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Category Archives: self-critique

The Human Calculator v. The Harmony Jukebox

That would be a pretty dull superhero fight, huh?

Actually, the title refers to Friday’s post, which drew a quick comment from someone who built a straw-man of “The Human Spellchecker” to stand next to my snarky Human Calculator.

I’m so high-and-mighty about math, but do I use a spell-checker when I blog? Would I deny people a spellchecker too in my dedicated Ludditism?

The answers are, respectively, “occasionally” and “of course!” The existence of tools to assist us doesn’t replace the need to master skills or knowledge on our own.

Consider the source. I take for granted that I’m comfortable doing both of these things. I have to proofread words and numbers as part of both my jobs and my hobbies. It’s in my best interest to be a knowledgeable snob about both.

Maybe they aren’t the best examples for me.

I always say, “music is like calculus to me.” Yet, I’m a musician. I don’t have wonderful pitch, and I am not a natural singer. I can’t pluck perfectly in-tune harmony notes out of thin air like E or Gina, each of whom I refer to as “The Harmony Jukebox.”

When our band learns a new song I usually have to play along on piano at first, and when I sing harmony in the car E has to sing with me the first few times. And I have to pay careful attention to breath support, shaping, and phrasing to stay in tune.

At some point I have to sing the notes myself in an effortless way. If I never eliminated the piano, or E, or the careful attention to every note, I wouldn’t be much of a musician. I mean, yeah, they have auto-tune for that now, but what about performing live.

Bottom line: being a musician is hard work for me! Sometimes it isn’t any fun at all.

What if math was that hard for me? Would I sometimes just whip out the calculator? Probably. But just like music, I’d still want to know how to do it myself. I still want to possess that knowledge.

What about you? Forget grade-school antics like math and spelling. What is a difficult skill that you have to reproduce daily? Do you use a tool to assist you? And, can you still perform the same task without the tool?

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.

Daily Demo: Icy Cold

Here’s a brand new HD video of “Icy Cold” with beautiful hi-fi multi-track soundboard audio. It comes with a story.

Okay, story-time.

Ten years ago (less 24 days) I was a freshman in college, and I wrote a song called “Icy Cold.”

It was an odd one – very oblique lyrics in one of my more unusual alternate tunings (at the time) made it a challenge to sing and play. I left it off my 2000 demo CD Other Plans and, curiously, also did not consider it for my 2001 studio disc Relief. It remained bound to my apartment, where it factored in to a few of my favorite Trio recordings.

Around the same time I wrote “Icy Cold” – 86th in a rapidly-expanding list of songs – I decided that it was time for me to start playing shows.

Being rather ignorant as to what that entailed, I assumed that I would just phone up a local, mostly-acoustic venue where people I liked frequently played and explain that I wrote tons of awesome songs, and then they would invite me to play. (Later, after my initial flush of success, I could upgrade to playing the TLA or the Electric Factory).

The Tin Angel being the only local mostly-acoustic venue that I knew of at the time, I sussed out their booking information and rang them up.

That was the extent of my year-2000 booking experience at the Tin Angel. No follow-up. No booking. No flush of success.

To be fair, I would have been an utter disaster. I know some people so wonderful that their first ever show was at the Tin, but I was not that kind of wonderful in 2000. Sure, I had the awesome songs, but I could just barely sing, and I was playing a guitar that didn’t even especially stay in tune!

Over the course of the past ten years I’ve done a lot to rectify my singing and guitar-playing issues, and I’ve played in a lot of amazing Philly venues – including the Tin Angel, as part of a showcase with Arcati Crisis. Yet, I’ve never fulfilled that original goal of ten years ago – being featured solo on the bill at the Tin.

Well, that’s going to happen on Friday at 10:30 p.m., so when it came to choosing the first song to post in 2010 in this glorious new HD audio/video combo format it seemed natural to choose “Icy Cold” – especially given the slights it experienced in 2000 and 2001.

Plus, it’s really freaking cold out.

That’s my story.

PS: I owe the hugest possible shout-out to Tim Jahn for explaining Adobe Premiere Pro compression codecs to me via Twitter at the eleventh hour (literally) to make this beautiful video possible. Tim writes a blog of occasional, thought-provoking bulletins that I have been enjoying for months. You can also follow him on Twitter.

Daily Demo: Crashing

Song #77: Crashing (live demo) ["Save As" to download from that link]
Last recorded for Blogathon 2002.

10 years ago this weekend I went to my first college party, still very much a purposefully-naive, dewy-eyed teen.

I came home having had my first vodka cranberry and my first inklings of adult romance, drifting to sleep wrapped in the blissful denouement of each.

The following Monday morning was a decidedly dreary day, and I found myself locked out my dorm room in my pajamas. Instead of heading to French 103 I sat down in our common room – five stories from the ground with a two-story windowed wall staring out into Center City Philadelphia.

I pulled out a pad and wrote “Crashing.”

Later that day, having been let back into my room, I recorded its first rough demo and transferred the lyrics to the first page of the crisp new book I bought for my collegiate songs. Up until then I wasn’t sure how I would know it was time to start using it, but I suddenly did.

“Crashing” made frequent appearances at parties and late night hangouts throughout my Freshmen year, resulting in the first complements on my voice I had ever heard. They came as a great shock to me, as they still do. Later that autumn I recorded it for my first full length demo, Other Plans – shakily, in the middle of the night, trying not to wake up my mother in the process.

As a dreary fall turned to winter I moved on to add other songs to my slim gray book – many of which I still play to this day. Yet, it was “Crashing” I would play between classes as I sat at the dinged, old upright piano in the theatre green room. I would hypnotize myself with the rolling two chord verse, learning how to play piano in increments (and maybe a little bit about what the song really meant, as well).

It took the entire intervening decade to learn how to play piano well enough to demo it that way, and it seems apropos that it wound up recorded just as shakily and late as its original demos were, respectively.

 

Escaping Mediocrity

I am not a major reader of mommy-blogs.

Sure, I have my certain mommy favorites, as well as several long-time reads who happened to be or become moms, but I don’t typically seek out new moms to read. They’re just in a different part of their lives than I am, at the moment.

All that said, Maverick Mom is a blog worth reading. It’s not just about motherhood. Or, maybe as of a month or two ago it was. Right now it’s about motherhood (and the rest of life) as an adventure that is helping blogger and entrepreneur Sarah Robinson “escape mediocrity.”

Escaping mediocrity. Does it mean anything to you? If not, you should read her gripping post about nearly losing her son to a riptide. At the end she has the wherewithal (and good humor) to compare the riptide to the tug of mediocrity.

Sarah’s post poses a challenging question: are we accepting the average because it’s easy, eventually to discover that we’re lost with no sign of what’s good, right, or successful?

I know the first impulse is to say, “Nope!” Our lives are awesome, right? We totally love them.

Okay, sure. But, loving life doesn’t exclude the chance that you’re settling for something. Can you honestly say you don’t have anything in your life that is disappointingly average – not as challenging or fulfilling as it could be? We all know I aim to kick ass at all times, but even I can cop to pieces of my life that aren’t living up to their potential. I wage a constant war on some of them, but in all honesty I let others slip by. Easy can be nice. Status quo is even keel.

If your answer about anything is “maybe” or “yes” or “omg, definitely,” then you should start reading Sarah’s blog, perhaps beginning with the escape plan she’s hatched to push past the mediocre elements of our lives.

Sarah, you are anything but mediocre.

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.

Finding My Footing (or, a belated welcome to NaBloPoMo)

Lately I’ve been feeling like an actual singer-songwriter, instead of just a pretend internet one.

Of course, I’ve had a lot chances to feel like a legitimate musical artist in the past year through my performances with Gina as Arcati Crisis. But, there’s a certain strength in numbers – a power of two – that makes us a minimum amount of compelling and keeps us lurching forward even from our unlikeliest (and unlikeable) moments.

I don’t have those abilities on my own, which can sometimes make playing by myself a lonely prospect. For a while at any solo appearance I spent more time noticing Gina’s absence than being present on my own. At an open mic this summer I joked to an inattentive bar crowd, “if any of you could come up here and stand just to my left I’d feel much more comfortable.”

They didn’t get it.

My few solo outings earlier this year were the first times I was playing alone to unfriendly crowds in a long time, and I was daunted on each occasion. I played the same songs over and over, heavily relying on the crutches of “Icy Cold” and my cover of “Like a Virgin.” Any other song would leave me wide open for rookie mistakes like forgotten lyrics.

I started to wonder … can I hold space and attention on my own? Are my singing and playing interesting without someone else to dress them up? And, if there isn’t any point to me playing solo, than how can I write compelling material for my band by myself?

I don’t know that I’ve answered any of those imperative questions, but as summer ripened into fall and I kept stubbornly playing on my own I started getting into a certain rhythm where I was less fearful and more adventurous. If no one is going to pay attention anyway, why play “Like a Virgin” for the fifteenth time? New originals and covers and forgotten oldies started sneaking into my sets, and I surprisingly loved some of them. And, when I played the newer songs I was reminded that I devote an uncommon amount of detail to each song that I write. That fact alone doesn’t make me better than the competition, but it definitely makes a difference.

By the time I debut a “new” song (typically a dreaded introduction to hear at any open mic) it has been through months of development. In the case of a newer song like “Not Tonight (from Monday’s Trio), I start with a core of words or melody that have been stuck in my head. I sketch the basics of them out on piano or guitar, and then I typically switch instruments for a while to flesh out the chord structure and melody before returning to the original instrument to complete my lyrics. Next I transcribe a definitive version of the lyrics into my MYSQL database, and begin chipping away at them daily – revising order and polishing lines whenever I think of it.

Afterward I tend to go through an incubation stage that mostly consists of singing the song wherever I go – sometimes deliberately missing a bus so I can sing while I walk. At that point I’m mostly making decisions about dynamics, so that by the next time I sit down with the text I’m ready to mark my vowels and breaths.

Then I actually start rehearsing.

I don’t explain all of that to brag, because it’s not anything I’m especially proud or ashamed of. It just happens to be my process at the moment, and when I enthuse about my database or (attempt to) commiserate over the difficulty of choosing the right vowels I realize that I’m different than a lot of the people I meet at open mics. A song that’s “new” to me is well-experienced to them, and my repertoire of 80 originals (out of a total of 228) is boggling.

The fact that I have a specific process – my own database and binder, an untold history for each song – makes me feel like a valid artist again. I haven’t felt that for a long time, and the last time I did it mostly came from playing fictional concerts to no one in my bedroom rather than making regular appearances at open mics. My current insanity of organization has kept me limber and nimble, to the point that I’ve completed over a dozen new songs so far this year – the most I’ve completed in one calendar year since I started dating Elise in 2002.

That’s why you’re seeing a late-stage resurgence in the stalled Trio season I began last November – I have a lot more songs to share than I did at this time last year.

That, and it’s once again National Blog Posting Month, which I have resolved to make more of a go at this year. This is one of the most interesting times in my life, both personally and publicly, and I’m sure that many years from now I’ll appreciate a running commentary about it.

(Last year, as you might recall, it intersected with being newly engaged, and I quickly found out that it was a time I wanted to spend outside of the house instead of at the computer.)

(Seventy-odd days out from the wedding and I much prefer the confines of my house, especially when I don’t have any credit cards in arm’s reach.)

(Good night.)

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.

Bad Teenage Poetry Blogging Day

Yesterday Rabi pointed out that Superlagirl had declared today to be bad teenage poetry blogging day, and issued a challenge for other bloggers to join her in participating.

Alright then, Rabi. I’ll see your four pieces of (debatably) bad teenage poetry and – against my better judgment – raise you my (less-debateably) bad teenage poetry website preserved in all of its framed glory, directly imported from Geocities.

Behold: Synonyms for Damage. Even the name is bad teenage poetry!

Honestly, I only reinstated it for the novelty of having it there – I wouldn’t encourage you to surf through it, as I will share the chief passages of note below.

Continue reading ›

Taking a pass at success.

Earlier this week Lifehack ran a thought-provoking article about the 10 skills you need to succeed (at almost anything).

Usually when I happen upon these sorts of articles I expect zeitgeist-y skills like “learn to recognize a tipping point,” or soon-to-be-obsolete accomplishments such as “cultivate a good Google-rank.”

This article was intriguing in that it featured neither; many of the skills it lists I would nearly label as traits:

1. Public Speaking
2. Writing
3. Self-Management
4. Networking
5. Critical Thinking
6. Decision-Making
7. Math
8. Research
9. Relaxation
10. Basic Accounting

At first glance at this list I thought, Wow, I must be pretty damn successful, because I am awesome at all of these things! However, upon further reading and reflection I realized that I’m not equally awesome across the board, and my various lacks of success in life can be easily attributed to my weaker points on the list.

I graded myself on each attribute on a scale of 1 to 10, with 10 representing the pinnacle of that trait in anyone I’ve ever met, with the 3-5 area representing the skillset of the average, unskilled populace.

1. Public Speaking – 8
2. Writing – 9
3. Self-Management – 7
4. Networking – 6
5. Critical Thinking – 8
6. Decision-Making – 5
7. Math (capacity-for, not knowledge-of) – 7
8. Research – 6
9. Relaxation – 3
10. Basic Accounting – 8

I wound up with a grand total of 67% – barely passing at success.

Of course, not every one of those traits has to do with every endeavor in my life, and I’m successful in a lot of areas.

My job, for example, is mostly reliant on 3-5-6-8, in which I score 26/40 – decidedly above the 12-20 average range. Being a singer-songwriter relies on a straight 1-2-3-4 dash, where I notch a weighty 30/40.

Still, it’s easy to see how each trait impacts the rest, and how a deficit in one is the detriment of others. I know for certain that my lack of Relaxation hamstrings my slightly above-average Self-Management, which means I churn out less of my quality Writing. And, my relatively meager Decision-Making and Research abilities can frequently hamper my most significant Critical Thinking.

It is possible to increase your ability in one area without losing ground in another? If our lives were D&D, would this system be more like rolling a character, or using a points-based allocation system? Will my Relaxation increase naturally with age?

Does anyone score much higher than 2/3? Are the Bill Gates and Richard Bransons of the world successful because they are higher than 80% on this scale?

How would you rate yourself?

Humbling Critique v. Humble Critic

It seems that my attendance of concerts varies inversely with my enjoyment, and as I become more ubiquitous at local open mics and active in the local music scene I am increasingly unable to enjoy the music of anyone else unless they are completely flawless.

(Recently, Ani DiFranco, but locally Alexandra Day.)

Other than those bastions of perfection, everything is open to critique – whether I’m trying to be critical or not.

Last month I saw an indie musician who could not get his physical and vocal tics under control long enough to simply sing one of his strong songs. A few weeks ago we saw Regina Spektor open for Ani DiFranco, and I criticized her enunciation and her poor setlist compilation abilities.

Last week at an open mic I rolled my eyes at a hapless guy who played three songs all in the same position. Last night we saw a local band, and I didn’t think anything was in the right key for the singer, and their bassist was useless.

I was a critic to begin with, but now that I’ve been playing more actively I’m all-too-cognizant of all the ways a performer can go wrong, and as soon as I spot one I can’t help but be cruelly unforgiving of its performer.

Critiquing Regina is one thing – she’s a major label hit that ought to know how to open for an audience of strangers by now. It’s the other examples that are more dangerous. If I can’t appreciate and complement other independent and local performers then I am always going to be that asshole with the ego, and people will judge me even harsher for it.

I know I’m not perfect – I’m brutally cognizant of my many flaws as a performer, and they’re the primary reason I don’t perform or record more often. I suppose I just expect every artist that have the same ruthless urge to self-censor until improvements can be made. And, when I do it on their behalf it makes it hard to make connections or friends, and you need both to get noticed as a local musician.

If I was Regina I would have started with one of my crunchy pop hits and followed it with something alliterate and obscure to catch the less mainstream Ani fans. But, maybe that’s not how she’s gotten this far, so who am I to correct her?

But, if I was an indie on my first tour, grasping for new audience members, I’d play in the mirror more often. If I was that hapless guy I would have found a different position to play my song in, or played something in a different key for my middle song. And, if I was the lead singer last night I would have taken voice lessons, tuned down a few of my songs, and backed off the mic.

I have shared all of those flaws, and because I am me I have enacted each of those solutions – because I am ruthlessly eliminating anything anyone could dislike about me until the until reason left to dislike me is me myself.

But, I can’t afford to be so ruthless towards everybody else, or I’ll never have any one receptive in an audience to appreciate all my betterment, and to spread the words to their friends.

Or, via the Larry Sanders Show:

What have we learned here? When you’re vulnerable and humble, people like you. When you act like an asshole, people tend to think of you as an asshole.

pee ess

Okay, so, forgive my meta-ness for a second here, but we need to chat.

We are now at the halfway mark of the month, and I must confess I am not really feeling the NaBloPoMo love this year.

I’m quite sure the NaBloPoMo Ning site is mostly at fault. Last year there were over two thousand of us scrambling to post before midnight every day, and the only way for us to communicate and commiserate was to read each other’s blogs and leave a trail of comments in our wake.

This year there are six thousand of us, all amiably mingling on a social networking site, and our blogs would seem to have become secondary to our networking.

Or maybe it’s just me and my busyness, which is even more meta, because the whole point of NaBloPoMo was supposed to be talking about how great it is to be busy all of the time, as opposed to last year when I spent the entire month in my room reading blogs, drinking martinis, and cultivating my carpal tunnel syndrome.

I had quite a schedule plotted out to cut through the busyness with posts and Trios and links, but these days weeks go by so quickly that I don’t have time to figure out what to do with them. That, combined with some of the less amusing chapters of the engagement story and a Trio that doesn’t seem to want to be recorded, are a veritable blogging blockade.

Or, maybe I’m just taking this all a little too seriously, as is my wont. So, I’m looking to you, gentle readers, to tell me what’s what. Are there some NaBloPoMo blogs that I seriously need to be reading? Is there a type of post you’ve been dying to see from me? Or, for the more well-versed of you, is there a song I’ve been neglecting?

Speak now, or your next fifteen days will most likely mirror the last. Which, honestly, were fifteen days of fairly quality blogging, but I’m nothing if not an overachiever.

Don’t Play That Song (A Trio of Links)

You were supposed to receive the second Influences Trio tonight, but it took six hours last night to get one song right, and we are leaving on our T-Day expedition to NJ in a few hours.

This exemplifies why Trio did not typically include cover songs back when it was a weekly feature (and why it started taking so damned long when it did start including cover songs): i’m a huge music fan, and in almost every case i have an obsessive fascination with the original, which leads me to go through this horrific Sophie’s Choice drama about every little flaw and if i can really give them up to the oppressive, fascist listening public.

So, rather than my still-incubating Trio, here’s a trio of quick-hit weblinks for you:

#1 Yeti Ornament from HungerSite. Dude, if we get a tree i am buying this in a hot second.

Plus, it totally jives with the holiday competition i have with my mother about buying farm animals for each other.

#2 PhotoJunkie’s “One Million Giveaway”. No, not a million dollars. PhotoJunkie is a fantastic blogger who was on the forefront of Photoblogging a few scant years ago. I think i know him from Blogathon (?). In any event, to celebrate his upcoming 1,000,000th website hit he’s giving away all sorts of stuff to anyone who comments on or links to his blog.

I should be seeing my millionth hit sometime before i turn 40, thanks for asking.

#3 Want a seasonal job in Philly? Be a newspaper scab! Our two big (collectively owned) papers are heading for strike, and they’re already fishing for temporary staff. $17-$20 an hour, 60hrs a week, minimal experience required. I say, go for it.

In closing, i feel that you should know that i am eating raw cookie-dough for dinner, and that after a content-lite day for T-Give i’ll be closing out NaBloPoMo with several more Trios and more NaBloPoMo site reviews.

Oh, right, and more blogging.

Edit: Every time i see the title of this post i hear the same thing in my head. In the interests of you hearing it too, here it is: Kelly Clarkson singing “Don’t Play That Song” from Season 1 of American Idol.

The Curse of Smart

I don’t necessarily think of myself as “smart,” but the evidence often points in that direction.

When I was very young I was always bright. Good grades were effortless, and thanks to that over-achievement I attended one of the best public middle- and high schools in the state (and the country).

It was a shock to my system: my peers weren’t just peers in age, but in intelligence. I was no longer the smart one, just a smart one. I increasingly saw myself in the middle of the hyper-intelligent pack figuratively and, in class rank, it became literal.

College was that shock in reverse – i was no longer surrounded by a crowd of smart.

It took some time to adjust to being above-average again. I expected to still commiserate about having a hard time and getting average grades, because that was who I accustomed to being.

In retrospect, as my confidence and ability increased so did my aloofness as a student – i eschewed or altogether ignored classmates in an effort to insulate my ability to be right without feeling guilty. In a way it was like returning to grade school, where I had free reign to wield my smarts with no regrets.

I have been dismayed to learn that in a post-collegiate world the insulation of isolation just doesn’t work; you don’t get anywhere by eschewing possible connections or alienating co-workers with your know-it-allness.

That’s the curse of smart – everyone respects your intelligence until you are a peer or, worse, a competitor, and suddenly “smart” is a derogative term, and you are left scrambling to cover it up.

As a result, I often find myself feigning misunderstanding or painting myself as a little bit bumbling … handicapping my A-Game just to fit in to this so-called “real world,” and living in constant fear that the facade is starting to stick.

Is that the line that separates smart drones from smart successes? Am i supposed to stop caring about people, and start caring about being right?

I guess i’m just not smart enough to understand.

My Secret Rock Star Life

I suppose that last post bears some explanation of my secret rock star identity.

It is so secret that hardly anyone is aware of it. Hopefully that will soon change.

I started writing original music in high school as a hobby – not something I defined myself by. In college i was a part of a group of extremely talented actors, singers, and musicians. But, though i could rightfully identify myself in all three categories, i never felt as though what i was bringing to the stage was as valid as what other people did. After every audition or performance I was my own harshest critic, and as a result I slowly disappeared from performances, relegating myself to a off-stage role.

However, there was still one thing at which I was better – maybe best – than everyone I knew: writing songs.

It wasn’t a matter of pride or self-confidence – it was just something i knew. My best five or ten or twenty songs stood up against the songs of my friends, and even the songs on albums I bought every week. I could remain a performer as long as I had my songs, so I labeled myself a singer-songwriter. I played at parties. I recorded songs for my webpage. I walked from my apartment to campus, playing guitar and singing the whole way. As long as i had a song to stand behind i was fearless.

As college wore on, some of the more multi-talented friends in our extended group gained an amount of local notoriety as singer-songwriters fronting bands. I finally had people – peers – to compare myself to, and it was immediately clear that I didn’t sing as well, or play guitar as well, or record as well, or work the stage as well.

This was especially demoralizing because my songs were still great – it was just me that wasn’t good enough. I let it get to me – right down to the very core of me, and as a resultI graduated having not played an original front of people for over a year (with one exception – poorly received), and I had even stopped recording – frustrated that my voice never came out how I heard it in my head.

I decided that for my first year of professional life i was leaving my creative side behind – i had to focus on working hard, and on being a good boyfriend to Elise, because that’s what was important. Creativity, music especially, was a lark I could afford to ignore.

My resolve was strong, and even after the year was over and I starred in a successful bit of post-collegiate theatre i was still holding out on music. I still hadn’t performed anywhere, and even my once-prolific writing had ground to a halt.

I can pinpoint the exact moment when everything changed.

Last December I made my yearly appearance at the Shubin Theatre Holiday Revue. I appear not because of any great talent, but because I am friends of the Shubin family, which includes Gina, my sometimes co-writer. In 2005 I was performing on relatively short notice, and so instead of my typical cover or collaboration I decided to play an original – Seams – a song all about my imperfection, my lack of confidence, my reticence to perform anywhere outside of my own bedroom.

In that tiny theatre with forty or fifty people watching I rediscovered me as a musician. I was singing words I had written, words I still very much meant, and as they left my mouth I could feel – even see – them connecting with members of the audience. At the after party people asked where they could see or hear me perform and, slightly embarrassed, I told them that they couldn’t.

As I said it I realized the ridiculousness of it. I had these great songs – catchy songs, witty songs, meaningful songs – and here I was refusing to play them because I didn’t deem myself to be good enough. It seemed rational to me for years, but that night I realized how unfair it was to the songs.

I am no longer a part of that disproportionately talented college friends – I’m a part of the world at large. And, in that world I am unique in my ability to sing and play at all, let alone with some amount of skill, and I am unique in my ability and willingness to document my life through song.

In this much wider world I am done with hiding my songs in my bedroom, and with that newfound confidence i find that my singing, playing, and performing are suddenly not so bad as i thought they were. I can play in front of friends or strangers knowing i deserve their attention as much as anyone else, and sometimes i even win it.

Today, and tonight at The Sidecar Bar, I am a singer-songwriter. And, it’s not a secret anymore.

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.

More Screaming

What a beautiful day!

Okay, enough positivity, now for more introspection. This weekend reminded me of two things that I know and say all the time, but don’t put into practice nearly enough.

First, not coincidentally, is practice makes perfect – whether it’s practicing your singing or practicing what you preach. After a lengthy runs on some of my lesser played songs this weekend, my voice is warm and limber. The only way to keep it that way is to use it every day.

Second, the only reason to be afraid of an honest critique is if you deny its veracity (on some level, at least). This was evoked by two things specifically – a rather comedic exchange between a book-reviewer and a nasty Christian-publishing-house rep, and a reviews of an Off the Beat CD.

In the case of the former, the publisher just can’t take a negative review, and rather being constructive and trying to build a relationship with the reviewer, the rep lashes out. Repeatedly. In the case of the latter, former OTB music director Ethan Fixell took the lament that Off the Beat’s 2002 CD entailed too much “screaming” as a compliment – he and the group half-jokingly titled the next disc “More Screaming.”

How much truth existed in either review? Was the book truly that terrible? Who knows. I don’t think Off The Beat does all that much screaming – they just like to produce records that sound as authentically rock as the songs they cover. To a trained a cappella reviewer, though, that might come off an awful lot like screaming. I am sure that in each critique there was some element of truth, but for the artist it was how that truth was handled that was most important.

I can’t be afraid to record songs just because my voice is imperfect. It won’t get any better unless I sing, and hear myself singing; it’s unreasonable to expect perfection. Maybe I’m going to be flat, or scoop a lot, or use too many diphthongs – but, maybe I’ll convey exactly what the song means to say. And, once I do that, I have to be willing to hear all about those flat, scooped diphthongs, and to either own up to them or proudly say, “I meant it that way.”

Then, only then, will I get better.

(to find love is to know love)

My ability to be complimentary has been faltering, fading fast. After it, all that will be left is to analyze, to criticize, but not to enjoy.

Ask me about the last good record i bought. I’m not sure, but i can tell you about the last bad record i bought. The last five bad ones, actually.

This is just a small example. Actually, I am unconvinced that i will be able to like anything anymore in the very near future. As for my example, I’ve all but given up on buying records (one of the few true pleasures of my life; ask anyone) because all i seem to be able to do is dislike them. Going to a cappella concerts has become a sort of critical duty, as i am almost assured to whisper nasty things about them the entire time to whoever deigns to sit next to me. Riding elevators inevitably leads to a lengthy internal monologue about ugly hair styles, lamentable posture, and why some people even bother to get out of bed in the morning

My newfound inability to enjoy much of anything is infecting my free time. Why see a movie? Why eat at a new restaurant? So insidious is it that it has crept into my own art. Why record a song if it won’t be perfect? Why write at all if your words are not fully-realized and crystalline?

From there it is only a few steps to complete self-imposed isolation. Why talk to your friends if you have nothing nice to say? Why care what i’m wearing if i’ll be ugly anyway?

Have i spent all of my compliments already, along with my self-esteem? You’ve met me, so surely you’re familiar with both – at some point i’ve probably told you how wonderful, or fabulous, or beautiful you are, and you’ve surely witness me in some act of supreme confidence and hubris. Have i spent that all before my quarter-life crisis? Splurged, even, so that there is nothing left but scant ‘decents’ and ‘it was okays’?

After last month’s a cappella concert at Drexel i spent an hour or two mercilessly outlining the indelible failures that each group displayed during their performance. In the middle of this assured diatribe Maggie or Ed (i forget which; perhaps both) looked right at me (through the back of the seat or from the corner of his eye on the road, respectively) and said, “I enjoyed it because we saw a bunch of people doing what they love to do. It doesn’t matter how good they were.”

I spent some time thinking about that tonight. We saw a fun, decent mixed acappella group whose guest performer was a local singer-songwriter. Leah Kauffman. In the program she described her influences as “Laura Nyro, Fiona Apple, Joni Mitchell, and Elliott Smith.” I was first excited to hear her, and then almost immediately afterwards hostile and skeptical – how could she do anything but let me down.

She was pretty, shy but not slight, and told us she would start with a cover from Blue. Her “A Case of You” stuttered, as she plucked chords rather than strumming, and faltered slightly on that riff that traverses the length of the guitar neck. She allowed the song to taper off after the last chorus, muttering that she messed it up. After three more songs (two at the piano, and another on guitar) she slipped off stage, and the lights came up for intermission.

I am known for my ferocious reviews of singer-songwriters, but after the performance i could say nothing bad about Leah. She is 19, and she is not perfect, and she meant every word she sang to us.

She made me think of Maggie/Ed’s comment, and how i have lately lost that wonder in my life, and about something i used to say to explain why i liked singer-songwriters rather than big-voiced artists like Whitney or Mariah. “The art is in the imperfection.”

It is strangely-shaped in my mind as i mull it, unfamiliar in my mouth as i tongue its shape. If it wasn’t for Leah, i fear i might have never remembered it at all.

Leah told me that her website was broken, but took my email address she so could send me some songs.

I am glad still have the capacity to like something.

Pop is Too Hard

I am very carefully learning how to type the right way.

It involves a lot of auto-correct.

Apparently, those little nubs on the F and J keys are to let me know where my index fingers should be positioned at all times. They are “home keys.” And, get this, I should be using all five fingers on each hand to type, including my pinkies, because they all have a role.

Now, this concept at once annoys and intrigues me – the former because I already type more than 80 WPM without all this high-fallutin’ home key nonsense, the latter because I could obviously be typing faster if I would use more that four of my fingers at a time. My current method involves a sort of halfway touch-typing with my dexterous right hand while my left effectively hunts and pecks with a single finger. As a result, not only am I noticeably slower on left-hand-heavy words, but almost all of my mistakes are on the left.

Some concepts of proper typing, however, are eluding me. For example, am I to believe “pop” is really pinky-ring-pinky? Are those tiny, secondary fingers really expected to do all that heavy lifting so quickly? Pop, pop-culture, popular, populist, pop-up

I suppose typing is just one more thing to add to the “Shoulda learned to do it right in the first place list,” along with guitar playing, singing, sit-ups, and tying a tie.

But, hey, I did just touch-type that whole paragraph with no errors and my eyes closed, so maybe I’m on to something. Or, at least I can do more daydreaming on the job.

Disuse, Misuse, and Abuse

Lindsay and I sat at her high kitchen table, comparing calluses. Hers, she said, had faded from disuse. “But,” she sighed, “I guess you wouldn’t know about that.”

I don’t, and was shocked to hear that Anthony, a particular six-string-slinging idol of mine, had similary forsaken his instrument for the better part of a year.

What is it about stupid me, who can’t reproduce four distinct lines of underneath harmony after a month of practice, who still can’t play the solo in “Say It Ain’t So” even with my spiffy new guitar, who has the least performance experience out of everyone who touched one of the five guitars we had with us on Sunday, that keeps me plucking and strumming away, while others with more talent have set their habits aside? Why do I care so much about something I’m not particularly good at doing? And, why don’t I have more new Trios to show for it?

In other news, my name is 796, “intuitive” edges “crushing” by 198, and “crisis” is only a hair more common than “conflict.” Not that there’s anything intuitive about any of these conflicts. All I know is, at the point tipsy is only electrolytes away from shogun blondes, we need to do something

I am not a terrific actor. I have zeal, and am unafraid, but i always balk at surrendering myself entirely to a persona that is not wholly my own. Acting, for me, is a series of motions, and when i am acting i string them together as fluidly as possible. Sometimes, though, i know the movements and the words so cold that i stop speaking and let the character speak through me. Those are the moments when i am truely an actor.

Despite not thoroughly mastering the art of acting, i am slowly becoming more aware of the acting of others. I can see, now, the vast difference between motions being gone through and characters. This sight has turned live theatre into something much nearer to a sporting event for me, but what it has truly revolutionized is the screen. No longer can i appreciate overwrought dramas or lightweight sitcoms, where the actors are just punching the lines in all the right places; acting is not pummeling. No longer can i endure even the most viscerally executed CG action sequences; not if i have to suspend my disbelief in the characters doing the fighting.

It might sound like a revolution of criticism, but that’s only because the standards for what we call “actors” have sunk so low. Suddenly i get the point of the Academy Awards — they are not to award the most favorite actors for the most fun roles. No. They are for the actors who chose not to appear in their movies, instead letting their characters speak for themselves.

I wish i could do it, but for the time being i am content to appreciate it. I am more than content to drink up masters like Ian McKellen, who skips from playing fairytale heros and villians to portraying the imperfections of real life without skipping a beat. I love ensembles, like the one on West Wing, who are so in on the show that i have trouble watching them on talk shows and award ceremonies when they are just being themselves.

I like that I can see this all now, a layer beyond the story and the movement and the words. Yay for college education.

I just got back a midterm marked: No complaints – a solid effort. The comment is nice enough, but it doesn’t seem to match up with a 48/50 grade. Maybe if he had used an exclamation point…

As i walked from class, preoccupied with mentally arguing over the .4 i had lost on an earlier question on Security Dilemma, i stopped for a moment to consider who i would say that to. Certainly not someone who did a nearly perfect job, that’s for sure. It’s the sort of thing i would say to an anonymous member of upper management who managed to make conversation about Drexel or the Eagles or my guitar or some other nonsense with me for an entire elevator ride up to my department on 35 … “No complaints, sir, that was a solid effort.” It’s the kind of thing i say about decent lasagna made by non-Italians, or about opening acts who i have no intention of hearing again. It usually does not accompany a 96% approval rating — more like a 88%, or maybe even a 79%. I would have been perfectly happy with “solid effort” and an 88%, or with my 96% and “Outstanding job – you should expand upon this topic in your paper.” But what i’ve got leaves me feeling … eh.

What the hell am i going to be a stark raving perfectionism about after i’m done with this nonsense in (checks watch) seven and a half months?

I spent all day worried about the notes that i fucked up on Mother Mother. Peter, i kept thinking, how could you post a Trio with notes that fucked up?. Well, i knew how; “Mother Mother” had been holding me up for over a week, and finally this morning i just woke up, tuned my guitar, screamed intermittently for about three minutes, and then wiped my hands of the Trio just in time for my directing class.

I walked to said class while listening to, for the first time in many many years, Paula Abdul’s Forever Your Girl. This was an album that, in my pre-adolescent life, was probably second only to the LPs in my Madonna collection when it came to getting the most spins, though i would be hard pressed to explain that phenomenon to you after a day of suffering through the ten-track atrocity that Paula passed off as a debut album.

I refer to it as such not because it failed to be a coldly calculated synth-fueled pop smash (it was), but because even with the best computers the late eighties had to offer and a multi-cultural multi-gender team of anonymous back of singers, Paula can still barely hit a solid note. It’s actually quite pathetic. Verses that i remembered being supple and sweet were instead slurred and sloppy, and vocal crescendos on choruses were actually a tiny, squeaky Paula being carried by a crashing layered tide of herself and said crack team of backup singers.

I can appreciate that some people aren’t the most phenomenal singers, but all through my walk to and from class i found myself wondering couldn’t they have gotten a better performance out of her? Obviously the album was destined for success whether it featured assured singing or not, but why settle for not? Why not train more, or record more takes, or pick a pop-model who can actually sing to sell your songs rather than a former cheerleader destined to be remembered more for her scripted anti-Simon quips than her amazing vocal abilities?

I don’t know that i’ve figured out the answers, but tonight i found myself absent-mindedly listening to my first Trio ever, and i realized that i really didn’t hit very many of the notes. I was singing, and supporting a little, and i had pitch, but i was not singing with the tuneful confidence that invites harmony, a band, or a record deal. If had i turned in a similar performance earlier today it would have been promptly thrown into the recycle bin. And, yet, three years later i find myself kvetching about a “so” on “Not So Bad” whose O wasn’t round enough, how Paula Abdul’s singing is nothing but unimpressive and contrived without the wonderful world of Pro Tools to augment it’s many Britney quality failures, and how the vowel i sing in the word “mother” makes me sound like i’m trying to remember how to vomit.

In a moment of absolutely clarity, i realized that the only thing i know how to settle for is progress. None of these three complaints would have even occurred to me three years ago, two years ago i wouldn’t have known what to do about them, and a year ago i would have settled for a few mistakes and called it a day. Each step represented a previously unimaginable improvement from the last, but at each junction i was just as imperfect as Paula.


So, essentially, i cannot wait until season five starts. And that’s a long way from now…

Victory! Sweet, sweet, blueberry victory!

In other news: last night i played guitar for what has become a routine four hours, breaking only for the penultimate episode of Buffy and white pizza courtesy of Ross’s new credit card. This morning the skin on my fingers is rind-like and impervious to pain.

You could say that i’ve become a little obsessed with my practice regimen, ostensibly because i’m playing at a backyard festival this weekend and have vowed in public earshot to blow away all of the other performers. Really, though, it’s because i don’t know if i actually can. The recently revealed running order of the event finds me sandwiched between a duo of golden-throated music majors and a terrific a cappella group that i arrange for, with the entire day both book-ended and dotted by talented multi-instrumentalists and Philly pub performers. And in the middle is little old me.

At this late stage drilling finger exercises until i feel as though i’m going to vomit if i have to stretch my pinky to the seventh fret again probably isn’t going to do me much good, which is why i typically leave that until just before bed. The regimen begins as soon as i have stripped out of my corporate skin of shirt and tie, sometimes finding me strumming the opening chords of “Tangling” in an undershirt and low rise briefs. The run through the current iteration of my set quickly (and seemingly inevitably) descends into seething about my inability to pick complex patterns or endless fiddling with my amp tone, and rarely features more than a single complete song. Alternately, i could probably just look in a mirror and scream “you are worthless” for thirty minutes to achieve a similar effect on moral.

After this inevitably crushing warm-up routine, i turn to my Bible, The Complete Beatles Scores. What better comfort could there be to my inability to play my own misbegotten songs than to learn how to play some of the best songs ever written? Last night was a medley of Let It Be‘s A-Side, none of which i can carry all on my own. Still, the practice is useful because i am trying to match a specifically scored and recorded sound rather than some elusive cipher of a rhythm that only plays inside of my head.

After a solid run at the Beatles (always including thirty minutes on the riffing of “Dig A Pony” and at least two renditions of “Blackbird“) I am ready to perform my own set, minus the sniffling and whining. Or, rather, the sniffling and whining is restrained only to lyrical appearances. This set is typically much more affirming, though as a rule “Apart” sounds like utter shit. “Under My Skin” is placed strategically dead in the middle to remind myself that, yes, i can actually (write / play / sing) with some modicum of professionalism on a consistent basis. This is necessary, as my shot at “Seams” typically breaks down shortly after the key change.

I end with “Little Love,” because for a month i had intended to start with it and so bootstrapped it up past all of the intermediate levels of (total shit / shit / lyrical Alzheimer’s / inability to cross bridge / endless descent into ad-lib and riffing / constant Simon-Cowell-ing of vocal performance) to the point where i spent an entire hour last week walking around Center City with a guitar strapped on over my shirt and tie playing it and being asked my name and if i could be heard at any local bars or pubs. It isn’t “Under My Skin,” but it allows me to ignore (or, at least atone for) the two dozen false starts of “Apart” from earlier in the evening. It allows me to believe for a second that the forty or so friends that will be enduring me for a precious half hour on Saturday will perhaps clap out of something other than obligation.

Only after that do i brutally work my pinky fingers until my stomach knots with each effort. And then, sometimes, i go to bed.

If you were to ask me to talk about my biggest hobby, i would simply say, “Music.”

If you were to ask me to elaborate on my favorite elements of music, i would reply, “Hearing it. Making it.” Or, more explicitly, i enjoy being a fan of music and being a writer of music. One can involve being very critical of other people’s work, while the other requires an unending faith in my own.

Sometimes i have trouble reconciling the two. For example, in a book of my agonizingly chosen flying-to-Florida collection of music, the new Bright Eyes disc faces a burned cd of my recent trios. I have no qualms in admitting that i am skeptical about Conor Oberst’s new effort as Bright Eyes; i was skeptical before ever hearing a song by Conor and continue to feel that way now that i have bought a third album of his. He’s not so different from a previous version of me; a recent Rolling Stone article featured a picture of his slight vegan frame with a guitar almost dwarfing it, singing about heartbreak in a style whose lineage includes Brian Wilson and Bob Dylan.

I happen to really enjoy my new Trios;though the imperfections of my performances are more noticeable when crisply preserved in digital format, i delight in hearing the sound of my own voice captured in such a faithful fashion. I have worked hard for that voice… failing auditions, slaving at voice lessons, struggling through choir. Singing and singing until the sound of my own voice became transparent to me; hearing myself on a recording of “Tangling” or “Excuse” feels the same as performing the songs live. I cannot distinguish anything about my vocal performance other than whether i am hitting the notes i intended to. I cannot be critical of it

Conor is just about a year older than me, and i don’t think he is much of a singer. His bio calls his vocal stylings “quak[ing] with the tumultuous energy that only youth can produce.” Tumultuous energy sounds very much to me like unsteady notes and failing vibrato. There are parts of his album Fevers and Mirrors that i physically cannot consume — he screams, yowls, stretches his voice past the breaking point. I do it too, of course, all rock singers do at some point. But, to me it never sounds as rough… as pained. And, i am doing it for my website… him, for an international audience of consumers..

I ostensibly bought his new disc Lifted to review it, but i know that i am really casing up the competition. In the past i have wondered at the success of others who are only slightly older than me, and whose work i adore. Now, i am wondering about the success of someone who i could very plausibly be; who shares the exact years of pop culture inundation with me, if not some of the same influences. I happen to think that i sing better than him; i also think i write more accessible songs. But, i am in college, and he is on the road. I am on the dean’s list, and he is in Rolling Stone.

My two favorite hobbies will be staring each other in the face deep inside my bookbag as i walk through the metal detector this morning, bound for Fort Lauderdale. They will both air themselves, probably more than any other music i will have with me. And, when my family asks me what i did this year, all i will say is “i am on the dean’s list.”


Merry Christmas.