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Monthly Archives: June 2009

New demos for a new album(!)

Sometime before autumn arrives I will begin to record my first full-length, multi-tracked, studio album since 2001′s Relief.

Wow. I knew that was true, but it’s pretty monumental to see it in print.

In 2001 I had 117 songs to choose from and two weeks of studio time to record and mix in Drexel’s tiny, single-room, analog recording studio. (They’ve vastly improved their resources since then.)

In 2009 I have 241 songs to choose from and an unlimited amount of studio time to record and mix in my own tiny, single-room, digital recording studio. (I’ve also vastly improved my resources since then.)

Of my 241 songs, 30 of them are in fierce competition for 13ish spots on the album. There’s also the other 211 songs, many of which are long overdue a fresh recording even though I’m not considering them for the album (and, maybe I would consider them if I had a fresh recording to listen to).

So, I’m planning to record live, single-take demos for each of my 30 top picks for the album, accompanying each one with a B-side from the other 211 songs. I’m sure I’ll toss a few covers in as well.

If I record a demo every day this month I’ll be ready to record my album by July! And, although that sounds implausible to me (and you) at the moment, CK reminds me that on three separate occasions I recorded 24 songs in less than a single week, and once I actually recorded 30 songs in a single month.

No matter how long it takes, it’ll be a chance for me (and you) to hear 60 of my songs in crisp, multi-tracked audio – and that should be enough new stuff to hold us over through however interminably long it takes me to record an actual album in my present state of dotage.

Held My Tongue (2009 Demos) – 1/30

This is post 1 of 30 featuring live, single-take demos of each of the 30 songs I’m considering for my upcoming studio album. Each potential album tune is accompanied by a B-Side, to make each post a virtual 45 single (remember those?).

Song #222: Small & Lonely (live demo)
Never previously recorded

I wrote “Small & Lonely” in May and June of 2008, largely while in-transit in Philly. Elise helped me with the melody of the chorus one day on the Broad Street Line.

Song #20: Sweet Nothing (live demo)
Last recorded sometime in 1999

I wrote “Sweet Nothing” in spring of 1998, in my childhood home. It’s heavily influenced by PJ Harvey’s “Ecstasy.” Note that in my youth I didn’t care so much about what key I was in.

If you dig one (or both) of these songs, please leave a comment – your feedback will have a big effect on the songs I ultimately choose for the album.

 
 

Held My Tongue (2009 Demos) – 2/30

This is post 2 of 30 featuring live, single-take demos of each of the 30 songs I’m considering for my upcoming studio album. Each potential album tune is accompanied by a B-Side, to make each post a virtual 45 single (remember those?).

If we’re all lucky my mixing skills will begin to audibly improve at some point in the series :)

Song #218: Gone Baby Gone (live demo)
Never previously recorded

Started in March of 2008 – the synthesis of a night watching Darjeeling Limited and Gone Baby Gone back to back, perhaps with the song from Once spinning in the rear of my brain. It took forever to finish; the bridge came last (and in two different keys).

Song #8: Afterglow (live demo)
Last recorded in early 2002

Written on January 6, 1998 about a girl I dreamt with blue hair who turned out to be real. Legendarily, when I brought this to Lit Mag they told me, “I think you’ve stopped writing poems and started writing songs.” Again, note my early disregard of key signatures.

If you dig one (or both) of these songs, please leave a comment – your feedback will have a big effect on the songs I ultimately choose for the album.

 
 

Breaking the tyranny of traditional ROI, or “Why I love my throw-pillows”

Five months after the fact my wedding has taught me a lesson about return on investment – aka ROI – and it has nothing to do with the cost of our appetizers.

I could probably summarize the gist of my epiphany in a bite-sized snippet, but for me the realization was as much about the story as its moral.

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Non-traditional, in every sense of the word
Ever since the wedding, whenever we chat about the big day with our friends they continue to enthuse about the non-traditional elements of the event. I had a pair of co-best-ladies! We didn’t have any flowers!

Invariably, their lists converge on two unique highlights. One is my mother and I having our mother/son dance to Nikka Costa’s funky “Everybody Got Their Something” – not your typical syrupy slow-dance.

The other is Gina’s co-best-lady toast, a bitingly-funny, lovingly-irreverent, truly-unique roast from someone who knows me a little better than I know myself. It started with the story of how we met and wrapped up with how I’ll eventually turn into an old coot rambling around my acreage, laying rat poison and bear traps to decimate any unsuspecting wild-life that dares to interfere with my DIY recording sessions.

However, the part that stuck out to me was about my throw-pillows.

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Are your pillows your most valuable possession?
When E and I moved into our house in 2005 our living room was missing one key feature – pillows. Our couch looked nude without them and we had nothing to rest our heads on.

I spent an entire year looking for the right pillows. I tried every possible physical and online store. Just as I was beginning to despair that my perfect pillows were a figment of my imagination I finally found the right ones – on sale for $15 each.

More than three years later, the amount of time I spend rhapsodizing about the pillows is hard to believe. Any time I lay on them, walk past them, or even think about them I am known to remark, “God, I just love those pillows.” Like, even right now I am appreciating how much I love them.

It would not be a stretch to say that I’ve reflected on my satisfaction more than a thousand times in 36 months. 1000 satisfactions compared to the $30 cost is a whopping 100:3 satisfaction ratio. That means for every $1 spent I’ve been happy with my purchase 33 times over!

That’s a pretty satisfying pillow. It’s a pretty satisfying anything!

Gina told the entire pillow-satisfaction story in her speech. Her point was that since I insist on measuring my pillow-related happiness with such oddball precision it’s no wonder Elise and I are both so unusual and also so absolutely perfect for each other.

Five months later I still think about Gina’s speech almost every day, because she gave a perfect explanation of how I measured the ROI of something that seemed impractical or impossible to measure. And, if I’m valuing ROI by satisfaction, my pillows are worth more than anything else I own – even my entire home recording studio!

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Finding the value of the invaluable
Businesses spend huge swaths of their budget on traditional marketing like newspaper ads, billboards, and television commericals. Why? Not because the ROI is obvious. No, it’s just traditional – tied to familiar, easy-to-capture metrics like brand awareness or sales.

It’s similarly simple to quantify the value of my home recording studio – it has paid for itself many times over when compared to what I would pay to record in a commercial studio. It’s so valuable that I might call it “invaluable,” but its value is actually easy to measure in traditional ways.

My throw-pillows are more like digital or social media marketing – invaluable in that they’re hard to put a value on.

Except, according to Gina, I found a meaningful value – satisfaction. While my pillows aren’t saving me $165 per song, in one year the pillows “pay” for themselves by making my happy 11 times for every $1 spent. No matter if I measure by cost, time spent, or difficulty, it’s hard to find something in my life with a per-unit satisfaction ratio higher than my pillows – except, of course, for my relationship with E.

If I can figure out why my pillows were personally profitable, why is it so hard to convince people that building relationships on Web 2.0 is crucially important to their business – moreso than a $30k billboard or full page ad?

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Prove your profit in an unexpected way
As people and businesses we’re rightly concerned with justifying new expenses, and when pennies are in a pinch that’s often the safest way to make a decision. However, when cost isn’t the biggest factor in our decision that mindset can get in the way. What about when we’re trying to become happier or expand our capabilities?

The answer is that we’re all special experts in deciding how much something is personally worth to us. For Gina, it’s Dunkin Donuts coffee. For my mother it’s a trip to the beach. I just happened to take the time to prove the worth of my pillows in an unexpectedly tangible way.

Gina found a major lesson in my pillow obsession – that it’s important to be the voice that offers to value the invaluable.

When it comes to business, your potential expenditure might not immediately translate to improved brand awareness or increased sales. Just because it doesn’t result in a traditional ROI doesn’t mean it’s not valuable. People’s satisfaction with your existing products might go up. They might view your brand as more savvy, responsive, or trust-worthy. You might reap more feedback – positive or negative – about your products. Customers might become more likely to evangelize on your behalf – non-customers too!

None of those thing are as easy to quantify as my throw-pillows. They might involve competitive analysis, surveys, and focus groups just to establish a baseline. You’ll have to consider how much you would hope to improve, and how much resource time that improvement would be worth.

In proving that unexpected value you might completely redefine what ROI means to you or your company. It’s up to you to find the right measurement to prove your point.

Held My Tongue (2009 Demos) – 3/30

This is post 3 of 30 featuring live, single-take demos of each of the 30 songs I’m considering for my upcoming studio album. Each potential album tune is accompanied by a B-Side, to make each post a virtual 45 single (remember those?).

I don’t have too much voice after my night of covering over an hour of open mic time, so tomorrow’s foray should be pretty entertaining. But, first, tonight’s.

Song #208: Real You (live demo)
Never previously recorded

In spring of 2007 I got the idea that I was going to write a song about each person I knew, but when this one came out first I realized it might not be such a great idea.

Song #182: Let It Be (live demo)
Never previously recorded

I wrote this perfectly serviceable, sweet song in May 2004 – two weeks before writing “A Little Bit.” Considering that I wound up quoting that song in my wedding vows, it isn’t entirely surprising that this one fell by the wayside. I’m happy to finally hear it.

If you dig one (or both) of these songs, please leave a comment – your feedback will have a big effect on the songs I ultimately choose for the album.

 
 

Held My Tongue (2009 Demos) – 4/30

This is post 4 of 30 featuring live, single-take demos of each of the 30 songs I’m considering for my upcoming studio album. Each potential album tune is accompanied by a B-Side, to make each post a virtual 45 single (remember those?).

Thankfully, my voice was back tonight. Also, I actually managed to improve some of my engineering. Woot.

Song #205: None of These (live demo)
Originally recorded as an instrumental on 7/31/06

A rare instance of my noodling in a peculiar alternate tuning winding up as an actual song. The tuning is DA#DDAD, and after choosing the title I decided the song would be my version of Gina’s “Fisher Price.” And it is. Some bits of it are incredibly hard to play – not to mention singing them at the same time (me and my damned overly-literate lyrics).

Song #149: Spin (live demo)
Last recorded for Blogathon 2003

“Spin” was written in 2002 as the result of perhaps my first serious fight with Elise. I have always used that as an excuse for why it is so unapologetically emo. We both have a bit of a soft spot for this song. It was maybe the first time I had ever intentionally used a diminished chord.

If you dig one (or both) of these songs, please leave a comment – your feedback will have a big effect on the songs I ultimately choose for the album.

 
 

Held My Tongue (2009 Demos) – 5/30

This is post 5 of 30 featuring live, single-take demos of each of the 30 songs I’m considering for my upcoming studio album. Each potential album tune is accompanied by a B-Side, to make each post a virtual 45 single (remember those?).

These are certainly not two songs I expected to wind up with this early in the month. Hopefully the weekend will bring more surprises (along with some time to rehearse).

Song #236: Saving Grace (live demo)
Never previously recorded

There are a lot of interesting things in the subways in Paris – mariachi bands, marionettes, and women genuflecting with silent poise. I wrote the chorus on Champs Elysees, sang it on every Metro line we took, and then wrote the first verse and the bridge on the back of my Eurostar ticket en route to London. When we got back home I walked directly to piano and played it without so much as a chord chart. Afterward I simply had to make all of the internal rhymes match, learn it on guitar, forget it on guitar, and reconstitute it in CADGCC just to make things difficult for myself.

Song #58: Novel (live demo)
Last recorded for Trio in October of 2000

Directly between writing the two 1999 songs that have stayed with me for the past decade – Bridge and Other Plans – I wrote this one. I discovered that once you leave yourself open to writing songs sometimes your feelings come out through them, and suddenly you have a song about something you weren’t planning on ever telling anyone about. Aside from its single Trio appearance I think the only person I’ve ever played it for is Lindsay.

If you dig one (or both) of these songs, please leave a comment – your feedback will have a big effect on the songs I ultimately choose for the album.

 
 

Held My Tongue (2009 Demos) – 6/30

This is post 6 of 30 featuring live, single-take demos of each of the 30 songs I’m considering for my upcoming studio album. Each potential album tune is accompanied by a B-Side, to make each post a virtual 45 single (remember those?).

This was definitely the hardest pair I’ve yet to tackle, but for different reasons – I know exactly what one of them should sound like, but I don’t have a clue about the other.

Song #228: Tattooed (live demo)
Never previously recorded

Last summer I found myself watching a very young, vaguely Christian rock band cover Death Cab For Cutie’s “Soul Meets Body.” I was fascinated by the lead singer – I felt like he was a flamboyant ambisexual rocker hiding beneath a godly image and a wedding ring. That’s where the chorus came from (hopefully not verbatim enough that Ben Gibbard needs to sue me). The rest of it came a little later, about having an affair with the love of your life.

Song #120: Colorblind (live demo)
Last recorded for Trio in November of 2001

You should get at least three songs out of every breakup. In 2001 I got nine. Does that mean the breakup was three times as severe as the norm? This song almost got discarded for having one too many metaphors, but Rabi’s continued attention has kept it around (and lead to this major update of the arrangement).

If you dig one (or both) of these songs, please leave a comment – your feedback will have a big effect on the songs I ultimately choose for the album.

 
 

Held My Tongue (2009 Demos) – 7/30

This is post 7 of 30 featuring live, single-take demos of each of the 30 songs I’m considering for my upcoming studio album. Each potential album tune is accompanied by a B-Side, to make each post a virtual 45 single (remember those?).

This pair of songs have always been as easy to play as they were to write. I wish I could say the same for the remaining 46 songs I have to capture.

Also, the fingers on my left-hand are completed shredded, which – given my decade-plus of guitar calluses – is a pretty impressive feat.

Song #174: Granted (live demo)
Last recorded the night it was written in October of 2003.

Granted was perhaps the first time a song woke me up from a dead sleep. I’ve been listening to its original early a.m. demo for so many years that I didn’t realize the subtle changes in how I perform it. Today it is for Sandra.

Song #141: So Hard (live demo)
Last recorded for Trio in February of 2003

This song began in an AIM window in January of 2002. I was talking to someone who was perpetually at odds with life, trying to explain that he should anticipate what he’d think about some of his decisions in hindsight. The rest of the song emerged in short order. Since he’s long since been forgotten, I tend to perform this as if it’s about myself. It’s a particular favorite of E’s and mine.

If you dig one (or both) of these songs, please leave a comment – your feedback will have a big effect on the songs I ultimately choose for the album.

 
 

…and there was life

My body is convinced that there are 27 hours in the day.

It will gladly absorb a requisite eight of sleep, but then it wants to stay up and about for a too-long 18 hours, plus a bonus hour to wind down to sleep.

I’ve long since been used to tricking myself into being tired, but I cannot always trick my brain into making a to-do list that can be completed before midnight.

Tonight was an epic amount of exercise, mixing for a top-secret freelance project, uploading brand new Arcati Crisis videos, chipping away at some freelance writing, and beginning the massive late-spring cleaning required to accommodate the hulking new digital audio workstation Gina and I lugged from her car on Saturday before a completely exhausting/exhaustive drumming rehearsal with Chas.

BTW, Arcati Crisis with drums is awesome. Just you wait.

If you have been wondering where the spiffy PM demos have gone, they are far from over. It’s just that I realized somewhere around 9:30 p.m. on June 7th that I haven’t had to contain many more than a dozen well-rehearsed, original, solo songs in my body all at once for several years – let alone contain them on top of my AC repertoire – and so it would be a stretch to assume there were another 46 good ones ready to tumble out daily for the rest of the month.

Also, there was the little matter of having completely worn through my dozen-years-in-the-making guitar calluses, a feat I’ve only accomplished a handful of times previously. Merrily, my vocals stayed strong throughout – more points towards the value of good voice instruction. Old-school me would have been croaking like a frog by day four.

(Also also, I was primed to miss out on some actual life in order to keep recording – including seeing good friends (and clients) play big shows, supporting local open mics, and communicating with my wife, amongst other things. Oh, and maybe a Buffy the Vampire Slayer marathon.)

(Don’t judge.)

Point being, I’ll be back with another run of of demos as soon as I have the time to rehearse them a bit, because scrabbling through a daily duo of tunes so barely-rehearsed that they hardly hang together sortof defeats the entire point of the project (i.e., to rehearse for my impending studio album and definitively/digitally put to rest some older tunes).

In the meantime, I am insanely happy with the results of the first seven days, particularly Saving Grace and Colorblind, both of which are intricate and in alternate tunings. Not ones I thought you’d hear in the first week.

Knowing my body and its various to-dos, I’m thinking sleepiness will arrive circa 1:50 a.m.

the corners of my mind

I have a habit of dozing off on the 57 bus in the afternoon on the way home from work. I don’t think it’s because I am so tired. There’s just something about the rhythm of motion and the droning of the motor humming through my body while I listen to my headphones.

The nap is only ever about ten minutes long. It’s not even a nap, really. I’ve never slept through my stop. It’s just an extended hang right on the line between awake and asleep.

I love that line, especially when traveling in that direction rather than the opposite – being tortured by an alarm clock. Heading in to sleep is different. Your brain will rationalize outside stimuli however it sees fit. The world outside of your body takes on an arbitrary – almost hallucinatory – quality.

On the bus my favorite thing to do is turn on my own music – new demos or an Arcati Crisis rehearsal – and then drift off. My brain finds things in the songs I’ve never heard before. Sometimes I have a momentary synesthesia and my own words are painted in color. Others I am enraptured by Gina narrating an epic story, only to realize I’m not listening to her towering “Brother John” but just twenty seconds of refrain of “What’ll I Say.”

Last night when my body was finally ready to settle down my brain refused to go gently into that good night. It was raining hard, a symphony of individual droplets pattering against the roof above my head, and my mind wanted to examine every one.

I hate those nights. I’ve hated them since high school, when every night brought the possibility of seeing the subsequent dawn from the wrong side.

Last night I slipped in my earbuds and suddenly “Small & Lonely and “Gone Baby Gone” were rendered in plastic yellow totems, a wry stop-motion tribute to Yellow Submarine, awash in the white noise of the storm.

It took all of four minutes to fall asleep.

Play at playing with The Beatles. Or, just play with The Beatles.

The pair of surviving Beatles recently appeared at E3 to hype the impending The Beatles: Rock Band, out on September 9. It represents a remarkable milestone – mass licensing of Beatles songs to a third party, cooperation of all four Beatles estates on new intellectual property, release of new studio chatter from the band, and creating multi-tracked masters of songs originally recorded live in mono or stereo. (see the full fact sheet)

In the game, you and your friends can take the Beatles from the Cavern Club days all the way to the rooftop in your own living room, not mention traipsing through their imagined acid trips. You’ll start out with 45 Beatles songs in-game, but many more will available as downloadable content – starting with the complete Abbey Road.

Assuming you already have a plethora of plastic video game instruments lying around the house, the a la carte game will cost you $100. If you need all of the plastic instruments to go with it, you’ll be dropping $250 for the full kit.

Seems like a bargain to play along with 45 of your favorite Beatles tunes, right?

Not really. Because, if you have an actual instrument lying around the house, you can buy The Beatles: Complete Scores hardcover tome for half the price of the a la carte game and learn how to play the actual music to every single Beatles song.

If you need an actual instrument to go with it, you can pick up a starter guitar or bass package plus the book for about $250 – yes, even including a replica Hoffner bass! (The scores plus drums will run you a bit more – $300-$500).

Herein lies your dilemma. Do you want to have a primary experience with the music you love, or a secondary experience?

If you’re a non-musician, you might argue, “I don’t really have a choice,” but I think you do.

You might argue, “I don’t read music,” yet you’re willing to learn an arcane method of notation in Rock Band that’s not too different from reading guitar tab, which is included in the score book.

You might argue, “I don’t have nimble fingers, a sense of pitch or rhythm, or a decent voice,” yet if you expect to surpass even easy mode on Rock Band you’ll need to hone some or all of those skills just as you would playing actual music. In fact, Rock Band is much less forgiving of mistakes with drumming and vocals than a jam with friends would be.

You might argue, “I don’t have time to practice music enough for it to be worthwhile,” yet you have time to play Rock Band two or three hours a week. That same time would serve you equally well training on an actual instrument. You could probably learn how to play “I Want To Hold You Hand” on guitar in the same time it takes you to reach your first save point.

Convinced yet?

Other Rock Band titles offer the allure of collecting disparate, virtuosically-difficult music into a video game – much of which is impossible to track down as printed music. None of that is true this time around – the music comes from a single source, the virtuouosity is in the ease of playing, and it’s all collected in a single, relatively cheap book. It’s a completely level playing field for anyone – novice to expert.

You can’t say that about any other Rock Band game or for any other artist in the history of music.

Essentially, you have no argument to buy The Beatles: Rock Band other than perhaps, “I already know how to play all 213 originally released Beatles songs, and now I’m bored.”

The game does have some redeeming features in the areas of drumming and singing – the two bits of Beatles that are the hardest to master on your own. Designers worked closely with Ringo to make the game a tutorial for his unique drumming style. Also, the game features a harmony training mode, which will allow you to voice any part in the band’s remarkable multi-part harmonies.

Based on that, if you’re a Beatles-loving singer or drummer starting from scratch I can appreciate wanting to purchase the game for some guidance. If only the game also allowed you to plug in an actual midi-guitar in to test your chops against the recordings … then I’d buy it in an insant!

Otherwise, if you’re a Beatles-lover who wants to experience playing their music yourself, my advice would be to actually play it yourself.

run ragged and happy

This is a meandering post about life and stuff. Content that’s all focused like a laser mounted on a deadly shark may or may not resume tomorrow.

This weekend E headed up the NNJ/NYC to play a show and help with some solstice cleaning along with the sibs at her mother’s house. I wanted to tag along to see her concert and reap the sib-time, but my life was in need of some cleaning up as well.

When I woke up on Saturday I felt like my to-do list was a litany of random drudgery. Organize this, scrub that, upload stuff to here. Even as I was crossing things off it didn’t feel very big picture. Typical: artist-, writer-, marketer-me trapped under a Sisyphisian list of uncreative to-dos. The only thing keeping me sane was my Twitter pipeline to the outside world.

As the day wore on I kept feeling like I was behind the boulder until I caught a social network update from my dear musical friend Vicky Spaeth, which read:

Simplify, simplify, simplify! I think we over-complicate our lives way too much.

I read that, then took another look at my list, and realized there was a big picture. It was all “simplify.” Organizing shelves and wires so my creative space is less cluttered, so I can create. Clean out the house so I don’t have a worry of other things to do nagging me when I want to create. Upload what I’ve created to as many places as will have it, so people can actually hear it.

I finally have the simplicity that provides one big picture. I have focus. Finally everything I’m doing points in the same direction.

I look back at the 2000 me. Within a two month span I started a blog, shot digital video of myself, and was the only songwriter on the whole internet uploading a concert every week. And it all came easy. But it was over-complicated. The technology was a tangle. The life was a tangle – pulling As and paying for my first apartment and squeezing in music beside theatre.

Maybe I was on the verge of conquering the world, but it wasn’t simple. There was no picture to focus on. Which was fine – I was in college! But that’s why we grow up. And hopefully get less complicated, instead of more.

It took the weekend and the twenty-seven years before it, but I am really almost there. Almost to the point that I can just flip a switch and empty my thoughts and songs directly onto the internet without a fussy mess of wires and files and wasted time.

And be worth watching.

It feels cool and satisfying, and I’m happy – happy sweating my ass off and mopping the floor, or putting away the umpteenth load of laundry, passing out on the couch while I wait for my wife to get home. Happy without any descriptors or mitigators, because there’s a point to it.

Just happy.

Have an Infinite Summer

Once I was in a very bad place, and also in the hospital, and I asked my mom to walk to B&N to buy me David Foster Wallace’s massive masterpiece Infinite Jest.

It kept me sane through three days in the hospital, and kept me awake at night for another month – which, at my faster-than-light speed of reading, is quite the feat. Try as I might, I could not devour it in a few sittings like I can with any other book. It was a novel that required digestion.

This summer has been declared Infinite Summer, which gives you an entire solstice-to-equinox season to read the book at a snailish increment of 75-pages a week.

As I understand it, your reading will be accompanied by encouraging blog pep-talks like this one from Kottke:

So sure, it’s a lengthy book that’s heavy to carry and impossible to read in bed, but Christ, how many hours of American Idol have you sat through on your uncomfortable POS couch? The entire run of The West Wing was 111 hours and 56 minutes; ER was twice as long, and in the later seasons, twice as painful. I guarantee you that getting through Infinite Jest with a good understanding of what happened will take you a lot less time and energy than you expended getting your Mage to level 60 in World of Warcraft.

Is that more or less haranguing than my Beatles screamo diatribe from last week? I think the Big K was meaner than me.

In any event, it’s a wonderful, maddening read, there are nifty bookmarks bearing the schedule, it makes a wonderful pillow and/or doorstop, and I might re-read it too if I can find a spare moment or two to read the second half of Outliers.

Good blogs and the opinions I spouted at them.

This post could easily be about how I spent the last two weekends sweating my physical and intellectual butt off to completely reorganize my home office and upgrade CK to WordPress 2.8, but you would be like, “Whatever, it looks the same to me,” or “Um, I’m reading you on my RSS feed, so I don’t really care,” or possibly, “Dude, I haven’t read blogs for two years. Send me a tweet about it.”

Which is fine. I mean, should I also tell you about how I swept the floor? Backstage is backstage for a reason. Props people work hard to keep actors focused on their performance, not for the applause.

(Plus, at CK I’m the prop person and the actor. And the box office manager, the technical director, and the old lady ushering you to your seat. You get the idea. Excelsior…)

In my increasingly uncluttered life I’ve been trying to make some more time not only to read other blogs I admire, but to interact with them. That means reading carefully and responding, which sometimes yields thoughtful comments.

I’m sometimes hesitant to leave my thoughts lying around in other people’s homes when they could possibly lead to interesting content back here at my own homestead, but I’ve arrived at a happy medium – I’ll link to all of said intriguing posts as well as giving you a snippet of my reasoned replies.

Here’s a glimpse at some of the discussions I’ve weighed in on in this past week.

(If you find yourself wanting to do the same, try subscribing to Backtype, a simple monitoring service which will doing all of the the keeping-track for you.) Continue reading ›

Neil & Sir Paul

If Gina and I saw this live and in person I think our heads would explode right off our necks.


(Neil Young doing an awesome cover of “Day In Life,” joined by Paul for his portion of the song)

Streaming live at 12 midnight for 12for12k

If you’re awake at midnight EST on the Monday-to-Tuesday divide you can catch the first ever live, streaming concert of my music – in support of an awesome, international charity drive called 12 for 12k.

I think I’ll call it at12for12for12k. Cool?

Founded by social media marketer Danny Brown, 12 for 12k throws down a bold challenge to social media users – can you use your social networks for good in concert with people all around the world to raise $12k for a new charity every month for a year?

This month’s charity is Unicef’s “Believe in Zero” – the belief that we can stop children from dying from preventable causes. And so far there is less than $1,200 pledged for the month.

It shouldn’t be that daunting. 1,200 people could do it for a reasonable $10 a month – three less trips to Starbucks. 12,000 people can do it with no issue – $1 a month, each! Easy pickings. If more than 10,000 Twitter users turned their icons green for Iran, surely just as many can muster $1 a month in donations to a good cause?

If you know me you know that projects like this are very close to my heart. I used Blogathon as a platform for my music to raise money and awareness for my favorite charities. I have cancelled Christmas in favor of giving charitable gifts. I volunteer with Lyndzapalooza – a musical non-profit dedicated to giving a voice to more of Philly’s independent artists. And starting tomorrow I am helping to plan a major non-profit project for this September.

12 for 12k is at once easier and harder than those projects. Easy, because it’s simple to support with a small donation. Hard, because it’s about making your giving a year-round trend – not just a once a year event.

I’ll be playing at midnight, and at the very least I will donate $1 for every song I play … and my songs are short, so that could get pretty expensive! In fact, I think I could play 12 songs in an hour… 12at12for12for12k!

If you’re awake at midnight – or even if you aren’t – will you do the same? Just ten of us donating $12 each is 1% of this month’s goal. We might not make it to $12k this month, but we can make giving a regular part of our lives, and save lives while doing it.

The power of social media compels you!

(PS: I promise at least Madonna & David Bowie covers, and almost can promise MJ as well. Dunno if the Lady Gaga is ready yet… you’d all have to donate a lot of money to hear that.)

Watch and chat live now with 12for12k

If you aren’t the sort of person who masochistically books their Mondays right down to the last minute you might want to drop in on some 12for12k video events prior to my big video streaming debut tonight at midnight EST.

Just visit tinychat.com/12for12k to catch the following:

7.00pm est – Charity Panel with John Haydon, Joe Waters, Nicole D’Alonzo, Stacey Monk, Gabe O’Neill, and Danny Brown.

8.00pm est – Live music from special guest (TBA).

9.00pm est – Special section with the Looking Glass Lane girls.

10.00pm est – Comedy hour with Amanda Beals and New York comedy troupe, with an appearance from Wendy Liebman!

11.00pm est – Special adult hour with Avatar Koo reading short stories of erotic fiction.

Midnight est – Live music from me!

Midnight to 4.00am est – Special hosting from Iggy Pintado, author of Connection Generation.

TinyChat is a simple, old-school style web chatroom with the added bonus of audio/video chat from those who have it enabled. You can still watch and chat even if you don’t have a cam.

12for12k is effectively a charity of the month club – they seek out worthy organization with low administrative costs every month, and then spend the entire month spreading the word to raise donations.

Social networking makes this not only possible, but plausible. Instead of evangelizing to the web at least every month, 12for12k can aspire to having 12,000 (or more!) subscribers who chip in a $1 via paypal every month. It’s small change for one person, but $12,000 makes a big difference for the charity of the month.

I hope you’ll support 12for12k’s virgin videothon by dropping in for a few minutes, and follow them on Twitter to keep up with the charities they select for the rest of the year.

Broadcasting live for 12for12k!

The internet had the chance to see and hear the first ever live web concert of my original songs and familiar covers, plus help to raise donations for Unicef’s Believe in Zero campaign for 12for12k

My 12for12k Setlist with demo downloads (if available)…

Like a Virgin – Madonna
Small & Lonely
Icy Cold
Saving Grace (w/Paris monologue)
Shake It Off (w/ “Shake Your Body” outro)
Since U Been Gone – Kelly Clarkson
Something Real
High & Dry – Radiohead (per Danny Brown’s request of Fake Plastic Trees)
Bucket Seat (an Arcati Crisis song)
Real You
Man In the Mirror – Michael Jackson (cried on every chorus – WTG, rock star)
Granted
Love Me Love Me Not (an Arcati Crisis song)
Space Oddity – David Bowie

Also, a few I planned to play but cut (or just forgot)…
What It Is
Unengaged
Gone Baby Gone

For people who watched and said they’d be interested in buying a CD (a) you are wonderful, and (b) download what you will and make a donation to this month’s charity, Unicef’s Believe in Zero. As a bonus, you can also grab my duo’s most recent Live @ Rehearsal album.

Also, we had a high of 40 unique users in the room at one time, so that’s what I donated ;)