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Just in time for New Moon, gosh what a coincidence! The full single features a hott "remix" by the ever-incredible Null Device. Enjoy!
1 comment | Leave a comment
the_dark_clan
02 September 2009 @ 10:47 am
Recently, while conversing with various musician-types at a gig out east, the quote "musicians playing to musicians" came up. It's certainly not an original sentiment, but for some reason the setting and phrasing caused it to really stick in my head. It reminded me of that old Onion "News in Brief" JazzFest Performer Recognizes Audience From Last Year:
However, as terrible as that feeling is, it's not nearly as bad as the feeling when the other bands don't even stick around to watch your set. I mean, it's one thing to play for the other bands, but quite another to play for an empty bar, only to have the other band come wandering in when you're done. Thankfully this doesn't happen with a huge amount of frequency, but it happens often enough to be a stereotype, and it's terrible because we expect other people, both those we know and random strangers, to come to our shows and check us out, but how can we expect other people to come to shows and support bands when we won't do it ourselves? Empty venues benefit no one, and man do they hurt to see, from stage or house.
Everything's different when you're playing with friends, of course, I'm talking about playing with strangers here. As musicians, I feel we should always at least stick around and give every band we play with a fair shake. I feel like most everyone I know does this anyway, so this may be a case of me writing something for an audience that'll never read it, but I've gotta at least try.
Watching the bands you're doing a gig with is the easy part; you're already there, and you generally don't have a whole hell of a lot else to do, especially if you're on tour, so it should be easy to stick around and watch the other bands. I'm talking about actively going out and seeing new bands, and I'm issuing a challenge to other musicians to do so, because I believe it starts with us; go to a random club and see some bands you've never heard of. Do it this weekend, or next month, but just do it. I know, I know, we're all busy and there are so many other entertainment options, etc. but one thing I noticed in music school was how frequently non-musicians looked to musicians for cues on what they should like, or what was cool, or who good bands/singers/players were, and while this is less applicable in the pop world where everything is so intensely subjective, it still applies. As a musician, you can influence people to go check out bands and consider live music a valid entertainment option. Granted, how much influence you have will vary widely depending on who exactly it is you're trying to influence. A couple college kids? Fire away! Married couple with three kids? Tough sell. But nonetheless I believe that we can lead by example.
Now of course I'm in no way saying that if you happen to go to a couple shows that suddenly your own gigs will be thronged with new and adoring fans. I mean, duh, right? For me it's more just about creating a perception that going to some club somewhere and seeing some bands is cool, and that it's a scene, and that it's an easy and fun and great thing to do. Also, for me personally at least, I gain a lot by watching other artists. From the lousy ones I learn what not to do, from the great ones I get ideas for things to try. Plus, as an audience member, I can think about how it feels to be at a show; what gets me excited at a gig? What do I enjoy? What do I want to see more or less of from a performing band? All these questions are great for me to consider as I ply my own particular brands of douchebaggery out in the world at large. And the biggest thing, I guess, is for me going to see live, local music gets me thinking more about the whole debate of whether anyone cares about live music, and if they do, why, and if it's worth trying to get other people into it.
I'm starting this weekend; Friday and/or Saturday I'm gonna pick a random club that's having live music, make sure I've never heard of any of the bands, and go see a show. I'm not doing it out of a sense of duty, or to SUPPORT TEH SCEEN or any other such bullshit, I'm doing it because it's fun, and I miss it. Well, and I guess it SUPPORTS TEH SCEEN, too.
I'll report back so you know I'm not full of shit. Or at least not totally.
"'...there's that frizzy-haired lady with the Playboy JazzFest blanket who comes with her son. My, he's grown.' After a rousing ovation at the end of his set, Ritenour thanked the crowd and said, 'See you all next year.'"Any musicians reading this surely know the kind of show "musicians playing for musicians" refers to: one minute into your first song you look out over the crowd of a dozen or so and realize, sadly, that every single person in the audience is either in, or somehow working for, one of the other bands on the bill. It's a terrible feeling.
However, as terrible as that feeling is, it's not nearly as bad as the feeling when the other bands don't even stick around to watch your set. I mean, it's one thing to play for the other bands, but quite another to play for an empty bar, only to have the other band come wandering in when you're done. Thankfully this doesn't happen with a huge amount of frequency, but it happens often enough to be a stereotype, and it's terrible because we expect other people, both those we know and random strangers, to come to our shows and check us out, but how can we expect other people to come to shows and support bands when we won't do it ourselves? Empty venues benefit no one, and man do they hurt to see, from stage or house.
Everything's different when you're playing with friends, of course, I'm talking about playing with strangers here. As musicians, I feel we should always at least stick around and give every band we play with a fair shake. I feel like most everyone I know does this anyway, so this may be a case of me writing something for an audience that'll never read it, but I've gotta at least try.
Watching the bands you're doing a gig with is the easy part; you're already there, and you generally don't have a whole hell of a lot else to do, especially if you're on tour, so it should be easy to stick around and watch the other bands. I'm talking about actively going out and seeing new bands, and I'm issuing a challenge to other musicians to do so, because I believe it starts with us; go to a random club and see some bands you've never heard of. Do it this weekend, or next month, but just do it. I know, I know, we're all busy and there are so many other entertainment options, etc. but one thing I noticed in music school was how frequently non-musicians looked to musicians for cues on what they should like, or what was cool, or who good bands/singers/players were, and while this is less applicable in the pop world where everything is so intensely subjective, it still applies. As a musician, you can influence people to go check out bands and consider live music a valid entertainment option. Granted, how much influence you have will vary widely depending on who exactly it is you're trying to influence. A couple college kids? Fire away! Married couple with three kids? Tough sell. But nonetheless I believe that we can lead by example.
Now of course I'm in no way saying that if you happen to go to a couple shows that suddenly your own gigs will be thronged with new and adoring fans. I mean, duh, right? For me it's more just about creating a perception that going to some club somewhere and seeing some bands is cool, and that it's a scene, and that it's an easy and fun and great thing to do. Also, for me personally at least, I gain a lot by watching other artists. From the lousy ones I learn what not to do, from the great ones I get ideas for things to try. Plus, as an audience member, I can think about how it feels to be at a show; what gets me excited at a gig? What do I enjoy? What do I want to see more or less of from a performing band? All these questions are great for me to consider as I ply my own particular brands of douchebaggery out in the world at large. And the biggest thing, I guess, is for me going to see live, local music gets me thinking more about the whole debate of whether anyone cares about live music, and if they do, why, and if it's worth trying to get other people into it.
I'm starting this weekend; Friday and/or Saturday I'm gonna pick a random club that's having live music, make sure I've never heard of any of the bands, and go see a show. I'm not doing it out of a sense of duty, or to SUPPORT TEH SCEEN or any other such bullshit, I'm doing it because it's fun, and I miss it. Well, and I guess it SUPPORTS TEH SCEEN, too.
I'll report back so you know I'm not full of shit. Or at least not totally.
Current Location: "mellon" is Elvish for "friend."
Current Mood: indicative
Current Music: Kim Carnes -Bette Davis Eyes
01 September 2009 @ 10:41 am
GUYS BUY THIS RECORD YOU TOTALLY NEED IT!
http://nulldevice.bandcamp.com/
More info:
http://nulldevice.livejournal.com/95623
http://nulldevice.bandcamp.com/
More info:
http://nulldevice.livejournal.com/95623
24 August 2009 @ 10:05 pm
Hey, so I've actually some folks asking about getting lyrics up, and I recently completed the official Dark Clan lyrics page. Note that I didn't put up lyrics for covers or remixes since those can be found elsewhere. Except I think I did the Neverending Story lyrics 'cos I had those lying around.
24 August 2009 @ 10:32 am
Recently a friend said to me in an email; "when's the last time you went to some random club just to check out some bands you'd never heard of?" The question was asked in the context of making a larger point, but it's a great question by itself.
Back when Mercy and I lived on Wisconsin avenue in Madison, up on Capitol square, we would regularly meet my friend/bandmate Waage (rhymes with "froggy") at O'Cayz corral a few times a month just to have a beer and watch whoever was playing that night. I remember it fondly, and remember some sublime performances. Lately, however, I find more and more that just keeping up with my friends' shows is daunting enough, and I have less energy for random shows. Combine that with being a bit of a drive from any local music club that doesn't just have cover bands, and you see why I'm out of the habit.
I'll be writing more on this later, but first, I want to ask the following:
Poll #1448223
Open to: All, detailed results viewable to: All, participants: 15
Back when Mercy and I lived on Wisconsin avenue in Madison, up on Capitol square, we would regularly meet my friend/bandmate Waage (rhymes with "froggy") at O'Cayz corral a few times a month just to have a beer and watch whoever was playing that night. I remember it fondly, and remember some sublime performances. Lately, however, I find more and more that just keeping up with my friends' shows is daunting enough, and I have less energy for random shows. Combine that with being a bit of a drive from any local music club that doesn't just have cover bands, and you see why I'm out of the habit.
I'll be writing more on this later, but first, I want to ask the following:
Poll #1448223
Open to: All, detailed results viewable to: All, participants: 15
When was the last time you went to a random local club expressly to watch some random local/indie bands?
View Answers
This weekend, fool! I support local music, on the real.
1 (6.7%)
Couple weeks ago, felt like hearing something totally new. 3 (20.0%)
I think last month we went to that one bar that has bands. 8 (53.3%)
Meh. I only see my friends' bands or national touring acts. 3 (20.0%)
Have you heard the new Ashley Tisdale record? OMG it's sooooo good! 0 (0.0%)
What's the frequency with which you go to small, local clubs to see local bands or fourth-tier working touring bills where you don't know any of the bands ahead of time?
View Answers
Couple times a week. 0 (0.0%)
Couple times a month. 1 (6.7%)
Once in a great while. 14 (93.3%)
Pretty much never. 0 (0.0%)
Current Location: undisclosed
Current Music: Nightwish - Kuolema Tekee Taitteilijan (Once)
17 August 2009 @ 09:27 pm
Note to self: add "falafel" to list of foods inappropriate for the road. x_x
Current Mood: 
sick
sick14 August 2009 @ 01:17 pm
10 August 2009 @ 10:25 am
Wanna know the future of music? Go read a web comic.
In every music history class I took, we were taught that the musical arts always lag a bit behind the visual arts, and many great movements in the history of western art music were responses to earlier revolutions in the art world. Granted the playing field(s) and rate of information distribution are both very different these days so who knows how true that even is anymore, but allow me the indulgence of the conceit that it is true in order to make a point: some of us indie musicians are pretty goddamn tired of trying to run our own business, and now I feel comfortable stating it and starting a movement. Why? 'Cos I read a blog by a comic artist.
[insert your laughter here]
No! Seriously! Over the last few days I've made a number of decisions in this regard, and they basically come down to this; I'm tired of trying to be my own businessman, web marketer, Social Media Douchebag, distributor, printer, and designer, and so I'm going to stop. The road to this decision started with a tweet Imogen Heap posted last week wherein she said "Unfortunately I spend less than 5% of my time making music. The rest is promotion, meetings..." Personally I think she's exaggerating. I don't think there's any way in hell someone at her success level gets to spend 5% of their time creating music. Personally I'd be amazed if it was as much as 2%.
So this got me thinking. I'm already pissed at the amount of time I spend trying to increase my marketing profile and "get the word out..." at the time spent (wasted?) trying to find new media outlets, new ways to "be heard:" "maybe THIS sales/marketing/social website that looks basically like all the others will attract people to my music..." So then I find out that as you get more successful, the reward is you get to spend even less time making music?
Hold the phone here, people.
I suppose one factor at work here is that indie artists like Imogen, or Zoe Keating, could choose to hire a limited staff of some sort to deal with the business side of things, but they don't. But then on the other hand, maybe there's a good reason they don't? Or worse, maybe they do have some support folks helping but they still don't have shit for time. Whatever the case, this sounds awful. I didn't start making music so I could get into marketing.
Now I already know the responses I'm going to get about that statement and who I'm going to get them from. Look. I don't need you to tell me the facts. I know that if people don't know about my music, they won't check it out, and no one will come to my shows, and etc. etc. and frankly I don't care anymore. Because I'm doing the marketing and I'm doing the blogs and I'm doing all that shit and you know what? It's not helping. The only way people are really getting into my music is the old-fashioned way; they come to a show and they love the show, and they buy a CD. I don't know what the formula is. No one does. All I know is this: the people who love my music don't love it because I Twittered and Facebooked them to death. Yeah, those can be good tools for informing people of what's up, but if you want actual buzz, you can't be the one that starts it. I mean, if you're the one starting and sustaining buzz via various websites, then it isn't actually buzz at all, now is it? "Waaaahh!" I can hear people say "You're wrong, dude! I twittered about my new track and 18 people all posted how much they love it!" Right, and I guarantee you or one of your band members already knew or was related to every one of those 18 people anyway. Stop kidding yourself. Also, if they were actual "fans," then I'm willing to bet you already knew them 'cos you met them at a show, and they would have bought/stolen/downloaded the track anyway. So what really was accomplished here?
Speaking of Twitter, I heard another great quote from an old friend of mine, Sarah Saturday, who used to be in Saving Face and is now doing a solo project called Gardening, Not Architecture. She's been heavily involved in the Earn It Yourself movement for a long time (in fact I do believe she basically started the whole thing) and has also worked for the Warped Tour for a while. Anyway, in a recent interview she said "...there are bands that seem to think they can...annoy their way onto the Warped Tour, or spam their way into your heart, but that doesn't work..." and I guess that's really how I feel about this. Every time I cook up a band-related post or publicity stunt-type thing, I die a little bit inside. Put another way, notice that the people who tell you to embrace marketing are always the type of people who just happen to have an innate love of marketing. There are those, like the mighty Matt Fanale, who recognize this and will tell you straight up "hey, this is all easy for me 'cos I love it and think it's fun," but caveats like that can get lost in all the OMG IF YOU DON'T POST TWELVE BLOGS AND SEND OUT 100 CDS TO DJS AND TWITTER TWITTER TWITTER WEASELS WILL EAT YOUR FACE OR SOMETHING AAAAAAAAAAGH!
Well okay, they don't really say that, but you know what I mean, right?
So. To bring this all back to my initial point, my whole musical-arts-following-visual-arts thesis; this morning I read a brief post by Scott Kurtz, creator of the online comic PvP. Apparently there is a burgeoning movement in the webcomics realm where comic creators are getting tired of trying to run their own businesses when what they want to do is make comics. Sound familiar? Quoted in the blog is one Hervé St-Louis, who says
"Why does one assume that it takes years of training and practice to become a competent cartoonist or writer, while no one questions the fact that every day, some cartoonist thinks he can manage his own business, without having any business training and experience?"
Indeed. Insert "musician" for "cartoonist or writer" and you basically have my point. I, as a musician, am going to follow these visual artists and declare an anti-marketing, anti-business movement for myself. You're free to join if you want! I'm going to focus on making music, 'cos that's what I'm good at. I'm a terrible businessman and a terrible marketer, so I'm going to quit pretending to be those things. I'll still do blogs and tweets and yeah, even some marketing-type stuff, but you know what? The difference is I'm just going to do it when the creative spirit moves me. I'm no longer going to force myself to "generate content" because my site is "stale." I will refuse to let myself feel pressured or anxious to hop on to the Next Great Internet Music Service the very second it comes out because you know what? I'd really honestly rather spend the hour (or whatever) it'd take me to make a profile, upload an image, copy and paste a bio, and then upload some songs, I'd rather spend that time tweaking a mix, or working on lyrics, or comparing relative musicality of compressor circuit emulators. (I'm totally serious about that last one, too.)
In short, I'm going to do basically what I've been doing for the last few weeks, I'm just going to admit to myself that's what I'm doing, and not feel worked up about it anymore. I decided this awhile ago, I guess, I'm just now cool with it. So yeah, if you're wondering, a lot of this post is simply me justifying to myself decisions I've made about my erstwhile music career. But it's a little bit more.
I invite you to think about these independent comic artists. Many of them are supporting themselves with their art, but going fucking crazy doing it because of trying to manage their business. Is that what you want for yourself? Think of Imogen and Zoe, also supporting themselves doing their art but having no time and little money. Isn't that the same as having a day job and doing music as a second job? I know we all have Songwriter's Disease to some extent, the condition that leads you to want to make your living off the sheer strength of your songs. But man if you were serious about that, really serious, you'd already live in Nashville. Or L.A. Or NYC. But this does raise the point: know why you want to make music, and stay true to your vision. If you want to be a huge huge star like they used to have in the old days, well, then get back to your Twitter feed son, you've got content to generate! You have a very different path from me. If you want indie-style success like the artists I mentioned above, well then the same holds true. It's all about knowing what you want.
Me? I want to make music. Lots of it. And I wanna do it as well as I possibly can. I know that my decisions will lead to a diminishing of my already very small audience, but that's fine. In the end I'm making this music for me first and others last, so even if I die with only a dozen or so folks having ever heard my stuff, I know I'll be extremely happy with the music I made, and that's what's most important to me.
I'd rather die a happy, skilled and fulfilled musician than a miserable and mediocre businessman, even though it means supporting myself and my music with a day job.
In every music history class I took, we were taught that the musical arts always lag a bit behind the visual arts, and many great movements in the history of western art music were responses to earlier revolutions in the art world. Granted the playing field(s) and rate of information distribution are both very different these days so who knows how true that even is anymore, but allow me the indulgence of the conceit that it is true in order to make a point: some of us indie musicians are pretty goddamn tired of trying to run our own business, and now I feel comfortable stating it and starting a movement. Why? 'Cos I read a blog by a comic artist.
[insert your laughter here]
No! Seriously! Over the last few days I've made a number of decisions in this regard, and they basically come down to this; I'm tired of trying to be my own businessman, web marketer, Social Media Douchebag, distributor, printer, and designer, and so I'm going to stop. The road to this decision started with a tweet Imogen Heap posted last week wherein she said "Unfortunately I spend less than 5% of my time making music. The rest is promotion, meetings..." Personally I think she's exaggerating. I don't think there's any way in hell someone at her success level gets to spend 5% of their time creating music. Personally I'd be amazed if it was as much as 2%.
So this got me thinking. I'm already pissed at the amount of time I spend trying to increase my marketing profile and "get the word out..." at the time spent (wasted?) trying to find new media outlets, new ways to "be heard:" "maybe THIS sales/marketing/social website that looks basically like all the others will attract people to my music..." So then I find out that as you get more successful, the reward is you get to spend even less time making music?
Hold the phone here, people.
I suppose one factor at work here is that indie artists like Imogen, or Zoe Keating, could choose to hire a limited staff of some sort to deal with the business side of things, but they don't. But then on the other hand, maybe there's a good reason they don't? Or worse, maybe they do have some support folks helping but they still don't have shit for time. Whatever the case, this sounds awful. I didn't start making music so I could get into marketing.
Now I already know the responses I'm going to get about that statement and who I'm going to get them from. Look. I don't need you to tell me the facts. I know that if people don't know about my music, they won't check it out, and no one will come to my shows, and etc. etc. and frankly I don't care anymore. Because I'm doing the marketing and I'm doing the blogs and I'm doing all that shit and you know what? It's not helping. The only way people are really getting into my music is the old-fashioned way; they come to a show and they love the show, and they buy a CD. I don't know what the formula is. No one does. All I know is this: the people who love my music don't love it because I Twittered and Facebooked them to death. Yeah, those can be good tools for informing people of what's up, but if you want actual buzz, you can't be the one that starts it. I mean, if you're the one starting and sustaining buzz via various websites, then it isn't actually buzz at all, now is it? "Waaaahh!" I can hear people say "You're wrong, dude! I twittered about my new track and 18 people all posted how much they love it!" Right, and I guarantee you or one of your band members already knew or was related to every one of those 18 people anyway. Stop kidding yourself. Also, if they were actual "fans," then I'm willing to bet you already knew them 'cos you met them at a show, and they would have bought/stolen/downloaded the track anyway. So what really was accomplished here?
Speaking of Twitter, I heard another great quote from an old friend of mine, Sarah Saturday, who used to be in Saving Face and is now doing a solo project called Gardening, Not Architecture. She's been heavily involved in the Earn It Yourself movement for a long time (in fact I do believe she basically started the whole thing) and has also worked for the Warped Tour for a while. Anyway, in a recent interview she said "...there are bands that seem to think they can...annoy their way onto the Warped Tour, or spam their way into your heart, but that doesn't work..." and I guess that's really how I feel about this. Every time I cook up a band-related post or publicity stunt-type thing, I die a little bit inside. Put another way, notice that the people who tell you to embrace marketing are always the type of people who just happen to have an innate love of marketing. There are those, like the mighty Matt Fanale, who recognize this and will tell you straight up "hey, this is all easy for me 'cos I love it and think it's fun," but caveats like that can get lost in all the OMG IF YOU DON'T POST TWELVE BLOGS AND SEND OUT 100 CDS TO DJS AND TWITTER TWITTER TWITTER WEASELS WILL EAT YOUR FACE OR SOMETHING AAAAAAAAAAGH!
Well okay, they don't really say that, but you know what I mean, right?
So. To bring this all back to my initial point, my whole musical-arts-following-visual-arts thesis; this morning I read a brief post by Scott Kurtz, creator of the online comic PvP. Apparently there is a burgeoning movement in the webcomics realm where comic creators are getting tired of trying to run their own businesses when what they want to do is make comics. Sound familiar? Quoted in the blog is one Hervé St-Louis, who says
"Why does one assume that it takes years of training and practice to become a competent cartoonist or writer, while no one questions the fact that every day, some cartoonist thinks he can manage his own business, without having any business training and experience?"
Indeed. Insert "musician" for "cartoonist or writer" and you basically have my point. I, as a musician, am going to follow these visual artists and declare an anti-marketing, anti-business movement for myself. You're free to join if you want! I'm going to focus on making music, 'cos that's what I'm good at. I'm a terrible businessman and a terrible marketer, so I'm going to quit pretending to be those things. I'll still do blogs and tweets and yeah, even some marketing-type stuff, but you know what? The difference is I'm just going to do it when the creative spirit moves me. I'm no longer going to force myself to "generate content" because my site is "stale." I will refuse to let myself feel pressured or anxious to hop on to the Next Great Internet Music Service the very second it comes out because you know what? I'd really honestly rather spend the hour (or whatever) it'd take me to make a profile, upload an image, copy and paste a bio, and then upload some songs, I'd rather spend that time tweaking a mix, or working on lyrics, or comparing relative musicality of compressor circuit emulators. (I'm totally serious about that last one, too.)
In short, I'm going to do basically what I've been doing for the last few weeks, I'm just going to admit to myself that's what I'm doing, and not feel worked up about it anymore. I decided this awhile ago, I guess, I'm just now cool with it. So yeah, if you're wondering, a lot of this post is simply me justifying to myself decisions I've made about my erstwhile music career. But it's a little bit more.
I invite you to think about these independent comic artists. Many of them are supporting themselves with their art, but going fucking crazy doing it because of trying to manage their business. Is that what you want for yourself? Think of Imogen and Zoe, also supporting themselves doing their art but having no time and little money. Isn't that the same as having a day job and doing music as a second job? I know we all have Songwriter's Disease to some extent, the condition that leads you to want to make your living off the sheer strength of your songs. But man if you were serious about that, really serious, you'd already live in Nashville. Or L.A. Or NYC. But this does raise the point: know why you want to make music, and stay true to your vision. If you want to be a huge huge star like they used to have in the old days, well, then get back to your Twitter feed son, you've got content to generate! You have a very different path from me. If you want indie-style success like the artists I mentioned above, well then the same holds true. It's all about knowing what you want.
Me? I want to make music. Lots of it. And I wanna do it as well as I possibly can. I know that my decisions will lead to a diminishing of my already very small audience, but that's fine. In the end I'm making this music for me first and others last, so even if I die with only a dozen or so folks having ever heard my stuff, I know I'll be extremely happy with the music I made, and that's what's most important to me.
I'd rather die a happy, skilled and fulfilled musician than a miserable and mediocre businessman, even though it means supporting myself and my music with a day job.
Current Location: barf
Current Mood: busy
03 August 2009 @ 09:04 pm
So we're super pumped to announce that we'll be playing a Gen Con afterparty Saturday August 15th at Radio Radio in Indianapolis with Gen Con heroes The Gothsicles! $5, 8pm, check it on out!
People! It's us! It's Lucid Prophecy! It's Sensuous muthafuckin' Enemy! Friday August 14th at Liquor Sweets here in Milwaukee. We'll be debuting a brand new track, featuring Lane on lead vox, so come dig it!
People! It's us! It's Lucid Prophecy! It's Sensuous muthafuckin' Enemy! Friday August 14th at Liquor Sweets here in Milwaukee. We'll be debuting a brand new track, featuring Lane on lead vox, so come dig it!
Current Location: listless works
Current Mood: busy
Current Music: Decapitado - Muzzle (Two-song promo disc)
02 June 2009 @ 01:31 pm
I would love to know what other musicians think about this little gem:
"You’ll know when you’re on to something special, because people will love it so much they’ll tell everyone. If people aren’t telling their friends about it yet, don’t waste time marketing it. Instead, keep improving until they are. "
(Attribution withheld to avoid comment bias. If you know you said this, shhhhhhhh...)
Obviously there's a lot implied here, and even more one can infer. This is basically a nicer, more universally applicable version of the old RockAndRollConfidential.com motto; "less makeup, more practice."
I'm predicting that this phrase will, at one level, tell you what kind of musician you are; the marketing wizards will say "that's BS! you need to make people get excited!" and the meedlie-meedlie types (of which I am of course one) will be able to see this as a justification to hide in their basements and practice arpeggios or tweak graintable synths and compressor settings or whatever until their fingers are sore, if they wish.
So let's move on from that.
First off, remember: if there was a formula to "Making It" in the music business, then everyone would be doing it. This statement strikes me as just another formula. "If x then y in order to z." As if this business followed logic. As if it made any sense.
I think my main issue with this statement is that it seems to presuppose two things:
1. a static, objective and observable definition of "something special"
2. a correlative relationship between the abovementioned "something special" and "excitement"
Let's say you've got a band that's really damn close to having everything solid, and you're just missing a couple elements that'll get everyone all worked up in a lather and telling all their friends to go see you play. I mean let's just say. So here's the issue; what're the elements you're missing? How do you know what you don't know? This is what I'm getting at in point #1. There are A LOT of different factors that can go into making some band popular (even just down at like the regional level). You all know this. So what are you supposed to do? Just start guessing? What if you start to work on your image when your songwriting needed tweaking? Or vice versa? What if you were already doing everything right but what you were doing wouldn't come into popularity for another two years? Or you were just in the wrong town for your style? Well, then in that case all you needed to do was hang in there or move, but how the hell could you have known? With something as frustratingly subjective as a peoples' tastes in music, it's impossible to pin down what's gonna work or not work with a given band. Plus there's almost nothing objective about it, because people seem generally willing to forgive any deficiency in an artist if other aspects are seen to make up for it, but those redeeming aspects are a moving target and can change with the zeitgeist, which is my aim in point #2; you could be great in every observable way but are ahead of the curve or not in the right environment when people are ready to care about what you're doing. Or! Worse! Maybe your stuff is timely and you're in a great physical place to nurture your music, but you play a couple shows and on those specific nights, for whatever reason, people just aren't feeling it. What do you do? Start re-tooling? Go re-write your stuff and re-think everything? Maybe you just need to do more shows and start getting the word out to more people so they'll come and then you can...oh wait, that's marketing, isn't it?
So anyway, those are the issues this kind of statement raises for me. I think the first sentence; "you'll know you're on to something special when people start talking about it" is of course true, and a point we all want to be at, but I don't think the 2nd and 3rd sentences necessarily follow from the first. I think stuff like this distracts from what I feel is the only sure-fire way to "Make It;" Do Everything All The Time. I know, it's impossible, but it's the only way. It's the only formula 'cos it's not a formula. Shit, to do that, it'd be...it'd be like a job.
"You’ll know when you’re on to something special, because people will love it so much they’ll tell everyone. If people aren’t telling their friends about it yet, don’t waste time marketing it. Instead, keep improving until they are. "
(Attribution withheld to avoid comment bias. If you know you said this, shhhhhhhh...)
Obviously there's a lot implied here, and even more one can infer. This is basically a nicer, more universally applicable version of the old RockAndRollConfidential.com motto; "less makeup, more practice."
I'm predicting that this phrase will, at one level, tell you what kind of musician you are; the marketing wizards will say "that's BS! you need to make people get excited!" and the meedlie-meedlie types (of which I am of course one) will be able to see this as a justification to hide in their basements and practice arpeggios or tweak graintable synths and compressor settings or whatever until their fingers are sore, if they wish.
So let's move on from that.
First off, remember: if there was a formula to "Making It" in the music business, then everyone would be doing it. This statement strikes me as just another formula. "If x then y in order to z." As if this business followed logic. As if it made any sense.
I think my main issue with this statement is that it seems to presuppose two things:
1. a static, objective and observable definition of "something special"
2. a correlative relationship between the abovementioned "something special" and "excitement"
Let's say you've got a band that's really damn close to having everything solid, and you're just missing a couple elements that'll get everyone all worked up in a lather and telling all their friends to go see you play. I mean let's just say. So here's the issue; what're the elements you're missing? How do you know what you don't know? This is what I'm getting at in point #1. There are A LOT of different factors that can go into making some band popular (even just down at like the regional level). You all know this. So what are you supposed to do? Just start guessing? What if you start to work on your image when your songwriting needed tweaking? Or vice versa? What if you were already doing everything right but what you were doing wouldn't come into popularity for another two years? Or you were just in the wrong town for your style? Well, then in that case all you needed to do was hang in there or move, but how the hell could you have known? With something as frustratingly subjective as a peoples' tastes in music, it's impossible to pin down what's gonna work or not work with a given band. Plus there's almost nothing objective about it, because people seem generally willing to forgive any deficiency in an artist if other aspects are seen to make up for it, but those redeeming aspects are a moving target and can change with the zeitgeist, which is my aim in point #2; you could be great in every observable way but are ahead of the curve or not in the right environment when people are ready to care about what you're doing. Or! Worse! Maybe your stuff is timely and you're in a great physical place to nurture your music, but you play a couple shows and on those specific nights, for whatever reason, people just aren't feeling it. What do you do? Start re-tooling? Go re-write your stuff and re-think everything? Maybe you just need to do more shows and start getting the word out to more people so they'll come and then you can...oh wait, that's marketing, isn't it?
So anyway, those are the issues this kind of statement raises for me. I think the first sentence; "you'll know you're on to something special when people start talking about it" is of course true, and a point we all want to be at, but I don't think the 2nd and 3rd sentences necessarily follow from the first. I think stuff like this distracts from what I feel is the only sure-fire way to "Make It;" Do Everything All The Time. I know, it's impossible, but it's the only way. It's the only formula 'cos it's not a formula. Shit, to do that, it'd be...it'd be like a job.
12 May 2009 @ 01:44 pm
Just contacted the first of a short list of "don't hold yer breath" guest vocalists I'm throwing hail marys to for the dance album half of the upcoming Dark Clan double album.
Current Mood: 
hopeful
hopeful29 April 2009 @ 03:19 pm
31 March 2009 @ 02:12 pm
Holy crap, I got a couple reviews! Will wonders never cease. You'll wanna click through and read the full version of the first one...
Reviewer: Chris Roddy, Minneapolis, MN
Publication/Site: Dark Twin Cities
Score: Four Stars (out of five)
Exerpt:
In the world of Dan Clark everything is topsy-turvy; guitars coexist with electronics, adhering to one specific style is anathema to the cause, in all seriousness the music should be about fun and - above all - the bad guys wear white. Having played with Null Device, the Gothsicles and, most notably, Stromkern Clark made the solo leap as well as the obvious play on words in 1998 for his project The Dark Clan but there's little along the lines of "dark" music involved in this project. Having released two low budget CDs (2004's independently issued Oh, But the Stars Still Shine... and '05's slightly better Vampires Dance!) he returned in 2008 with The Vampire Wore White, an exceptional and well produced effort that you will either enjoy quite a bit or will provoke a considerable amount of head scratching. I suppose Clark wouldn't have it any other way.
Read The Full Review
Reviewer: Michelle Russo, Chicago, IL
Publication/Site: 1334 Productions
Score: Four Stars (out of five)
Full Review:
The name of the band is called The Dark Clan, hailing from Wisconsin. Consisting of Dan Clark who is main core behind this band and next we have Amanda on vocals, Erin on piano, Nic on drums, Luke on bass and EYG on additional vocals. I just saw this band live at Chicago's Darkroom and they were quite entertaining. The name of the album is called " The Vampire Wore White." This album is showing us that white is the new black. We go to track 2, " Love in the Dark " which is a ode to love, beautifully sung by the lovely songbird Amanda. " Dancing in darkness, she sings to us, a lovely love song to the night. It is a track that I will hold near and dear to my heart. Next is track 3, " Tandy' whcih is an early 80's tribute to what seems to be a lost love that should not be forgotten. It is a tonque and cheek track that speaks for itself. Moving to track 5, " Look into the Night which is a Gothy dark track and a ode to the night beautifully sung by the lovely songbird Amanda who's voice soars high to the sky in perfect harmony. Next is track 6, " Interlude in Two Parts, Invention No. 8 which is a guitar solo rendition of the original J.S. Bach classic which sets it from the rest. Track after track this album has unique surprises behind every turn truely is unique to say the least. We more to track 8, " The Vampire Wore White" which is an ode to the darkness into light and that fashion sometimes doesn't always have to be back in black. This track is truely an anthem for fashion and decadence and will truely not be forgotten for the ages. The Dark Clan is hear to stay will you join them in their dark delight or will you let them pass you by.?
27 March 2009 @ 02:49 pm
Sort of a post-tour wrap-up show, gonna be sweet sweet sweet!
Current Location: the thainwright's tube
Current Mood: busy
Current Music: Tom Waits - Union Square (Rain Dogs)
24 March 2009 @ 01:45 pm
What's in it? What works for you for generating ideas?
What works for you for creatively rendering those ideas into hard media instead of residing in your head?
A popular source for creative ideas is The Artist's Way (and the follow up book, Vein of Gold) by Julia Cameron. It is a book recommended by several bellydance training programs, as many artistic people find that it is a method that works for them. Another book that I've come across is Twyla Tharp's The Creative Habit. I've read the Twyla Tharp one, and I've never successfully gotten all the way through Julia Cameron's books. I own Flow and am trying to read it now...
What I'm trying to get at here is that I'm not looking for books on creativity. I'm looking for the practical, active tips for how you make your internal ideas come out and take form. How you take a feeling and communicate it into the substance of art - whether through words or color or movement?
When you feel filled with the desire to create, burgeoning with the need to put pen to paper, how to do you open yourself up to set it free?
How do you find inspiration? How do you keep it fresh, instead of creating a variation of the same thing?
How do you keep in touch with the creative spark to fill you when you are tired and don't have anything new?
Do you have exercises, hints, activities? Do you listen to music? Do you do something rote to clear away the chaff? Julia Cameron would say write your Morning pages to get all the extraneous "stuff" out and stop blocking your flow. Twyla Tharp says to exercise and move.
What do you say?
What works for you and your art?
What works for you for creatively rendering those ideas into hard media instead of residing in your head?
A popular source for creative ideas is The Artist's Way (and the follow up book, Vein of Gold) by Julia Cameron. It is a book recommended by several bellydance training programs, as many artistic people find that it is a method that works for them. Another book that I've come across is Twyla Tharp's The Creative Habit. I've read the Twyla Tharp one, and I've never successfully gotten all the way through Julia Cameron's books. I own Flow and am trying to read it now...
What I'm trying to get at here is that I'm not looking for books on creativity. I'm looking for the practical, active tips for how you make your internal ideas come out and take form. How you take a feeling and communicate it into the substance of art - whether through words or color or movement?
When you feel filled with the desire to create, burgeoning with the need to put pen to paper, how to do you open yourself up to set it free?
How do you find inspiration? How do you keep it fresh, instead of creating a variation of the same thing?
How do you keep in touch with the creative spark to fill you when you are tired and don't have anything new?
Do you have exercises, hints, activities? Do you listen to music? Do you do something rote to clear away the chaff? Julia Cameron would say write your Morning pages to get all the extraneous "stuff" out and stop blocking your flow. Twyla Tharp says to exercise and move.
What do you say?
What works for you and your art?
Current Mood: 
energetic
energeticCurrent Music: Pezzettino - Seagulls & Fishes
22 March 2009 @ 09:28 pm
20 March 2009 @ 02:43 pm
At the Miramar Theatre this Saturday, March 21st, there will be a benefit concert for Dj:garz: whose family home burned down. Great local bands and DJs have come together for this event that is for all ages.
Stromkern (their only 2009 show!)
The Dark Clan ('natch)
Sensuous Enemy (from Madison)
Null Device (from Madison)
I:Scintilla (from Chicago)
DJ WhiteRabbit
DJ Miss Erika Jean
DJ Koob
Feel free to spread the word to all far and wide. At the url below, you can learn more and buy advance tickets for $10, or pay $12 at the door. Doors open at 7pm, and The Dark Clan will be going on first.
Also, as a special incentive for you to come, the filmmaker doing a music video for New London is going to show it while we play the track @ Dark Clan set tomorrow. You don't want to miss that!
12 March 2009 @ 04:35 pm
Disclaimer: These opinions are not the opinions of any band members beyond myself, and any resemblance in beliefs or feelings of any band member, real or imagined, is purely coincidence, or is cited directly. Terms used often by fellow band members may be used, but this does not mean it came from them. It means I talk more like them now.
I have just finished my first “mini tour” with the band The Dark Clan, and it was an eye-opening experience. As in, my eyes were open for WAY too long. I thought I’d report the things I learned that I could have ONLY learned on tour. And in pure rockstar fashion, I think I can say that Vanilla Ice summed it up with “Stop, Collaborate and Listen.”
I'm a dork. Here's "Listen" for you.
LISTEN
- Listen to the Bands Before You and After You
And not just because you have to wait to load your stuff out. Stay to listen if you can. Even if they didn't stay to listent to you. Because, frankly, you probably make up a good portion of the audience. Every performance is an experience, even if you've seen the band before. If you haven't seen them before, you're gaining insight into another group. If you have, you are being a supportive community member - and probably enjoying yourself. And when they ask you how it was, you can answer honestly. And it gives you insight into the type of venue/performance you're a part of.
- Listen with Earplugs In
HOWEVER, earplugs are necessary. I never knew this. Somehow, I thought that wearing earplugs during a band performance was rude. It is, in fact, necessary. And as Mercy pointed out, sometimes you hear the music BETTER when you cut out some of the sound reverb. Your ears are not ringing for days afterwards. I now own a whole pack of earplugs. They really felt weird the first few times. Now, I loves them.
- Listen to Other People
I could have gone straight to bed. I was SO DAMN TIRED. Instead I talked to Sean for about 30 minutes or so. And now I know Sean - who's pretty friggin' cool. I talked to Dave for a bit too. And ranted with Jean about the evils of municipal ticketing schemes. And now I feel much more connected to these events.
When I started this whole band thing, I thought I'd be so taken up with thinking about what I'm going to do on stage, or remembering my parts, pre-performance thoughts, that I wouldn't want to talk to anyone. But talking to other people before the show actually makes me feel more comfortable - puts faces in the crowd that I'm performing to. It's nice and alleviates a little of the pre-stage jitters.
- Listen to Feedback
SO important. I wish everyone would be honest about the performances. I wish they'd tell me - "when you make this face, you look like a complete fool." I know that a lot of responses are, "Great show. Great show," as they walk by you. It's almost obligatory. So when I do get something more - positive or negative - I am fantastically happy. What could be tighter? What was a great add? What sounded good? What needed more work? Was there enough blend?
I'm not sure there's such a thing as a perfect show, really. I can imagine one feeling REALLY good, but I constantly want to grow and expand, throw some more of myself out there. So perfection is an ideal on Plato's cave wall - shadowy and elusive, never wholly attainable. The striving is the key, and feedback necessary for
- Listen to Yourself
If you think something is wrong, take a look at it. Duh, right? However, so many times I don't listen to what I'm feeling. My intuition is much more the guide in these situations than anything else. It appears that no gig is really the same - even in the same place. So, be ready to listen to yourself.
As in, when you start to feel sick, take some damn time off so it doesn't get worse. I did not improve my situation by trying to force myself through all my obligations when I felt like crap. My day job might not care that I am coughing my lungs out, but everything else I love is affected by it.
Also - the showmanship. If something feels "old hat", it might be. Perhaps repeating the same antics of a performance might be a signature, or it might be pulling me down. Yeah I'm new, so right now it isn't as big a deal. But I want to constantly be aware of what I'm doing and not get into a pattern where someone says, "She always does that stupid move during this part. " (This goes hand in hand with feedback - hopefully there's an intervention to help.)
Finally, also related: every now and then - I take a moment and listen inside myself about what I'm doing. Am I still happy to be there? Does something feel uncomfortable or tired? This little check-in with myself helps at times when I'm really frustrated with a performance or uncertain about my direction.
Very important to always be careful to be honest with myself about my performance and use it to get better, not for ritual flagellation. Grow and learn, as ever.
Any other Listens you can add? Anything resonate with you?
Current Location: Between the left and right headphones
Current Mood: awake
Current Music: Solace: Sorrow & Veil
10 March 2009 @ 03:27 pm
Disclaimer: These opinions are not the opinions of any band members beyond myself, and any resemblance in beliefs or feelings of any band member, real or imagined, is purely coincidence, or is cited directly. Terms used often by fellow band members may be used, but this does not mean it came from them. It means I talk more like them now.
I have just finished my first “mini tour” with the band The Dark Clan, and it was an eye-opening experience. As in, my eyes were open for WAY too long. I thought I’d report the things I learned that I could have ONLY learned on tour. And in pure rockstar fashion, I think I can say that Vanilla Ice summed it up with “Stop, Collaborate and Listen.” (Have I mentioned that I seriously lack "cool kid cred"? Or a background in popular music? )
This next Post is Collaborate. This one is a little verbose.
COLLABORATE
- Collaborate on The Plan
I want to talk briefly about communication. Holy crap. It's the most important thing. Between you and your band members. Between you and the promoter. Between you and the other bands. Between your band and the venue. I'm lucky - I'm a newbie with a bunch of experienced peeps, so I can pretty much go where I'm directed.
And when Venue-Guy walks up to me and says, "Hey do you know if you [insert band and live music terminology here that I completely do not understand]?" I can say, "Talk to the man in the 10 gallon hat." (So, I secretly love saying that to someone and not be at a Country Western bar. Not that I would ever be at one anyway.)
But I'm constantly amazed by how much I don't know. For example, the term green room. Someone said there was a green room and I was like, "Great. I like that color." So, it is likely that there will be a few things that I'm completely unaware of about an event. Or that I have to check in. Or that I might get free drinks (wha? really? Cool!)
So, let me tell you that it is great when we discuss the event beforehand. When we know what order we're going in, how the door is going to be manned, and whether there will be a sound check or a line check. It is wonderful when we talk about how we're setting up the stage, and any last minute changes. It's even great when we talk about what we're doing AFTER the show, or on the trip. This helps planning. While I finish up bring in gear, Nic can go put on his special performance perfume. It makes everything easier to make happen in a
So I'm glad I'm with people who not only answer my many many MANY questions, but also feel free to tell me something I am not doing accurately or what the expectation of me is. FEEDBACK. Which will be another item on this list.
I know I'm preaching to the choir here, but I'm just trying to clarify the things that I learned while on tour.
- Collaborate on Packing
First, this means help out. Carry shit in and out. Not even just your stuff. I learned to appreciate the weight of any number of large black things we need. Seriously, when people talk about being in a band, they do not talk about all the crap they have to load in. It doesn't fit in the rockstar image. But if I had a choice between a roadie and a bus driver, I'd go with the driver. Carrying your gear somehow makes it more...visceral of an experience.
I might change my mind on that if we made it huge and people wanted to carry gear for me. But I'll wait till then.
But secondly, I found that knowing what you have is important. The Amp is not Dan's gear, it is OUR gear. Without it, WE do not sound good. So if we forget it somewhere, that is bad for all of us. (and frankly, if you manage to forget your amp somewhere, it is time to get more sleep.)
I personally like to pay attention to my stuff for keyboards, and then in addition to several other pieces that I mentally always keep track of. The Grey bag. The snake. The DIs. Three stands, two garment bags, the merch container and Nic's windchimes. As time passes, I'll have a larger mental shelf to remember all of the items needed. But it's great for helping out with remembering for each other so the person who only got 2 hours of sleep is backed up by the person who got 5.
- Collaborate on Performance
This one is sort of three-fold. Inter-band collaboration, collaboration between bands on making it happen, and collaboration on stage within your own band.
Ok, so I have to say some of my favorite performances on this tour involved special guests on the stage. The Gothsicles inviting XuberX and Dan to join them, or XuberX inviting Dan. It was these moments that made me think about how great it is to have a community that really enjoys each other.
But in general, collaborating on performance really goes with the communication above and the plugging below. I'm amazed at all the efforts that people go through to set up a concert set of people, put everything together, market it, and then go through with it. It's an extraordinary amount of work to find venues, and then make them happen.
Further - it is nice to be able to work together on stage. Quickly, I'm finding that watching the other band members, taking cues from them, and grooving out dramatically in my own corner really adds to the fun. Now that my fingers are not shaking when playing, I can lean over and dance with Dan while he shreds. I can put a little more of ME into the moment. (Ironically, I think my experience with improv tribal bellydance may have given me a head start on watching for cues.)
- Collaborate by Plugging Each Other
I noticed that each band plugged the next one, and each band talked about how awesome the other bands were before them. Everyone was effusive with praise and thanks. They were happy to be there, happy people were there to listen, and glad that the other bands were there. People were pretty open about the performances, and thankful to those that helped out - the sound guy, the DJ, the bartender, the doorgal. The sound guy told us how awesome we were for bringing our own DIs. All in all, people are very appreciative.
And don't forget each other. I love hearing people talk about the awesomeness of their band members, and how they love working together.
It dawned on me that we are all in this really together. Some people will like one band more than another. But without the other bands, the event probably wouldn't have happened. We are driving through pouring rain and steel grey skies, bogs and cranberry country, and it is all because we love doing what we do. Because we enjoy the music, the performance, and the experience. Yeah - we are hoping to make money - for everyone involved. But chiefly, we are out there to share a piece of ourselves - and have a good time doing it.
Because if you're not having a good time - what are you getting?
It's the perfect time to reach out and work together on gigs, events, reviewing each other's stuff. Giving feedback, giving ideas, time and energy to each other. Because - much like the dancer community - we are our own audience. It isn't about being better than everyone else. It's about giving your best to what you do - and recognizing others doing the same.
It's interesting to listen to the music now that I know these people. It gives it breadth and personality. These are the people pulling for me, so I'm pulling for them. These seem like the times that build stories and legends. The "No Shit, There I was..." stories that you can't get any other way than living it, breathing it. If you remain separate from others, you can't build those sorts of memories.
Next post will have "Listen."
Current Location: Outside the monkeyhouse
Current Mood: cheerful
cheerfulCurrent Music: At The Zoo by Simon & Garfunkel
10 March 2009 @ 12:24 pm
Disclaimer: These opinions are not the opinions of any band members beyond myself, and any resemblance in beliefs or feelings of any band member, real or imagined, is purely coincidence, or is cited directly. Terms used often by fellow band members may be used, but this does not mean it came from them. It means I talk more like them now.
I have just finished my first "mini tour" with the band, and it was an eye-opening experience. As in, my eyes were open for WAY too long.
I thought I'd report the things I learned while on tour. I'd say I was prepped for learning some of these by experiencing large bellydance festivals, but they were really solidified in experiencing the music community. But they could easily apply to any performance art where you are not at home for a period of time.
I think I can say thatMC Hammer Vanilla Ice summed it up with "Stop, Collaborate and Listen." (Ok, I blame that terrible mistake on not having had caffeine before I wrote that part.)
Oh yes, I'm going there. This will take two or three posts - the first of which is Stop!
STOP
Also learned a lesson - do not get ready before the show in anything that could be ruined by moving gear.
These shows are also small. They are usually in small venues, sometimes on odd nights. Be extremely grateful for the people that are there, and be your own source of energy. If you need a crowd to feed off of in order to have a good show, you are screwed. Yeah - a crowd is awesome, and seeing people loving your music is great. But don't expect it, and let people know that you appreciate them being around.
Dan appears to have mastered the sleeping while in a moving vehicle thing. I have not. Up till 3, leaving at 9am is the theme. That's what happens when you are the tour bus. Seriously, take plenty of Vitamin C, Zinc, and anything else that you might need to boost your immune system, because you are not going to get sleep.
But it's about the experience right? Hell yeah it is.
I'll continue with Collaborate and Listen in the next post or two. But I'd love to learn your "Stop" lessons too.
I have just finished my first "mini tour" with the band, and it was an eye-opening experience. As in, my eyes were open for WAY too long.
I thought I'd report the things I learned while on tour. I'd say I was prepped for learning some of these by experiencing large bellydance festivals, but they were really solidified in experiencing the music community. But they could easily apply to any performance art where you are not at home for a period of time.
I think I can say that
Oh yes, I'm going there. This will take two or three posts - the first of which is Stop!
STOP
- Stop Taking It So Seriously
- Stop For a Moment and Breathe
- Stop and Take a Moment to Yourself
- Stop and Pee when You Have To
Also learned a lesson - do not get ready before the show in anything that could be ruined by moving gear.
- Stop Feeling Frivolous
If shaving your legs makes you feel good about getting on stage, do it. Yeah - you're wearing a leather bodysuit that no one will see ANY flesh through, but if it makes you feel more "done", do it. I painted my nails in the car on the way there (ostensibly, a BAD idea when wearing white.) But it made me feel finished. It made me feel complete. And that came up with me onstage.
- Stop Thinking People will Be There
These shows are also small. They are usually in small venues, sometimes on odd nights. Be extremely grateful for the people that are there, and be your own source of energy. If you need a crowd to feed off of in order to have a good show, you are screwed. Yeah - a crowd is awesome, and seeing people loving your music is great. But don't expect it, and let people know that you appreciate them being around.
- Stop Thinking You'll Get Sleep
Dan appears to have mastered the sleeping while in a moving vehicle thing. I have not. Up till 3, leaving at 9am is the theme. That's what happens when you are the tour bus. Seriously, take plenty of Vitamin C, Zinc, and anything else that you might need to boost your immune system, because you are not going to get sleep.
But it's about the experience right? Hell yeah it is.
I'll continue with Collaborate and Listen in the next post or two. But I'd love to learn your "Stop" lessons too.
Current Mood: cheerful
cheerfulCurrent Music: karaoke delight