Gig Day IV: Spooktacular II

We’re a mere day away from Halloween.  All the build-up and fun are reaching their culmination.  Indeed, I’ll be playing a fortieth birthday party tomorrow—a last-minute booking that will make it a very lucrative Halloween for yours portly.

But tonight I’ll be hosting my second annual Halloween Spooktacular!  I staged my first Spooktacular last year, and it was so much fun, I decided I had to do it again.

Unfortunately, in The Age of The Virus many venues have stopped hosting live music.  For example, the coffee shop that hosted last year’s Spooktacular is doing take-out orders only.  That’s the case with a number of other coffee shops in my area, which has eliminated most live performances and open mic nights.

So I decided to stage the Spooktacular on my front porch!

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Support The Portly Politico

As I’ve written elsewhere, it’s been a tough year for musicians.  Fortunately, things are looking up on that end, at least for yours portly.  With school starting back this week, I’m hoping some of my old students will be comfortable with resuming one-on-one lessons, especially after sitting in class all day with other students (and with our new sanitation and safety protocols).  Still, 2020 will be a down year for lessons revenue, and especially for gigs.

In brighter news, The Portly Politico has more followers and subscribers than ever.  Currently, my SubscribeStar page has seven subscribers, three of whom are subscribed at the $5 tier.  Thanks to their support, the blog is bringing in $15.38 a month after SubscribeStar takes its cut.  That may seem like small potatoes, but that support means more than the dollar figure suggests.

If you haven’t already, I’d encourage you to subscribe$1 a month is an easy lift, and considering the back catalog of posts is growing every week, the value of that investment continues to grow.  If you’re already a $1 a month sub, you may want to consider upgrading to a $5 a month subscription.

I’m also introducing more perks for $5 a month subs.  So far, the $5 tier has been the same as the $1 tier, just with Sunday Doodles tossed in.  Last week, I included some bonus doodles.  I’ll be doing that more frequently—not necessarily weekly, but often enough to make it a fun surprise.  I’m also going to be uploading more music, especially material that can’t currently be found on my Bandcamp page.

During distance learning, I amassed a treasure trove of history and government lectures.  I’ll be uploading some of those for $5 subs, probably starting with the Second World War lectures.

Finally, select Fridays this fall will be “Five Dollar Fridays,” posts that will be largely dedicated to 2020 election coverage and analysis.  As the name suggests, those posts will be exclusive to $5 and up subscribers.

Naturally, I’ll continue to offer free weekly content Sunday through Thursday, and some Fridays.  We’re closing in on 600 days of posts, and two years is about 134 posts away.  Of course, if you’re not subscribed, you’re missing out on 116 posts (as of this writing)!  That’s a ton of content (and doodles).

If you’re interested in a subscription, sign up here or here.  If you know of someone who might be interested in paying a small fee for quality content, please forward this blog post them, or send them here.

One final pot-sweetenerif we hit 10 subscribers—at any level—by the end of August 2020, I’ll upload some special, surprise content for all subscribers.

Thanks again for your support—and your patience with yet another sales pitch.  It is truly appreciated.

God Bless,

TPP

Lazy Sunday LX: Music, Part II – Gigging

The past week was largely dedicated to music, as Bandcamp waived the commission it takes on sales of musicians’ work on Friday, 1 May 2020.  All of those posts—which were essentially extended ad copy—may have helped remind folks to pick up my full discography (still just $15.75), so I appreciate your patience.

Even more than your patience, I appreciate your support.  As of this morning, ten of you—and I know every single one of you (thanks, family and friends)—purchased tunes, nine of those being the full discography.  At a time when the traditional avenues for musicians to earn money, like gigs and private lessons, have pretty much dried up, your support means a great deal.

Those ten sales are, I won’t hesitate to admit, the first I’ve made in a decade on Bandcamp.  Perhaps I could have twisted arms more tightly in the past, or my music is, ultimately, more forgettable (or, even worse, bad) than I care to admit.  But I’m listening to Electrock II: Space Rock again for the first time in a few years while writing this post, and it’s pretty dang good!

Regardless, given the momentum, I figured today I’d look back wistfully at past “Gig Days”:

  • Gig Day!” (and “TBT: Gig Day!“) – I wrote this post the day of a comeback gig at Crema Coffee Bar, a coffee shop in Hartsville, South Carolina in summer 2018.  I’d broken my wrist the prior Thanksgiving Week, and had largely let my music lapse, other than some occasional open mic appearances.  That summer, I arose like a phoenix, and began playing (and writing) again regularly for the first time in a loooong year.  This post covers my elaborate pre-show rituals in detail.
  • Gig Day II” (and “TBT: Gig Day II“) – This post was about my first big road gig since my broken wrist:  heading up to The Juggling Gypsy in Wilmington, North Carolina.  That gig came amid a great deal of chaos in my life, as my old apartment had flooded—again—and I was living (temporarily, thankfully) in a sleazy motel near I-95.  Talk about living the musicians’ life, eh?
  • Gig Day III” – I love Halloween.  October always seems to shoot by in a blur of busyness, so each October I try to slow down and appreciate the month (which, if we’re lucky, will occasionally feel autumnal).  To that end, I try to put on some kind of Halloween-themed show.  In 2019, that was my “Halloween Spooktacular” at The Purple Fish Coffee Company in Darlington, South Carolina.  It was (contrary to expectations) very well-attended, and my buddy John (twelve-string Takamine guitar) and my student Trystan (drums) sat in with me; it might for quite a show (including a lengthy cover of “Thriller” complete with jammy sax solo).

Well, hopefully live will return to normal-ish soon, and I can get back on the road.  I love playing gigs, from singing pop tunes in the background of an engagement party to standing on coffee tables singing “Delilah.”  Sometimes, I even get paid to do it!

Anyway, I’m off to play piano at church.  They’re broadcasting the service to people’s cars, so I will (apparently) be one of three people in the actual sanctuary, playing hymns from the digital keyboard as people pull up.  Sounds fun to me!

Happy Sunday!

—TPP

Other Lazy Sunday Installments:

Support Indie Musicians

The TL;DR takeaway of today’s post:  times are tough for musicians, and you can help.  You can purchase my music on Bandcamp today (Friday, 1 May 2020) without Bandcamp taking their 15% commission.  You can also tip me directly via PayPal.  Finally, you can always support the blog—and enjoy exclusive weekly content—by subscribing to my SubscribeStar Page.

Bandcamp is waiving the commission it takes on sales of musicians’ work TODAY, Friday, 1 May 2020You can pick up my entire discography for $15.75 (or more, if you feel so inclined).  To purchase the full discographyseven releases in total—you can view any of my albums (like Electrock EP: The Four Unicorns of the Apocalypse) and find a button/link that reads “Buy Digital Discography” (unfortunately, there’s no way to supply that link directly).

You can also send a digital tip to me directly, if you’re so inclined, via PayPal.

You can also purchase albums individually, either at their listed price or higher.  Here are my seven releases, in chronological order:

So, again, today Bandcamp is waiving the commission it takes on sales of musicians’ work.  That means every purchase made on the site from midnight to midnight Pacific Standard Time TODAY goes completely to the musicians (other than PayPal processing fees)—another 15% in our pockets.

The Age of the Virus has really taken its toll on musicians.  As I wrote last Thursday, a substantial portion of my income in 2019 came from music lessons and gigs—nearly 17% of my gross income for the year.  And as I wrote yesterday, we can’t really gig anymore, at least not in the traditional sense, due to shutdowns.

With The Virus holding full sway over us, shutting everything down, there are far fewer opportunities for musicians to earn a living—except by way of online album sales.

As such, Bandcamp sacrificing that 15% commission is a huge act of charity for its users.  It also means that it’s the best time to support musicians you lovelike me!

Bandcamp gives musicians the opportunity to sell their music in high-quality digital formats directly to fans.  One nifty feature is that artists can offer their entire discography in one go, often at a discount.

To that end, my discography—seven albums, EPs, and retrospectives, spanning fourteen years of artistic development—is on sale for $15.75.  All of it.

Another fun feature is that Bandcamp allows fans to pay more if they so choose.  Indeed, when I announced on my Facebook artist page that the full discography was up for grabs, two fans paid $20 for it.  Some artists have reported fans paying as much as $100 for a single album.  I don’t expect that kind of generosity, but, hey—dig deep.

Regardless, there’s never been a better—or more necessary–time to support indie musicians.  We can’t play gigs.  We can barely teach lessons (some folks are doing so online, but it’s just not the same).

So, any support you can offer is always welcome.  To purchase the full discography, you can view any of my albums (like The Lo-Fi Hymanl) and find a button/link that reads “Buy Digital Discography” (unfortunately, there’s no way to supply that link directly).

Of course, you don’t have to buy all seven albums—it’s just a good deal.  You can also buy individual releases, like 2006’s Electrock Music (ludicrously cheap at $1 for twelve tracks!) or 2007’s Electrock II: Space Rock (just $5!).

To recap, here is my full discography, which is only $15.75 if you buy it together:

And, remember, you can always tip me directly, or via my SubscribeStar page.

Thank you for your support!

—TPP

TBT: Gig Day II

Tomorrow—Friday, 1 May 2020—Bandcamp is waiving the commission it takes on sales of musicians’ work.  That means every purchase made on the site from midnight to midnight Pacific Standard Time tomorrow goes completely to the musicians (other than PayPal processing fees)—another 15% in our pockets.

The Age of the Virus has really taken its toll on musicians.  As I wrote last Thursday, a substantial portion of my income in 2019 came from music lessons and gigs—nearly 17% of my gross income for the year.

With The Virus holding full sway over us, shutting everything down, there are far fewer opportunities for musicians to earn a living—except by way of online album sales.

As such, Bandcamp sacrificing that 15% commission is a huge act of charity for its users.  It also means that it’s the best time to support musicians you lovelike me!

Bandcamp gives musicians the opportunity to sell their music in high-quality digital formats directly to fans.  One nifty feature is that artists can offer their entire discography in one go, often at a discount.

To that end, my discography—seven albums, EPs, and retrospectives, spanning fourteen years of artistic development—is on sale for $15.75.  All of it.  That includes my tour de forceContest Winner EP and its hit single, “Hipster Girl Next Door.”

Another fun feature is that Bandcamp allows fans to pay more if they so choose.  Indeed, when I announced on my Facebook artist page that the full discography was up for grabs, two fans paid $20 for it.  Some artists have reported fans paying as much as $100 for a single album.  I don’t expect that kind of generosity, but, hey—dig deep.

Regardless, there’s never been a better—or more necessary–time to support indie musicians.  We can’t play gigs.  We can barely teach lessons (some folks are doing so online, but it’s just not the same).

So, any support you can offer is always welcome.  To purchase the full discography, you can view any of my albums (like Electrock EP: The Four Unicorns of the Apocalypse) and find a button/link that reads “Buy Digital Discography” (unfortunately, there’s no way to supply that link directly).

Of course, you don’t have to buy all seven albums—it’s just a good deal.  You can also buy individual releases, like 2006’s Electrock Music (ludicrously cheap at $1 for twelve tracks!) or 2007’s Electrock II: Space Rock (just $5!).

But enough soliciting for now—there will be more of that tomorrow.  Let’s get to the ostensible purpose of today’s post—TBT.

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Bologna

The long national nightmare is over.  No, not the impeachment farce; it’s the end of the semester!  Grades are in the books, work is done, and teachers and students are heading out for two weeks of glorious Christmas Break.

It’s been an eventful week.  As the House was fulminating about Trump’s alleged “crimes,” I was playing a gig with our community jazz band.  I play second alto sax with the group, but I asked to sing a song on this concert.

It’s long been a dream of mine to sing with a full jazz swing band behind me, and that dream came true Wednesday evening.  I sang Andy Williams’s “It’s the Most Wonderful Time of the Year,” and was a nervous wreck (if you’ve seen the lyrics to that tune, you’ll understand why—what a mouthful!).  But I got through it admirably enough, even with a low-grade sinus infection.

The gig was during the dinner hour at a large church in town.  The first alto player indicated how hungry he was, and wondered if he could get a plate.  I told him (unhelpfully) that I’d eaten a bologna sandwich in my car before coming in (which sounds like a joke and/or the most mundane, pathetic detail in the world, but it was true).  All the old guys in the band—it’s a swing band, so there are a lot of them—expressed their enthusiasm for bologna sandwiches, and asked how it was prepared:  did I use mustard?  “Nope, Duke’s mayonnaise, with cheese.”  Murmurs of approval followed.

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O Little Town of Bethlehem and the Pressures of Songwriting

Somewhere—I think it was in one of the Civilization games, but I can’t seem to find the exact quotation—I heard a pithy saying, something along the lines of “Genius is a combination of pressure and time.”  It’s one of those expressions that instantly rings true.

Years ago, a coffee shop in a nearby town (it’s now become a hip, upscale dining spot—and it axed the live music) used to host a quirky songwriting competition.  The premise was simple—every month, participants would pay $5 entry fee into a pot, and a “secret judge” would pick a winner, who would win that evening’s pot.  Sometimes there would be a small “second round” of the top three contenders for that evening (I won once, back in January 2014, when I believe I debuted “Greek Fair“; I was surprised, but also thankful that I wouldn’t spend $5 a month for the rest of the year).

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Joy to the World

The musical mood continues here at The Portly Politico—as does the joy (check out my “Joy of” posts here, here, and here).  The Christmas season always lifts my spirits, and the boost from my piece on Milo and Romantic music has further buoyed them (if you’d like to elevate my mood to transcendent heights, consider purchasing some of my music).

With yesterday’s post on Christmas carols, I thought it might be interesting to look deeper into the most joyous of them all:  Isaac Watts‘s “Joy to the World.”

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The Joy of Christmas Carols

Christmas puts me in a musical mood. For one, I’m somewhat contractually-obligated to put on a Christmas concert, which will consume most of my free time this week, so I’d better embrace the Christmas spirit—or else. But it’s not hard to get excited about the iconic music of the season.

(Also, Milo Yiannopoulos—the actual Milo—shared my post about his views on Romantic music, which helped make it the most trafficked post of the year so far. That was incredibly gracious of him to do, and it’s further boosted my excitement for playing and writing about music.)

As I wrote in an earlier blog post on hymnals, I’ve gradually taken over piano playing at my little Free Will Baptist church. We sing many of the traditional hymns that were written and popularized in the nineteenth and twentieth centuries, as well as some earlier selections. Shape-note hymns are often hard to play, with big intervalic leaps in the melodies and surprisingly complex harmonies.

Take that melodic variety and harmonic complexity and multiply it by a factor of ten, and you’ve got Christmas carols.

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