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Category Archives: singing

Trolls Under the Bridge

As I spend more time working on Social Media projects at work and at home, one of the most recurring topics is “Trolls.”

It’s a broad topic. Trolls can be anything from vociferous-but-reasonable dissenters to people with an agenda of annoyance and an axe to grind. Each species merits a different reaction.

The Air Force created a terrific Web Posting Response Assessment – effectively, a Troll Taxonomy Tool & Decision Tree – to aid in selecting a response. (Here is a PDF of a recent version, for your reference.)

It’s a great tool – it distinguishes between several layers of negative responses. There are true “Trolls” (negative purely for the sake of it), but also responders are who “Misguided” (negative based on incorrect info) and “Unhappy” (negative based on a corresponding negative experience).

This simple, one-page chart has been a sanity-saver on a few projects in 2009. It forced my teams to stop a cycle of second-guessing – evaluate, respond if-needed, and move on.

That’s why my thoughts went to the assessment last night, when I received a comment notification on one of my videos. The comment was to the effect of “this dude can’t hit a note.”

I tried to objectively place my responder in the tree. Clearly he had a negative experience listening to me. He’s also misguided, because I’m definitely hitting many notes quite well in the video, and his comment wasn’t subjective.

Ultimately, though, he’s just a garden-variety Troll – spreading negativity for some intangible reason it’s impossible to dispute. So, per the Air Force, I’ll monitor it, but won’t respond.

That’s the success of more than my crack Air Force training. Three or more years ago that sort of comment would cripple my confidence. I would probably apologize for his negative experience without ever assuming he was misguided. And I would stop playing the song, probably for months!

Yesterday, he just made me smile. These days I’m a lot bigger than one or ten trollish comments. I sound how I want to sound; if I didn’t, I would have never posted the video.

That’s the same confidence you must have in your brand to make good use of the Air Force tool. If you’re unsure of the product or service you’re offering, every dissent turns into a potentially reasonable complaint.

From there, it’s all apologies, and you’ll be overrun with Trolls.

Whuffaoke or Bust

I don’t have it in me to articulate today’s adventures quite yet, but:

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Whuffaoke is a country-spanning karaoke tour based out of one amazing winnebago. They are also some of the sweetest people I have ever met. Over the course of seven hours I sang “Video Killed the Radio Star,” “Since U Been Gone,” “Semi-Charmed Life,” “Time Is Running Out,” “Don’t You Want Me,” and – amazingly, as I’ve never performed it before – “Here We Go Again” by Whitesnake.

In addition to not having it in me to articulate, I think I may have also lost the power of speech.

Whuffaoke continues on Monday at 13th and Sansom at 5pm sharp. Be there.

…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.

don’t fail me now

The last forty-eight hours of my life.

At six o’clock on Monday I am playing guitar. I have been playing for hours, drilling songs against a metronome. The bridge of “Unengaged” for twenty minutes straight. I’ve worn through a callous for the first time in ages.

Later I rehearse piano and vocals equally as hard. I fall asleep reading Outliers in bed, which just two chapters in already has caused one blowup with E because I said if I had me as a child I’d call me a failure.

I don’t want to be a failure.

Tuesday I have a fun, frantic day at work – the kind where you realize at the end of the day that you never stopped to hang your coat. I start writing the second my ass is on the bus, and emerge almost three hours later with that last post.

I rehearse. Hard. Again. Trying not to fail. Despite my voice sounding brittle and inflexible due to the lack of a warm-up, I venture out to an open mic while E stays at home and works on freelance.

At the restaurant my first song is awesome; the room is quietly transfixed. (I’m not a failure?) Afterward I promptly break a string and become shy and faltering when I’m handed another guitar. I fuck up “Like a Virgin,” of all things, and promptly lose everyone’s attention.

Today I feel slightly beaten up (thank god I don’t drink at those things), on top of beating myself up. Still manage another frantic work day that barely includes a coat-hanging. On the way home I listen to my own voice on my iPod, which a lot of days is the only thing I can manage to do.

I’m listening to “Like a Virgin” from 2006 and thinking, This is awful. Why am i singing like that? (Of course, I wouldn’t make it ten seconds into “Like a Virgin” from 2001.)

Then I listen to a Trio from 2008 and realize, God, I really did get better.

I am not a failure.

I get home and am kissed goodbye as E heads out to front her band at the Khyber. Another hour of writing.

Not mean enough?

I’ve been the rotating host of the LP Wednesday night open mic since October, and it’s just recently reached self-sustaining status where we don’t have to plead and beg to get people to attend.

A regular weekly crowd means a slew of musicians who I’m getting know a little better, week by week. One is Trent AKA Stupa Thought. You wouldn’t peg him as someone I’d dig. He plays flat out modern rock with a tinge of hip hop rhythms – stuff that would be easily radio-ready with a fierce band behind him.

I like Trent because he takes music seriously. He’s quick to make light of a blown chord or when I forget to give him an extra round of applause, but when it comes to playing he’s as professional as anyone at the open mic. His arrangements are tight. His vocals are solid. His songs have distinct structure, and he wields a pedal board with looping to add texture.

I try to find a moment to get to know everyone in the room (be on the lookout for my open mic how-to post, coming soon), and I always wind up deep in conversation with Trent. Last week he said an interesting thing to me: “I don’t think any of your songs ever get angry enough. You go right up to the brink, but you always pull back.”

It’s a perceptive comment. I used to be the master of the kiss-off song, but I’ve long since abandoned it as my primary genre. You could argue that I’m mellower now that I’m married. I think it’s more that I comment on myself more now – even in songs about other people – a trend that started with “So Hard.” I think it’s important to root your song’s accusation in something common, and when you are writing something scathing that’s partially about yourself it’s hard not to add a slightly redemptive angle … even if it’s just a vocal that resolves major.

Trent challenged me to come back this week with as nasty a set as I could summon. After some consulting with Elise, I came up with: Splinter (legendarily nasty break-up tune), Bridge (unapologetically fierce alt-tuning rocker from high school), Real You (utter dissection of a false friend), and my “single” Shake It Off – a takedown of passive aggressiveness that was already deemed not mean enough due to the hopeful bent of the chorus.

The set felt awesome. I’m sure my hour of vocal warmups helped, but it was more that I’m not used to seething for four songs anymore. Now that I’m not in that awful place 24/7 I can appreciate a little focused rage. It makes me happy that I wrote the songs – now they’re like pressure valves I can use to blast out a little antipathy at a moment’s notice.

Trent’s assessment? That I certainly picked my nastiest guitar work, but he still feels like I let my vocals redeem the subjects of my wrath.

Can you think of a popular song that’s mean not necessarily because of it’s music, or even its lyrics, but because of a fierce vocal performance that doesn’t scream, growl, or otherwise contort itself? “You’re So Vain” comes to mind.

Comment if you can think of one.

tune up #1

OMG, I just realized that I have less than a month to practice RENT before our yearly Christmas Eve singthrough if I expect to perform any better than in prior years (although any practice I do will be mostly for naught, as I think Steve has unquestionably laid claim on the “best male vocals” title in our gathering).

At least I could bring big blown-up lyrics appropriate for blind old yuppies such as myself so that I don’t have to squint at the CD book again.

Happy Birthday To This

I.

Lately I’ve been struggling with the concept of success – specifically, how to discern the difference between progress and success.

I am always progressing – I do not do well with sitting still. Nevertheless, moving forward doesn’t equal succeeding. Motion doesn’t equal a milestone.

Or, at least, that’s my typical mantra of over-achievement.

It can be hard mantra to upkeep; over-achievement requires a lot of regular achievement to maintain, and that requires plenty of milestones to mow down while you’re in motion.

It’s an especially hard mantra to have when no new milestones are in sight … when it starts getting tempting to view motion as a milestone. It’s akin to the kid who wants a teevee break just for doing the first page of his homework. Should I reward myself just for learning one new song, or completing one workout? The slope from those minor successes to learning a new chord or doing one push-up is treacherously slippery.

This was the quandary that stopped my progress cold last week, grinding my life to a halt. I spent a long night of discussion with Elise, reviewing the successes of the past year, and trying to figure out how to translate further forward motion into more milestones.

Elise is the panacea to those inconsolable moments, and as we laid in bed talking it became apparent that part of the problem is that I had forgotten the other, single, proven solution to all of my various doldrums – eight years of Crushing Krisis archives documenting every success and failure, and all the moments of paralysis found in between the two.

Eight years of proof that I am always in motion, and always finding a new milestone.

II.

As of today Crushing Krisis is an alarming eight years old – absolutely ancient in blogging years, and still the reigning longest running blog in my fine city of brotherly love.

I have a blog old enough to be in third grade. If that’s not a major milestone, I don’t know what is.

Not only is CK itself a milestone, it’s a collection of them – a chronicle of my greatest hits, the succcesses that sketch my evolution from aimless straight-A college student and hapless singer-songwriter through hopelessly overcommitted yuppy and emerging artist.

The amazing thing about the last twelve months is how many successes they encompassed. I played a show at the Tin Angel with my band (two, actually). I got engaged to the love of my life. I completed six months of voice-lessons, emerging with newly revitalized vocals. Lyndzapalooza threw not only a hugely successful music festival, but two modestly awesome off-season events. I finally became the senior member of my team at work. I’m planning the most kick-ass party I’ve ever thrown, which coincidentally happens to be my wedding.

In hindsight I feel as though the vast majority of my personal greatest hits record is contained in the last year of my life – like I’m one of those artists who has one big album and that ten years later my record company will release a 21st Century Masters collection of me that regurgitates that one album end-to-end, plus some random cover I did for a soundtrack.

In the midst of all those hits I could easily lose track of the progress I made, but that’s exactly what CK is here for. I already chose the best of them to feature in the Year 8 topic, but my most indelible memories extend far beyond the posts I’d deem as “best.”

Our band got censored for the first time. I had two of my most memorable taxi-driver conversations. I played a game of “what if I managed Britney?” I conquered my quarter-life crisis. I co-invented (and later conducted) an Upscale Bar Crawl. I blogged daily for an entire month for no reason at all, highlighting my favorite (remastered) Trio Tracks along the way.

I dissected Radiohead’s record release, along with the entirety of the “blogosphere.” I became fascinated for an entire night by a trick of photography. I learned valuable lessons from my longest period of bachelorhood in the past half decade.

I began telling the story of our engagement, further chronicled here and here. I disclosed my previously deeply personal delight in hot food eaten cold. I saw Elise’s brother make his theatrical debut. I posted a rare Trio that I liked as soon as it was recorded.

I contemplated being a real band. I reflected on my childhood masquerade as a born-again Christian. I posted yet another awesome-right-out-of-the-box Trio. I celebrated Gina’s birthday by recounting our first time singing together. I cultivated an ulcer. I learned about sibling rivalry by way of working out regularly for the first time in my life, and in the process got to know Elise’s sister a little bit better.

I almost shattered the fragile, bird-like skeleton of one of my SVPs. I taught the entire internet how to edit their MySpace Music profiles (seriously, you should see the referrals I get on that one damn post). I nearly got laughed out of a coffee-shop due to my savant-like knowledge of Clue.

I played my band’s first honest-to-goodness solo gig, and made friends with 13-year-olds. I spoke at my mother’s wedding, and reflected on how just a few decades ago mine would be illegal in some states. I became a big brother, and started becoming my mother, all in the span of a week. I reflected on GBLT rights in Iraq by way of Ani DiFranco and teenage theatre. I posted the best and worst of my teenage poetry.

And, still fresh in my mind, I was the victim of a crime of hate.

Other things happened too – good things and bad things left unsaid as I skipped a few months of blogging while I was out succeeding a life.

I never finished our engagement story. I haven’t been blogging about wedding prep, including dress shopping and invite-making. I didn’t relate how I got chewed out by a co-worker for bashing Jesus on our last Live @ Rehearsal disc. I continuously redacted a post entitled “Figure Skating Pants” because it never turned out as funny on-screen as it was in my head. You haven’t yet heard about house-hunting.

A hundred other things.

If Crushing Krisis is as much about progress as it is about success, as much about motion as it is about milestones, it’s also as much about silence as it is about sound. My evolution is sketched as much by the words I withhold as the ones I write.

III.

I write these birthday posts each year … letters to my future self. Internet time travel.

Last year I said:

If Year 6 of Crushing Krisis was about finding stability, then this past year has been converting stability into happiness.

To amend that quote, if Year 7 was about converting stability into happiness, this past year was about finding a way for happiness and success to finally co-exist in my life.

In their own quiet way, those successes have brought me as close to quitting CK as I’ve ever been. Even though this blog documents my successes the actual act of blogging is all progress, and progress without success in sight can be daunting.

On and off, I plotted CK’s demise. Merge it into a band blog, I thought. Not as important as wedding planning, I decided. My writing has already peaked, it’s time to focus on other things, I resolved. Not saying much of importance anyway, I mused. It’s not as if anyone’s reading it, I whined. Blogs are ubiquitous and thus unremarkable, I opined. I’m out of things to say, I worried.

Yet, here I am, still, heading into Year 9.

Why? Because Crushing Krisis is one of the best ideas I’ve ever had, one of the best things that has ever happened to me, and the best way I know to show that I am not only progressing into adulthood but slowly and surely succeeding at life.

And because of you. You – indefinable and intangible, yet indefatigable.

Not just you – singular you, tu – you there on the other side of the screen reading this now, so much as you – plural you, vous – all of you. The royal you. The Schrodinger’s Cat of you. The mere potential of you.

“You” could mean you – now, in the present, two seconds after I post this; you – far in the future, maybe after I’ve gone; you – both of you; or you – neither of you … some other you entirely.

Thank you, no matter which you I am addressing. Thank you for being a part of and a party-to my never-ending progress and my continuing success. Thank you for reading, listening, commenting, and linking. Thank you for your time, for your attention, and for being you.

Thank you. And, happy birthday to this.

The road flows like a river, and pulls me around every bend.

I think that was a sufficient amount of time to bask, uninterrupted, in being a fiancé.

Much stuff is afoot in chez krisis, and not just our impending wedding. I have more to say on that topic than you could ever hope to consume in a single sitting, so I’ll be dragging the whole mess of it through National Blog Posting month, and beyond.

Okay, I’ll say one thing now: I love all the dire wedding warnings that come from every quarter when you first get engaged. I suppose it’s a cultural hazing thing? I just don’t get it. Each of our favorite weddings were relatively lacking in insanity and drama according to the various brides. Also, we’re both OCD project managers with the same taste in everything.

Right. Remind me to come back and read this post in about twelve months and see what I have to say about it.

If that was all that was happening it would be, oh, say, the most exciting time of my entire life. However, chattery on the topic of engagedness tends to eclipse the fact that there are also some other life events in motion, such as the massive behemoth of posts that is NaBloPoMo looming a mere two days away.

You should be comforted to know that I’ve drawn up a comprehensive content grid so I’m never lacking for post topic (see, OCD project managers). The challenge will be finding myself awake and at a computer long enough to do any posting.

Part of that challenge is that Gina and I (AKA Arcati Crisis) are playing a second trio of songs with a rhythm section on November 9th at the Rotunda, followed by multiple holiday performances, and moving through a half-hour set at Doc Watson’s in January (and, possibly another appearance at the Tin Angel), all of which results in plenty of rehearsals, both together and separately.

Oh, and the normal busyness, such as having four of my projects reviewed (and approved!) by our CEO over the last month, learning various exercises and arias for my weekly voice lessons, working up a communications plan for our homegrown music festival, and trying to drag my sorry ass out to East Falls every Thursday to play our favorite open mic.

And, last but certainly not least (though, what could really be least in this list?), I suddenly – and completely out of the blue, I assure you – can play piano. I’m still slow to learn actual pop songs, but I seem to have collected a modest enough palette of rhythms and riffs that I can bang through my own stuff with increasing ease and surprising variation, and I actually prefer some of it on keys to guitar strings. Imagine that!

Anyhow, that’s life, at the moment – full of activity, but paradoxically forcing me to take frequent naps in order to keep up with it.

How have you been?

Intervening Warbly Quick Hits

I skipped making a second link post this past week. I had every intent of compiling one, but then my birthday got in the way.

Looking back at the intervening week I give the impression that I’m a major rock impresario spending my idle time on my blog. In fact, despite appearances to the contrary it’s been just about the opposite – I’m more involved in the behind-the-scenes of blogging ever – reading more blogs, fixing more issues with my archives, and prepping more content, and it’s meant less work on my solo music as I spend my non-blog time focused on Arcati Crisis.

Really, it’s just that I default to talking about my music when my brain is too busy to talk about anything else.

On that note, let’s start with music links, for a change of pace.

XPN programmer at Some Velvet Blog highlights the best in Philly Indie Rock. No Polymer there, though they’re surely one of the area’s best (and, I say that having once written a really nasty song about their lead singer that I (coincidentally) featured yesterday).

Arcati Crisis is still several months off of the list. As opposed to a band cemented on the list – the A-Sides – who are now a national. I gave their album a cursory listen, and it’s more of the usual for recent trends in indie pop – ornate arrangements, middling tempos, incessantly warbling vocals.

Seriously: I know I’m a snob and not the most terrific singer, but why don’t we ever expect indie rock men to sing well? Of the however many new tracks I’ve heard this month – let’s arbitrarily call it 50, although I’m sure it’s more – I’ve only purchased one by a male singer. ONE. It’s embarrassing. At least when people refer to me as folk music I don’t hear an implicit knock at my vocals in the categorization.

(Ben of Polymer sings way better than any of the fifty, and is one of major reasons why I am always obsessed with improving my singing, which is why you should go listen to them.)

(On a similar note, Gina could sing a fucking circle around the whiny vocalist behind the otherwise catchy Limes.

Indie rockers, PLEASE LEARN HOW TO SING. kthnxbye.)

Wired’s Listening Post blog highlights the fantastic (and friendly) Daytrotter, a Rock Island, Illinois studio podcasting all manner of free music from major indie artists. (Previously blogged here.)

To close out the music topic: Largehearted Boy has so many special journalistic features with artists and authors that I really could spend the entirety of my music topic covering them. This week his brand new Soundtracked feature has the director of the otherwise excruciable Good Luck Chuck discussing the music from the film’s soundtrack.

Here’s the most amazing, fantastic, scary-useful link of the week, from telescreen.org: Jott. What is it? A toll-free number you can call up and dictate to, which subsequently transcribes your ramble into text – punctuation and all.

Urban(e) blogger Smogr posts about a real life Atlantis – called Seuthopolis in Bulgaria. Seriously. For real. More detail at archi-blog Pruned, or, if you still think this is a hoax, at WikiPedia. The entire project will cost an estimated €50mill, which seems like a bargain to unwet a freaking underwater city.

(ps: I keep reading that as Seussopolis. Like, OMG, an underwater city filled with one fish, two fish, red fish, blue fish.)

MN blogger Stefani claims that absinthe has found renewed legality in the USA. This is actually a lie. one brand of absinthe has a low enough Thujone content to be legal.

Bonus points: this is my favorite classic advertising print.

Pennsylvania’s CHIP is one of my major clients, so I found Akkams Razor’s illustration of CHIP funding v. Iraq funding to be morbidly fascinating. Because a day of ambiguous freedom-promoting military services is totally the equivalent of keeping a quarter of a million kids healthy. Totally.

Via 18,000 different blogs, 20×200 peddles high quality, limited edition artist photos and prints at acquirable prices, as curated by blogger Jen Bekman.

Also, via approximately a third of the blogging community: Rotten Neighbor, a site that helps you avoid the neighbors that other internet denizens have found distasteful. You know the type: well-adjusted people without blogs.

Okay, my stamina is declining. Here’s my quick hits:

Hexiom is like reverse Minesweeper, via Fresh Arrival. And: they have a sister photo site that recently featured panoramic UK photographer Will Pearson.

Mighty Girl is interviewed by 9-yr-old blogger @ In the Air. Matt’s a great journalist for being a third of my age!

(And, I know this is not really something you can appreciate the enormity of via the internet, but M.G. blogged about a production of Sweeny Todd where the chorus doubled as the orchestra. Can you wrap your mind around that shit? Crazy.)

Highways of the Nation are changing their fonts. Via Kottke. Also via K: I love tennis, but I’ve never really understood the difference between clay, hard, and grass courts. NYT to the rescue! Check out their high informative animatics. Also, strangers cross the Brooklyn bridge.

Unclutterer tells you what to do with your old cell phone(s).

Iggy Pop’s hilarious tour rider.

20 ways to make great icons.

Chirky posts an amazing cake.

Learn the basics of foreign languages online with Mango. Via Make You Go Hmm.

Adventures in San Francisco land (fill) Albany Bulb.

Philly blogger Ninth Street Records posts a nascent blog, Laceo Art, which features submissions from imprisoned juvenile offenders.

Also from Philly, we finally have public access television, via PhillyFuture.

Animated GIF map of the NYC subway. Via Harvard Avenue.

Freakonomics NYT blog takes on the future of the music industry. Certainly not warbly indie bands, that’s for sure.

Rilo Kiley has some pretty great videos, including the new ones for “Moneymaker” (with real live porn stars!) & “Silver Lining,” and last disc’s great “Portions for Foxes.” I think I just like watching Jenny Lewis sing.

For reference, she is of the same approximate talent level as Gina ;)

Do you see what happens when I don’t blog links for an entire week? Pandemonium! Smogr has my photo of the week.

/fin

The Arrival of Arcati Crisis

My birthday celebration began officially on Thursday night when I stepped on stage beside Gina as Arcati Crisis, before several dozen of my friends, and in front of a three-piece backing band, and commenced the first moment in my life where I truly felt like a rock star.

Flash back to a year ago – the beginning of my quarter-life danger/opportunity.

I knew – had known for months – that I wanted to get out to play more often. It was one of the reasons I had quit my promising run with our semi-pro acappella group after six months of arduous rehearsals. Yet, after two months of constantly playing around the house and a tepid run at World Cafe Live’s Monday open mic, I was stuck playing a single bar once a month.

I needed something a little more artist-oriented – where I wouldn’t be fiercely battling for attention over and over again with the same damn Madonna cover.

Out of the blue, I recalled Penni Gould – a woman I knew in passing from years of playing the Shubin Theatre holiday revue. At the 2004 show she mentioned that she was starting up a monthly performance salon for local theatre artists? Was it still around?

Not only was it still around, but after a brief email exchange I found myself invited to their next soundcheck for an audition. I played one rocker and one ballad, and just like that I was booked for a debut in December.

Meanwhile, Gina and I just had commenced rehearsing for our annual appearance at the Holiday Revue. This year we were effectively co-headlining with a three-song set, for which we were hardly prepared.

As a result, we resolved to do something highly unusual for us: rehearse. More than a week before our performance. And, more than once.

For the first couple of meetings we just played around, trying to figure out what we sounded like after a year-and-a-half apart. By our third rehearsal we realized that two of our biggest past challenges had transformed into major opportunities.

First, Gina was more consistent and aggressive than ever on her guitar parts, making it easy to scale up to more complex arrangements.

Even more significant, my acappella experience had taught me how to hold my own against other vocals, and as a result I no longer had to struggle to sing harmony with Gina. Not only could Gina sing more harmony with me, but for the first time I could sing harmony on her songs as well!

We wound up with more than a trio of songs – we discovered a formula, both for our sound and for motivating ourselves to rehearse. After a nearly flawless performance at the revue I floated my typical annual question to Gina – any chance you want to keep rehearsing in the new year?

Shockingly – though somehow not surprisingly – she said yes.

Now travel forward to May. Gina and I had just made our official redebut as Arcati Crisis at the 5th Annual Lyndzapalooza, and a few weeks later I found myself scheduled for another Melange performance.

Amusingly, over the past six months my tables had been turned: coming off of rehearsing with Gina as Arcati Crisis my own material was flabby and out of shape, especially in light of what looked to be a strong lineup at Melange.

Past that self-consciousness, Lindsay emailed me about a curious new development – Melange listed a future date at the Tin Angel, one of my favorite venues. Would I be playing there?

My only answer was a sinking feeling in my stomach that I wasn’t prepared to make a strong showing that night at Melange … certainly not strong enough to merit a coveted spot at the Tin.

A bit worried (okay: panicked), I sent Gina a pleading email: was there any chance she’d come up to sing harmony with me on one song, so I didn’t feel so nude?

As the day progressed we continued to exchange emails and the plans became more elaborate, until finally we agreed to just appear as Arcati Crisis. And we did, rocking an unusual combination of her bouncy “Fisher Price” and my elaborately maudlin “Counts the Most.”

Afterwards, Penni told us she would see if she could squeeze us in to the yet-to-be-announced second Tin Angel gig.

Now just a month ago, Gina and I are in a third floor apartment across from the Kimmel Center playing with a drummer and a bassist for the first time. Beforehand we absconded into the stairwell, working hushedly on our harmonies and debating on what we should tell the drummer to do.

The point wound up being moot. Tom, our drummer, was fantastic – picking up on exactly what we wanted without us even having to say so. All of our songs transformed into the better selves we had imagined all along, none more than Gina’s “What’ll I Say” – now less languid folk and more acoustic jam.

Suddenly our little duo had been expanded to an honest rock band that would be making its debut on September 20th.

Now we just needed an audience.

Thursday night, and Gina and I are backstage in one of two dressing rooms at the Tin Angel, having spent the past hour hand-labeling the Live @ Rehearsal, Vol. 1 discs I took the day off from work to mix and produce.

The walls of our room are covered with sharpie marker signatures from the many bands that had appeared there. Chris Smither loomed just above my head, and Erin McKeown high behind my chair. After much searching I failed to spot Peter Mulvey, but we discovered our acquaintance Mutlu near the ceiling and upside down.

Enough people had been seated that there was a bit of a hum drifting back to the room, and I delighted that this wasn’t theatre and that it was okay for me to sneek out for a peek.

The peek snuck the breath right out of me; the vast majority of the audience were our family and friends. Both of our parents, and our partners. Former roommates and theatre compatriots. Co-workers and random friends.

Most performances are a blur, but I can still hear this one in super slow motion. It makes the mistakes all the more painful than usual, but it also magnifies the successes.

A flipped pronoun on “Standing” pales against the best bridge vocal I’ve ever done. Skipping a progression on “What’ll I Say” to untangle my quarter inch tiny in the face of belting out my harmony at the close. And, starting “Wait” with a too hard pick hardly mattering when compared to our hilarious ad-libbed inflections and gestures on the final verse, tossing our lines back and forth to each other while the rhythm section carried the song.

Afterwards Elise and I went out for drinks, and more drinks, and karaoke, all of which I experienced through a film of joy. It might have taken ten years of preparation and a year of work, but I’ve finally transformed from wayward solo songwriter with no confidence to part of an assured and rehearsed duo that’s had a taste of a backing band and is hungry for more.

An errant Banker’s Club cosmo aside, Thursday night was the best birthday gift ever.

Erratic

Nine years of guitar playing and i still can’t manage to get through one frigging bar of 2/4 while trying to write a song.

This may indicate that i am writing new songs. I know that the hoopla celebration about this sort of thing has waned since i don’t accompany such announcements with audio any more. I’m trying to rectify that situation.

Seriously.

It’s just that as the years go by my standards get higher, and when i can’t strum a bar of frigging 2/4 correctly once in a half hour of recording i tend to give up where i would have previously just posted my weird aborted measure of 3.5/4 (i know, i know, that’s 2/4 then 3/8, shut up) and winced.

Nevermind how getting better at singing is like cutting infinity in half, and for every improvement i make my goal of being “good” seems to be persistently unreachable.

I think this will be a rare post that doesn’t involve creative editing or a contrived story about my life.

I sent my iPod back to Apple, certain that it was really broken and that i would receive a refurbed iPod and promptly sell it in its still-sealed mailer and then buy a fancy new iPod. Imagine my surprise when Apple sent me an email this morning to inform me that nothing was wrong with my unit. Sure. I didn’t troubleshoot for five hours until all the iPod did was the scary hard-disk death rattle over and over again and then bring it to an Apple store who TOLD ME to send it in for repair. Not at all. I am going to throw a major seven at some poor unsuspecting tech guy if they try to charge me for servicing a non-faulty unit, or some other such idiocy.

Also, i still don’t have the tracking number for my new guitar, which is a little frustrating since upon its arrival i only have a 24-hour window to decide whether or not i’d like to keep it. Plus, i am a hugely spoiled brat and want my now guitar asap. (and a squir-rel)

Finally, not since SongFight & SomeSongs have i become so immediately obsessed with a website as i am with Threadless. It’s like Songfight but with stuff to buy. Users submit t-shirt concepts, members vote for the concepts on a scale of 0-5 with a special “i’d buy it” button for emphasis, and roughly every week the webmasters choose what is presumably the highest score shirt with the most “buy it” clicks and make it into an honest to goodness t-shit.

Prepare to become addicted to both rating designs (some of which are so amazing that you want to bribe someone to produce them) and window shopping (with a few exceptions the designs they choose are awesome).

Alright, obviously i’m not recording any gems at this hour (which you won’t fully understand until you hear the notes i hit in chest voice on the new ones). To sleep.

Lately i have been screaming my voice thin, pummeling it as i scream for the high notes over and over again. This weekend it was Bb. If i could do that every day i would be a tenor.


There is still snow on the ground from last week’s snow day, though today’s temperatures in the 40’s felt like a summer vacation as it turned back streets filled with ice into soggy puddles to dance around. I remember when i first walked back from campus after the snow, unbroken white covering the field on thirty fourth street. A group of students were just convening a game of full-tackle snow football, and i almost asked them if could join in before i realized that i was wearing clompy boots and sexy jeans and was in no shape to be a pro full-tackle snow football player.


I get so convinced in moments, living out the highlight reel of my life as it follows a split second possibility. Rockstar. Run-away to Australia. Professor. Hit by a bus, Working in the office for the rest of my life. Pro-sno-baller.

Undecided. I wound up going out for some salad and bubble tea.

Typical.

Well, whether you’d believe it or not from that rather hurried first Trio of the season, i am now officially a part of the Drexel University Chorus. As in, i auditioned — in a room with just Dr. Powell — and was accepted… albeit, not in the voice part i expected. So, there’s another hurdle in my life’s list of accomplishments down (and, my first “successful” audition for Dr. Powell ever). Yay.

At first I thought that i was hungry. Two in the morning, lying on my back on top of the covers thinking that maybe, perhaps, i was hungry.

There was definitely a sensation of roiling unease in my stomach, and i had definitely jogged two miles between the last time i ate and the moment i resignedly turned to my side and pulled the covers over my midriff. I could go have a snack if i really wanted to, but i was already dangerously close to staying up for an entire twenty-four hours. I didn’t relish the idea of doing it twice in one week. I would eat in the morning.

I wasn’t hungry. The bowl of Cheerios stared back at me, scores of tiny unwinking eyes returning my blank gaze. Never a blink. Probably wondering why i poured them in the first place. The spoon and i were like a assembly line machine, working with deliberation rather than care to finish one task and move on to the next. I finished unenthusiastically, my stomach still adrift. I wasn’t hungry.

I claim to be immune to stage fright, but having a big mouth doesn’t equal star potential. In fact, it can be exactly the opposite. Lately, our entire apartment and all of our significant others (oh, and Ernie) have become hooked on Fox’s American Idol. Somehow the show avoids the nauseating generic pop culture that most other Star-Making programs of late have engaged in, instead opting to lead with the contestants and their voices. On each show they sing a song… they can dance or smile if they want to, but really they’re just there to sing. Live. In front of over 10 million viewers. For the chance to be a superstar.

Lindsay and i are invariably amongst the first people into our building on Wednesday mornings, and as we both delve through endless boxes of records we talk about what songs we would choose to sing on teevee. Underneath all the laughter and bragging, i know that i wouldn’t make it. Even with the quality of my voice left wholly aside, i know that i could never walk out on stage and stand still – knowing that a number of eyes beyond my ability to count were on me. And so i settle for watching, for being nervous on their behalf, and for dreaming about being in their midst.

Blogathon is not a top rated teevee show… last year my hits for the 24 hours were in the thousands, but people who actually listened to my songs were probably only in the tens. However, this year looks like it’s shaping up to be a lot bigger than last year, and i really have no way of predicting how many people will visit my page or listen to what i have chosen to invest: a dozen of my most valuable possessions – my songs – plus another dozen covers of some of my popular favorites. In three days they will appear, one per hour, for thousands of people to sample and form opinions on. And my stomach is aflutter. 72 whopping hours left until i have to go live with my my first song and i already want to duck out the stage door and either be sick or hide.

Elise pointed out i have to record a song every three hours to get all 25 of them done by Saturday morning. I would like to point out that thanks to two very generous pledges i have now raised as much money for Planned Parenthood as i have spent on recording equipment for Saturday. Which is now 71 hours away.

I think i might be hungry, but i’m not sure. Back to work.

I am the sort of person that, once i have something fixed in my head, it overwhelms everything else in my life. That’s what happens when i ‘crush’, so to speak. I can safely reveal to you that this sort of attention is rarely paid to anything resembling work. When i’m at work i can become so focused on something that i’ll skip lunch breaks and leave later than expected, and i have been known to grow so engrossed in writing a paper that i forget to sleep or use the bathroom. However, the way crushing works is that it subverts other intended activities — and getting the records organized at work never crosses my mind when i’m working on a decent logic puzzle in the same way that writing a paper usually doesn’t distract me from writing a song.

Having spent all that time setting up what doesn’t usually distract me to no end, now let me (predictably) contradict myself: in the past week an official job i have has superseded everything else i could possibly be doing: working, sleeping, eating, spending time with Elise, and even getting near Blogger. The job, as it were, is to arrange Lisa Loeb’s “Stay” a cappella for eight or more women’s voices so that everything about the song – guitars, drums, harmony, et al – is represented in full by the singers.


It was not easy. In fact, looking back over the last week i would say i’ve easily spent upwards of fifteen hours on this barely three minute song with its half-octave of lead vocal notes and its five essential chords. Fifteen hours in front of my computer playing back the same collections of three and four measures back over and over as i first change a sixteenth note to an eighth note, and then from a major fourth to a major third of harmony.

Almost a solid day’s worth of arranging later and i have suddenly realized that Drexel had managed to teach me something, because i couldn’t do any of this three years ago – or even two. Possibly not even one. I haven’t mentioned it lately, but i’m currently in choir. Yes, choir. Singing in a group of over twenty people, some of whom are very highly distinguished singers who have been in such groups for well over a decade. I, by contrast, have been in such a group for going on five weeks. I start each session frazzled and rigid and end each one relieved and smiling and ready to belt out just about anything.

Conclusion? Some things do change, but the most basic of things always wind up the same.

All this time people kept telling me my singing range would get bigger once i got my tonsils out, but right now it just feels strange and open. Not bigger, though. Everything is harder to say; i try to squeeze out queer Tori vowels and wind up sounding more like Bjork — all wide open and unpronounced. I’m just not used to that cavernous space, sound resonating, nothing to strangle it off.

Sometimes it’s hard to think of myself as a musician when i’m not making any music. With my jettison of the tonsils impending i’ve been trying not to get too wrapped up in playing music & singing because i know that i’ll be out of commission for at least two weeks after the fact.

I didn’t have any warning when i broke my collarbone, and the following month with music was a horror; i had to sit with my back perfectly aligned to a concrete wall to even have a chance to fret chords, and anything out of first position was met with the indescribable discomfort of the internal versions of nails on a chalkboard. By the time i was healed enough to play again i had lost any sort of direction i had in July, and i had forgotten the chords to “Lost” to boot. It took nearly a month before i started writing and playing again, but what came then spoke for itself: “Will It Ever Come,” “Punk,” “One Way,” and others i can’t recall from the top of my head.

So, i’ve been ignoring my guitar, and it’s been hard. Worse is that i’ve suddenly become surrounded by gigging guitarists, professional vocalists, and one friend who is months away from a major lable deal. It’s become hard to stand in the middle of all of that with my impending loss of voice and to assert that, yes, someone should listen to me. When the blue layout went up i neglected to even add a Trio bar onto it – i haven’t done one since before i began the layout.

Somehow, despite this hiatus, last Thursday two songs happened. They caught me unaware.

I was singing at the time.

I am getting used to her “hold it” as she tightens the focus and adjusts her shutter speed. I am beginning to learn to breathe down through my chest so that its expansion doesn’t ruin my pose. At the time i was just on Walnut street, though, with my extra black dress shirts slung over my shoulder.

So far Elise has mostly taken my picture while i’ve been playing guitar, or reaching for my guitar, or relaxing after having played my guitar. Last night was just me and the shirts, and a single red tie. Somehow the thought of it was a little threatening, as if i’m not worth photographing while i’m not running through my rock-star routine – which comes through alright in photographs even if it doesn’t sound up to par in person.


I needed to feel worthy of her photographs, and so i had my demo playing on my headphones during my walk to her room. I was really listening hard – wrapping my mind not around the lyrics and the guitars that are so familiar to be but around the arrangements that sprung up in the studio… the subtle changes i made to the songs on the fly that created the solid front they produced on the record rather than the random chance that they might turn out well when i play them live. I was wrapping my mind around the concept that i am worth listening to beyond the immediacy of my rhyming and strumming.

Somewhere inside of that thought i began to sing… not singing along with my record, but singing with it; adding harmony where i was too naive to place it when it was recorded, adding subtle changes in lyrics to deepen the songs that weren’t fully realized at the time. Just singing… singing out, singing loud …to songs that no one else on the street knew at all.

I’ve learned to turn off my peripheral vision in moments like that so as to ignore the bemused glances i draw from passers by, but i could hardly ignore the rumpled man on his ten speed bike keeping pace beside me. I am a jaded Philadelphian at best, and a guardedly hostile one at worst, and so when he motioned for me to take off my headphones i was hardly expecting anything other than him asking for directions or money. Possibly both. I slowed down a little, almost maliciously, since he would have an even tougher time maintaining balance on two wheels at such a slow speed. I offered him my attention.

“You should be a singer.”

“I am.”

Headphones back on, speed increased, and by the time he was out of my peripheral vision again i had paused just long enough to realize that i had said what i said not to put him off, but because i meant it. I was listening to honest proof that i am a singer, and was singing along. I am a singer.

Half a block later he waved again for me to take off my headphones. “I didn’t mean to be smart with you or anything, i just think you have a nice voice. You should sing.”

I replied with just as much ease as the first time: “I know. It’s just… that i am. I do. But, thank you.”

I am miles away right now, but she’s got my essence on paper right in front of her face.

Ambient room noise is just the computers hissing at us with quiet piano from my headphones down the line. We are clackers, typing, sleepy, sniffling, dutifully moving from one record to the next. It’s hard to care about anything that’s in front of you at a quarter to three on Friday, even harder when you’re busy caring about anything else. There is only one voice inside here (tangled in the ivory piano threads), though in the hallway the construction crew are chatterattertattering about vans and pounds and heavy things.

I seem to have lost my voice – not in the traditional sense. I can speak. However, i cannot seem to sing. Every time i move past my safest three notes tucked into the lower middle of the treble staff it’s as if my throat is collapsing upon itself so as to resist anything that could be construed as a beautiful noise coming out. I am shackled to my tinny falsetto… sounds like all of our bad dance classics records singing out from the tiny headphones connected to their turntables, but i could only wish for that tactile needle-noise in the back of my throat. Instead i get a dull and angry throb that i have learned to almost taste.

The quiet piano has given way entirely to a wondering vocal: love you, love you not? I was up and out at eight in the morning today, and my eyes shot the world through a different speed of film than i’m used to. How can they let in so much light?

Harmony can bite my fucking ass. And i want some ice cream, damnit.

Is there a reason that three different phone companies just called attempting to get me to switch my service within a single hour? Does it have something to do with today being Tax Day and everyone wanting to save a few bucks? I have no idea. Meanwhile, me performing Extreme’s “More Than Words” with any amount of vocal accuracy is about as likely as my getting signed on the strength of my stripped down cover of “Walk Like An Egyptian” — which is to say that i can’t hit the melody or even find the harmony on the former (and have yet to figure out the chords to the latter).

My god, life moves so slowly sometimes.

There is a mutiny building in my fingers; a resistance is gathering between my knuckles and around my wrists. They are not used to this sort of treatment… five hours of playing songs that i don’t have the option to fudge … songs that sound only how they sound. Towards the end my fingers were on automatic, picking out strings without my even having to think of it, but in the middle they were clumsy and tired as the muscles in my arms sighed with exertion.


There was a power to it — to making other people’s songs sound how they were meant, and to making my own songs sound out like i hear them in my own head. Kat sat on the bed mostly non-plussed, pecking away at her laptop, but Laurel seemed to be in a mild form of shock. And i… i wasn’t even in the room. The songs had filled it beyond its capacity to hold me.

Fingers aside, my voice amazed me. After having barely mustered up enough of it to power through my jury last week, imagine my surprise as it rose to the top of the staff and i was still hitting clean notes, open throated and howling. Sometimes a song finds one spectacular note inside of itself that my voice is attracted to like a moth to flame, willing to burn itself around the edges just to hit that one note and hold hold hold hold it over the four chords in the progression.

There is definitely a Trio brewing around here, somewhere.

I am surprised when i do anything well.

I just got back from my voice jury … my hands did not tremble, i did not quake. I smiled. I sang the easier of my two songs first, letting my voice fall into the slack of the piano accompaniment — getting all of the unsureness out of my system. Better to be unsure on the easy one and powerful on the harder. And, so, without much ado, i was.

I am not perfect — it’s something that i’ve come to terms with over the years. But, sometimes i do things right, and when i do those things i am perfect for one barely measurable moment, and i am living from one of those moments to the next right now.

Art and beauty are so subjective that i’m sometimes frightened by them. A song that almost wound up going unplayed has become everyone’s new favourite. Last night someone told me they thought i was sexy. Some people read my page, and some don’t.

My audition was terrible… i couldn’t understand where the piano-arrangement fit in with my vocal notes, and i just kept shooting the pianist a befuddled look while my voice teacher sat in the back row and scribbled furiously on her legal pad. Corrections, for our next lesson. Rounder ‘O’ vowels, “remember” should be “ri-mem-bur,” breath before the phrases, don’t move my arms around so much. I don’t remember singing it at all, but i know what i did wrong. In fact, i thought that my audition was pretty terrible — panicked glances to the accompanist are rarely the mark of a chorus-member in the making.

At the end the voice inside my head said “Fuck it, Peter. Show them you can sing.” I shut my ears tight against the pianist and looked straight ahead. “Can lead to joy. And hope. And love… yes. Love.” C, D, Eb, E. Flawless. I just grinned as the piano roll to the end of the song began. The cheering was wonderful; i walked off as calmly as i could and proceeded to totally collapse in my chair hugging Elise and whispering “i did it, i hit it, i did it.”

No one mentioned my high notes, but everyone claims my song was wonderful. I didn’t think so, and i keep saying “But, what about the end?”

Tonight i’ll be at callbacks. Someone thought it was okay.

Every day is a day that your whole life has been leading towards; each step is the step that all of your life has been preparing you to take. Until the next one.

Two years ago i auditioned for Hair. I had so far only had a bit part in a main stage show, and i had never sang on stage before. But, i had the most hair of any of the boys who were auditioning. This, i was sure, was my shoe-in.

Our director asked who would sing first, and a hush fell over the room packed with aspiring tribe-members — no one wanted to set the bar. So, i did… with assurances that i could get up and try it again later. It was one of the most terrifying experiences of my life: my arms went numb, i forget my lyrics, and i couldn’t understand the piano arrangement. I barely remember the act of singing so much as i remember the lights blinding me as i wandered off the side of the stage, knowing that my second try would not make much of a difference.

When i didn’t get a callback, i was not entirely surprised.


Everything between then and now has been my stumbling rehearsal for tonight’s audition for Fiddler on the Roof. Every failed audition, and every successful one. Every note i’ve hit and every note i’ve missed. Every smile, every tear, everything. Yes, it’s about whether or not i can hit my E, as i am acutely aware. But, it’s also about who i was when i took the stage 730-odd days ago and who i can be tonight.

It’s not about hitting your stride in the moment, every moment, living for each. It is about sustaining through them all, stringing them together like a legato string of pearls.

Not coincidentally, that’s what my voice teacher keeps telling my about hitting the high notes in my audition piece. Maybe after i get it right in my singing i can manage to apply it to life.