Saturday, October 30, 2010

The Motion Sick's Patrick Mussari (and daughter) featured in Kelly Davidson's Rock 'N' Roll Parents Photo Exhibit

The fourth installment of photographer extraordinaire Kelly Davidson's Rock 'n' Roll Parents series, which began in 2005, features The Motion Sick's very own Patrick Mussari with his daughter Charlotte (seen at left on the flyer).  The photo exhibit runs for all of November at ZuZu Bar! in Central Square.  Some more info from Kelly in this interview with the Dig. (For those keeping score, Kelly also performed as Patrick in The Girls of The Motion Sick.)


Opening night of the exhibit is this Monday (the 1st) and Kelly, as well as many of the photographed will be in attendance (I am guessing the kids won't mostly be there, but hey, who knows?!??!).  The series also features members of bands This Blue HeavenScarce, Sleepyhead, Eddie Japan, Thee Hydrogen Terrors, Rick Berlin Band, The Invisible Rays, and the solo artists Kris Delmhorst, Jeff Foucault, and Jeffrey Simmons.

The details in summary:
Rock 'N' Roll Parents Exhibit Opening
11/1/10
ZuZu Bar!
474 Massachusetts Avenue
Cambridge, MA
10 PM - 1 AM
Musical entertainment will be provided by Coo & Howl

Tuesday, October 26, 2010

Neutral Uke Hotel at CMJ: Recap with Video of Show Plus Street Performance Video

It was exciting to head down to NY for a 6-hour visit to play the Green Room Music Source showcase at CMJ this year with Neutral Uke Hotel.  I took a casual train ride down and got to listen to a bunch of fascinating episodes of This American Life (it's often hard for me to find an hour-long block to just listen and I hate to do any interrupted listening).  I arrived in NY and took the subway over to the venue (Cameo Gallery).  The stage was in a secret room hidden away in the back of the bar/restaurant.  It was a small space, but had this crazy thing hanging from the ceiling.  It was kind of a bunch of strings that touched the heads of the artists on stage.  Pretty uncomfortable and awesome!  Some kind summary words were written by Playground Boston, The Whiskey Dregs, and Green Light Go!



Before we played the showcase, we had a great time recording a live session on the street for Modern Mystery Blog!  It was a whole lot of fun and we did a Neutral Uke Hotel song as well as a Golden Bloom song.  I always love to share a nice rendition of Golden Bloom's "Doomsday Devices," a song covered by The Motion Sick for our split 7" with Golden Bloom.

Modern Mystery blog also took a whole boatload of photos from the showcase, which you can see on Flickr.


Update: The awesome videos from the Modern Mystery Session are here! We played on the street to shoppers, bicyclists, and one cute dog.






To add to the Cameo Gallery experience, click image below for some more green room marker-drawn genitals to go with the rest of my collection from our tour this Summer: 

Now that we've gotten that taken care of, here's some video of our showcase.  Unfortunately, we had to head back to Boston that night, so I really didn't get to see all that much.  I caught Snake Rattle Rattle Snake, Golden Bloom (of course featuring 3 members of Neutral Uke Hotel), and a little of Pearl and the Beard before heading off.  The color video below is courtesy of the Limewire Blog.  They wrote a little piece on the show and included these videos.  The black and white video was the best I could pull off with my camera.  Thanks to Lauren Roberts for recording the NUH set!

Photos via melophobe

Videos
Neutral Uke Hotel
(First video from Limewire Blog)


Video from my camera taken by Lauren Roberts


Golden Bloom


Pearl and the Beard (embedded video from Limewire blog)



Snake Rattle Rattle Snake

Saturday, October 23, 2010

The Girls of The Motion Sick = Sweetest Thing Ever (with video!)

(I had originally posted about the event here.)

Let me just start with, a HUGE thanks to: Agent Mike Bishop, Leesa Coyne, Veronica Dale, Kelly Davidson, Sophia Cacciola, Jen Johnson, Tad Mckitterick, Kate Murdoch, J-Krafty, Sarah RabDAU, Matt Graber, Peter Moore, Eric Donohue, MacKenzie Outlund, Stu Dietz, Aaron Rosenthal, Mark Desrosiers, and Brandon Erdos!

Last night, at Cafe 939, The Girls of The Motion Sick chanted, "they lucked out and scored us awesome chicks" in their lone original song (see song #6 in the playlist below), an eponymous number giving a sort of explanation of the project and dedicating a set of verses in which each of us fellows in The Motion Sick got a bit of a roasting.

Indeed we did luck out as our female counterparts of sorts gave us a very kind sendoff by learning and performing a set of our songs. They even roped the other acts on the bill, an evening organized and promoted by Agent Mike Bishop, into doing a song each and got several notable special guests in on the performance. It was really very flattering that they took the immense quantity of time and energy to let us have fun with our songs one more time before we are off on an indefinite break. The evening was also the photo opening of a photo exhibit by Kelly Davidson, rock photographer to the stars and official tour photographer for Do Not Forsake Me Oh My Darling.

Photo by Kelly Davidson - Based on this photo
From Left to Right: Veronica Dale (The Future Everybody) as Matthew Girard, Leesa Coyne (Naked on Roller Skates) as Michael J. Epstein, Sophia Cacciola (Do Not Forsake Me Oh My Darling) as Travis Richter, Kelly Davidson (Naked on Roller Skates) as Patrick Mussari 
Here is a full video recording of their awesome set, which also included guest appearances by Jen Johnson (Static of the Gods), Tad Mckitterick and Kate Murdoch (Sidewalk Driver), and J-Krafty (the original crafta) as well as a giant all-in dance-and-sing-a-long version of "30 Lives" to close the night out:

Sarah RabDAU and Self-Employed Assassins took "Grace Kelly" full circle, allowing its lyrical depiction of its main character's circus life to shape the form and arrangement of the song.  It was shiver inducingly great!  Here's some video of that performance and a couple of their original songs:

This Blue Heaven took what I can perhaps best describe as a Latin music approach to "Losing Altitude" - my complete lack of taxonomic knowledge of the category leads me to sort of guessing to call it kind of a Bossa Nova approach.  It was really excellent to hear the song transformed and owned by TBH and really great to hear it go down a path we never would have (or could have) taken on our own.  Here's video of that performance a couple of originals from TBH.




The show garnered press writeups in the Metro (scan below), The Weekly DigBoston Band Crush, and Cheap Thrills.

Monday, October 18, 2010

The Michael J. Epstein Memorial Library Lyrics and Chords Collection

Photo by Joel Edinberg
As we begin our studio journey to document the first 9 volumes of the MJEML song collection, I thought it most appropriate to share with you the songbook for your perusal. These notes contain the main chord progressions as played on the ukulele/acoustic guitar as well (including capoed forms).

You can see some video of our early performances here and here and can listen to (and download MP3s of) a 3-person radio session here.

Michael J. Epstein Memorial Library Songbook October 2010 Edition
1. Holy Ghost
2. 4th grade book report blues
3. Civil Engineering Blues
4. Emily
5. Stranger
6. Every Time I Visit You It Rains
7. Amylee
8. Lymph Nodes
9. Small Crack


1. Holy Ghost
TIME SIGNATURE: 2/4
KEY: G

Intro: G C9 G D C G D x 2

G C9 G
I'll Scrub away the caked on empathy
D C G D
You've got a natural defense against the buildup of anything
the war is over everyone agrees
you don't weep for nothing and you won't lose any sleep
c
and to everyone who caught your act
G
and everyone who's got your back

C D G
to everyone who tries to dance too close
you say leave some room for the holy ghost
but you push away the angels and the host
because Heaven is the place you fear the most
so you say leave some room for the holy ghost

close your eyes, just count to five, and breathe
all the shivering and shaking, it don't constitute disease
the war is over everyone agrees
you don't weep for nothing and you won't lose any sleep

just an entropic event
not God given, not God sent

chorus

solo

Like the calm before the storm
like the right before the wrong

chorus

-----------------------------
2. 4th Grade Book Report Blues

TIME SIGNATURE: 6/8
KEY: E
Notes: (Capo 2, chords listed are real chords - parentheses for capoed forms)

E(D) A(G)
I was bored, I was lonely
so I read you to the end
F#m(Em) A(G) E(D) A(G)
but I would not recommend you to a friend

you were the right reading level
just the right twists and bends
still I would not recommend you to a friend

E(D) A(G)
You left me so empty
in the chapter books room
you talked about menstruation more than Judy Blume
The pictures were gloomy, but I stuck around til the end

F#m(Em) A(G) E(D) A(G)

and I would not recommend you to a friend
no I would not recommend you to a friend

(instrumental section like a verse)

F#m(Em) A(G)
no I would not recommend you
F#m(Em) A(G)
would not defend you
F#m(Em) A(G) E(D) A(G)
when the boys start throwing rocks again

F#m(Em) A(G) E(D) A(G)
no I would not recommend you to a friend
I would not recommend you to a friend
no I would not recommend you to a friend

---------------------

3. Civil Engineering Blues

TIME SIGNATURE: 4/4
KEY: G

G
the city was built it was perfectly laid out
D
in a gridlike form, none too close to his neighbor
but problems evolve, no they're not created
put disclaimers on the news


There's a man on the street, God told him to wait there
for a message to be sent in a bottle
but the bottles he sees are all broken, discarded
by boys stumbling by late at night

C D G C D G
no they won't talk at all they go la la la

and the boys they pass by they won't give him a dollar
cause they know that he'll use it for mouthwash or sterno
besides they've got nothing left in their wallets
they just spent all their money on beer

no they won't talk at all they go la la la

and the leaders of nations stand tall at their pulpits
complain about how they're all victims of violence
and nothing they do will solve any of this
so they may as well just smile

and they may talk a lot, but it's la la la

C D G C D G
You're a proselytizing, prophylactic mess
and the girl that loves you is circumspect
with her bloodshot eyes and her tearstained dress
2x

no you don't talk at all, you go la la la 2x

G
end glock run

-----------------
4. Oh Emily

TIME SIGNATURE: 4/4
KEY: G

D G
Oh oh oh Emily
You wear a shroud of misery
Not a beam of sympathy
Can make its way inside

Oh oh oh Emily
Please accept this elegy
My last attempt at chivalry
Afforded little time

C G C G C G C D
and those days went by when the birds did cry
songs without joy or shame
and beauty lives in coincidence
scrawled out on scraps of page

Oh oh oh Emily
You will go down in infamy
A symbol of failed artistry
An ideal purist frame

Oh oh oh Emily
A victim of your vanity
Reflecting back monstrosity
a small price to pay

and those days went by when the birds did cry
songs without joy or shame
and beauty lives in coincidence
scrawled out on scraps of page

(verselike instrumental break - flute/viola featured continuing ideas from days went by section)

oh oh oh Emily x3
You did it all in vain


-----------------------------------------------------
5. Stranger
TIME SIGNATURE: 4/4
KEY: G

G Em
We were so proud for using such big words
We were born on the right half of the Earth
and as it circles like the vultures in the sky
I grow my cover because I've got something to hide

C D G
Sometimes I find it strange that I'm alive
and even stranger stranger that I'll die

Sometimes we go to bed without any food
We always sleep without a hint of the truth
and I will scream until I hit your notes of praise
Keep on crawling until I finally escape

Sometimes I find it strange that I'm alive
and even stranger stranger that I'll die

(instrumental section)

(minimal instrumentation in last verse)
Sometimes I whisper just to make you feel alone
Sometimes I run away for the rush of coming home
Sometimes they ask me why I let you slip away
When they can't think of nothing, nothing else to say

Sometimes I find it strange that I'm alive
and even stranger stranger that I'll die
and even stranger stranger that I'll die (stop on G)



------------------------------------------------------------------------------
6. Every Time I Visit You it Rains
TIME SIGNATURE: 2/4
KEY: G

GCD
Every time I visit you it rains
GCDC
it's not as if I bring the clouds on board my train
GCDC
it seems we're just the victims of that electrical display
GCG
because every time I visit you it rains


every time I call you you're away
the ringing on your telephone buzzes fur elise all day
it must be how it stimulates that cellular array
because every time I call you you're away

C D G C
Let it rain, let it rain, let the sun shed all its pain
C D G G
let it rain let it rain let it rain

Let it rain, let it rain, until the moonlight's washed away
let it rain let it rain let it rain


every club we go to is passe
dancing to the horrors they call music that they play
avoiding all the people just trying to get laid
but every club we go to is passe

Let it rain, let it rain, let the sun shed all its pain
let it rain let it rain let it rain
Let it rain, let it rain, until the moonlight's washed away
let it rain let it rain let it rain

(rain breakdown)

Let it rain, let it rain, let the sun shed all its pain
let it rain let it rain let it rain

Let it rain, let it rain, until the moonlight's washed away
even if we're trapped here in the rain
even if we're trapped here in clichés


------------------------------
7. Amylee
TIME SIGNATURE: 4/4
KEY: F#m

(Capo 2 - capoed forms in parentheses below)

F#m (Em) D (C)
Galaxies are born and galaxies collide
but gravity just took me for a ride
F#m (Em) D(C) E( D) A(G)
and I know I could shine brighter than a billion solar bursts
F#m(Em) D(C) A(G)
but I just called to save the universe
yeah I just called to save the universe

and one day I was born and everything collides
and gravity just took me for a ride
and sometimes I feel darker than a billion black hole bursts
but I just called to save the universe
yeah I just called to save the universe

(instrumental section)

I cut off all my hair didn't know what else to remove
but gravity tried to pull me right from you
and I fought a billion comets just to end this ancient curse
and I thought i could save the universe
I've got to try to save the universe
yeah I knew I could save the universe
so I just called to save the universe
-----------------------------------------------

8. Lymph Nodes

TIME SIGNATURE: 2/4
KEY: E

(Capo4 - forms in parentheses)

E (C) C#m (Am)
My lymph nodes are swollen
A (F) B(G)
my tonsils are bleeding
E(C) B(G) E(C)
from screaming at my reflection

I'm looking for something
but it's not what I'm seeing
just a world in reverse direction

C#m(Am) E (C)
but I'm not singing for your sympathy
A(F) E(C)
I'm not shivering to stay warm
E(C) B(G) E(C)
I'm just a victim of another resource action
I'll lose my voice a million times
if it will stop a war
and the list of victims won't grow any longer

(solo)
(last line) and all that we have left now is screaming (everyone sings this, but it favors more unison)

my lymph nodes keep on swelling up
and someday will be cancer
not far from psychosomatic reaction
I'm looking for something
but it's not what I'm seeing
just a world in reverse direction

C#m(Am) E (C)
but I'm not singing for your sympathy
A(F) E(C)
I'm not shivering to stay warm
E(C) B(G) E(C)
I'm just a victim of another resource action
I'll lose my voice a million times
if it will stop a war
and the list of victims won't grow any longer

and all that we have left now is screaming

------------------------------------------------------------------------------
9. Small Crack

TIME SIGNATURE: 4/4
KEY: Bb

(Capo 3 - forms in parentheses)

A# (G) D# (Cadd9)
25 to life for a crime I didn't commit
stonewalls and train whistles out in the wind
one night I dreamt of a calling from the world outside
when I woke up in the morning, there was a glimmering light

A#(G) D#(C) F(D) D#(C)
There's a small crack, yeah its' true but it's gonna be a while before we make it through
There's a small crack, yeah it's true but it's gonna be a while before we break on through

so I start singing every night up to the sky before bed
praying to the lord that no one hears what I said
with the first stone loose, and the second now on its way
Just might see the open sky someday, cause...

There's a small crack, yeah its' true but it's gonna be a while before we make it through
There's a small crack, yeah it's true but it's gonna be a while before we break on through

It broke right open like the red sea parting way
Stuck my head out, heard the birds, saw a cloud's smiling face
Not more than a mile, the sky opened up as the siren's blazed
wasn't long before the dogs dug their teeth right into my leg

There's a small crack, yeah its' true but it's gonna be a while before we make it through
There's a small crack, yeah it's true but it's gonna be a while before we break on through

25 to life turned to hanging by the end of the day
as the knot got tighter, the sky got brighter anyway
The clouds cracked open and a light shined down on me
as I floated up to touch it, I couldn't stop singing this praise

There's a small crack, yeah its' true but it's gonna be a while before we make it through
There's a small crack, yeah it's true but it's gonna be a while before we break on through

Sunday, October 17, 2010

DNFMOMD: Most Epic Video Shoot of All Time! (with Behind-the-Scenes Video)

Final video info / screen shot comparisons / video itself (6/9) here!!!


3/13/11 Update (last 3 days of shooting and preliminary screening info here!)


Around this time last year, Mike and I approached Theodore Cormey of Lost Jockey Productions about producing a video for us. We had seen his most recent work with Sarah RabDAU and Self-Employed Assassins and were really impressed. We met at Diesel and laid out a vision of shot-by-shot recreation of the opening squence of the cult late-'60s ('67 and '68 to be exact) TV Show, The Prisoner. Since that fateful evening it's been a whirl-wind of logistical emails, location scouting, and prop hunting. Every step of the way, the question has been, how much of a compromise are we willing to make, after all we're recreating something that is 40 years old and British; and for Mike and I the answer all along has been 'let's get it as close as possible'! I can say, that after 8 days of shooting, we are very, very close to a near-exact recreation.
Photo by Mike Bishop

While we don't have any final footage, we do have an extensive behind-the-scenes look at the first 8 days of shooting. We've got about 7 million photos coming soon as well, but first, we must sort, so for the moment, we present you...video:



The best way to recount the events leading up to our video, is to acknowledge the people who have helped so far. Something of this magnitude and insanity takes a lot of people to pull off. We were really lucky in having people around us that were in ever-good humor despite the stresses and long hours.  When a project like this ends, there are so many people that become invisible to the viewer.  No one thinks about the art director each time they watch the video.  So, we'd like to remind you that the only way something like this can ever get done is through the tremendous contributions of a large cast of people!


Ted Cormey - our intrepid director - he's spent countless hours (literally months) scouting out perfect locations and coordinating people and vehicles and worst of all, putting up with Mike and I! We are tyrants when it comes to our vision, but Ted keeps rolling with the punches.




Stu Vose - Stu is our cameraman - he's been a wind of calm throughout the shoot and he always finds the tense moments to say that everything is going to be fine and prove it with the playback of his amazing camera work.



Juliet Schneider (Iridium Productions) - Juliet has an incredible eye for detail and finding the perfect props - and what she can't find she creates from balsa wood and foam-core and pure magic!



Dana Freeman - finding the exact replica of the Prisoner car (the Caterham recreation of the Lotus 7) was perhaps the biggest stroke of luck that we've had so far. It's the exact car and paint job and one of only about 40 in the world. It's owner, Dana, and I struck up a quick friendship and he so graciously allowed us to use his vehicle and drive dangerously through downtown Boston during tourist season.


Sasha Goldberg - Sasha tirelessly worked the set running around from technical details to art department as needed -one minute she's was carpet specialist, the next she's manning the monitor in a dark, cramped basement, and the next whipping up some eggs for the crew.




Nicole McConvery - Nicole worked with Juliet in the Art Department - she made incredible faux-furniture, modern sculptures and many other integral pieces of our set, she was also often the last to leave right before us - helping out in whatever way she could find until the very last moment.






Photo by Ted Cormey

Chris Engles - worked the lights on Saturday for Stu - he also took some incredible photos.

Along with Chris, Anthony Jarvis also assisted Stu on Saturday - he was great for cutting through tension with some well-timed, that's-what-she-said and choicer moments.



Photo by Ted Cormey

Jim Turner - on Saturday it quickly became apparent that our shoot schedule was just too ambitious and we'd need an extra day of shooting - Ted and Stu took to their phones and rounded Jim up on 12 hour notice to come and assist Stu on Saturday - I think we introduced him to tofu and raspberry heifeveisen - but he seemed to take it all in with good humor.




Additionally, David Rodal made many, many trips moving props to and from the set, and he even drilled the keyhole of our smoke-door! Also, Katya Popova painted some of the paintings that fleshed out our office and apartment scenes.

Finally, many, many thanks to our friends who volunteered to do odd-jobs around the set and generally kept me calm and amused:


Jeffrey McDonald - was at the set at the ungodly hour of 7:30AM on Saturday - he gave hands to the art department and did manly things like build fake windows and hold up prop tables while things were being smashed right above his face!




Erica Truncale and her Jeep became quickly indispensable, she'd show up one minute and we'd send her out the next on the errand of the moment (whether it be buying fabric, picking up generator rentals, moving desks, or grabbing us lunch) she was willing to do it all. (Photo of Erica delivering life-sustaining nutrition at: http://www.tabblo.com/studio/stories/view_super/1806580/i39255566/ )





Richard Bouchard stepped in on Sunday and realized his life goals of becoming a blind (like Venetian, not can't see) enthusiast and a master smoke-monster summoner.




Mike Bishop got to get back in the van with us (he spent 10 days on tour with us over the Summer) for the 2 hour trek to the Cape for our perfect beach location. He was marvelous as our Rover-wrangler and fisherman-repellent.





Marianne Cacciola - Marianne left town and  let us invade her space and move all of her furniture around - a huge help on our two-day indoor shoot. I'm still scared to show her the photos of what we did to her place!

That's it for now! I feel so overwhelmed by how everyone came together to make this all happen, I'm so honored to have such amazing friends. We truly have a great team. Coming up, we have one, possibly two days of shooting left in November and then we edit this beast!

Friday, October 15, 2010

Why I Like...

I like things on Facebook.  Agent Mike Bishop made a t-shirt about it. I wrote a little bit about why I like things on my post regarding my 7 Rules of Social Networking.  In summary, I "like" things on Facebook as a way of subscribing to a conversation.  I have nothing to add, but want to know when other people comment.  Now, Facebook has changed it so I do not receive e-mail notifications on statuses that I've just liked.  Thus, liking is no longer sufficient.  Instead, I must comment "like" to achieve this.  I apologize for taking up a comment space with simply the word "like," but Facebook has left me no choice. UPDATE: I instead comment "!!!" It's better.


Thursday, October 7, 2010

Rock Shop #8 Wrap-Up (Some Video, Some Text, Some Photos) - Do Not Forsake Me Oh My Darling

The Rock Shop social media experiment last night was a grand time.  Big thanks to Steve, Clay (it was his birthday even!), Charles, and everyone else for letting me be involved with the panel and for letting Do Not Forsake Me Oh My Darling rock The Mid East Down!

My "manifesto" on social media and networking (written in the process of outlining some notes so I had at least a chance to sound like I knew what I was talking about on the panel) has become the most popular post on this blog ever, in just 1 day!  Exploit Boston! also kindly wrote up a little piece on it.

I really enjoyed sitting on the panel and I hope that some of what we said was useful to people trying to figure out how to navigate their band's presence.

A little media round-up (I'll add new things as I find them):
Safe Digression has a really thorough summary and critique.
Morgan's Corner recaps the event with some quotes and a summary.
Antler Agency reviews the panel and outlines what we said and perhaps more importantly, what we didn't say!
If you've ever wondered what I look like sitting on a panel (I've wondered), you can check out this Flickr set. Some more photos on this feed.
Lagoon also provided a nice recap of the night.

The bands were really fantastic and I was really glad to have my first opportunity to hear Lagoon and RIBS and to have another opportunity to hear Aaron Perrino play.

Videos:






Wednesday, October 6, 2010

Michael J. Epstein's Seven Rules of Social Networking and Media in preparation for Rock Shop 8 Panel 10/6 at Mid East Down

I am very pleased to say that a slightly streamlined version of this is up over at Music Think Tank and another published in Performer.

Photo by Kelly Davidson
I am quite honored to have been asked to participate on the Rock Shop panel on social media tonight (10/6/10) at The Middle East Downstairs. I will be answering questions about social media and social networking and then Do Not Forsake Me Oh My Darling will be playing a set later in the evening.

In preparation for the panel, I thought I should outline some points that might interest attendees.  In doing so, I decided to put together this post.  First of all, I don't consider myself any kind of certified expert in this area and everything I say will sound far more cold and calculated than my actual practice.  A lot of what I say comes from hindsight analysis rather than long-term strategy unfolding.  I don't log on to Facebook with a business plan in my hand.  I will, however, outline what I believe to be the underlying philosophy and approach that is effective in the social media world.  I'd love for you to add your thoughts in the comments section here.

First and foremost, here's where you can find us (feel free to add us on any of these):
Twitter: http://www.twitter.com/MichaelJEpsteinhttp://www.twitter.com/DoNotForsakeMe
Facebook: Personal - http://www.facebook.com/MichaelJEpstein
                 Sophia - http://www.facebook.com/profile.php?id=1825173
                 Band - http://www.facebook.com/DoNotForsakeMe
E-mail list: http://bit.ly/MJElist
Blog: http://blog.michaeljepstein.com/
Web: http://donotforsake.com - http://michaeljepstein.com
Youtube: http://www.youtube.com/user/TheMotionSick
Last.FM: http://www.last.fm/user/TheMotionSick

The most essential point to note in my approach to social media is that it begins with the word social. In order to generate interesting discussions and interactions, you must follow exactly the same practices as you would at a party.  When you use social media properly, you are promoting the product "you" (I put you in quotes because the "you" in this case is a public persona and is partially distinct from the true you), not your music.  If you want the music you make to stand alone and develop its own social identity without your persona and identity selling it, I highly recommend that you just quit.  I really do.  I believe that you're wasting your time and annoying people while making the futile effort to gain traction using social media in this manner.

While there are multiple simultaneous goals associated with the use of social media to gain traction, the easiest metric to observe is that of show attendance.  Band "popularity" and "notoriety" are vaguely defined goals, so let's ignore them for the moment.

The fact is, people come to shows because they know and like you; People come to shows because they meet you at a party, they meet you at a bar, or because you were at their show or event.  At a local operating level, if you think people are going to come see your band because they are fans of your music, you are mistaken.  They will come to your show because they like you.  They will return to your shows because they like you AND your music.  If your music isn't good, most people will come once.  If your music is good, most people will still probably come once.  Generating show attendance is an every-show effort.  If you slack even one time, you will feel the effects.  For me, social media and networking has become the best way I've found to generate continued interest, maintain acquaintance-level relationships with large numbers of people, and disseminate works and ideas to help drive show attendance.

The Rules:

1. Don't think of social media as providing an avenue for mass broadcasting.  Think of it as providing an avenue for mass receiving.


Spend most of your time commenting on posts, replying to comments, and answering questions.  If you read the famous book _How to Win Friends and Influence People_ (disclosure: I've never actually read it), the fundamental tenets of getting people to like you is to become genuinely interested in their affairs and to spend most of your time being a good listener.  Social networking works just the same. I personally find that Facebook has a good interface for listening.  I have tried to use Twitter for this purpose as well, but found it difficult to follow the unthreaded conversations and noticed that most people act as broadcasters, but do not reciprocate as listeners.  Twitter constructs what I consider to be a "broadcast culture" whereas Facebook is built around a "listener culture."





2. Interact!

Although I have over 2000 Facebook friends, I work very hard to keep up with all of the posts in my feed.  I believe that it is my responsibility and duty to read what everyone else on my friend list is saying if I expect them to read and react to what I am saying.

I comment whenever I have something to add to a conversation.  I "like" posts whenever I am interested in hearing more of the conversation.  "Liking" serves as a way for me to subscribe to a status discussion thread via e-mail and to receive updates on that thread.  I probably like 100s of posts a day and  I comment on dozens.  I receive 150-200 e-mails a day containing comments on threads I've liked or commented on.  I genuinely enjoy using it for this purpose because it allows me to stay in touch with and be, at least superficially, embedded in a large community that I cannot interact with in person on a regular basis.  I remain connected to more people than I could if I had to regularly call and e-mail the same large set of individuals.  Thus, Facebook is my primary "news" source, or probably better, my "grapevine."

I have become known for "liking" things in sufficient quantity to motivate Agent Bishop to create a t-shirt dedicated to that trait.

I wrote a post recently about why I believe Myspace failed and how it can be saved.  The very brief synopsis is that Myspace is a social networking site that does not allow any social networking.  You can't communicate with your "friends" in any way.  Being friends with someone on Myspace is nearly identical to not being friends with them.


3. Say interesting things and people will become interested in you.


Number 3 is my seven rules equivalent of the financial advice: buy low, sell high.  It sounds obvious, but most people don't follow this rule.  In fact, it is perhaps the most frequently overlooked.  Don't post things that interest you alone.  Post things that interest others.  Don't just repeat what other people are talking about (if you were one of 700 people in my feed telling me Michael Jackson died, you were not contributing to the conversation), but instead add a unique perspective on things.

Someone stealing my identity at a recent rock show
Just one small recent example for illustrative purposes.  Lots of people were talking about the television show "Mad Men."  One of the posts included a "spoiler alert."  I am not a fan of the show and I am even less a fan of people emulating the characters on the show and wanted to express my distaste for it.  I could have written a reactive "Mad Men sucks" in response to being tired of so many associated status updates.  Instead, I approached it in my favorite manner - attempt to include both humor and serious commentary. I said, "Mad Men SPOILER ALERT: All the men on the show are going to act all sleazy and misogynistic and lots of viewers will idolize them and not recognize that the show is a critique of the culture, not a celebration. Don't look up to, and dream of being, terrible people. These are villains, not heroes. I only saw the first 3 episodes, but my insides crawled out of my body after that, so I had to stop."

Almost immediately, dozens of comments came in and a real discussion that transcended far beyond "Mad Men" is a good/bad show happened.  In response to the thread, multiple people started other threads, tagging me and addressing the discussion on my thread.  Important to note: there was no hostility contained anywhere in the discussion. I like to believe that everyone involved enjoyed engaging in the conversation.  I find that creating difficult and controversial conversations engages people more than any other type of conversation, as long as it can be done without anyone walking away with hurt feelings.

I also love to post on strange topics like genital graffiti in green rooms and pictorial summaries of bathrooms seen on tour.

4. Hone your identity, both your visual identity and your personality.

Photo by Kelly Davidson
Honestly, I think of my public persona as a bit of a cartoon.  I have a fairly absurd mustache (which has its own Facebook fan page and song).  I say relatively outrageous things.  I post photos and videos of myself doing things that may seem silly.  You know what?  It works.  In terms of music, your band doesn't have a personality, the individuals in the band have personalities.  Communicating with others while hiding behind a band identity feels impersonal and provides a barrier to the type of intimacy and access that friends, fans, and followers want and need to become engaged in your affairs.  So, focus on using your personal accounts and de-emphasize the use of your band accounts.  The personal account is not really a reflection of you in absolute truth.  We're all fakers on the Internet, so I embrace that and use it as an opportunity to pick and choose the traits, feelings, and ideas that I want others to know about and I choose not to reveal the rest.  I am not "lying," but rather creating a sort of caricature of myself.







Photo by Kelly Davidson
Sophia (frontperson and primary focus of Do Not Forsake Me Oh My Darling) and I are often walking down the street together and I get stopped because someone remembers seeing DNFMOMD perform or having seen our flyers hanging around town.  This literally happens about once a week and each time, I am stopped and Sophia is not recognized at all, even within the context of being with me.  I can only attribute this to my mustache and glasses.  This essentially makes me a public figure.  Someone once said to me that the citizens of Somerville would be more likely to recognize me than the Mayor.  While it does mean that I can't cut this damn mustache off, it also means that people remember my image.  Thus, I am careful to include clear photos of my distinguishing features throughout my social media presence, to reinforce that visual association and contribute an image aesthetic to the character I portray on the Internet.

I stick to method acting.  That is, my comments and interactions on Facebook come from my adopted persona, which differs from my real persona only marginally, but I rarely discuss my intimate personal affairs except in the context of developing my public identity.




5. Share your experiences with others and allow them to experience vicariously.


Photo by Kelly Davidson
How many times have we spoken with great excitement about our friend meeting a celebrity, participating in some great event, or accomplishing some great goal?  If you're like me, you will answer "a lot" to this question.  We band folks often take it for granted, but every little thing we do is something that we once dreamed of doing and countless others still dream of doing.  You know how to play an instrument?  You have written a song?  You have performed in front of people?  You opened for a band you love?  These may seem like baby steps toward some grandiose goal of becoming the greatest band of all time, but to your friends, family, and fans, these are exciting experiences that they are sharing with you.  The more you give them insight into those experiences, the more people feel close to you.

Photo by Kelly Davidson
Do Not Forsake Me Oh My Darling went on our first tour this Summer.  I had been on tour before, Sophia had not.  We discussed expectations extensively and planned accordingly.  We had a great time, but we knew that having a great time and playing a mix of great shows, mediocre shows, and sub-mediocre shows really wasn't the most "valuable" thing we could get out of touring.  My philosophical approach to every band experience is to ensure that we make the most of it.  So, for this tour, we made sure to do a few things: 1. we brought along (the beautiful and talented) photographer Kelly Davidson to assist us with documentation of the experience and 2. we made sure to have fun that extended beyond traditional music performance and to document that fun.

The result?  Countless people were excited about our experience.  Countless people commented on how great our tour went.  None of these people knew a single thing about our shows.  Instead, they saw us frolicking (and acting silly) in a park with life-size displays of dinosaurs eating Confederate soldiers. They saw us performing acoustic versions of our songs in front of Foamhenge, the full-scale styrofoam replica of Stonehenge.  They saw us singing in front of the burned-out metal shell of a giant 60+ foot Jesus statue that had been struck by lightning.  These experiences were special and we posted countless photos and videos depicting our experiences.  Sure, we posted photos and videos of the shows we played, but the oddities and the whimsical settings of the other elements of the tour were what people perseverated on.

6. You first, music second.

Again, concentrate on your identity and become ubiquitous.  It's okay to be known for things other than your music.  I am a bit of a harmless prankster and had 15 seconds of fame recently when I dedicated a new National Park to the mummified squirrel (I named him Skippy) that had been sitting on my street for 4 months.  I posted a video of it and it became a bit of a local "sensation" earning me the cover story in the Somerville News (slow news week I guess).  Numerous people found me that way and have since been coming to see my bands perform.

Admittedly, one guy I met recently (if I recall correctly, it was actually one of the members of the band RIBS performing tonight - hey guys!) had heard of me and thought that maybe I was a "Paris Hilton" of the Boston music scene.  That is, I was known, but not for any good reason.  Heh.  Anyway, Paris Hilton or not, knowing me and/or knowing of me is very likely to lead you to hearing my music.




7. Slow and steady wins the race.


Photo by Kelly Davidson
The best thing you can do for yourself is abandon the idea that some magical music-industry Pegasus will come and pick you up and fly off into the great blue yonder.  Never use the term "viral" to describe the dissemination of content.  I believe that 99% of viral videos went "viral" because someone spent a ton of money to make it happen.  (See this article for support of that theory.)  You should never expect that your music, your videos, your status updates, your persona, or anything else will be instantaneously championed by the Internet community.  Overnight sensations and rags to riches stories are rare and probably fake.  A lot of PR campaigns are built around convincing the public that a celebrity was simply plucked from the common folk for the purpose of rallying support behind that person.  Fake.  It just didn't happen that way.

So, you should not expect any kind of mythical, magical occurrence either.  In order to succeed, you will need to commit yourself to years of constant, hard work generating content, disseminating content, and building a foundation brick by brick.  I view my content - videos, songs, status updates, etc. - as tiny pieces in a cumulative effort.  I have videos that have 30,000 views (from hard work pushing them) and I have videos that I think are really excellent that have 100 views.  I don't let that bother me.  I never use the success of a single item as a metric for my overall success.  I regularly revisit old content (in posts just like this one) and expect that those 100 views may become 10,000 next year.  In fact, I can work hard and make sure that any single video gets 10,000 views.  It's just a matter of deciding whether that is the best focus for my time and energy.

We all dream of the "set it and forget it" Internet.  That is, we create a page, post some content, and walk away and people eventually start discovering our work and the support pours in.  Again, it just doesn't happen.  You want 10,000 people to see your video?  You need to ask 10,000 people to watch your video. There is no build it and they will come.  There is no easy breaking point - 30,000 views doesn't lead to 60,000 views.  If you want people to continue coming, you need to keep inviting them.  You need to promote every single show you play.  You need to update content on your blog regularly.  You need to post interesting status updates, videos, and songs at a regular and consistent rate.  You must constantly feed.

A lot of people lean toward putting out single songs every month rather than a single album once a year, for example.  My goal is to keep interesting content pouring out almost every single day.

Here is a recap of my posted content from the last two weeks (ignoring simple status updates and tweets):
10/5 - 1st Poster in a new series for The Michael J. Epstein Memorial Library
10/4 - Recap of 10/1 and 10/2 shows for The Michael J. Epstein Memorial Library including videos and photos of our our performance as well as videos of the other bands on the bill.
10/3 - First time Youtube post of an old music video I made in 2004.
10/3 - First installment of a web comic based on actual events at The Michael J. Epstein Memorial Library shows
10/3 - A series of photos of people dressed up as me presented to promote The Motion Sick tribute show
9/29 - The first installments of The Michael J. Epstein Memorial Library "Special Collections" videos in which the band learns and performs a cover in 30-45 minutes. Bon Jovi and Journey (Journey also cut together with other bands performing the same song as a tie-in to 10/1 show)
9/26 - Behind-the-scenes test shoot for DNFMOMD music video in which we inflate, carry around, and chase Sophia with a giant weather balloon. Also included: Stop-motion photo collage of an MMA event featuring music of DNFMOMD
9/22 - Video of Sophia answering questions about her college major, Modern Physics, as a promotion for college-themed What's Your Major show.

In that same two weeks, I have posted about 80 videos on my Youtube account.  Again, we are talking about a serious and continuing commitment to creating and disseminating meaningful content.  I am always simultaneously working on projects on all different scales (working on 2 large-scale music videos now for DNFMOMD simultaneously with all of the above content) so that no one is just waiting around for big news.  There is always little news filling in the gaps.


Thanks for reading and I hope you find something I've said useful.  See you at the Rock Shop!

--------------------------------------------------------------------------------------------------------
A note from the organizers:
8 things to do before Wednesday's Rock Shop Boston #8: A Social Media Experiment

1) Charge up your still cameras, video cameras, and camera phones...and bring 'em along

2) Tell a friend and bring them along, too: we have a nice crowd expected, but the more the merrier. Invite 'em thru email, Facebook, Twitter, Myspace, txt, etc. 

3) Listen and share the mix tape featuring the four acts: Aaron Perrino, Lagoon, Do Not Forsake Me Oh My Darling, and RIBS:http://www.wellroundedradio.net/mp3/RockShopBoston8.mp3

4) If you don't have one, set up an account with http://twitter.com/ orhttp://foursquare.com/ or http://whrrl.com/ or http://scvngr.com/ or http://gowalla.com/

5) Join our TweepML group of bands and attendees: visit http://tweepml.org/Rock-Shop-Boston , then click "Suggest to the link creator to add someone" or send a tweet to @wellroundedradi and we'll add you

6) Use the hashtag #rockshopboston or photo tag rockshopboston

7) Join us at 7 PM for a quick panel discussion about how bands and audiences are using social media to share their good taste in music. Then, enjoy sets from four amazing Boston/Cambridge bands--and capture their performances through video, photos, tweets, etc. and spread the word about the amazing music being made around us. 

8) Find more details, see who else is going at http://rockshopboston8.eventbrite.com/ orhttp://www.facebook.com/event.php?eid=152117724812161

See you Wed night at The Middle East downstairs,
480 Massachusetts Ave, Cambridge, MA 02139