Biography

WHAT TO EXPECT AT A SHOW:

Andy Schiller is a solo acoustic guitar instrumentalist. When he hits the stage, the first song will be a fast, no-holds-barred flurry of notes, ala Andy McKee’s “Drifting” or Kaki King’s “Playing with Pink Noise”. The percussive techniques and two-hand tapping add a visual element to the musical performance that keeps the audience’s eyes glued to the stage. The set then continues with original compositions. These are melodic finger-style pieces, where Andy obviously draws upon his classical guitar training. The tasteful use of loops and effects in a handful of the songs brings a welcome variety of tones to the set. A few covers from 80s pop groups add a surprising twist to the set of solo acoustic percussive guitar. This is an all-instrumental solo performance… no singing!

Andy also performs strictly classical guitar music from around the world, for weddings and formal events.

ANDY’S BIOGRAPHY in a nutshell:

In 1997, Andy made a list of the top 5 classical guitarists in the world. 10 years later, Andy had studied privately with all 5.

ANDY’S STORY:

Andy studied the Suzuki Method from ages 7-18, beginning his study of the Suzuki Violin in 1982. Andy got his first electric guitar at age 13, and focused on rock songwriting and acrobatic lead guitar techniques during the 80s. A high-school interest in orchestration inspired him to study classical guitar performance. After performing in Carnegie Hall at age 19 (in 1995), Andy went on to earn a BA in Music Business/Arts Entertanment, with an instrumental focus on Electronic/Synthesizer Music from Siena Heights University. He has also studied in four masterclasses with Sharon Isbin at the Aspen Music Festival, one masterclass with Eliot Fisk at Hillsdale College, a six months of private lessons Jason Vieux at Cleveland Conservatory, four masterclasses with Benjamin Verdery at the Hawaii Festival, and five years of private lessons with Ricardo Iznaoloa at the University of Denver. Andy has also lived in Rome, Italy and performed 4 concerts as a resident solo artist with the Rome Festival Orchestra. He has also appeared as a soloist with the Adrian Symphony Orchestra. In the summer of 1995, Andy lived in Paris, France, studying language and Art History. In the summer of 1996, Andy lived in Sao Paulo, Brasil, informally studying and performing Samba music. He has been teaching full time in Boulder for 12 years for Robb’s Boulder Music, and has also taught for the Colorado Music Festival and the Rocky Mountain Center for Musical Arts, and the famous Herb David guitar studio. Andy has been an Adjunct Professor at Siena Heights University as well as Adrian College. He currently teaches at OZ’s Music Store in Ann Arbor, MI.

Andy is a percussive fingerstyle acoustic artist, who adds electrtic guitar, bass, banjo, mandolin, ukelele, fiddle, (or any other stringed instrument), as well as samples and loops to his pieces. He feels comfortable playing bluegrass or blues, metal or acoustic, Celtic or Brasilian, Classical or Postmodern. A band he is currently coaching, Locoboco, performs rock songs in Danish. His instrumental compositions have been chosen by playwrights, ad agencies, therapists, and compilations. He has released three CDs of solo acoustic guitar music. His latest, Horizons, was recorded by three-time Grammy winning producer, Tom Wasinger. Andy’s latest music video featuring acoustic percussive guitar “Behind Those Eyes” is featured on his YouTube channel. http://www.youtube.com/andyschiller. He is currently writing, performing, and recording songs at Epicenter Recording studios with Mike Binder and MGB Records.

A Certified Pro Tools Operator, Andy has engineered for Scharren Studios, AudioMatrix, Denver Musician’s Union Studios, the Toledo Symphony, and Strawberry Fields, Omega 13 records, and Atlantis Studios. He also owns and operates BeyondGuitar.com, a website featuring his own video guitar tutorials.

ANDY’S LONG BIOGRAPHY:

I am originally from Montague, Michigan, where I began studying music on the violin at age 7. My interest was sparked after attending an orchestral concert with the West Shore Symphony. My mother made the long drive to Fremont every Tuesday to take me to violin lessons with Anna Land. For ten years, I learned the Suzuki method up to book 5. Later, lessons focused more on Celtic and Irish fiddle tunes. In high school I was a member of the West Shore Youth Symphony.
 My brother Tony and I shared our first electric guitar together during middle school. This gave me the opportunity to experiment with sounds and develop basic technique. I listened to guitarists like Randy Rhoads and Joe Satriani, mystified by their use of classical counterpoint, complex chord progressions, and their use of acoustic and finger style guitar. Forming many bands through high school, I played original compositions and 80’s rock tunes. The band “Scourge” won the Campus Life Battle of the Bands in Whitehall, Michigan in 1993. I also picked up the twelve string guitar. I did not have guitar lessons at this point, so I was a completely self-taught player, and my compositions were purely written by ear, and followed no formal rules.

I attended Siena Heights University near Detroit, Michigan, where I earned a BA in Music Technology. I was able to study under a very modern approach, including music business, electronic music, experimental jazz, and recording technology. Through the University, I began an internship working for the Toledo recording studio Scharren Recording. This later turned into my first full time job as an audio and video engineer. I spent years under the wing of Dan Schroeder, grammy winning pro tools engineer. I went on later to work for AudioMatrix, Strawberry Fields, and OhioMedia, as well as engineering for the Toledo Symphony. I entered some local talent shows with my electric guitar, an effects pedal, and a phrase sampler. Many assignments for the electronic music courses required composing synth pieces. Somehow I managed to find time to play second violin the school quartet. It was during this time that I began the intense study of the classical guitar, playing a master class with Eliot Fisk. My senior year, I performed with the Siena Heights Men’s Choir and Madrigal Ensemble in Carnegie Hall.

After graduation, I accepted an adjunct faculty position of Instructor of Guitar at Siena Heights University, Adrian College, the Jackson Symphony Orchestra Community Music School. I continued to teach at the college level for the next six years. It was during this time that I formed the Ann Arbor Hard Rock band “Climb”, which opened for national acts such as Taproot and Funktelligence.

Then I moved on to the graduate schools at the University of Toledo and the Cleveland Institute of Music, and made my living as a classical guitar instructor. I managed a few bands, including “The Caustic Pop”, one of Billboard’s top ten unsigned bands in 1999. I also released a compilation CD of the best local bands the I had recorded in my pro tools studio, and continued to collaborate with musicians from my home town in West Michigan. I released two solo CDs of original instrumental acoustic guitar music – Impressions and Corridors. Impressions is a meditation CD of acoustic guitar. Corridors is part solo classical guitar, part celtic guitar, and part acoustic blues complete with bass and drums. This was a very busy time in my life, because my solo act was the “house band” at two local establishments. This show featured solo instrumental acoustic guitar and the Boomerang phrase sampler (and sometimes hand percussion). I started the record label “Omega 13 Records”, and released a compilation CD of the bands I had recorded.

I took the next summer to travel, perform and study in Italy with the Rome Festival Orchestra. While in Rome, I studied with Stephan Traini, instructor at St. Mary’s conservatory of music. I performed Vivaldi’s Concerto in D for Guitar and Chamber Orchestra, as well as Suite Brazilian by Heitor Villa-Lobos and Robert DeVisee’s Lute Suite in D minor. Upon returning to the States, I performed Vivaldi’s Concerto in D for Guitar and Orchestra with the Adrian Symphony.

The next summer, I was chosen as one of ten musicians (from a field of over 1,000) to study at the Aspen Music Festival, hosted by Julliard’s Sharon Isbin. There I studied and performed James McGuire’s Canzone in E minor, as well as two original pieces, “March of the Butterflies” and “Far Away”. I relocated to Colorado to follow this opportunity, and to form the band Boulder Acoustic Society. I wrote, arranged, and recorded most of the songs. This band became a national act. I later joined Deep Green Nation (led by Jeff Brinkman), a roots-rock band that went on to record with Denver-based Grammy-winning Bendiksen Productions. We played many concerts throughout Boulder and Denver, and recorded two albums.

The next summer, I attended the 2005 Hawaii Guitar Festival, where I attended three master classes with Yale’s Benjamin Verdery. I performed Bach’s Prelude to the fourth Lute Suite in E Major, as well as a few original pieces which I later recorded and called “Horizons”.

During 2006, I developed a relationship with Fluid Rhythm Entertainment, which has recorded such acts as Delisco, a finalist on the reality TV show “The Entertainer”. I gained film score experience by working with the Grammy winning crew at Bendiksen Productions on the soundtrack to the History Channel Special “The American Forest Service”. Beside arranging and printing parts for the orchestra, I played guitar one one track, “Ashikan Farewell.” The music was added to the film at Skywalker Sound in L.A. At the beginning of 2007, I began recording Birth of Jubal, a hardcore band out of Longmont Colorado. We’ve mixed in Pro Tools, and experimenting with the T-Racks mastering plug in, as well as Stephen Massey’s “Tape Head” plug in. Crimson Reigns, a hardcore band from Greeley Colorado, has finished their recording with me. You can hear their music at http://www.myspace.com/crimsonreigns.

In 2008, I recorded my own original compositions for solo classical guitar at Subterranean Studios just outside of Boulder, with the two-time Grammy winning producer, Tom Wasinger. The CD “Horizons” was released on March 16, 2008 and is available on CD baby. I am currently recording my fourth CD entitled “Pinnacles” with Mike Binder at Epicenter studios in Boulder. Mike has had many songs on the iTunes top ten. In fact, he’s had two songs on the top ten in the same week. We’ve produced my first music video, “Behind Those Eyes.”

In 2013, I earned my Suzuki Teaching Certification up to book 4. This has opened up many opportunities for me, and my students have benefited greatly from the experience. My website BoulderSuzukiGuitar.com features a clear explanation of the Suzuki Method, my studio policies and schedule, and video performances. My student Jaden Carlson started Suzuki with me at age 6, and by age 12, has not only become a professional musician, but a national act. My former student and bandmate Jeff Brinkman has become a national act, appearing on “the X-Factor”. My student Johnathon Ballou has completed a classical guitar degree at Pepperdine University. My 14-year-old student Rory Martinelli has established a successful band as well, Apollo’s Masterpiece.

I currently own and operate BeyondGuitar.com, a video learning site, started in 2007. It features over 400 lessons by 8 teachers. I have taught at Robb’s Boulder Music for 12 years, as well as Mojo’s Music Academy in Longmont, the Off-Broadway School of Fine Arts, and the Mountain View United Methodist Church.

In 2017, I was awarded an Honorary Doctorate Degree in Gospel Music from the Los Angeles Development Church and Institute.

************

From my 2019 Book “Where I’ve Been”…

Chapter 1: Ask, and its given to you. Sort of.

Needless to say, I was a little more than fed up with the whole scene in the guitar department at the University of Denver. It was filled with ruthless cut-throats; kind-hearted people like me just didn’t seem to fit in there.

So, I inquired about changing majors. Perhaps the recording department was a more satisfying place. I scheduled a meeting with the professor. It was a new program, only a few years old. I had taken a tour of the studio when I applied for the position of professor at this university. Obviously, I wasn’t hired, since I was a grad student.

So I met with the teacher.

“Well, I don’t see how you could possibly join the class now, we’ve already begun!” he said.

“Today’s the first day of school” I replied.

“Yes, but we’ve already discussed the difference between dynamic microphones and condenser microphones.” he said.

“I hold a Bachelor’s degree in Electronic Music Production from Siena Heights University” I replied.

“That doesn’t mean you know the first thing about recording!” he said.

“I hold a Pro Tools Expert certification” I replied.

“That means nothing. You’ll really slow us down” he said.

“Oh, it must be a big class. How many people are enrolled?” I asked.

“Two.” he said. A long silence filled the room. “I’m afraid the answer is NO.”

I left the meeting disappointed, but somehow glad that I didn’t have to be around that man every day for four years. I hopped in the car and went to my job – at Boulder’s most sought-after studio. We set up mics for drums, tracked vocals, guitars, bass keyboard… then I played some mando on several tracks.

A couple months later, I received a text. It was from my buddy Mikey B. “Hey Andy, check the iTunes top ten!” I wondered why he’d say that, but I was curious, so I called up iTunes. And there it was. Not only was the song I played mando on at the NUMBER ONE position on iTunes, but TWO OTHER songs we had recorded that week were also on the list. That’s THREE songs on the iTunes top ten at the same time.

MORAL OF THE STORY: You can’t use a yardstick to measure centimeters. If you measure success as the number of degrees I have from University of Denver, I’m a zero. But if you measure success as the number of simultaneous recordings you’ve got on the iTunes top ten, I’m a 3. Regarding that professor, I wonder.. “what number of iTunes top ten hits does he have?“

Chapter 11: The Classroom

(Fast Scales aren’t everything – they’re the ONLY thing.)

I was sitting outside a classroom at the University of Denver, since I arrived early for every class. A fellow student named Johnny also came early, so we struck up a conversation. It was the first week of school in a new semester.

Keep in mind that these are GRADUATE level students, at “one of the top Universities in the USA”, the “Julliard of the West”, a school where prospective students study privately for years with a professor, and audition for years and years before getting accepted.

It was his first year, and I wanted to make certain he felt accepted and welcome, so I smiled and warmly approached him. “Would you like to form an ensemble?” I asked him. Every student was required to participate in group playing, and the responsibility of forming the groups was left to the students.

“NO!” he insisted, frowning. “You can’t play scales fast enough. I’m up to 156 on the metronome with sixteenth notes. You can’t play that fast. Be in a group with a person of such limited technique, such as yourself? It would be EMBARRASSING to be on stage with you!” he stated plainly, then stuck his nose up in the air in a very snooty way.

I was about to respond with a kind and gracious “ok, thanks anyway” and a smile, but he had turned his back to me, and stood there in the hallway facing the opposite direction. I took that to mean that he intended for the conversation to be over.

So class began. The teacher called us in, sat us down, and announced that in today’s class, we’d be sounding out famous melodies without using any sheet music to guide us. It was all to be done completely by ear. We each had ten melodies to “figure out” through playing and experimentation, and the first song was an easy one: Twinkle Twinkle Little Star.

I played all ten melodies on the first try, and was excused from class for the rest of the day, since the teacher had to “work with” all the other students, who were still struggling.

An hour later, I walked past the classroom on my way to lunch. There was only the teacher (looking very annoyed) and my friend Johnny. Tears were rolling down his face. He was crying, hugging his guitar like a teddy bear, lower lip quivering, because he could not figure out how to play the first line of Twinkle Twinkle Little Star, even though the teacher gave him the first few notes. It was really painful to see him such a wreck. I wonder how he would do on the other nine songs that he had left to go.

The moral of the story: It would certainly be embarrassing to be on stage with him.

Chapter 37: The Test

After several years of trying, I was finally accepted to the University of Denver. I had to pass a ear training test in order to enroll. So I showed up at the appropriate date and time (early, of course) with a pencil and a smile. The teacher welcomed me.

“Lets begin” he stated. He sang some melodies, which I was asked to write out in music notation. He played some rhythms, and again I wrote them. He played some chords, and I wrote those as well. At the end, I turned in my paper. He graded it on the spot. After making several HUGE red X’s on the page, he wrote “50%” and circled it.

“Well, I don’t know how you go in to this school. You did extremely poorly. If it were up to me, I would fail you, you wouldn’t be allowed to enroll in classes, and you’d be asked to leave the University. But the director of the guitar department has told me that he’s looking forward to the enrollment growing… so I’m going to RELUCTANTLY give you the BARE MINIMUM passing grade. You’ve got a long way to go. I hope to see MAJOR improvement from you.”

“Yes, sir.” I stated.

I was relieved that I passed, but annoyed at his assessment of my skills. Since this was my last appointment at the University for the morning, I hopped in my car and headed for the music store, where I worked full time as a guitar teacher.

The first student brought in a complex acoustic two hand tapping song for me to “figure out” and tab out on paper for him. I did it in less than 30 minutes.

The next student brought in a lightning fast speed metal solo. I diciphered the notes by ear, wrote them out, and taught it to him.

The next student brought in a singer songwriter piece with piano and voice. I figured out the chords for guitar, wrote it out, and sent her on her way.

I taught 16 guitar lessons that day, each time figuring out a song by ear.

I taught 16 guitar lessons the next day. And the next. And the next. And the next. Every day. 80 lessons a week. For 20 years.

One day, after lessons were over, I ran into another guitar teacher in the hall. He had won three GRAMMY awards, so I was always very respectful of his talent. I always considered myself lucky to teach across the hall from him. “Hey, Andy, there’s this chord in a song I can’t figure out. Will you help me?”

THE MORAL OF THE STORY: Sometimes people mistreat you just to see how you’ll react. Its a test.

ALSO: The test that the professor had created to asses the skill of the students was POOR. It was a poorly written test. He needs to learn more, try harder, and create a better test. That’s my assessment of him.

Chapter 48: recording the conversation

I went to the welcome lecture, the first day at my new University. I recorded it so that I could listen later, in case there was something important. I didn’t want to miss anything.

I indicated I’d like to transfer in credits from another university. Then the teacher said “We covered that in the lecture.” I looked at my notes and it wasn’t there. So I came to his office with the recording.

“No transfers after two weeks. Its been two weeks and a day.”

“You didn’t say that.

“Yes I did”

“No you didn’t.”

“Yes I did”

“No. You didn’t”

“Lets listen to the lecture together, shall we?” I pulled out my mini-cassette machine and hit the play button.

What I learned: Some people are complete actors. They’ll pretend they didn’t say something, even while listening to the tape of them saying it. There’s nothing you can do to change them. Simply avoid them and don’t engage. But if they stand between you and justice, persevere in your efforts, because they don’t have the ability to be humiliated. You just have to keep pounding through on the facts until someone else gets involved and can see the situation for what it really is.

Chapter 49: Why are YOU the only person who complains?

Apparently, there is another A. Schiller at the university, and so my email was “aschill2”. So I didn’t get any of the messages from the Dean. Then I didn’t show up to the event, since an email was sent to “everyone” informing them of a change in schedule. Then I showed up at tho original time, and walked around an empty building.

“Should I be penalized for non-attendance of the event, since I did not receive the message that the time and day was changed?”

“You need to write a letter of apology, simply because you dared ask that question.” he said, as he typed my name into his laptop. “Oh, I see, A. Schiller TWO!!!”

Chapter 50: Uncancelled

The saturday rehearsal was cancelled. Apparently, one of my fellow players had a hot date and had to get ready for his big night out. I got the phone message. So there were no responsibilities at the University. So I took my wife up in to the mountains for a weekend away.

On Saturday, apparently one of the students took a lesson. The teacher wasn’t happy with his lack of progress and asked about the rehearsal. “It’s cancelled? Well… UNCANCELL it!!!” So he made a round of phone calls and said “get here fast, the rehearsal is back on, and it starts in an hour!” Three of the four members of the quartet (who all lived on campus) could make it there easily, since they did not have jobs or families.

I was in the Rocky Mountain National Park, far away from society, people, cell phone towers, and communication technology. The only way to reach me was through smoke signals.

When I got back Sunday night, I had at least a dozen messages. On school monday, the teacher confronted me. “You missed rehearsal!”

“No, I didn’t.”

I told him that it takes 24 hour advanced notice to change the schedule. I asked him kindly to please follow the protocol I’ve outlined on my outgoing message. Leave only one message. Give 24 hours notice.

He responded by saying that I’m not allowed to make rules concerning my own phone line, that he is in charge of it.

I changed my phone number that night.

The next day, I went to class. “Andy, I dialed your number last night to remind you about today’s quiz, but the call didn’t go through.”

“I changed my number.”

“OK. What’s your new number?” he grabbed a pencil and paper, and looked up at me.

“You’re not allowed to have it. You are very impolite with your telephone habits, and you don’t follow etiquette that is clearly outlined for you. You’re not welcome to call me on the telephone.”

I didn’t give my number to any of the other members of the quartet either.

If going to rehearsal is so GRAVELY IMPORTANT, then it is always saturday at noon, and carve it into stone on your calendar for the whole semester. Its not going to change. Its not going to be at a different time every week, surrounded by dozens of calls and emails. Can you make it tuesday at 3? No, I have volleyball, how about Friday at 8?

“How can I get a hold of you if we need to change the time?”

“You can’t. Don’t change the time. I’ve agreed to be here saturday at noon for the whole semester. I’m not available at any other time. I cannot ‘re-schedule’, do a ‘make-up’ time, or on a ‘whim’ change the plans. If a student does not come at noon on saturday, they receive an F for the day. Better make sure you don’t create other conflicts. Get organized! Get your act together!”

Moral of the Story: its fine to live your life carefree, without a calendar, appointment book, or anything of the sort. But if you have important business and others are counting on you… buy a calendar!!!

CHAPTER 51: Unimportant

I went to the music store to teach 15 guitar lessons in a row… 14 of them were a half-hour, and the last one was an hour… so that makes 8 hours of teaching in a row. It was a long day, but my students continued to learn to read music and play classical guitar. It wasn’t so much work for me, as it was joy. After seeing my 12 year old student get signed to a major record label, my teaching studio was booming. This was my third student who went on a national tour before they were 18.

After work, I pulled out my phone (which is on silent and put away during classes). There were three messages, all from an unknown number.

The first message: “Hello, Andy, this is the Music History teacher at DU, and I’ve decided that I’m doing your entry exam starting in 2 hours, so you better get down here fast!”

The second message: “Hello, Andy, this is your Music History teacher again. Why didn’t you respond? Where are you? The test is starting! Are you ignoring me?”

The third message: “Hello, Andy, you’ve missed the test. You’ve failed. Not only that, but you’ve really upset me by not responding, not showing up, not calling back, and now I know what kind of person you are – a very IRRESPONSIBLE one!”

I was shocked. Not only did I apparently miss something, but the person’s attitude was very foreign to me. No kindness. No compassion. Just rudeness.

Just to be sure, I listened to my outgoing message: “Hello, this is Andy. I teach between the hours of noon and 8pm, and am unavailable to answer the phone. Please leave me a message. Please allow 24 hours for me to get back to you, as I sometimes have gigs at night. Please leave only one message. Thank you.”

This person heard this message three times, and ignored it every time.

I went to the school the next day for class, and knocked on the teacher’s door. She opened it, and had about 6 other teachers there for a meeting. I smiled and introduced myself. “Oh, so YOU’RE the IRRESPONSIBLE one!” she said loudly, for all the other faculty to hear.

I explained to her that she cannot simply announce that a test is in an hour… I work full time, have a family, and its her responsibility to give the tests in an appropriate way.

She ignored me. “You scored a zero, so you’re out of the school. Perhaps if you write me a formal letter of apology, I’ll change my mind.”

I pulled out the phone, and pressed a button. My phone played my outgoing message. “Here are the rules that you must obey if you wish to communicate with me on the phone.”

“Now, I am a half-time graduate student who lives off campus. I only drive the HOUR trip to Denver on Mondays and Wednesdays. On other days, I’m not only UNAVAILABLE to travel here because of my full time job, but I’m also UNAVAILABLE to communicate on the phone during the hours listed. PAY ATTENTION.”

“Well, I expect that you’ll have your phone on you at all times, on call, ready to jump when I say jump” she said.

“Who are you?” I asked. “I don’t even know your name. You haven’t even introduced yourself! Nor have you shaken my hand. You didn’t ask me to come in, to sit down. Do you treat everyone this way?”

She looked like she saw a ghost. “I don’t have to treat you that way. You’re a STUDENT!”

I met with my advisor. He was not willing to disagree with another professor, so I had no advocate. He suggested I write a letter of apology. Instead, I wrote the rules of how to call a person on the phone. Introduce yourself. Ask kindly what days they might be available. Give 24 hour notice. I gave the list to him, along with a letter stating that I expect a responsible adult to contact me regarding the test, with 24 hour notice.

I took the test and passed with a 100%.

Moral of the Story: Some things were never meant to be. Don’t dwell on them. Instead, look at the wonders that you DO have.

CHAPTER 52: I can’t find the sheet, but you’ll need 7.

“Can I have the form I need to file a FORMAL COMPLAINT?” I asked.

“I don’t think we have anything like that! I’ve been teaching for 28 years, and I’ve never heard of a student filing a charge, or calling out a faculty member for inappropriate behavior. It simply doesn’t happen here.”

“I insist.” I said.

The next day, the advisor handed me a poorly xeroxed page. It looked like it was made on a typewriter, then copied in one of those ‘blue’ ditto machines, with ghosts of the letters drifting off at odd angles, and staples in the upper corner.

I filled out the formal complaint. I went to the director’s office, and handed them to the secretary.

Later, the director came up to me. “I’ve never seen that form before. I didn’t even know that form existed! I cannot take you seriously.”

The next morning, I got a special FED EX package. It was a letter from the University saying that I was banned from campus, and if I had any questions I could call campus security. So I did.

“Why was I banned?” I asked.

“We have no obligation to answer any of your questions.”

I asked again.

“This is a private organization. We can exclude anyone, for NO REASON. If you contact anyone from the University, charges will be raised, and if you come onto campus, you’ll be arrested for trespassing.

I had attended the University for 5 years, spent $50,000 in student loans, and it was 2 weeks before graduation.

Moral of the Story: I’d definitely would not want my reputation stained by being associated with a diploma from that institution.

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Recording Artist, Guitar Teacher, Pro Tools Expert. I provide fun instruction for students of any age.

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