smokeitm

[smokeitm]

the third band (pt 2)

...instead, i scrabbled down a dusty, steep hill beneath an overpass and past chain link and barbed wire at 8-9pm carrying a bass amp and guitar to the next nearest bus stop. i made it on to the correct bus with 25% phone battery to spare, and got home safe.

Between in-person practices I drilled repetitively at home; the parts were easy enough, even for a new bassist, but i wanted to be sure that when I inevitably lost my cool on stage, i'd be able to get back on track.

The first gig with Two Times Married was somewhat of a wild affair. My mom drove me because she wanted to see my first bar show. I forgot the power cable to my bass amp and my backup bass (something I don't bother with anymore). She offered to buy me a whole new amp when we went to the nearby Guitar Center, or to have my sister's boyfriend drive us the forgotten items. i declined on both counts. we lived an hour away from the venue, as it were, and i'd never felt comfortable asking for expensive things, especially ones i didn't need.

the venue was a bar in north Seattle, barely more and nothing less. it was cozy, nestled in a quiet, green residential neighborhood. it had a small, slightly raised stage, several small tables, and a small open patio that was serving as a greenroom of sorts.

i entered through the back entrance after greeting Captain Krieg and his crew. no one carded me. i was a minor.

i sat at a table, which the crew joined me at shortly. they ordered drinks, and, quietly, jokingly offered me a drink ticket. i got a glass of water and listened as some of the patrons played a trivia game that one of the staff was hosting on a small projector and microphone.

i barely have the faintest memory of the other two (?) acts. i think they were both solo acoustic singer/songwriters; one had traveled somewhat far, and his girlfriend was running merch and media. i recall her fervent attempts to get quality shots on her phone better than his songs or what they were about.

i don't remember even if we were second or third. i do remember Captain Krieg asking if I had a spare guitar strap which, conveniently, i did. i recall wishing i had cut the body of my DIY bass guitar thinner as it was heavy around my neck. i recall how kind the audience was; quiet attention while we played, good applause afterwards. i tried and succeeded in making eye contact with them mid-song without losing my cool. i made mistakes, of course, but nothing irrecoverable.

the second and last show was similar, except i drove myself, my mom didn't come, there was one different guitarist, and Captain Krieg told the bar staff I was under 21. i was forced to stay out of the establishment until my set, and then afterwards as the last act was borrowing my bass amp. the new guitarist hung out with me a bit while i waited for my bass amp; luckily it was still summer, so it was comfortable outside. he explained the importance of a bassist locking in with the drummer, and looking for visual cues. the barman/bouncer was mildly apologetic; he didn't seem to take joy in making me wait outside, though he was concerned with the cut and dry alcohol laws. i enjoyed it significantly less than the first.

Captain Krieg still owes me $8. I didn't hear from him after the last show. I don't know if it was because I was too young and they wanted someone they could relate to or play easier with at bars or if he stopped gigging entirely. It's hard to encourage corrections/additions to imperfect re-tellings of something as unreliable as memory, but if you have any questions or anecdotes, please comment or AMA, i'm pretty active. thanks for reading.

[smokeitm]

the third band (pt 1)

I joined Two Times Married during the summer between graduating high school and entering college in the fall.

this was my first craigslist band. I found a post requesting for a bassist who could fill-in for a couple bar shows; americana, country, blues vibe.

I replied to the post and we scheduled a time to meet up. I’d never met somebody off craigslist before. I can’t recall if I sent him samples of my playing.

I got there early, so i bought a sandwich and waited in the cafe, toting my 25W bass amp and guitar. when the time came, I stood outside his apartment complex and waited.

Captain Krieg was an older gentleman; I wasn’t immediately sketched out so I joined him in his small apartment in Seattle. He had converted his living room into a small recording studio, complete with a computer and a mic.

He handed me handwritten chord sheets that blocked out his songs. For the most part, I was to stick to the root, keep it simple; though not my usual fare, it was prime choice for someone still acclimating to live performance.

We practiced at least once if not twice with a full band before the first show; a drummer, two guitarists (one on slide guitar), and Captain Krieg on acoustic and vocals. Full practices were at the drummer's house in north Seattle, which he shared with no fewer than four people. My memory says 9, including at least one child, though memory is fickle.

I remember sitting on the back patio on an early summer evening; it was muggy, cloudy. i was the youngest one there, and the next youngest was old enough to be my uncle, the oldest my grandfather. some smoked cigarettes, perhaps one or two cannabis, which they offered to me. i think i'd quit smoking recently. i felt a little out of place, though not unsafe. i was content to be out of my element.

after one practice, i remember making it home with significant difficulty; to save money on gas, i'd taken the bus from Tacoma where I lived, a city that was 45 minutes from Seattle in theory, but as much as 1.5 hours in practice due to traffic and a lack of cohesive urban planning.

i wasn't as familiar with Seattle's public transport system, but i wasn't about to let a mislabeled (or perhaps misunderstood) bus stop force me to take a $100 Uber...

[smokeitm]

Show photography - from the beginning

I was recently gifted a decent camera; a Nikon D5100. My mom had bought it to take family photos a while ago, but since the rise of the smartphone as a user-friendly photo-taking alternative, she hadn’t used it for a while.

As a frequent show-goer, I decided to start taking photos of performers at live venues. The following are some tips and tricks I’ve picked up through research and experience. I’m not a trained photographer, and have little previous experience, so take everything I say with a boulder-sized grain of salt.

many guitars are shiny - keep that in mind when positioning yourself to snap a few of the guitarist or bassist.

delete as you go - i love burst mode, especially when performers are moving. but for every 10-15 photos i take, maybe 1-3 are actually worth keeping. use breaks between performances and other lapses to free up your memory card or you’ll run out of space fast.

wear comfy shoes - good advice in general, though i admit i will suffer for an outfit. but if you’re going to be moving around a stage, kneeling, standing on your toes, etc…

call ahead - some venues have special rules concerning photography, which is fine. what is somewhat less fine is trying to enjoy a standing-room live show with a 5-10lb bag around your neck and a camera going unused.

talk to people - a brief callback to the "rise of the smartphone;" i think the idea that anyone might be caught on camera whether it be photo, video, livestream, etc. has been heavily normalized as Big Tech (and by proxy smartphones and digital surveillance) expands. with this in mind, consider asking performers and audience members if it's okay for you to photograph them. while i'd argue most seasoned show-goers and performers understand shows as public events, it never hurts to ask.

transfer all your photos at once - I've never used high-end SD cards, so maybe the following only applies to cheap ones. whenever i take my time sorting through the card (i.e. deleting, importing, etc.) via computer, it's only a matter of time before the data ends up corrupted. import your photos in bulk, reformat your card, and sort them when you have time.

That's all for now; as usual, if you have any additions/corrections, please comment below.

[smokeitm]

Cancel cars, improve cities.

[smokeitm]

the jam

this is my jam session; there are many like it, but this one is mine, and that of all its attendees.

it starts late at night; it's cold, dark, foggy.

First Mate Aldo, the drummer i mentioned in a previous post, organized it at his recording and practice space. he shares it with other musicians, artists, and one he worked hard to get by his own admission.

it’s a converted warehouse space, probably intended to house large pieces of industrial equipment. by warehouse standards (of which i know little about), it’s small, maybe large enough to comfortably hold a workshop of 10-15 people. by practice space standards, it’s luxurious.

as many as 10 people can occupy the raised stage; most are seated, whether they’re behind the drum kit, hand drums, keyboard, or in front of the huge bass amp or odd guitar amp. a mixing board stands ready to feed and balance the noise to several PAs.

beyond the stage is a sitting and standing area, though the seating is adequate for up to 10 people. Tonight, there are at least 20 people, a mix of photographers, spectators, musicians.

The mood is jovial, fraternal, and casual. though I wasn’t privy to witness such times, these sessions were apparently missed during Covid. i can understand why.

the jams are funky and eclectic. the people are friendly and collaborative; there's no competition here, at least that i perceive. i play bass for one jam, and on the next, i find the beat too confusing, so i raise my instrument and signal for someone to take my place.

i spend a good amount of the time welcoming people to the space and manning the doors. it's not a ticketed event, but it is a secure location. Aldo is grateful; we talk, sometimes about his life, sometimes about music biz, sometimes with others.

it’s cold, dark, foggy when i leave. but my family, however temporary or permanent, has grown.

[smokeitm]

atypical practice pt. 2

...but she makes a turn, so i turn.

the doors hold the stickers and rants and raves of patrons past and present. an ashtray sits near one, two doors down from the room she leads me to.

Treva the Swab is inside, showing the other half of the band she and i are in to the electronics, the mixer, the PA, the amps, and all the powered and noisy interconnections.

He and his band played a show with us some time ago; i am a temporary addition, i've known from the start, though i understand that the two groups have had some relationship beyond a single shared event. else the Swab may not have trusted them nor the hired help, the drummer and i, to borrow his space; it's filled with gear: guitars, pedals, computers, all a musician needs to practice and perfect their rituals.

i unload and setup my gear; i dial an agreeable practice tone and volume and mute my rig for later.

he explains how to power the room down, then steps into the hallway for a smoke with the drummer and i. i don't smoke anymore.

i stay mostly quiet while he and the drummer exchange small talk. a piano sits in the hall with us.

it's inspiring, this seemingly forgotten nook in the heart of gentrified Seattle. i hope it's never redeveloped. i know it probably will be, soon. sometimes i worry that i've boarded a sinking ship just in time to watch the corporate offices rise around me.

it’s late into the evening when we actually start practicing. I snap my attention away from such thoughts in focus instead on the thick strings underneath my fingers. it’s over in a flash, we’re all smiling, laughing, and assuring each other that we’ve got this, we’re ready for the gig. i pack my things quickly, i need sleep.

a few last thank yous, hugs.

i like to think instead that this is how artists survive, have survived, and will continue to do so; supporting each other, making space for one another.

[smokeitm]

atypical practice

the night air is cold, dry, hinted with acrid fuel notes. a Prius weaves around a beaten DRW Ford along the one-way i’ve parked on.

today, i'd worked for nearly 9 hours in an office, sitting on my ass waiting to help people who'd already left for winter vacation days, weeks earlier.

i sling my bass over my shoulder and heft my lunchbox pedalboard in both hands. there's no obvious practice space for me to enter, and i think i'm the first one here.

fancy restaurants and chic boutiques line the sidewalks across from me, supporting apartments worth double my rent. i'd never be able to afford that, not without "making it," or giving up the ever elusive pipe-dream. not that i cared if i "made it." right?

she steps out from the seemingly abandoned building i parked next to and waves me over; she's happy to see me, glad that i made it safely and in a timely manner.

the eye of the security camera over the entrance looks to be painted over. the windows and walls are boarded up, though not sloppily so. small pieces of artwork adorn the otherwise beige, nondescript exterior. she opens the door.

it's subtly colorful and looks to be well kept, almost ascetic, if such a word exists in the cult of sound. the floor is scuffed, though not dusty. a farrago of furniture serves an open, narrow lobby adorned with various musical posters. patrons have graffitied the Beatles as well as the walls around them. no one has touched the depiction of presidential execution.

the walls become more bare as we continue. doom metal echoes down the halls; the dark doorway from where it emanates leads me to stare...

[smokeitm]

random guitar (and bass) tips; performin' n practicin'

Wow, y'all really liked my last random guitar (and bass) tips post. I hope these are as helpful as the previous.

Just some more info bits I've gathered over time that I would've appreciated when I first started playing guitar, especially in a performative setting.

Disclaimer(s); I'm not classically trained, I am not a medical professional, I do not live with a disability that affects my movement, and I've never fronted or sang for a band (yes, those are two different things, in my opinion)

Wear ear protection.

When you're practicing at home on a little 5w amp, it's less of an issue. But when you're practicing or playing with a full band (or if you're playing drums at any point), always wear ear protection. Cochlear hair cells do not grow back, and excessive noise leads to their death and subsequent hearing loss. Large containers of foam earplugs are usually $15-$20 (price may vary by region) at your local pharmacy; music shops also sometimes sell them. In a pinch, you can sometimes buy them from the bar or venue you're playing at (usually $1 a pair). Fancier, more expensive alternatives are available (I bought myself a pair of 3M Overear Earmuffs when I started playing drums).

Practice moving while playing.

As stated in my disclaimer, I do not live with a disability that affects my movement; I have no personal experience from which to draw upon to comment on how performers with such disabilities might establish stage presence through movement or other means.

My personal perception and appreciation for a live music performance is greatly influenced by the performer's ability to embody the music they are playing. Examples include headbanging, dancing, twirling, and many, many more.

Moreover, it's an demonstration of a performer's ability to multitask. Like anything, though, it's something that must be practiced; if you consistently practice playing while standing still, it's likely you will do the same on-stage. I first recognized this in my own performance after seeing a video recording of myself playing with a band; sure, I was playing the right notes and my outfit was killer, but I was just rocking back and forth. Once I started headbanging and coordinating my steps to the beats of songs when I practiced, I found moving while playing on-stage significantly easier. If you've got dance, theater, gymnastics, or choreographing experience, then you're probably ahead of the game.

One final note (from me, at least) on stage antics; if you're doing anything that sees you crossing significant distances (relative to the rest of the stage) or involves other members of the band, ask them about it before you do it.

Make space for others.

A broad statement, I know. Something that could be applied to so many facets of life experience. In the context of music, however, I'd argue collaboration is unavoidable, especially if you're playing gigs and/or working with other musicians. I'm sure I'll touch on this point more, but this is a start.

Make space for other people's ideas, musically or otherwise. If you want to control every aspect of a given song, you'd have to be a solo act or have a pre-determined understanding amongst the band that you are the sole contributor to the creative process (which sounds dictatorial to me, but hey, maybe that's my bias).

Make physical space for others; stop cramming the bass player in the dark corner (unless they want to be there), even when you're on a stage built on three moldy pallets.

Make musical space for others; absolutely take that solo but hand the spotlight over when it's someone else's turn.

Parting remarks.

Be kind to others; make it fun for yourself, your audience, and your fellow musicians.

And your ears. PROTECT YOUR EARS.

As always, if you have any suggestions/additions/arguments, please add them.

[smokeitm]

buying gear: new or used??

Some things I like to consider when buying instruments and accessories

Disclaimer; I deal mostly with guitars, basses, FX pedals, and amps. I've very little experience buying any other instruments.

used?

I'm heavily biased towards buying used gear for a number of reasons;

carbon footprint - I figure getting things second-hand means I'm not buying directly from the factory, but from someone who bought it from someone online who bought it directly from factory. I like to think that means I'm cutting fewer trees down.

informal (or less formal) economy - a lot of used gear can be found at local music shops or sites like craigslist. I generally try to avoid shopping online or buying from Guitar Center (though for some items, it's more difficult to find anywhere else) because it feels better to give money to my neighbor than to a corporation.

price point - used gear is often (though not always) cheaper than newer counterparts. the major exception that I can think of is vintage gear.

"character" - unless the piece was kept in a temperature controlled case for years on end and never used, it's likely to have collected a ding or sticker here and there. i don't go out of my way to scratch or sticker my gear (i don't like to sticker them at all, but that's personal preference), but a chip here or there is like a scar, and a reminder that objects age just as we do.

storied - used gear often has more of a story associated with them, even if that story only goes as far as "i met with some guy from craigslist in a sketchy parking lot at 9pm."

new?

All that said, though, there are some reasons one might prefer to buy a new piece of gear.

safety - you're much less likely to get mugged at Guitar Center than at sketchy parking lot at 9pm. that being said, i've never been mugged.

reliability - buying from craigslist keeps money local, but also relies on the good faith and honesty of people not bound by economic/corporate constraints. stores (including guitar center) generally have some form of quality control and regular maintenance.

wear & tear - simply put, new gear (unless it was blemished during manufacturing or transport, in which case it is usually discounted) usually lacks cosmetic wear; if you're looking for a shiny new piece, this is the way to go. moreover, certain gear components require specific skills and/or tools to repair or replace, something that is more commonly required for used gear.

parting remarks

as stated, i'm heavily biased towards buying used gear. nearly all of my gear (amps, FX pedals, and guitars) was purchased at a used music store or on craigslist. if you have any additional ideas or reasons for/against new or used, please feel free to comment and add to the discussion.

[smokeitm]

random guitar (and bass) tips; growing pains and ergonomics

Just some info bits I've gathered over time that I would've appreciated when I first started playing guitar.

Disclaimer; I'm not classically trained, nor am I a medical professional.

Don't play for an hour at a time.

It's actually not optimal, at least in my experience. It can lead to recurring or worsening joint pain, especially in the fingers, wrist, and elbow. If you're trying to play for an hour everyday, try to space it out over the course of the day in 15-20 minute chunks.

As a personal note, this is why I hate when my bandmates push for long sets (45 minutes to an hour). It usually puts me out of commission for at least a day. Moreover, I've always gotten bored when watching bands play for longer than 45 minutes; it's around that time that everything starts sounding very samey.

Conserve your joints.

There are so many things you can or have to use your joints for. If you're trying to practice guitar on any given day, consider the amount of work you need to do that heavily utilizes your joints; common examples include typing, writing, washing dishes, folding laundry, video games, drawing, etc.

This also extends to the joints in your back and legs; if you spend a long portion of your day standing/sitting, consider doing the opposite while practicing to avoid overexertion.

Play through (some of) the pain!

Soreness on the pads of your fingers is to be expected, especially when you are first learning guitar. This is pain that you can play through, if you choose to.

Hand/finger cramps are usually a good sign to stop, as is joint pain. If these kinds of pain are recurring despite efforts to avoid them, consider and experiment with the ergonomics of how you are playing; examples of adjustments you might make are guitar strap length, strap positioning, the way you sit/stand (get some lumbar support!), the angle at which you pick, the way you hold a pick, pick thickness, string gauge, chords/licks/songs you play, and even the instrument itself.

Parting notes

In my opinion, playing guitar should be fun and comfortable, not painful. Experiment; try a new pick thickness, even if you've been using the same kind for years, or that new guitar with a tummy cut. Moreover, remember that learning to play an instrument doesn't have to be a race; practice 15 minutes a day, every other day, or even once a week and you will see progress.

If you have any suggestions/additions/arguments, please feel free to add.

(Link to my most recent random tips)

[smokeitm]

ion need a lot

warm lighbulbs, harwood furn’ture

ion care if’s cheap

[smokeitm]

all my gear (and reviews) pt 1.

A brief timeline of all the gear I've owned. Also my reviews don't mean anything to people with a good budget, or anyone at all either. Maybe.

My first guitar was a Lyons 1/2 size classic guitar. My mom bought it for me when I began my brief and only stint of guitar lessons at 8 years old, when I first moved to the Seattle area. It sat largely unused until I began a brief stint of guitar tutoring. It now sits unused in my living room. It's worn and bowed, lacking any form of truss rod. The strings have been replaced once.

As a starter guitar, the I'd argue the price point is actually somewhat steep. That being said, I'm no authority on classic guitars. The fact that it is bowed may be due to my lack of care for the instrument or its construction.

My second guitar was a steel-string acoustic with a 1/4 jack. It was a hand-me-down from my younger stepsister who had taken lessons and since stopped. I remember playing Rammstein on it. I don't know where it is now.

This guitar was well made, and played well. Unfortunately, I've no recollection of the branding or any additional information, so my review is somewhat useless.

My third guitar was a black Fender Stratocaster Squier series. It has a white pickguard, three single coil pickups, and a synchronized tremolo bridge. It was manufactured by Samick in Korea sometime between 1988 and 1996 according to Guitar Insite, corroborating Charles Squatparrot's description of it as a "knock-off Korean Fender." He sold it to me for $100. I still play it today. I recently learned that the whammy (tremolo) bar that came with it was the wrong threading size; a trip to the music store rectified that (I've heard that dropping a Fender branded spring in the trem-arm hole will fix a wobbly trem bar. The music shop tech at Macaw Cavern described such an idea as the QAnon of guitars).

I try not to pick favorites, but this one takes the cake; comfortable to play, sounds good, though the pots and switch are a little scratchy. I've no clue how it compares to more contemporary Squier series. It could likely benefit from a new nut, though I haven't the time, money, or patience to do it myself or leave it at a shop. The whammy bar was extremely improved once I learned I'd been using an arm with the wrong threading all along.

My first bass was a blue sunburst Costzon P-Bass. I bought it off Amazon (do not buy gear from Amazon if you can help it. Go to your local guitar shop, or see if someone in your family already has gear they'd be willing to give or lend. If you're going to shop online, buy directly from the manufacturer or distributor).

An decent bass for the price point, and excellent as a backup. I highly recommend it as an affordable starting electric bass. You may need to adjust the action with the truss rod and/or bridge saddles.

My second bass was a candy red 5-string Rogue Series II. I bought it from Debris Isle, a second-hand music shop. It had a damaged nut which the owner happily replaced on the spot. I eventually traded it out for the third bass I purchased.

It did not play well. It sounded mediocre. I wouldn't buy it again for more than $100.

My fourth guitar was a vintage sunburst Epiphone Les Paul Special II. I bought it from Matt Grayhate on craigslist for $120 in a parking lot. I tested it on an amp plugged into a running car. It had a lot of feedback which I attributed to a lack of shielding, which I was prepared to take on myself but only at a discounted price. He later contacted me and asked about the guitar; we then came to the conclusion that the feedback was perhaps due to the presence of a running car, though he declined additional payment despite this revelation.

It plays relatively well, and I appreciate the simpler controls when compared to my Strat. As expected, it doesn't do clean tones as well, though I rarely play clean.

My third bass was a black 5-string Ibanez TMB with a red pickguard. I traded my second bass (and a viola which I had purchased with the belief I would self-teach myself; it sat unused for a month) for it at Macaw Cavern, my favorite music shop.

It sounds phenomenal and is beautiful, though it is heavy as sin. For someone who likes to move a lot while playing, it's a bit too weighty. I may trade it in for something lighter at some point. Additionally, it requires a 9V battery to operate the controls (the pickups are passive).

My fourth bass was a black Ibanez miKro. I bought it for $5 from Captain Alannah. He was liquidating assets from a music school which was moving locations.

It's lightweight, plays well, and it was a steal of a deal. It's got a little white tag from its music school days but that's okays.

[smokeitm]

the second band

The second band I joined was contemporaneous with No Sausage. We called ourselves The Hideous Service. I have no recollection as to how I joined, but I remember bundling up against the cold and struggling to play bass with fingerless gloves. Admiral Chaz, the choir director, was its organizer, and played guitar. He was also preferential towards bass, and would give me occasional informal instruction. Opal Seawolf was on drums, and his girlfriend, Sugar-Tongue Shelly, was on vocals. I knew Opal Seawolf, though not well. I'd been to his house once, long ago.

I have vague memories of practicing in the same choir room as No Sausage. I remember more vividly carting a large Ampeg (115?) along with an assortment of drum parts and a guitar amp up and down the rain-slicked blacktop hill that lead to the football field.

I have no knowledge of when football season is, only that we played when it was cold, dark, and rainy. We were the pep band; though we had a concert band, they were not present for games. We played AC/DC, The Beatles, and other easy fare for a fledgling bass player in between football plays; did it boost morale, or school spirit? I didn't know. I was there to play bass and eat a hot dog.

There were no performances per se; we were there for the sports games, and nothing else. When I graduated, or perhaps some time before that, I exited the Hideous Service.

[smokeitm]

the first band (no sausage) pt. 2

I don’t know how much time passed between our first and second (?) (last?) gig. It was a fundraiser organized by a friend of mine, Emiliano Stablebrand.

Emiliano had performed at the talent show, and I’d produced (extremely amateurly) a beat for him to rap a poem he’d written for English class. He also played violin and a perfussion instrument unique to his culture.

I don’t remember what the fundraiser was for. Parking close by was difficult but a necessity as I was driving at least some of the band to and from the show as well as some gear (by then I believe I’d purchased a 25w Fender Rumble).

We coordinated our outfits; Hawaiian tourists. I wore a bucket hat. Cap’n Brutal’s brother was on drums now, and the Dread Pirate Jakobs was gone, graduated or otherwise occupied.

The stage and setting was strange; a little platform in the center of a small, modern office building. A modest crowd attended. The lighting was nice, just soft glows of rows of different colored bulbs.

Two of my rapper friends, Sir Oli Smart and Keithplank, who I’d been helping in the studio (I was the only one who knew how to use the computer, knowledge of the whole recording board was just barely infantile), also performed. They were strange friends. They’d have me drive them to the nearby burger joint during lunch or the mall after school, buy me food and anything I wanted, which was really just food. They’d shop for expensive shoes and streetwear. They’d drop the N word, though they weren’t black. I don’t know if they fully understood its significance. I’ve never rapped, and I cannot speak extensively to its history nor its modern-day expression. However, while we’re on this tangent, I must affirm two things; rap is music, and the N word is complicated (please consult black scholars and centers of knowledge on the matter if you’re genuinely interested in learning more. I am neither black nor scholar).

I believe we played another talent show similar to the first. The memory is so foggy I’m not entirely sure it even happened.

As graduation loomed, practices became less frequent, though I grew closer to both Cap’n Brutal and Robert Bones. Robert invited me to a music festival in California where we stayed for three days, escorted by his parents. I discovered one of my favorite punk bands there.

Robert Bones was the first out trans person I’d ever met, though I didn’t fully understand what trans meant at the time. I haven’t talked to him in years.

[smokeitm]

the first band pt. 1

No, I'm not counting middle school concert band. No Sausage is the first band I joined. As I remember it, Cap'n Brutal approached me while I was in art class. He'd come along with Robert Bones, and they asked me if I'd like to join them for the high school talent show. They were my friends, though I'd forgotten that in the haze of what I believed to be deserved self-hatred and isolationism (toxic, yes. I was 16. I like to think I've grown). I said yes, I could play guitar. At the time, I'd been plucking Rammstein riffs on an acoustic that once belonged to my stepsister. I'd taken maybe 8 lessons when I was younger.

I knew I needed to get an electric; though my/my stepsister's guitar had a 1/4 jack out, I couldn't bring a grandpas guitar to a rockband! I asked my math teacher, Charles Squatparrot, if he had a line on any cheap guitars. He'd been my go-to during lunch and when I didn't understand math, which was often, and I'd seen guitars in cases lying around his office. Charles Squatparrot told me he had a "knock-off Korean Fender" (I believe these were his exact words) that he'd bought for a gig that required a black and white theme, but that bass was his main gig. He said I could name my price. I asked how much he'd gotten it for; he said $100.

I showed up the next day with a $100 bill, one of the two I'd stashed in a shoebox. He seemed a little disappointed; I wonder now if he'd have appreciated a card, or a sentimental gift more. But now I had an electric.

I showed up to rehearsal at the end of the week. It was a warm, sunny day, and the choir room was humid. As expected, Cap'n Brutal and Robert Bones were there. Also there was the Dread Pirate Jakoba, one of my middle school bullies and Blonde Charlie the Feared, friend of Robert Bones.

They'd told me the others would be there. I'd wanted to join the band anyways. Call it luck, or the fact that we were a little older, or the fact that I had my friends to back me up, or the fact that we were all connected in some way to one of the other members; I never had a problem with the Dread Pirate Jakoba again. We had a strange coming-of-age conversation with him after one of the practices, though the exact details are lost.

The main issue that day was that Robert Bones and the Dread Pirate Jakoba were already slated to play guitar. We couldn't have three guitarists, could we (you can, we just didn't think of it)?

"You could play bass...?" I remember either Robert Bones or Cap'n Brutal saying. I said something to the affirmative. Guitar and bass; they're basically the same, right? I remember thinking, or maybe saying. Bass is just easier. The choir director, Admiral Chaz, was kind enough to let me borrow his 5-string tiger print bass for rehearsal. He’d built it as a gift for someone. I don't know why they didn't have it instead.

That day, we played along to the three covers we'd selected, easy punk rock and indie songs from artists of significant notoriety. Blonde Charlie the Feared was a beast on drums. Cap'n Brutal glanced at the lyrics on his phone while mine ran the tracks through the PAs. I followed along as best I could; playing guitar had prepared me somewhat for bass-playing. I was familiar enough to understand tabs, and navigating the fretboard was an easy translation. But I wasn't prepared for the roughness of bass strings against my plucking fingers. I can't remember if I continued plucking or if I switched to a pick. I do remember that I ordered a 10 watt sawtooth amp and a cheap no-name bass off Amazon that night (if you can avoid it, do not buy gear off Amazon. Go to your local music shop, even if that’s Guitar Center. Try craigslist, and meet in a public space in broad daylight. Or better; ask your friends or family if they have one already, though none of mine did).

We rehearsed for a week, maybe two. Charles Squatparrot remarked that I was now playing bass despite having bought an electric. I asked him for bass tips; he told me he used the thumb of his fretting hand to press and hold the top string sometimes. I’ve never found practical use for this personally, except when my other fingers need a break.

Sometime before the talent show, Admiral Kristy, the theater director, came by to parse our lineup. Robert Bones asked if he could have a chair and a music stand for handwritten tabs. Admiral Kristy said something to the effect of “this is rock and roll! There’s no sitting in rock and roll!!” I don’t think Robert Bones got his stand nor chair.

The performance was a blur of lights, sound, and applause. I’ve no recollection of the actual event beyond flashes of light on blackbox theater and snapshots of the other acts. I’d played Admiral Chaz’s bass because I feared I’d mess up trying to convert to my new blue four string.

If I’m remembering correctly, Admiral Kristy and Charles Squatparrot both played as well, though in separate acts. There were at least 4-5 other acts.

I stayed until 10-11pm to help Admiral Kristy with teardown.

[smokeitm]

introduction

Hi there. I'm a queer musician from Seattle. I'm going to post observations, musings, and unsolicited opinions about my experience in the music scene here because I'd prefer to say it to the void of Tumblr where it might get read a couple times instead of my Google Drive. Maybe it'll be entertaining to read, or maybe you'll learn something that helps you someday. I'll also probably write analyses about my favorite artists and songs and whatnot.

Feel free to ask me stuff.

Some disclaimers about future posts:

I'm not a classically trained musician, and I don't purport to be an expert on anything.

I won't refer to any person, band, or venue I mention by their true names; all names of individuals will be generated here, names of bands will be generated here, and names of venues will be generated here. Any similarities in name to actual persons, bands, or venues are purely coincidental. That being said, any anecdotes described here are drawn from my experiences; if you happen to recognize me or any of the other players or stages, please refrain from doxxing. I'd most likely delete my account in such a scenario.

Everything I say is subjective, and should not be taken as fact.

I don't foresee posting regularly, but who knows. My current goal is once a week.