Crushing Krisis

Comic Books, Drag Race, & Life in New Zealand

Creative

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The trend in weblogs for ringing in the New Year seems to be a dead split between resolutions that might not be upheld and a litany of excellent things about 2001 that never came to light through the actual process of blogging. So, in the spirit of my general disagreeance and spitefulness this past weekend, here are the reasons why my year sucked (in roughly chronological order):

  • My grandmother dies; i proceed to get so sick that i miss the funeral (never to be forgiven by family). (!)

  • I have to drop a class for the first time. (!)

  • The weekend of my dress rehearsals for Good Woman of Setzuan i am diagnosed with Pneumonia and Bronchitis. I have to argue not to be admitted to the hospital so i can start going to rehearsals again. Upon my return I forget an entire verse of my big song on opening night (at this point being generally attributed to my medication, which i will neither confirm nor deny). (!)

  • My first girlfriend wound up being somewhat of a psycho/bitch; horrible breakup ensues. (!)

  • I managed not to fail anything despite all of the above circumstances, but garner my first C (in Recording Class) (!)

  • I have no spring vacation; i immediately started work at Admissions after classes ended. (!)

  • I am totally miserable in my apartment; i don’t speak much to my roommate. (!)

  • I miserably quit blogging for an entire week when my archives disappear. (!)

  • I do not leave the city once during the entire summer. (!)

  • I spend the majority of the summer wondering where i’ll be living in September. (!)

  • I sign up to attend the Philadelphia Folk Fest and then have to back out because of work and moving into my new apartment. (!)

  • I step in to give the counselor-of-the-day presentation one Tuesday in September, because the counselor in question was to horror-stricken to speak. (!)

  • I enter a rather depressive haze and let details about it slip to my mother, who becomes physically ill at the thought of my mental instability. (!)

  • I am admitted to the hospital for four days only to be told absolutely nothing is wrong with me. (!)

  • I endlessly deliberate over a first date with someone who lives across the country from me and who i like very much — only to be romantically rebuffed. (!)

  • I spend the entire last weekend of the year in the most dire of blah moods. (!)


    • So, that’s my year. At a glance, 2001 looks as though it might have been my worst year ever pound for pound. However, lest we all despair for my miserable year, click the end of each phrase for the happy ending that i might not have hinted at while blogging. And, in case i haven’t mentioned it, Happy New Year.

    https://crushingkrisis.com/2002/01/8335446/

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    In case you haven’t noticed, i’ve been pretty musical this past week. In fact, with the exception of the 36hours i spent out of the house i’ve recorded something every day since the debut of “Tangled,” and i don’t seem to be showing any signs of slowing down.

    When it come right down to it, I still don’t really understand myself when it comes to songwriting. I don’t know why i do it; i do it now because i’m used to doing it — it’s something i do. I suppose i only ever started doing it because Gina took one of my few poems and set it to music, and i thought “hmmm… there’s an idea.” Even the idea to buy a guitar was something that sortof materialized, and i’m frankly still quite shocked that my mom even acknowledged it. The first songs i wrote were rudimentary — scavenged from the handful of chords i knew from songs i had been learning; i rarely ever play them now as a nod to both their immaturity in lyricism and composure. The first song i wrote where i knew what i wanted it to sound like was “Afterglow,” and in the months between that and my at-the-time masterpiece “World In My Hand” i had created that rock-arena in my head where i was on stage and people were watching… people who had favorite songs, who got my silly comments about tuning, and who would want an encore. In the back of my first poetry notebook i have a few pages devoted to these imaginary set-lists that i would devise every few days … now an interesting way to track what songs i played the most and how much i liked them.

    What’s so different about Trio, really? I know for sure that i listen to Trio more than anyone else does, mostly because for me it’s a practice take that i can actually learn and grow from. But, why do i do it, and do it so regularly and fanatically? Why do i post my portfolio-mp3s to the page and leave a mostly-empty comment box up for them? Why do i bother to extensively provide an online discography in the song archive? Why do i talk about it all over and over again as if i have some large and attentive audience who follows all of my comments about the evolution of songs and how Weezer’s artistic development makes me cry?

    I suppose for the same reason i keep on writing this : obsessively back-linking and spell-correcting posts from three weeks ago and worrying about what i’m going to write about and what will be in the next Trio. Despite obsessive stat- and bandwidth- tracking i still couldn’t really tell you how many people read me every day, or if more than three or four people listen to Trio or download mp3s that i post. I suppose i do them both for the illusion … the the illusion that my voice has escaped the vacuum that is the brick and plaster of my room … that maybe somewhere there is someone i don’t know at all listening with a half grin, humming along.

    https://crushingkrisis.com/2001/12/7872506/

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    For Creative Writing i had to put together a portfolio of all the work i did this quarter, and at the last minute i decided to substitute some recent lyrics in place of a second free-verse that i wasn’t especially pleased with. Theoretically this was entirely fair game, but the thing about my lyrics is i didn’t really revise their content so much as i revised the context in which i used them. So, teacher’s pet that i am, i turned in a cd along with my final portfolio. On it were the following four songs… first grabbed out of their respective trio appearances, and then in these more essential versions.

    Until You Awake – This is a song that was always meant to be delicate and intricate, but i never got the chance to strike the right balance in my previous attempts at it. Here is sounds nearly as i imagine it… cascading and balanced. I’m very happy with it.

    (just an) Excuse – This is actually the original demo of the song, predating this season’s first Trio. However, it displays some of the directions it was meant to go in a little more accurately than subsequent recordings because here i had more time to prep the guitar-sound and recording range. This isn’t evolved the way “Awake” is; instead, it is more of a suggestion of where the song could be going.

    Tangling – This is like a tease of a song… quiet and faded around the edges where the song is usually rambunctious and crackling. The reduction does it some amount of good … you can more easily see what i’m trying to achieve without having to look past the clipped microphone and stressed vocal chords. “Tangling” could very well be the simplest thing i’ve ever written — a sort of retro Beatles-imitation that pits that nebulous concept of “word on the street” against the notorious unnamed “girl.” I know for sure that i like the song, but i suppose the whole point is going to be where i go with it; this could be your only chance to hear it without having to be pulled in all of the various directions i’m trying to go in.

    Tangled – Written as a twin to “Tangling,” this song got lost in the rush that was vying for a spot on Trio, yet somehow managed to turn up this week in (what felt like) an incredibly solid rendition (considering i had only played it once, previously). This version is perhaps more tentative then the Trio recorded the day before; it wasn’t meant for display the way the Trio was. This is a more static version, less magnetic … i am settling into the space of the song instead of filling them up so they can be better heard. It’s a simple thing, and much like “Tangling” it’s eventually going to become more about what i can add than about what i can strip away. For now, though, it’s as bare as the day it was born.

    This is a nearly definite third of the material that i’ll be recording whenever i finally haul my ass back into the studio, and i’ve tried to distill it down to the most basic of its elements. As such, anything you might have to say about it will be welcome.

    https://crushingkrisis.com/2001/12/7777772/