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30Hz Bl-g On Writing

Welp. Apparently I’m not a writer – a 30Hz rant.

A writer is told by pretty much everybody  that a writer is only a writer if that writer writes. And if you read those so-called “craft” books, a writer can only be a writer if that writer writes at least two hours per day. More is encouraged. Less is, well, fine, if you want to [audibly scoff] write fan fiction. Pick up any copy of Poets & Writers or Writer’s Digest and you’ll find advice like this. It might be cloaked in encouraging exclamation points but, in the end, every piece of writerly encouragement boils down to this: Just sit down and write. 

When Harry Met Sally - Sally's nagging look
The voice of the nagging compendium of writer’s advice looks at me like this when I’m not writing. She looks innocent, but she’s got angry opinions.

So, thusly, I am not a writer.

I cannot sit down to write 2 hours most days. I cannot, with certainly, count on anything beyond 30 minutes each day. And even then those 30 minutes are the foggy, dreary-eyed minutes after midnight when birthing words seems as impossible as birthing a baby through my eye’s lacrimal ducts. Some days I don’t even have time to register the guilt that comes along with being a writer that doesn’t write.

Tear duct diagram
Imagine the pain.

At this point in my life I’ve typed many many volumes and hopefully have many meaningful volumes left. I’ve had some minor screenwriting success. I’ve written hundreds of movie and music reviews for various publications and been offered invaluable opportunities as a result. I’ve interviewed Tom Hanks and John Travolta. I was close enough to Paul Newman that I could smell his cologne. I’ve been through an MFA program. I’ve been published in literary magazines and tech magazines both online and off.

 

But apparently I’m not a writer. I’m just a guy typing a lot of disparate words.

I’ve spent 16 years of my life typing these words. Not all in fiction, though. Fiction has only been a more recent development. And it’s only been within the last couple of years that I could admit to anyone that I was a writer, even if I don’t wholeheartedly believe it — what with that burdensome guilt resulting from not writing all the time.

Sam Raimi beat me to it.

My “career” began with movie reviews and entertainment journalism before moving into screenplays and copywriting. Back then, I might have been more of a “writer” though. I hauled my 47 lb. Dell laptop/boat anchor to Caribou Coffee and sat for hours on end, just working and writing and drinking massive amounts of coffee. That right there was the sweet life. Unlimited time, unlimited potential… but only limited talent. It takes years to learn how to write and write well. And though my fledgling confidence soared, I was only a student with big dreams of writing a low-budget indie horror movie that spanned genres, gained some notoriety at film festivals before being picked up by a major studio and given a limited release… and ultimately selling big as a DVD.

I keep going back to this oft suggested 2-hour rule for writers. Quite honestly, it is a source of despair and envy and frustration. If I compiled a list of all the things I need to do each day I’m pretty sure I’d need a 48-hour day. Being a part-time stay-at-home father of two girls (one is 3 and the other is 6 months) more than half my day is already spoken for. I wake at 7:15am. I generally don’t get to sniff freedom until 8:00pm in the evening. By that time, I have two-hours of clear-minded time available for productivity. But that time is split fourteen different ways. Picking up the house (half-assedly), dishes, fleeting moments of face-time with the wife, working out, taking care of leftover tasks for my day job… yada yada yada… it’s 11:00pm and I didn’t even yada yada the best part. I haven’t even opened my laptop. Maybe I “wasted” twenty minutes during that time to relax — gawd forbid — play a video game or watch a sitcom on the DVR.

[tube]http://www.youtube.com/watch?v=O6kRqnfsBEc[/tube]

Meanwhile this nagging voice in the back of my head keeps whispering:…writers make time to write…

I have a response to this voice of collective holier-than-thou literary smugness.

“I can’t make time, cocksuckers. I can’t fabricate more time or patience out of thin air. I have to do the best with the 24 hours given to me each day.” And while I’m not always the most skinflint of time conservationists, I try. And often I fail. And those days are riddled with guilt. Sometimes I give up too easily. But when I give up on a day it’s often because I hear that voice, nagging, ever-present in the back of my mind….writers make time to write… …a writer writes… That voice does not often inspire me. It has been repeated and reinterpreted to the point of meaninglessness. I feel like a child that’s been spanked too much. I feel so much guilt from thinking these things while I struggle to find time to write that the guilt means nothing. It doesn’t inspire me. It often just leads to anxiety and sometimes, as it has in the past, depression. And ultimately more non-writing.

We Must Cultivate Our Garden

It is true beyond a reasonable doubt that writers must write. But like the end of Voltaire’s Candide, a writer (or really any slave to the creative drive), must also first tend to his garden, guilt-free, in order to create without baggage. When I am immune to the guilt, I am a writer. I scribble notes in my journals and on napkins and receipts in my wallet. My mind is always working and plotting ideas and fixes for broken stories. I’ll put all of those notes aside to tackle whenever it is I’ll next have 30 minutes or 2 hours of rare undivided, uninterrupted, unshackled writing time. But rest assured when I have the time, I’ll be a goddamn writer whether that voice approves of me or not.

In conclusion:

Henry David Throeau - Sit Down To Write

 

 

Categories
30Hz Recommended Live Music

The Dig @ the Garfield Artworks. Tonight!

If you’re in Pittsburgh and available on the evening of 10/10, go see the Dig, a NYC-based indie-rock outfit that Consequence of Sound likens to a cross between Vampire Weekend and the Antlers. Read the full review here. If you’re not in Pittsburgh, at least check them out because they’re definitely worth some ear-time.

“Sick Sad Morning” by The Dig @ Mercury Lounge NYC from Icon International on Vimeo.

The Dig – All Tied Up : Audiotree Live from Audiotree Live on Vimeo.

Categories
Live Music Music

Imagine Dragons, it’s the bigass bass drum

I first heard Imagine Dragons in late January on XMU on XM Radio. “It’s Time” was introduced with a small warning by the DJ that the band was probably going to be a big deal at some point in 2012. It was a far better than average pop-friendly radio song with a great hook. At that time, the band hadn’t even released their Continued Silence EP. I downloaded the album as soon as it was released — I like to be ahead of the curve (read: I like to be the asshole telling you about this great new band of which you’ve never heard) – and shared it with my wife, who was smitten… if you couldn’t tell by her guest bl-ggery here.

But back to Imagine Dragons… their songs started getting more and more airtime on XM after the release of the EP. And then the bomb drops. Their music starts showing up movie trailers for major release films like “The Perks of Being a Wallflower” and “Frankenweenie,” in commercials, American Idol promos. Glee just covered “It’s Time” in the season opener. This band was anonymous five months ago. But why the meteoric rise? What’s the secret? And why am I no longer special for knowing the band Imagine Dragons?

I pondered these questions as I crammed into Altar Bar on Thursday to catch my first Imagine Dragons show. Imagine Dragons, who were opening for Awolnation, a band whose fame they’d eclipsed over the duration of one little tour. At the beginning, relatively unknown. At the end, the main attraction. And yes, we left after Imagine Dragons. I was hungry and wanted to go drink. It was my birthday after all. (Happy birthday to me.)

You’ll be happy to know that I’ve solved the success of Imagine Dragons.

Ready? It’s the bigass, motherflippin’ bass drum.

That’s it. Take a gander.

If you’re familiar with the band you’ll know that Dan Reynolds, the lead singer, beats on a bass drum at the front of the stage while he’s singing. If you’re not familiar with the band, I just told you by not telling you. Nice, right? There’s been a swell of lead singers who are more than just frontmen, but most of these guys are firmly contained within the straightjacket genre label “indie-rock.” Rarely do they branch out into pop-music proper.

For pop-music Reynolds is a kind of novelty. He’s an affable, humble chap on stage. He (and the rest of the band) seemed positively overwhelmed by their rapid success. (They’re even still setting their own stage and doing soundchecks.) Reynolds comes off as a less-glam, more everyday Brandon Flowers (The Killers). That they’re both Mormon probably has much to do with the favorable comparison in presentation and personality. But all of this might be irrelevant if he didn’t beat a motherflippin’ bass drum. Singer-only frontmen maintain an air of otherworldliness. They must do this to justify the fact that they only sing and often barely do that. Their gift is their stage persona. See Bono, Mick Jagger, et al. Nobody cares that they don’t play an instrument. But these are the greats, the once-in-a-generation rock gods. Their bands, however, are just guys with instruments. Follow this logic with me. If you saw Bono and Larry Mullen walking down the street together, who would you be more comfortable chatting up? Larry Mullen, of course. He’s no god. He’s just a guy that plays in a band fronted by a crazytown rock god.

There are so many different bands and kinds of music and distractions that without something unique to call their own, a talented band will more toil in anonymity than reach any measure of commercial success. Critical success, perhaps, but not commercial. Reynolds’ drum breaks down the barrier between the singer and his fans. He’s a singer, but he’s also just a guy that intermittently gets taken up in the moment and decides to unleash fury on some mylar (the material of which drum heads are most likely made – the more you know, eh?). When he’s singing and suddenly takes up the mallet, there’s a swell of excitement among the crowd. The anticipation of the drum beating is unmistakable. For these songs he gets the loudest applause and the most crowd love. For someone first seeing or listening to Imagine Dragons, the communal adulation at these shows will sell records. It is a novelty, sure, but it is also greatly entertaining and displays the dude’s sincere passion for the music. Because nothing says sincere passion like a winded, sweaty human beating a bass drum with all the fiber in his being.

I have some reservations about the band growing too big for these more intimate live shows. Imagine Dragons doesn’t embrace arena-rock in the same way the Killers do. Their sound, while poppy, and occasional quite possibly rocking, might get swallowed up by larger crowds and venues. The bass drum might lose its prestige as the centerpiece of their show. In a small venue, the drum commands the room. And if the bass drum loses its prestige, it’s on Dan Reynolds to make up the distance.

Oh, and there’s also the music… because there’s probably (just maybe) people into Imagine Dragons that haven’t seen a live show. Valid argument. Again, the element that sets their music apart… the bass drum. Beating a bass drum with a mallet rather than using it in a drum kit creates such a distinctly different sound and cadence. Take the drum out of Imagine Dragons what do you have left? Solid pop-music but no live drama. And no drama means no trailer spots, no commercial gigs and no more meeting Hermoine at the VMAs.

http://hollywoodcrush.mtv.com/2012/09/07/emma-watson-imagine-dragons/

“It’s Time” kicks in at the 1:40 mark.

http://www.youtube.com/watch?v=QjplcD0dz_g

The magical thing about “It’s Time” is that Reynolds’ beats nary a drum. But how many of these A+ pop songs can he write? The perfect pop soundbite. Maybe he only needs one to launch a career, but that won’t speak to the longevity of the band. It’s the B-sides where a band proves its worth. And, so far, it’s on the B-sides (being any song other than “It’s Time” at this point) that the drum carries its weight. See “Radioactive” or ‘Demons.”