Sorry about your ankle. I hope it's much better by now.
So sorry about that whiny guy writing to you. It sounds so draining. There is something stalker-like to his character. I would have ignored him early on.
Some of Fudge's fans love him to a point where they almost hate him. They want his attention, even if it clearly gives him pain to give it to them sometimes. It's weird to watch.
I like the idea of being available to anyone who'll talk to me. But sometimes it's a guy somewhere in Europe who corners you between the wall and the merch table and you can smell his breath he is talking so close to your face and he has all sorts of advice about what you should do with your music.
In Dublin there was a guy who was carrying a giant tupperware of food he had gotten for free from the Krishna, he had a giant beer in the other hand and rested both on my merch table while he proceeded to take every single one of my records out of their bag and taking all the inserts out. I watched him carefully from a distance. Then he wanted to buy the record that was 25 euros, but only had 15. I had another full-length priced at 12. Still, he only wanted the 25 euros record. I was a total bitch to him and Fudge and Karl didn't understand why I was being that way until they saw him in action. He clearly needed a lot of attention, even if that attention came from a very negative place. He was feeding on the fact that I was interacting with him. If you don't want to pay for my records, then my records are not for you. And get your food and beer off my merch.
ankle's ok musician / dude who's probably a musician who wants to be where you're at, and is really just looking to expose the way you got what you got i think that accounts for just about 90% of all interactions i've had with so called 'fans' seeing that i've played opening slot / wing-man to many indie-famous dudes in my career, their fans have very often been like "yo so why do YOU get to open for ____?? who the F are YOU, dude?" and im like "i am their older, uglier, weirder brother, sorry to have tested your patience"
That's a good way to put it. So many interpersonal exchanges with fans are "How did you get this gig? Why not me?". It's a horrible feeling. Like they are curious about you, but there is some weird form of competition involved. Opening for Earf all fans who came to watch the show treated me with a love and respect I had never experienced before. Even the most skeptical-looking original metal guys in their forties who look like they work construction came to shake my hand and give me props. Why? I have no idea. My only explanation is that they remind me a lot of my dad (big dude with shaved head, earrings and a beard who is a house-painter). But some of the other openers, the ones who brought giant Sunn cabinets and double-bass drums to play a twenty minute set didn't have the time to talk to Earf or me. For them there was so much stress about soundcheck and technical things. Opening for this band was such a big day to them that they got worked up and acted rudely when "Dale" or anyone else complimented them. "Nice set." "Uh, our drummer broke his thing so it was cut short and the singer couldn't hear himself through the monitors." as they would take down all their stuff and go hang out in their van for a while.
Making mediocre/unlistenable music is often a symptom of a much bigger problem of being totally out of tune with shared human experience, hence their extreme awkwardness and lack of empathy.
I find punk unlistenable but I appreciate and respect "where it's coming from." I feel the same way about modernism. Unlistenable! But intellectually very cool, like, I get it man, totally.
yeah! obviously many people find it listenable. Same with modernism. Dif'rent strokes! I just think there is a big difference between music I don't actually like listening to but can appreciate (gregorian chant, punk, mid-period Schoenberg), and then some random shitty music that neither sounds good NOR is interesting/critical/historically informed/thought provoking/politically experimental/whatever
My point is that a good punk musician makes punk music that reaches the punk audience and makes them feel the passion of the musician. A bad punk musician makes music that doesn't resonate with her audience. Then she's like "I SHOULD BE OPENING FOR THE FAMOUS PUNK BAND" because she doesn't understand why she can't connect to other humans through her music. Then she says something stupid to a talented person.
This reminds me of Sid Vicious doing "My Way". --- Turns out that HEART book is pretty good. I recommend it. Lots of stuff about how the young Wilson sisters saw the Beatles and wanted to BE the Beatles and then while trying to form a band with other girls they'd realize most other girls wanted to be the Beatles' GIRLFRIENDS.
---
Rimsy, I'd love to share my feelings about punk with you, maybe make you a mix of why/what was so important and life-changing to me. One time you made me a rad mix of "old" music with a long letter explaining. I should do the same for you. I have such strong feelings about the "punk" genre and how it can save lives. I like how nowadays one uses the word punk to describe something perceived as bold and badass. But is isn't always the case. To quote my favorite band CRASS: Punk was "just a fashion like Hippie used to be" and so now I don't really feel offended by the legions of well-dressed mainstream punks crowding the pages of Rolling Stone magazine next to sexy starlets.
Comments
what was it?
Pay what it cost. Or, don't buy it.
Any paintig apps??????
i have tried just about every synth app i can get my hands on/ many of these apps i have tried before i bought the ones i really like
i believe in try b4 u buy
bebot is pretty rad, its true.
So sorry about that whiny guy writing to you. It sounds so draining.
There is something stalker-like to his character. I would have ignored him early on.
Some of Fudge's fans love him to a point where they almost hate him. They want his attention, even if it clearly gives him pain to give it to them sometimes. It's weird to watch.
I like the idea of being available to anyone who'll talk to me. But sometimes it's a guy somewhere in Europe who corners you between the wall and the merch table and you can smell his breath he is talking so close to your face and he has all sorts of advice about what you should do with your music.
In Dublin there was a guy who was carrying a giant tupperware of food he had gotten for free from the Krishna, he had a giant beer in the other hand and rested both on my merch table while he proceeded to take every single one of my records out of their bag and taking all the inserts out. I watched him carefully from a distance. Then he wanted to buy the record that was 25 euros, but only had 15. I had another full-length priced at 12. Still, he only wanted the 25 euros record. I was a total bitch to him and Fudge and Karl didn't understand why I was being that way until they saw him in action. He clearly needed a lot of attention, even if that attention came from a very negative place. He was feeding on the fact that I was interacting with him. If you don't want to pay for my records, then my records are not for you. And get your food and beer off my merch.
musician / dude who's probably a musician who wants to be where you're at, and is really just looking to expose the way you got what you got
i think that accounts for just about 90% of all interactions i've had with so called 'fans'
seeing that i've played opening slot / wing-man to many indie-famous dudes in my career, their fans have very often been like "yo so why do YOU get to open for ____?? who the F are YOU, dude?"
and im like "i am their older, uglier, weirder brother, sorry to have tested your patience"
Opening for Earf all fans who came to watch the show treated me with a love and respect I had never experienced before. Even the most skeptical-looking original metal guys in their forties who look like they work construction came to shake my hand and give me props. Why? I have no idea. My only explanation is that they remind me a lot of my dad (big dude with shaved head, earrings and a beard who is a house-painter).
But some of the other openers, the ones who brought giant Sunn cabinets and double-bass drums to play a twenty minute set didn't have the time to talk to Earf or me. For them there was so much stress about soundcheck and technical things. Opening for this band was such a big day to them that they got worked up and acted rudely when "Dale" or anyone else complimented them. "Nice set." "Uh, our drummer broke his thing so it was cut short and the singer couldn't hear himself through the monitors." as they would take down all their stuff and go hang out in their van for a while.
Dif'rent strokes!
I just think there is a big difference between music I don't actually like listening to but can appreciate (gregorian chant, punk, mid-period Schoenberg), and then some random shitty music that neither sounds good NOR is interesting/critical/historically informed/thought provoking/politically experimental/whatever
Have something to say
Evaluate assumptions
Articulate your feelings
Really mean it
True meaning comes through
http://www.audible.com/pd/ref=sr_1_1?asin=B0098MQGBI&qid=1348253775&sr=1-1
via Krugman
---
Turns out that HEART book is pretty good. I recommend it. Lots of stuff about how the young Wilson sisters saw the Beatles and wanted to BE the Beatles and then while trying to form a band with other girls they'd realize most other girls wanted to be the Beatles' GIRLFRIENDS.
---
Rimsy, I'd love to share my feelings about punk with you, maybe make you a mix of why/what was so important and life-changing to me. One time you made me a rad mix of "old" music with a long letter explaining. I should do the same for you. I have such strong feelings about the "punk" genre and how it can save lives. I like how nowadays one uses the word punk to describe something perceived as bold and badass. But is isn't always the case. To quote my favorite band CRASS: Punk was "just a fashion like Hippie used to be" and so now I don't really feel offended by the legions of well-dressed mainstream punks crowding the pages of Rolling Stone magazine next to sexy starlets.