Sasha Frere-Jones: Full Exposure, Article Rant

MySpace is today’s lifeline and reality for bands and musicians to gain exposure. To put it down is irresponsible, even in the context of an article about the sudden rise of the young British singer Kate Nash. Sasha Frere-Jones's article in the New Yorker, 

“Full Exposure, Making it on MySpace,” presents the perils of early MySpace exposure. While he cites specific pitfalls like adolescent blogging entries and massive hits before gaining experience, he devalues the necessity of MySpace as a tool for others.

I think full exposure occurs when hungry predatory labels are willing to promote artists before they have ever performed live. They are exploiting a situation and are blinded by dollar signs. The Kate Nash phenomenon would not have happened so fast without label intervention.

Sasha Frere-Jones states that Nash deserves a shot at stardom because of the strength of the song “Foundation” on her album Made of Bricks. This assertion contradicts the premise of his article.

The UK is unique, and Mr. Frere-Jones underplays the power of geographic location. In the UK, the airwaves are free and without the domination of the Clear Channel. Their radio system can facilitate the major label promotion of a quirky, commercially viable talent like Kate Nash. That is what makes her sudden Web-to-chart success possible. The hype machine can be generated at mock speed. This does not happen in the US, where the radio playlists are in every category but new music.

MySpace is the preferred vehicle for band exposure and plays an important role, especially in the States. Many bands that get recognition eventually have to do it the hard way, self-promotion via MySpace. That includes constant updating, posting tour dates, sharing pictures from the road, and communicating with fans.

A band's website is a dinosaur. It is stale compared to the fluidity and interactive nature of MySpace. I say fuck the Website. Bands generally write on their Website; please visit our MySpace page for updates.

Until there is another vehicle with more unique features tailored to music, MySpace is here to stay. MySpace is a band's history; like email history, it is filled with information that would be difficult to replace. I’m not saying that MySpace doesn’t have its problems; it can be a royal pain in the ass. Ever been "phished"?

Drink Up Buttercup

A little treat for all my readers: A video clip of Drink Up Buttercup! They have had quite a year and the New Year looks very bright. They have recently worked with Bill Moriarty the recording engineer for Dr. Dog and Man Man, and have shared some of the new tracks on their myspace site. Their site will make you dizzy or smile! Seeing them live is an experience! The show dates in NY and Philly are listed on their site.

Music Blogger, Year End Thoughts

Viva! The Blog
Years ago it took an eternity for any publication to write about a band or write a live review. There is a place for those magazine relics, but for current up to date coverage the online community is the destination. Bloggers are now a very relevant part of the mix giving exposure to varying genres that are neglected by the mainstream press. Google has taken note and is offering new ways to find Blog content. There are music Blogs that have established a level of trust and a point of view. Matt and Mike at Ear Farm come to mind as one of the standouts. Ear Farm is honest, personable, informative and very entertaining. So Viva the Blog!


Romance of the DIY Movement
Another thought I've been pondering is the romance of the DIY movement. Doing music for the love of it. I think that all musicians agree that music will be apart of their lives no matter what happens to their future plans. The romance is perpetrated by the young and kept alive in houses, garages and alternative venues all across the country.

Talented and spirited bands embrace the ethic of non-commercialism. I understand this is a point of view but here is where I part company. Things start to sour, when they get older and have to find viable financial alternatives to live. Someone at twenty-one has different concerns then at twenty-seven. As many of their peers graduate from college, they find themselves financially lost. There is nothing wrong with music being a life long endeavor, without monetary compensation. If music is a career choice, money should be an important factor.

Commercialism, Strange Bedfellows
It is a sad state of affairs when bands have to choose strange bedfellows like commercials and TV spots to gain exposure. I welcome it but it does leave me with a bad taste. I realize it now is a staple in exposing new music. I also understand the reasoning behind using new music for such spots. The music is good and has had no radio play.

I work with young people whose musical taste is driven by pop culture and whose only exposure to music is what they hear on the radio or TV commercials. So it was quite interesting when I played the Feist tune, "Mushaboom" from her 2004 release Let It Die and watched their ears suddenly stand at attention. The voice recognition was powerful. Last year I played it with very different results. So exposure obviously works. Unfortunately, they are not open to new things they have never heard.

A Declaration of Independence
Sgt. Dunbar and the Hobo Banned forwarded the Declaration of independence via a myspace bulletin. It is from a site called 001 Collective. It is a very impassioned document, one I feel was written with the utmost sincerity. My only complaint is their assumption that creating and performing and doing what you love is not work. I beg to differ. Bands work hard! Their life on the road is grueling and the tenuous nature of the music business is stressful as well. Yes they are doing what they love but at a cost. Many have other jobs they do between gigs. That is called dedication and hard work.

The 001 Collective premise of offering music for free will ultimately be good for some bands. The concept is one that is being explored by bands like Beat Radio and labels like Team Love. This is a collective concept with one person being the arbiter of whose music is included. I guess the success of this collective all depends on his taste in music. I wish them luck.

Wish List Rant: Independant Music

• I wish bands and musicians, old and new, who have monetary success or a large fan base, would share the stage and help musicians/bands who are not as fortunate. Two great examples; are David Bowie and Bright Eyes.
• I wish that Bookers would be bolder and create eclectic and diverse lineups that are not genre specific but sound great together.
• I wish more Bloggers would take a chance and try not to present the same buzzed-about playlist.
  
• I wish that audiences would commit to listening.
• I wish that there were better venues for solo acoustic performers.
• I wish that more people that get music for free would find it in their hearts and reach into their pockets and support the music they enjoy. Go to a show, buy a tee shirt, and pay for a recording. Support the music you love, or it will not survive
• I wish that a wider audience could hear great music. (That’s a pipe dream). It could change the culture in a good way.

Hop Along Queen Ansleis/ Great Cover Song

This is just too good! I had to share it! It's easy to spread around, so press the envelope and make someone happy!

Bright Eyes; Radio City Music Hall

Our seats were good, yet too far for pictures, orchestra, Isle D, double A (only one is reflective of my bra size). This was my eighteenth time seeing Bright Eyes live; I was not disappointed.

Opening acts are always a treat at a Bright Eyes show / The Felice Brothers
I can think of a few other bands that welcome and support new, emerging, or underrated talent the way Bright Eyes does. They welcome these rogue originals with open arms.

The Felice Brothers expressed that playing Radio City was quite a bump up from performing in the subway. They thanked Bright Eyes for the experience and gave a very sweet shout-out to their grandmother in the audience, who was excited to see her grandsons play at the same venue as Frank Sinatra.

The Felice Brothers is a quartet of three brothers and a friend from Catskills, NY. They tell narrative tales blending Americana with a rusty homegrown sound. Produced by a blend of acoustic guitar, drums, bass, accordion, and piano. They played ten songs with three strong and distinct vocalists sharing the lead while the remaining members sang rough harmonies.

Despite the expansive stage in an overwhelmingly large venue, they connected with the audience and created a down-home and intimate staging peppered with theatrics. During “The Ballad of Lou the Welterweight,” James Felice, the accordionist, put a hat over his heart in tribute to the fallen boxer. When he introduced a song about hardship and depression, his soulful deep vocals were memorable. They ended their set with “Frankie’s Gun,” accompanied by Nate Walcott of Bright Eyes on trumpet. A very fitting ending with a full chorus singing, / bang bang bang went Frankie’s gun/ he shot me down.

Thurston Moore's Personal Vision Realized
In came Thurston Moore and his band of aural angels, playing songs from his new solo release Trees Outside The Academy. Staring at the two acoustic guitars, bass, violin, and drums, my eyes betrayed my ears. This acoustic band of deception laid down intricate compositions, replete with constant pulsating drums by Steve Shelley, bass rhythms, double guitar leads (Thurston Moore and Chris Brokaw), and darting violin treatments throughout. Samara Lubelski on violin played a haunting low register, rarely segueing into melody.

The scaffolding of instrumentation created a collaboration of the highest order. Every song had this never-ending quality, not like a jam but more like an organic improvisation within the song structure. The last song, “Trees Outside the Academy,” closed this impressive set and highlighted the accomplished musicianship. I closed my eyes and hoped this class act would never end.

Bright Eyes
This Bright Eyes show had no agenda. This was not a promotional tour but the last night stand of a year-long tour. And stand they did. They played a wide variety of the Bright Eyes catalog with added new arrangements. The collaborative nature of an ever-changing cast of players, with the anchoring of Mike Mogis and Nate Walcott, creates a fresh approach. I appreciate seeing live shows that don’t mimic exactly what is on the recording and Bright Eyes delivers.

At Radio City, the music was loud, but it was grand. Although Conor works very hard at phrasing and pronunciation, not all of the words were audible. The added restraint of coordinating with a vocalist can be tricky, and Bright Eyes did not sacrifice the live feel of the music for the lyrics. While I would have loved to hear every word from Conor, I didn’t feel deprived.

Starting with “Another Traveling Song” from I’m Wide Awake Its Morning Conor came out and took command of the stage. Having seen him over the years terrified, it is wonderful to witness the confidence, maturity, and ease with which he can now perform.

I just about flipped to hear “Song to Pass the Time” from Fevers and Mirrors. I have heard many versions of that song. The twangy flavor of the original song was changed considerably with the addition of the trumpet. “Lua” stood out with James Felice on accordion and Nate Walcott on flugelhorn, adding depth and distance to the sad tale. “Poison Oak” was moving. “True Blue” was infused with a strong pedal steel guitar and sung with conviction, / I don’t know much about you / but I like you because you’re true blue /.

Only one complaint I could have done without the Tom Petty cover. It was fun, rollicking, and exciting, but I would have been happier with an original. The stage festivities grew as The Felice Brothers joined in and the Radio City night lights strobe across the ceiling. The audience rose from their seats to join the celebration.

Bright Eyes ended the four-song encore with a new political power song of intensity and anger about the war and the future of many wars to come. / Nothing left but the cockroaches / in a movie with no sound /. As always, Bright Eyes has words that move, stating truisms like no other, employing all of us to take a hard look in the mirror. I left smiling but felt pangs of guilt thinking about the state of the world as I walked down Isle D.

Hop Along Queen Ansleis

I recently saw an acoustic set by Hop Along Queen Ansleis at the 92nd Street Y. She was one of the performers at a free high school guitar day workshop and performance series coordinated by Guitarist and composer Benjamin Verdery, the Y's Guitar Institute artistic director.

I've seen her many times, but after seeing her that day, I was thrilled with the new direction of her singing, phrasing, and song structure. Without losing her originality, she has matured in her writing and delivery.

If You Make It

To all my readers, enjoy this Pink Couch Session of Hop Along Queen Ansleis. David Garwacke, creator of a wonderful new site called If You Make It, films the Pink Couch Sessions. If you stay tuned, he will upload Hop Along on the Pink Couch, performing her arrangement of Billy Idol's song "Dancing with Myself". This is an amazing cover!!

This site is true to its intentions, and Dave has been doing a great job sharing the talents of many independent bands and acoustic performers. If You Make It is on my radar.

Sasha Frere-Jones:The New Yorker Article Rant

I know something is not right when my husband reads an article about music and says it is brilliant. We agree on many things, but he does not share my passion, knowledge, or my taste in music.

Then I read a post by the Idolator published via the Internet. It was an amusing mockery of the article’s premise that gave me the impetuous to write the following assessment.

The article in question is in the New Yorker entitled, “A Paler Shade of White: Why indie rock lost its soul” written by Sasha Frere-Jones. It is a well-written article about the sharing of music origins between black and white musicians with some historic and correctly stated conclusions and observations. I take issue with several points.

1. Indie music is independent music. The term is still viable, and many different genres of music fall under its umbrella.

2. The general statement is that indie music has no rhythm or roots in soul.

3. The premise that independent music should be judged by the same standards applied to mainstream music; voice, musicianship, lyrics, and memorable, catchy hooks.

The term “indie rock” (Independent Music) came about as a result of bands and musicians being shut out of the mainstream media (Television, Radio) and major record label contracts. The bands and musicians that represent this genre are mostly white and male, and they are a minority within the broader context of the big corporate music enterprise.

This shutout continues today, with only a few of its originators signing on with major labels or their smaller counterparts, like; Modest Mouse, Death Cab for Cutie, and Rilo Kiley. Each group has spent at least ten years on the road with no Radio airtime, and their popularity grew from word of mouth. The level of their success is still small in comparison to pop performers like Ashanti or aging legendary rockers like Springsteen and U2, or the rapper heavyweights in Mr. Frere-Jones' article.

Conor Oberst of the group Bright Eyes, I believe, is one of the forbearers of this genre title. His group has gained exposure despite being on the Independent Label Saddle Creek Records, which he founded with others ten years ago in Omaha, Nebraska. He is still with that label in the US but has recently signed with Polydor for worldwide distribution. Over the years he tuned down major label interest and courting because he did not believe in their practices and, ultimately, felt it was bad for music in general. He wanted to maintain control of his original material and not have it commercialized and watered down for public consumption. That is the premise of most indie music standards. This is so the artist can maintain freedom of expression and artistic control and not appeal to the lowest common denominator.

The groups that Mr. Jones described, such as Snoop Dog and Dr. Dre, have had major mainstream radio play and backing from corporate interests. Their success doesn’t necessarily qualify them for judgment or comparison to the independents. The radio play they receive is not because the music is great it is because someone with about 250,000 dollars is willing to pay the radio stations to air it. This is an unfair advantage for judging success or quality.

With the onset of the Internet, blogging, Internet radio, podcasts, sharing Internet music communities, and myspace, that division is slowly changing. This democratizing of the music industry will ultimately be good for everybody. In the meantime, it is still a minefield for the independents to gain financial success despite their talent.

Judging music because it lacks a certain type of rhythm is not a fair assessment. There are different rhythms in indie rock. Indie rock has a different kind of soul. It relies on time changes and orchestral composition. Many of the groups described are not making music so people can dance but move them lyrically and musically. I love the song "Jesus Etc" by Wilco from the CD Yankee Foxtrot Hotel that Sasha described as being lyrically devoid of content. Showing a few brief lines from a song without hearing the phrasing and inference is not a good way to judge lyrics. Songs are created to be heard, not read. I love the song's simplicity and especially Jeff Tweedy’s delivery.

There are great independent bands today that are under the radar that combines folk /punk/hillbilly/roots, punk/blues, digital orchestration, and dance beats. People are moving but not in a prescribed method or in a formatted groove. Groups like Matt and Kim, Langhorne Slim, and The Dirty Projectors, o’death to name a few, are moving people differently. The musicianship is also having a resurgence as well with bands like Arcade Fire and The National. Yes, they know how to play music but in collaboration without the posturing of fancy guitar lead and drum solos of years past. That's a relief!

I take offense to his description of indie singers. Many do not have commercial voices but have individual voices, and that is just the point. The beauty of the voices I listen to has authenticity and originality. Just to name a few like; Joanna Newsom, Will Oldham, Devendra Banhart, Conor Oberst of Bright Eyes, and Chan Marshall of Cat Power. Their voices are refreshingly different and appealing because of their individual approach to singing and phrasing. They all would be judged poorly by commercial standards and criteria.

The concept of indie rock producing a memorable hook so that the music can be catchy defeats the purpose of independent music. It is what sets independent music apart from the mainstream.

When the airwaves were free in the sixties, all music genres were played simultaneously so that people of all backgrounds were exposed to varying genres of music. The Supremes, The Jackson Five, the Beatles, Dylan, Aretha, Joni Mitchell, and bubble gum pop were all heard in no particular order of an authority. The radio was for everyone. We were not a boutique culture at the time.

Music and art are not made in a vacuum, and no one is original. So judging someone’s success based on what their influences might be is misguided. It is how they are inspired and what they do with that information, to hopefully forge new territory. Adding zest and vitality to a stale formula or genre, whether it is rock, metal, soul, rap, or country, is welcome regardless of the race of people that are doing it or where or how it originated. Changing music that begins to sound predictable or homogenized is a way for new forms of music to be realized.

Combining the genres, as Mr. Jones stated, led to a fresh approach like the combination of Aerosmith and Run DMC. It also broadened the exposure for both groups. Another great white/black crossover was Sinead O’Conner doing a cover of the Prince song "Nothing Compares 2 you". It got attention, not because of the beat or its roots in the soul. She changed the very nature of the song through her interpretation. It was so refreshingly beautiful. It is a good example of the sound and quality of indie, where words and music work and subtlety and nuance meet.

I appreciate rap as a genre of music. I see it as an art form, both musically and lyrically, in its earlier form. When it became more mainstream, it became less relevant to me as a listener or an appreciator. I have difficulty with words that value violence, are homophobic and Misogynous, etc.

I have been looking and waiting for the racial divide to change in indie rock and feel uncomfortable with the lack of diversity. Groups like TV On the Radio are changing that formula and adding to the dialogue. Many diverse groups receive backlash, including TV On The Radio, who go to great lengths to justify what they do.

I am a white female who listened to music in the sixties. I loved Ottis Redding, The Temptations, The Meters, and The Jackson Five. I listened to and bought their albums. I also listened to The Beatles, Janis Joplin, The Rolling Stones, Dylan, The Doors, the Band, and Joni Mitchell. Those were very different times.

We all have our perspectives and taste and bring different references to understand and categorize music history. Like in all classifications, we can never leave out the cultural, historic, and societal changes that contribute to what people listen to at any given time. The Clear Channel is just one example. Or do we need affirmative action for the great and talented bands and musicians being shut out?

Our global world gets much smaller via the Internet, creating access and exposure to all musical genres. The connections between race, culture, and art will be more difficult to classify. Indaba Music Site is a good example, and concept for the future direction and vision music will take. I welcome that concept and more that are on the horizon.

Audio version MP3
Many points I have mentioned are discussed in an audio version of the article. Only some concepts were clarified. Within the context of an article, not everything can be explained in full. I still take issue with many points revealed.

Two Gallants: Review

The Dynamic duo Two Gallants kick it up full throttle with their new self-titled release Two Gallants on Saddle Creek Records. The raw, electric, folk rock recording of nine fully developed songs gives the music community what it has been missing: a soul. Adam Stephens (guitar/vocals/harmonica) and Tyson Vogel (drums/vocals) have formed a dynamic musical force that has enabled them to create art in music. With the guided astute production by Alex Newport, the sound is perfectly produced and not overproduced.

The recording, attitude, straightforwardness, raw quality, emotional levels, and full-bodied sound do not get better than this. I marvel at their musicianship because it has an immediate presence. I described their recently released EP, The Scenery of Farewell, as acoustic bliss. “Trembling of the Rose” is the only acoustic offering on this release, the other eight tracks are electric. The emotional and raw traits of this recording are even more striking because the music’s intensity and pace meet up with the highs and lows of the storytelling.

The flat-picking electric guitar leads echo in the desolate open air, allowing every note to resonate. Stephen’s harmonica bleeds with affectation while Vogel pounds the drums and clashes the cymbals with impending abandon.

Stephen is a raw folk storyteller who pens a hard-to-the-core palette, evoking ties that bind. The lyrical entries are of loss and abandonment, hate, lust, and heart-wrenching tales that are at times scornful with a vengeance.

Each track starts out differently, adding to the variety of the mix. "Reflections of a Marionette” shows off that diversity. Featuring a slew of styles so imaginatively synchronized to form an integral whole. Vehemently stating / I hope your gone by the time this song is through /. Then the scornful flurry in the chorus / I don’t want to see you fall/ I want you see you fail / catapults the song into a vindictive territory.

“The Hand That Held Me Down” describes the ultimate human betrayal with words that hurt like, / the heights to which you drag me / just to hurl your scorn /. The accusation of the chorus / did you hold the hand that held me down /, captures the essence of disloyalty while the harmonica simulates the vulnerable feelings expressed.

Rarely does Stephen’s use words that give an indication of time and place. In the last track, "My Baby's Gone,” he uses a contemporary reference quite effectively; he quietly moans, / I’ve lost my floaty, then he cries with a whisper / my baby’s gone /. The pace quickens epically, and the quietly whispered phrase becomes the roar of a relenting chorus.

“Fly Low Carrion Crow” is the most interesting from a vocal standpoint. Stephen’s trades in his strained throaty vocals for a more restrained lower register. In the song “Miss Merri” the cowboy bass line is an inferential musical clue reflecting the loss of America's soul in the sprawling fields of suburbia. / Oh miss merri don’t despair me / we got ways to numb your pain / same old story / blood, sweat, glory / just hope all your trials were in vain.

These collections of songs indulge my emotions. I revel in the lyrics and music to feel alive with pain. You don’t have to be there to go there. I would love the Two Gallants to write more about the state of the world, topics of great importance, and political and social unrest. They have the power in their writing and music to stir the nation, for now, they stir the soul.

Two Gallants 4Play Filmed by Saddle Creek Records:

Daytrotter Sessions: Two Gallants Encore
The Hand That Held Me Down MP3

CMJ Rants and observations

Many criteria for judging performances at CMJ are not authentic if you are a music listener. The controversy about the application process is equally troubling.

1. To be fair to the bands, the sound checks are almost non-existent, and the amount of time to play is very short. There is little time to get into the groove.

2. Seeing a band with an audience of fifteen or less is not the greatest way to judge their ability, musicians often feed off the energy of an audience and play off that dynamic.

3. Some groups are road veterans and are always relaxed and no big deal, another show of many.

4. Some are locals, so just hopping in a cab and meeting bandmates with their instruments is not too stressful. While others travel to perform at these events, hoping to catapult them into a new category of exposure.

5. Then there are different performers, like bands with local fans. Seeing them in this setting is great but an unfair advantage in judgment.

6. Solo and acoustic performers need an exclusive venue for listening.

7. Finally, some bands have been hyped beyond their current capabilities and are bound to disappoint.

I have read much of the coverage of the anticipated main events and lesser-known acts, only to realize that writers are fast to judge and tear down what they have spent so much time hyping. For instance, an act like Dan Deacon has received a slew of press and many new opportunities. I’m sure he is aware of some of the problems created by his insistence on performing on the venue's floor rather than the stage. It is difficult to change midstream, especially when riding on the success that has been a long effort. Changing what has been working is difficult and takes time and thought. He also has a philosophical bent being both a performance artist and composer.

The band Cut off Your Hands traveled from New Zealand and booked many shows to gain exposure and distribute their recordings in the states. They went for it and took a risk; they certainly got their name out there.

I truly understand the reasoning behind un C. Em. J. Music Fest, 07 alternative events catering to the under-21 crowd with good music taste, who are basically shut out from attending many of the shows offered by CMJ. The curated Blogger shows present another alternative. Many of the Bloggers staged events to give exposure to bands they have seen and enjoyed so that others from across the country have the same opportunity.

I wish I lived in closer proximity to Manhattan. Within the year, that will all change but for now, driving for over an hour and parking present obstacles.
I made my outing to two venues The Gothamist House and The Indaba Loft. Both are low-key free events.

Gothamist House
People might find it strange, but I love the band o’death and I love Peasant. It was nice to see Peasant perform before a small attentive crowd and just hear his beautiful voice without any distractions. He followed o’death and most of the crowd walked out before his set. I think that is too bad. It is difficult for acoustic solo performers without a band because people expect instant gratification and theatrics over substance. His voice and song arrangements are beautiful, sincere, and tender and might seem foreign to an older, cynical listener.









To see o’death while sitting on a couch sipping sparkling water with a twist of lime presented a predicament. I didn’t sit for long. I loved seeing them play in such an intimate and cozy setting. Instantly their style of Appalachian punk with elements of diverse composition altered the surroundings. They played two new songs that sounded wonderful. It was a nice treat to see a tuba player in the mix adding additional flavor to their original and invigorating sound.

Cut Off Your Hands played very loud power pop punk, with emotive vocals that sounded like a mixture of the Cure and Cursive. Seeing them just felt out of place in a small venue during the day. It was as if they were performing for a stadium. Watching the lead singer posturing and
going through MTV video antics made me chuckle. I still enjoyed their lively 4 song set.

Indaba Loft

Indaba was very friendly and relaxing, it really felt like a party. The crowd was getting too comfortable talking, so when Natalie Prass finally arrived for her set after being delayed in traffic, the audience couldn’t stop. That was unfortunate because I liked what I heard, even with a backing band, it was an acoustic sound, so the outside noise couldn’t be drowned out. She has an interesting vocal range and reminds me of Fiest and alt. country great Patty Griffin. Her song arrangements were also quite nice.

I Look forward to hearing more.

I came to Indaba to see Beat Radio, I like Brian Sendrowitz's songwriting and have seen him solo acoustic once before. I’ve been meaning to see the band for a while. I’m happy I did. The sound is very powerful and rich live. There are no rough edges. The music is not slick, it is real, and the musicianship and collaborative spirit of the group are a pleasure to witness. The smart and memorable lyrics are melded into a sonic mix of finger-picking, electronic echoes with an upbeat pulse. My notes read....................
Powerhouse Phil Jimenez on keys and Guitar. They’ve got chops!

In both venues, I found the CMJ networking annoying, like reading while someone is performing a few feet away or talking really loud and not stopping even when there is a quiet moment on set. I think most of the networking can be done between acts. Maybe my networking is more limited, but I accomplished a lot and received an awesome EP from Jukebox The Ghost. I will see them soon!

I ended the evening at the Pink Pony. They have the best reasonably priced home cooking, a great atmosphere, and a jukebox. I drove home listening to Peasant’s Three songs promotional recording looped all the way. Ahhhh …….Work the next day. Wake up at 6:00.