to '
heal our world,
to make it a better place
Sincerely, and on behalf of the generation I named after you,"
-  J
(aka "Mr. ThrillerBaby")



ThrillerBabies, Michael Jackson fans, latchkey-kids, & single parents worldwide, rejoice! Joshua Crawford's EPIC FOR THE KID IN EVERY ADULT, & THE ADULT IN EVERY KID is HERE; SIGNATURE PLACE! From the big-hearted & gifted green-eyed singer-songwriter with the most passed around demo on the planet (PLAY ME - on iTunes), comes his much talked-about 3-part 1,000 page character-study on early gentrification & the 1st majorital generation of LatchKey kids; offspring of the BabyBoomers; the ThrillerBaby generation - babies of the 1980s, born 1965-1980! One of the most revolutionary literary works of our time, before Harry Potter or Twilight, was the book about neighborhood kids growing up in a DIFFERENT kind of darkness, all-too-real; DIVORCE, DOUBLE INCOME, & the DEATH of a PARENT! Written in poverty by the piano-playing 19 yr. old over 8 years when he didn't even own a car, all while his PLAY ME demo was bouncing around record-labels, deeming him the most rejected artist of his generation (which he is now considered the father of, as Signature Place coined the name THRILLERBABY GENERATION), "that underground book with the most PIRATED SOUNDTRACK of ALL TIME" proudly marks its 10th Anniversary! And to celebrate, Crawford pulls out all the punches for PART 1 of the 3-part saga, including: a 123-page preface/introduction written by the author, a complete table of contents, never-seen illustrations, & a 133-page Signature Place BIBLE reference-guide to all the '80s songs & pop culture featured in the book. Slip on your VANS, grab your Rubik's Cube, & read about how 1 little boy from Gary, Indiana, not only changed the face of music & opened the door for America's 1st African-American President, but caused a gradual multi-ethnic race-integration throughout the world; beginning in a Confederate city that spawned 2 U.S. Presidents; Midland, Texas. GET READY for a place where once the blinds are drawn, the REAL blinds are lifted! SIGNATURE PLACE!

Born December 5th, 1974 in Roswell, New Mexico, often deeming him 1 OF ROSWELL'S MOST INTERESTING ALIENS, Joshua Markl Crawford initially aimed to direct films under Steven Spielberg ever since age 7 upon seeing E.T. The by-ear piano-player & middle-kid assumed he'd never be a musician, due to failing piano-lessons 3 times by age 10, unable to READ music. In 1984, after his parents divorced, the 9 yr. old with the unusual mint green eyes, moved to a condominium-complex in Midland, Texas with his father, where he noticed EVERY kid on the block, also came from a divorce. This would lend way for an entire 1,000 page epic 10 yrs. later, when at age 19, Crawford started his 2nd novel (he began his 1st, "TRUE", at 15). In 1989, however, at 14, a virus attacked his heart, enlarging it 5x its size, causing Cardiomyopathy & almost killed him! But after he lost grasp of a tiny metal cross in his hand that ended up reappearing in 1 of his chest x-rays (when accordingly, it should've burned through him like acid!), his heart miraculously began to shrink, despite doctors sending him home to die because he had refused a transplant. Invited into Spielberg's private office for his 18th birthday (with Spielberg allegedly being out of town), this marked a creative change in young Crawford, who then wrote his very 1st song, SING ALONG, followed by CRYIN' PARTY, & PLAY ME; now known as THE PLAY ME RECORDINGS; the most passed around DEMO of all time in which he attempted to land a record-deal with. Every label rejected him, & Spielberg's office, who had just started a label of their own (DreamWorks - now defunct), took notice. Soon, a SIGNING was planned, but when the deal fell apart, the raspy-voiced torch-song crooner fell into a severe depression, & to pull out of it, decided to write a 2nd book, as a means to prevent his latchkey ThrillerBaby generation (& other generations!) from being named after letters & numbers; a common 1990s trend. This novel, would turn out to be "SIGNATURE PLACE"; a book that predated Michael Jackson's sublime influence on race-integration 14 years before the election of Barack Obama, & 6 years before the man from the very Texas town the book takes place in, would become PRESIDENT (George W. Bush). Like with his music, however, SIGNATURE would gain massive rejection (accordingly over 2,000 from publishers), who felt no child or parent would ever read something so massive. To date, Crawford has penned over 500 songs; all of which remain unrecorded.

Coming Soon  To
2021 !
www.SignaturePlace.com !