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lyndzapalooza

Happy Birthday To This

August 26, 2008 by krisis

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.

Filed Under: adulthood, arcati crisis, august 26th, betterment, corporate, elise, Engagement, essays, lyndzapalooza, memories, over-achievement, self-critique, singing, Year 08 Tagged With: gina, resolve

Lineup and links for There’s a Stage on My Lawn!

May 16, 2008 by krisis

If you are free on Saturday between 2 p.m. and 11 p.m. I hope you’ll be at There’s a Stage on My Lawn! in Yardley, PA, presented by Lyndzapalooza. And, if you can’t come I encourage you to to pass the word along to another music lover in your life.

There’s a Stage on My Lawn features fourteen amazing, independent, local artists. They’ve all been busting their asses for the past year to rock better and harder than ever before … evolving from coffee shops to open mics to underbills to featured shows.

I’m honestly a fan of our entire bill – I’m still not sure how we got so lucky as to gather them all in one place, but I promise you that the opportunity to see them all together is fleeting. And, it’s certainly not going to happen again for just $12.

I am as proud as I can possibly be to be an organizer of and an artist in this amazing event. It’s going to be good, and it’s going to be fun, and I wish every local music fan could be a part of it. Check out the music of our artists below, and then head to TicketLeap for more info & pre-sale or reserved tickets.

Geoff Ednie – Former acapella staple plays a mix of crowd-pleasing covers and originals influenced by the Beatles, Alice in Chains, and Phish.

Bevin Caulfield – Smokey-voiced darling of rooms like Tin Angel and The Fire. Lots of classic soul influences make her stand out in a crowd. (Watch)

Arcati Crisis – My band! Harmony-filled boy/girl acoustic pop from a pair of life-long best friends. Sounds like Rilo Kiley crossed with the Indigo Girls. (Listen) (Watch)

Old Man Cactus – A great band we shared the bill with at Tin Angel. Inspired by a who’s who of 70s singer-songwriters, they come off like an acoustic, bluesy version of Maroon 5. (Watch solo)

Brian Flannagan – A surprisingly gentle, folky sound from this former producer and drummer.

Lindsay Wilhelmi – LP’s founder writes unshakably catchy original tunes, and plays covers from Jewel, the Recipe, and 4 Non Blondes.

Ben Guez – Golden-throated classical singer dissects songs from unlikely sources, like classic rock, or even the Pixies, and also slips in his own infectious originals.

John Glaubitz – Original, solo modern-rock from an accomplished guitar player. A one-man Warped tour. (Listen)

Enter the Rooms – This band is hot. Incredible local alternative rockers can grab your attention acoustic or electric. A riffier Coldplay? Not sure, but they never disappoint. (Music Video)

Jesse Schurr – Tiny, local yoga instructor typically fronts an acoustic funk four-piece, but will play stripped down versions of her rhythmic tunes for us. (Watch)

Irene Molloy – Lilting, country-tinged folk-pop that would be right at home on XPN, from the star of TV sitcoms Grosse Point and Andy Richter Controls the Universe.

Da 1 – Solo MC/songwriter describes his primary influences as Jimi Hendrix and Jay-Z, and lives up the to hype with his guitar shredding and vocal hooks. (Watch)

Just Like Me – Young band from Temple plays engaging, challenging rock music. Some hear a Radiohead/Tool influence, but others cite Pink Floyd. Either way, a great band. (Listen)

Dante Bucci – Hypnotic original compositions on the hang drum, a bell-like percussion instrument. You’ve never seen anything like it! (Watch/Listen)

Filed Under: arcati crisis, lyndzapalooza

A Stage On Our Lawn, pt. 4

May 16, 2008 by krisis

It’s our first meeting in January, and Lyndzapalooza (LP) is stuck in a bind.

We had thrown an event the third Saturday of every May for five years, and we already spread the word that people should expect a sixth edition. But, as we sadly informed the sales rep at our awesome potential location, we simply didn’t have enough lead-time to raise the cash or audience support to head out to a farm,

Even if we didn’t throw an event on a farm, we had to throw something. We couldn’t afford to forfeite our established festival date – we’d run the risk of losing whatever brand value and tradition we had built to-date.

We couldn’t just throw a Spring Mixer – it would seem like a letdown after last year’s huge spring event. At the same time, we couldn’t just go back to the same-old house party – not just because we actually had a business model now, but because we promised everyone (ourselves included) that we would evolve.

So: bigger than a mixer, smaller than a farm festival, and fundamentally different than our previous spring concerts.

What would that be, exactly?

We mulled and brainstormed, poked and prodded, but ultimately it was Lindsay who came up with the answer.

So, I was thinking, if we’re doing it in Yardley again we should have an actual stage – like, build a stage – so that it feels more like a real music festival. And then I thought, you could just walk out of the house and say, “hey, there’s a stage on my lawn!” So. why don’t we just call it “There’s a Stage on My Lawn!”?

Or, something like that.

As soon as the event was named we compiled our dream-list of artists and Dante started reaching out to them to see if they could play.

We nailed down two bands to anchor the lineup – the universally-adored Jesse Schurr Band and Radiohead v. Tool young rockers Just Like Me. From there we filled out the rest of the set with some local songwriters breaking through at local venues and radio (Bevin Caulfield and Irene Molloy), a handful of our favorite open mic acts (Da1 and Brian Flannagan), some emerging voices on the scene (Ben Guez and our founder Lindsay Wilhelmi), as well as some perennial favorites like our friends Jon Glaubitz and Geoff Ednie, the hypnotic hang drumming of Dante Bucci, and good ol’ harmony-laden Arcati Crisis – all tied together by the talents of improv comedy veteran Matt Lydon as emcee.

With a title and a lineup in place the other details came together with alarming efficiency, including a list of firsts for our event: official staff t-shirts; volunteers with specific assignments; full-day photo and video coverage; grilled food for sale; a constructed stage complete with scrim; a professional light hang; and independent vendors, including body-painting and airbrushing from our amazingly talented friend Jennifer Vessels.

Lindsay and I marveled to each other that we had six other pairs of hands to assist in our traditional duties, and how it freed us to go above and beyond what we had done in past years. Lindsay had the opportunity to design a beautifully detailed logo, and I spent weeks writing copy for our various websites and interviewing our artists.

But, well, you know what they say about the best laid plans. Just Like Me had a time restriction that kept them segregated to the first half of the schedule, and Jesse Schurr would be appearing sans band due to schedule conflicts. Suddenly it was anchors-away for our lineup, and we were afraid the lack of bands would be disappointing to our audience.

In past years this sort of thing would completely railroad us, but here we were prepared. We had already put out early feelers to two of my absolutely favorite local bands – Enter the Rooms and Old Man Cactus – and it took only a week to secure them both. In that same week Just Like Me eliminated their time crunch, leaving us with an intensely packed lineup of amazing music.

That brings us to present day. The festival kicks off in exactly 36-hours, and I am a wired blend of enthusiasm and anxiety. We’ve done five festivals, three open mics, and a mixer, but this is the first time the full force of our organization and branding is on the line.

Success isn’t too far from our grasp. We are featuring fourteen amazing artists, and even if they each only bring a handful of audience members we’ll have quite a crowd when you also include general fans, perennial guests, plus volunteers and directors.

It isn’t hard to imagine us topping a hundred attendees, and we’d all be thrilled to see that happen – thrilled for the exposure for our artists, thrilled for the support, and thrilled that we are that much closer to the farm festival we’re so eager to throw in 2009.

That’s the story of Lyndzapalooza’s There’s a Stage on My Lawn! Hopefully I’ve given you some insight into how much behind-the-scenes work has gone into our sixth annual festival, although I can’t approach detailing all of the personal effort that each of our directors and volunteers have put into the planning of the event.

If you’re in Philadelphia on Saturday you should come to our festival. You can purchase or reserve tickets on the web at TicketLeap, or just grab driving directions and pay at the door. The closest train station is the R3 Yardley stop, which is three miles from the festival. If you’re stuck for a ride please leave a comment and I’ll find a way to get you to us.

I’ll be back with one more post with links to the music of everyone on our lineup. But, if I’m going to be using power-tools in eight hours I should probably get some sleep.

Filed Under: lyndzapalooza

A Stage On Our Lawn, pt. 3

May 15, 2008 by krisis

Fall 2007. Lyndzapalooza (LP) had a survey of audience preferences, and we had a mission statement.

Both seemed like tremendous accomplishments as we toiled at them, but they were dwarfed by our next task: building a bigger, better music festival.

First we needed to find a place to host it.

As with many of our problems, it started out seeming relatively benign. We needed a big, open, outdoor space that could host an all day concert. Surely we could drive out of the city and ask any farm on the block to host us.

Right?

If you said yes, you would be exactly naive as I was last fall.

An outdoor concert venue needs to want to be visited by a bunch of music-loving strangers. It must have ample and accessible electricity, and either an existing stage infrastructure or a willingness to have one built.

Those are just the basics. What about lighting? Bathrooms? Parking? Security? Alcohol? Trash disposal?

I can’t take an iota of credit for this step in our development – it was lead by a phalanx of our most people-persons: Lindsay, Amanda and Jem, and my partner in Arcati Crisis, Gina.

First, They developed criteria for a venue – everything from price to sound ordinances, from capacity to garbage disposal. Next, they wrote a script for their outreach calls. Then they compiled an exhaustive list of possible venues, sometimes drawing from the experiences of other local festivals. Finally, they started making calls.

It was at this point we started to learn something special about music promotions at a local level – something that stood in complete opposition to our team of directors: there are very few Type A personalities doing this sort of thing. Not a lot of call-backers, list-makers, and go-getters, aside from the eight of us.

As my anecdotal example, I witnessed Gina conduct a 20-minute phone call with one venue, most of which was comprised of an argument about the ideal number of bands to feature on a bill for a one day festival, during which her counterpart on the other side of the line may have smoked an entire joint. Possibly two.

In the midst of lacking follow-ups and incomprehensible burnouts we finally found one farm where someone had their shit together and, as luck would have it, the farm itself was awesome. An appropriate size for our event, multiple stages, places to camp, and a snack shack. Lindsay put together an animated (literally) presentation to show all of the capabilities of the site.

Here we hit upon an issue.

Even in conversations with the burnouts we established early on that booking a farm would cost somewhere in the area of $2000, and that didn’t include any associated costs, like mixing equipment, lighting, and garbage disposal.

We were trying to evolve from a backyard party with under a hundred guests to a huge musical festival, but we’d have to charge 100 guests more than $30 a ticket just to break even. It’s a steal for eight or more hours of live music, but it’s a lot to ask after five years of being a house party with kegs and a donation jar.

As we mulled that over we managed to reach a decision point on another aspect of our evolution: we realized that we definitely wanted to become a non-profit organization.

We were eight people holding regular meetings, collecting dues, and planning events. We needed some sort of business model, and not one of us seemed to feel that a commercial one would fit. It was clear that we were in this for the love of music and the development of the community, and becoming recognized as a non-profit organization had the added bonuses of allowing us to collect donations in a legitimate, tax-exempt way, and minimizing our own personal legal and financial risks.

As if the farm price tag wasn’t daunting enough, the non-profit angle increased our need to fundraise … the state and federal process involves lots of fun paperwork and official seals, many of which cost money, and all of which benefit from oversight by actual legal counsel.

Our twin problems of raising cash and drumming up audience support intersected at a common solution – we needed to present more “off-season” events. They would help us build capital, and also reel in a regular (and hopefully increasing) audience.

Just like that we conceived of Winter Mixer, a low-key show with five bands, wine, and cheese. The goal? Spend hardly any money, present awesome bands, and reel in new audience members.

We planned the show stealthily in less than two months, an it was a great success. We made over and above the profits we were aiming for, which was cause for celebration in the short term. Yet, the farm was still outside of our reach, both budgetarily and promotionally.

What were we to do?

I have at least one more chapter of this story for you, which I hope I have the time to squeak out before I head to Yardley to help build our stage. Until then, you can purchase or reserve tickets on the web at TicketLeap. If you like independent songwriters and bands you’ll definitely love There’s a Stage on My Lawn!

Filed Under: lyndzapalooza

After these messages…

May 15, 2008 by krisis

Today I woke up early so I could go to work early so I could get stuff done early so I could go to a press check and, ultimately, leave early.

After said early departure I engaged in a four-mile marathon walk past and through every hip men’s clothing shop in the entirety of center city Philadelphia, in search of my Lyndzapalooza outfit.

This is a time-honored tradition stretching back to 2003, when I wore my brand new orange sneakers to the first event and got them hopelessly dingy climbing up and down from our stage AKA neighbor’s elevated backyard.

Anywho, the trek, it was long. Every store is selling the same ugly men’s clothing right now, except for Diesel, which is selling fucking uglier men’s clothing. What I really wanted was a Flash t-shirt … well, no, what I really wanted was a Cheetara shirt and a Wonder Woman shirt, but in the midst of writing like 20k unique words over the past month I forgot to order them, which initiated this whole sad hunt. Eventually I found what could be my new favorite piece of clothing (only, mine is green).

Late in the game I dragged my ass the length of South Street, now quite sweating underneath my favorite suit, and increasingly parched. I bypassed mucho de Starbucks to hit one of my few favorite indie coffee shops, Java Company, on 4th and South.

As I ordered my iced soy chai latte (one of my few truly yuppie vices) I overhead a conversation:

“Rip Torn?”

“Yeah, I’m pretty sure he was in Clue

And, now, make sure you are picturing this correctly. I am at my most corporate, in my best suit, and also sweating to death and in running shoes trailing shopping bags, and I whip my head around and say the following:

“Um, are you talking about Clue, the movie? Because Rip Torn is not in Clue. Clue starred Martin Mull as Colonel Mustard, Christopher Lloyd as Professor Plum, Michael McKean as Mr. Green, Leslie Ann Warren as Ms. Scarlet, Madeline Kahn as Mrs. White, Eileen Brennan as Ms. Peacock, Colleen Camp as Yvette, and Lee Ving as Mr. Body.”

(Actually, it took me one or two tries to get it all out in a string, because I was getting the McKean’s name tangled, and also because I kept getting distracted by 20 ounces of iced chai latte sitting in front of me, but that was the gist of it.)

Absolutely dumbfounded at my sudden outburst, one of the men from the original conversation replied.

“And Tim Curry.”

“Yes,” I acknowledged, exasperated that he even felt the need to point this out, “and featuring Tim Curry, also as Mr. Body.”

At this point the entire coffee shop, and some children outside, are all staring at me.

“It’s my favorite movie.”

The men stared back at me, their dumbfounded faces slowly melting into a wash of pity and revulsion in reaction to my savant-like obsession with the film.

“Um, yeah. Funny how it’s a movie, but it’s a board game.”

“Yeah, my brother loved that board game. We watched it, like, a dozen times.”

“I’m going to go in the back and look it up on IMDB. I think Rip Torn was in it.”

“Yeah, I think he was.”

I turned, finally, to retrieve my drink, and received a conspiratorial wink from my barista.

“I love that movie. I thought it was so funny when I was a kid, and now when I see it I catch all these different jokes.”

Sensing she was on my side I chose not to delve into a treatise on the obliquely scatological and intensely political humor of the film.

“Yeah, it’s actually pretty subversive.”

Now completely dehydrated and about to crumble into a dusty mix of my constituent non-H20 molecules, I paid for my drink and left.

.

And that is why it is after 1 a.m. and my heart is beating about as fast as a hamster’s.

Filed Under: flicks, lyndzapalooza, Philly, stories, Year 08 Tagged With: walking

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