Tuesday, April 28, 2009

Creation


I think there are two types of creativity - two ways of going about creating something:

New from the Old

  -and-

New from the Abyss

I'm more of an Abyss guy, but only time will tell.  I think most of us take a crack at one or the other at some point.  But eventually something clicks.

To be a new from the old person you really need to be an expert - have your history down pat.  There's very little bullshit when it comes to new from old.  People that know all the ins and outs of 80's hip-hop, for instance, are the people that reinvent that sound.

The new from the abyss is much more trial and error.  Many shots in the dark are taken before anything comes of it.  It is sometimes weird, but always hard to classify.  That's what makes this kind of creating difficult - you don't need to be an expert - but you have to be comfortable without a home.  The abyss waits a long time for mainstream recognition, but when/if they get it, they last and last.


If you have a minute, download my new album for free at http://www.mediafire.com/charliechristenson

Sunday, April 5, 2009

I don't remember the 90's

There's something about the sound of the 90's that's very smarmy to me.  Perhaps it's the juxtaposition in my mind of Barney and Nirvana...  I think early 90's music is something that I won't really ever like.  I remember being very in to classic rock at the time (60's and 70's mostly) - maybe I just warped over that decade.




Although, with my current obsession with the 80's, maybe the decade that follows won't be far behind... or ahead.

Saturday, April 4, 2009

Close

Close only counts in hand shoes and horse grenades.

Think about it...


I'm on my way to California for fame and fame.  I'm also hoping to get super famous.  Wish me luck.


ON this eve of travel, I thought I would share my thoughts on gigs.  Going to people's - and having people go to... them.

FIRST off, I'd like to say that getting people to gigs is really the bane of a musician's life.  We seem to live and die by the numbers.  Of the course the music is important, but that's likely to happen regardless.  We play music out in public so that we can share our music with others.  Sure, you're sharing it with the musicians you're playing with, but for that you could check out a room somewhere and have at it - no need for a press kit or posters.  So people are an important ingredent in this gig stew - and it's generally hard to get people to do things.  At the begining of a musician's career, one can really only expect to see friends in the audience (save maybe a few randoms - and they're almost always drunk).  Now friends are very nice, it was very nice of them to show, but friends typically always want something in return.  A spot on the list, a free drink, a student discount or, wait for it, recipercation.  Yeah, they want you to go to their next gig - and all the ones after that.  See, if a friend shows up at your gig (especially if you didn't have to beg them to come, they just came because that's how awesome they are) they basically own you.  You are now expected to show up to their next 15 gigs, at least - and you're supposed to love it.  If you can't make it or you don't care to go, you're now the jerk who doesn't go out to other people's gigs.  I know it, I've been on both sides - and it feels weird both ways.

SEE, I think two things need to happen.  First, more people need to start going to more gigs.  Secondly, people need to have less crappy gigs.  Crappy gigs are all over the place.  Here's the headline for Joe Shmoe's next gig: "Joe Shmoe plays at crappy expensive bar with all the kids at school that stink so hard they didn't have a previous engagement tonight!"  Wow, I'm super excited for that one.  Good thing he came to my last gig and now I get to have to go to his.  Just super.

DON'T waste time getting crappy gigs where no one gets paid, no one shows up, and you feel like a turd afterward.  We've all been there.  Playing gigs is important - but crappy gigs are like playing two negative gigs, in my opinion.  Just book a room, play a session and record it.  Listen back like you're listening to a live at the Village Vanguard and actually get something out of it.  I've listened back to so many of my crappy gigs - if I can actually hear the music it's a plus - more than not, the just of the recording is two wieners who sat too close to the microphone and spent the whole time talking about which Justin Timberlake video they prefer.  Personally, I like them all.

SO, to summarize - gigs are tricky business.  In general, we fail as both musicians and audience members.  It's hard to put yourself in the other's shoes (even though we do a fair share of both), but it's absolutely essential.  Every time you have a gig think to yourself, "would I leave my apartment and ride the train for a half-hour both ways to pay $15 to hear me?"  If you answer yes, you either have a annoyingly bloated ego, or you've resisted the urge to settle for every crappy gig that falls into your lap.  If you answer no, get over it, no one's coming to your gig - and if they do, they own you.


Alright, like I said, off to be famous now.  Leave me alone - my publicist will call you back when she gets a minute.

Wednesday, April 1, 2009

Yes, you should get over it

Sometimes we forget that it feels good to forgive.

We forget because it also feels good to be mad at someone, to be better, to be right.  We try to be right, we try not to mess up, and it feels good to succeed where others don't.

The thing about forgiving is that we feel good, but we also let go of the time and energy we spend thinking about the person or thing that did us wrong.  It's important to let people know when they mess up, but it's just as important let them know that you're over it.  And yes, you should get over it.