My tweets of the last week:
10 days, 3 bands, 1 brain
It is 10 days until Crushing Krisis’s 10th birthday and I am having an editorial calendar failure. And a brain failure.
Really it’s kind of an overarching not being able to do anything except nap and read comic books failure, which as failures go is not such a bad one. It’s way better than the “so overstressed I can feel the ulcers growing” brand of failure I was experiencing two weeks ago.
Actually, I think the napping and the comic books had a lot to do with escaping that particular pit of despair. Napping, comic books, little purple pills, and not drinking a gallon of lemonade every single day.
Meanwhile, in news related to the brain failure, I have discovered that being in three separate musical acts each with their own set of unique arrangements is the functional limit of my brain capacity. The wherewithal to recall all of those songs seems to have jettisoned my ability to return phone calls or schedule home repairs.
I am now off book on seventeen bass arrangements for Filmstar. As long as someone yells out what key we’re in at the start of the song I am fine, except for the one song that only makes sense if I pretend we are playing a David Bowie song. Like, if we begin and I’m like, “Oh, it’s a Filmstar song,” then I am a hot mess and play about two correct notes. But, if I instead say, “This is the secret, unreleased B-Side to ‘Suffragette City,’” then I’m fine.
Meanwhile, as Arcati Crisis Gina and I are working on two new songs, which – per our modus operandi – are completely different in every possible way from anything we’ve done before. One is an acoustic dance song from me equally influenced by Gaga and Heart, which I just previewed on our Facebook page.
(The other is a Gina tune which could be referred to as “Message In a Bottle from an American Girl in Russia,” but is actually called the much more succinct “American Mikaela.” It’s chorus hook is so destructively catchy that I have successfully lobbied to sing it three times as much as Gina originally planned.)
There’s also the musical artist that is me, who I can sometimes forget about in all of the commotion between the other two and commuting to my actual, fully-paid, highly-beloved full time occupation. He’s rehearsing to support Mieka Pauley this weekend at our house concert shindig, where he is rumored to debut a brand new Madonna cover (and, when you rumor something to yourself, it’s pretty sad if it doesn’t come true, so I need to get on that).
Meanwhile, ten years minus ten days ago I was sitting in a dorm room with a broken collar bone, registered for a year of music courses totally outside of my major and wondering if I would have anywhere to live in a month.
Ten years. Wow. What were you doing ten years ago today?
What I Tweeted, 2010-08-16 Edition
My tweets of the last week:
OK Go and the Substitute Person
Last week I posted about the fantasy of being a substitute person – filling in perfectly for a favorite band with none of the risk of being the permanent solution.
This weekend I saw the phenomenon in action when OK Go pulled a fan out of the audience to play “Here It Goes Again” with them on stage.
(Afterwards, OK Go was impressed by Eric’s performance, noting, “Most people think they know how to play it because they played it on Guitar Hero.”)
As amazing as it is to be the substitute person, it also uniquely rewarding to watch a substitute person succeed at their task. It’s as once-in-a-lifetime for an audience member as it as for the substitute!
My favorite substitute person memory is from 2002. Guster played our Drexel Spring Jam, and a young flautist in the audience convinced them to bring him on stage to play the flute parts at the end of “Fa Fa.”
Not only did he play the exact flute part from the album, he played arrangements of the horn parts and sang backing vocals.
That remains one of my favorite concert memories of all time.


