| Closing Up Shop |
[Oct. 16th, 2008|10:37 am] |
I think this is going to be my last LJ post as I try to streamline how many blogs and community sites and update portals I keep up with. I've enjoyed following everyone's updates and hope that the same has been true for people with mine, but I've got to try and focus writing and updates so that I can get the done. Having SO many outlets tends to lead to decision paralysis.
So for those who are interested, the following are still good ways to keep up with Larvae and by proxy, me:
Zeroplate.com - the Larvae website that has lots of updates now
Zeroplate on Flickr - my Flickr page with pictures from Larvae travels
Ticketblog - the Ticketblog that I've linked to before
Myspace - the Larvae Myspace Page
LarvaeTV - the Larvae YouTube channel (with performance videos and soon more of our music videos!)
That's still too many, isn't it? Thanks for reading!
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| Moving - Free Stuff to a Good Home |
[Jul. 26th, 2008|03:15 pm] |
I am moving across town and I need to divest myself of some things. I have a lot of fairly useful stuff that is free to a good home if you are willing to come and pick it up.
- Emu Emax I Keyboard
- Boss 16 channel line mixer
- 2 Drawer, low-profile Black filing cabinet
- Large solid wood media shelf for CDs and DVDs
- Large Hellboy Movie Vinyl Banner
- 2 brand new soccer balls
- 16 mm Projector and a handful of institutional film reels
- Print Gocco printing system
If you are interested, shoot an email to mjeanes via gmail and let me know what you want and when you could pick it up. I have to have all of it out by the end of the month. |
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| New Music |
[Apr. 24th, 2008|11:26 pm] |
The new Portishead record kicks ass so far. I haven't heard a new record that I found really inspiring in a long time, but this one is it. It was time for them to change things up and they did, but man, it's pretty awesome.
In the spirit of new (and hopefully awesome) music...
Recording is just about finished on a pair of new Larvae works. The first is a set of slow, dubby tracks that work as a sequel to Monster Music. These are further inspired by Toho Monster Movies so expect more Godzilla videos and massive stomping bass. I used a lot of Godzilla source material this time, so these are really fun.
The second is a follow up to Dead Weight that continues along the path of mixing layers of guitar with the more typical Larvae production. Most of the melodies are coming from guitars and organs with this record which is weird because the melodies in Larvae songs have almost always been manipulated samples. What can I say, I'm trying something new?
I'm hoping that these tracks will all see the light of day through our friends at Ad Noiseam sometime sooner or later--well, at least sometime after I finish them up! We'll definitely have a batch of fun, heavy songs for playing live and a batch of melancholy (but still sufficiently heavy) songs for maybe just listening to. |
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| Larvae Live at Nophest |
[Apr. 13th, 2008|12:43 am] |
I'm finally playing a show in Atlanta. It'll probably be a solo affair since Chris and I haven't had any time to get together and practice and whatnot (yes, we practice... sometimes.) I'll be playing as part of the Nophest which is a three day festival with lots of rock bands, electronic acts, djs, and other shenanigans. Details:
Larvae at Nophest
Saturday, April 19th
Doors at 12:30 PM Saturday, Larvae plays at 10 PM Saturday
$10 (includes beer)
We will be playing at the 166 Stovall location. There's a lot of details, so why not read them here: http://www.nophest.com/
I'll be playing at least one new song with a new video--something from the forthcoming Monster Music 2!!! |
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| Why do we fail at Soccer? |
[Mar. 24th, 2008|06:44 pm] |
A gang of us traveled up from Atlanta to Nashville yesterday to watch the US Men's Under-23 team lose a meaningless game to Honduras. The game was meaningless in the sense that both teams had already qualified for the Olympics and their positions in the Olympic bracket will be determined not by the outcome of this tournament, but by the nations' previous Olympic finishing. After eight hours on the road and six hours in the Tennessee Titans stadium, it's pretty clear to me why people don't give a shit about soccer in this country.
- We don't take it seriously! Okay, so this tournament ended on the ridiculous anti-climax of a meaningless double-header. Why even set the tournament up that way? Surely this was something that was decided between CONCACAF and the USSF. How do you structure a tournament that is essentially over on a Thursday and then try to make an event the following Sunday exciting in any way? Not only did we give players like Adu and Spector back to their European club teams (why should they stay for a meaningless game?), we didn't even start the strongest 11 players who were still available. There weren't that many people at the game, but those of us who WERE there were certainly looking for the USA to step out with the best team and to try to put Honduras down. We continue to fail at balancing the priorities of our players who have obligations to their club teams--both MLS and abroad.
For one thing, the MLS season takes place DURING THE FUCKING WORLD CUP and during just about every other major worldwide event and qualifying season. Other countries just shut down and watch the world play out the most important event in soccer, but we continue to book the local league with teams who have their stars yanked away to compete in something that is inarguably more important.
For another, we field teams for competitive tournaments based on who is available, and as a result we don't go into places like the Copa America with any chance of holding our own. If the national team is a priority and if we take performing at a high level seriously, we have to keep the best players with the best chance to win together for these major international competitions.
- We can't beat your mom! How is it that we still have trouble with teams like Honduras? Not to take anything away from them, but just in the grand scheme of things, how can a nation as big and resource-laden as ours have trouble fielding a roster of 20 guys to beat 20 guys from places like Honduras, Cuba, Haiti, and El Salvador? Sure, anyone who knows anything about soccer will tell you that the size or GDP of a country doesn't determine its success at soccer, but to the average American sports fan who might have an interest in soccer but isn't quite sure, the headline reads "USA loses to a country you can't even find on a map!" and that just doesn't help us to gain support.
We need to beat these teams, and especially with teams like Jamaica or Guatemala, we should be racking up some impressive, dominating wins. I watched all of the US U23 team's Olympic qualifying games and while we dominated possession in most games, we never really took control of games to put them out of reach early. It doesn't bode well for our chances against powers like Argentina when the only team we consistently even seem to try to beat in CONCACAF is Mexico.
- We can't finish! Face it, the typical American sports fan doesn't want to see a defensive struggle in any sport. Most people would prefer to see a 108 - 97 NBA game than a 79 - 83 result. Soccer is a low-scoring game to begin with, but we seem to be particularly inept at developing strikers. Until we can consistently put the ball in the net (not from the PK spot,) we just won't rope in new talent and new fans because the perception is that the game is boring. In Sunday's match, I watched a Honduras team that had what seemed like a total of two shots on goal and about three actual moments of offense in 120 minutes of play. The reverse side of that was our complete domination of the game and our ability to keep the ball on their half of the field for almost every second of the playing time. All that, and we still couldn't muster one goal? We didn't impress anyone with any of these Olympic qualifying matches on the offensive side, and if we can't produce the occasional 5-1 result in a tournament like this, we're always bound to be playing in the shadow of teams that can.
- We can't outdraw fans from Honduras at a home game! With Mexico, I understand it. There are tons of Mexicans or folks with Mexican heritage living in the US who flock to these games and are bound to outnumber us everywhere except maybe Alaska or Minnesota. But really, when we can't fill a stadium with more fans in Red White and Blue than fans of Honduras, we've done something wrong, and I think you can look at points 1-3 to see what that might be.
All in all, I had a fun time and the trip was great and I was glad to get to see the game, but I just felt a little cheated by the whole thing. When are we going to stop pissing on our fans by leaving the stars on the bench or at home? When are we going to go into these tournaments and show these other countries that we mean to beat them down (on the pitch!)? When are we going to develop some legitimate scoring threats and stop relying on Donovan or Altidore going down in the box? When are we going to stop broadcasting games where the entire crowd is seated on the half of the stadium that is directly underneath the cameras, thus giving the impression that the teams are playing in an empty building? Someone needs to wake up and start figuring some of this shit out.
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| 2007 Films In Review |
[Dec. 23rd, 2007|12:20 am] |
It's end of the year list time, hooray!
This has been a good movie year. People often like to hold each new year up against some banner year in film (especially geek film) like 1999 (Fight Club, The Matrix, etc) or 1982 (Blade Runner, E.T., etc..) 2006 gave those years a good run with films like Children of Men, The Fountain, and Pan's Labyrinth, but 2007 has been no slouch. It has been a great year for funny movies, in fact, and I think that's almost always harder to find than a great year for serious films.
My top list isn't an award prognostication or my attempt to list the best of anything; it's just a list of my personal faves. If you see one or two things on this list that you like, chances are good that you should give the rest a try.
1. Juno - This may be sitting on top only because it is so recent in my mind, but it's the one movie I've seen this year that I wanted to see again imediately. Ellen Page is so good in this, and her character is so likeable that I wish that we'd get a series of sequels to this instead of an endless stream of Saw or Spider-Man flicks. The movie is cute and warm without ever falling into sentimental schlock. The teen dialogue is a little stylized so it sometimes sounds like the film is taking place in a hightened alternate universe, but just slightly. I can't recommend this one enough.
2. The King of Kong - I love it when a documentary can end up on my favorites list. I try to see a couple documentaries in the theater each year and this year brought the best one I've seen in a long time. This is the perfectly constructed sports underdog film but it happens to be about guys playing competitive Donkey Kong, and it happens to be real. I took a group of friends to this one and It was one of the best times I had at the movies all year.
3. The Boss of it All - I didn't catch this during its seven day theatrucal run in Atlanta, but I rented it just as soon as I could and it was great. I never know what to expect from Lars von Trier, and even then, an office comedy was completely out of left field. This film was so dryly funny that I was always surprised at how much genuine laughter it was eliciting. The experimental camera techniques lend the film a strange "wrongness" that takes pretty ordinary conversations and renders them hilarious. I loved this one and I hope von Trier has more of this kind of stuff in him.
4. There Will Be Blood - seeing the premier of this one with PT Anderson in attendance probably hightened the experience, but I still expect this to hold up over time. It's such a simple story with a small cast, but it's incredibly well shot, acted, directed, and scored. People who want a not-so-pleasant but riveting and sophisticated film to watch this winter probably won't find a better film than this one.
5. No Country For Old Men - The Coens are back and this film was so solid that I'm willing to forget that the last two they directed even happened. I love the silence in this, and the way that the film plays with the same kind of dread-building that drives THERE WILL BE BLOOD. The two films are really different but they both share some tonal qualities and they both feature some ruthless human monsters that are just plain fun to watch if you are a fan of movies.
6. The Cold Hour - It's probably not going to show up at your local theater (ever) but this was a smart, well-designed, wonderful sci-fi flick that kept me completely engaged through a string of pretty familiar concepts. There's maybe nothing completely new about this film other than the refreshing care with which it was made and the point of view of its protagonist, but it's wonderful to be able to see a fully realized and well-executed sci-fi film in these days of easy CGI shitfests. I saw a handful of Spanish films this year and this one edged out the rest. Movies from Spain are suddenly on my radar in a big way.
7. Grindhouse - I liked Planet Terror and loved Death Proof, and with the trailers and everything thrown in, this managed to be greater than the sum of its parts. I'm not a blind Tarantino or Rodriguez follower, but they both scored big points with this one. The double feature format was fantastic and I wish it had done well enough to warrant a series of similar events. Maybe one day we'll get a double bill of Machete and Don't... a guy can dream.
8. Son of Rambow - I imagine that this film will come out sometime around the release of the new RAMBO flick, unless Stallone's people see that as something that will confuse ticket buyers. I wouldn't put anything past your average Rambo fan, honestly. This was a great film though, full of fun and heart and playful energy. I've compared it before to Danny Boyle's Millions and I think that's still probably the best reference point. I am anxious to see how this does when it is finally released because I think it's the kind of film that can connect with a lot of people, but it's a Brit-made comedy and sometimes the accent alone is a death sentence in the USA.
9. Hot Fuzz - I'm officially on the Edgar Wright bandwagon, and I'm okay with that. Despite the fact that this film was mis-sold to the US audience, it did pretty well here and it warranted a quick DVD release and a surprisingly quick double dip with a 3 DVD set a few months later. I think you have to chock this up to the legacy of Shaun of the Dead which seems to have very quickly reached a certain level of cult status. I'm glad this is all working out, because it means Wright and his merry band of players will get to keep brining us movies at a pretty regular interval. I don't know if Wright is always going to be the guy making the comedic riff/homage to a particular style of film, I hope he tries something else (Antman would be cool!) but if I can offer this suggestion: take to the stars. We need an Edgar Wright sci-fi film, there's no question about it.
10. The Host - I had a hard time picking between this film and a few others that I really liked this year. This spot could have easily included the very simple and touching Once or the thoughtful and funny documentary What Would Jesus Buy? or a double feature of Knocked Up and Superbad which were both funny and will warrant repeat viewings. But I had to stick up for the Korean monster movie that had more clever moments and more attention to character detail than probably any other giant monster movie in decades. The creature design is fantastic, the gags alternate between funny and scary, and the story focuses as it should on the people, not the cars, buildings, or streets that the monster tears up. This will probably get sequelized over and over in Korea as it seems a lot of Asian cinema works that way. I guess they learned it from us: take a great idea that makes a few bucks and retread it over and over until it starts losing, then try something else. Maybe a sequel to The Host will be just as great, I hope so, but even if it isn't, I loved this movie and would be proud to own it. |
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| Media Medusa |
[Dec. 20th, 2007|09:18 pm] |
Is it bad form to follow up on a woman's teary-eyed explanation that she was inspired to sing by the passing of her daughter with the praise "you all killed it!" One more reason not to watch television: Clash of the Choirs. I just sat through a segment where Patti Lebelle and a group of tone deaf mutants murdered "We Are the Champions." It was a painful reminder that TV needs writers, because even canned laughter is better than this shit.
Instead, anyone with the option should check out Juno this weekend. I'm still compiling my year end favorites list, but I really doubt that another movie is going to knock Juno out of my top 5.
On the subject of music, it was refreshing to read my main man Simon's feelings about the pitfalls of wanting to be a career musician. Simon and I seem separated at birth sometimes, though I must admit he wound up with the dashing good looks and I was left with the ability to cultivate facial hair like a yak. I long ago decided that making music ought to be fun, and that anything that took away from that ought to be left behind. Most of the time, that means money.
I was reading an article in this week's Creative Loafing and I was reminded of how the game of peddling music runs hand in hand with actually making it for a lot of folks. It's especially rampant in the hip hop world, where success stories often start with a guy pushing mixtapes or homemade CDs out of a backpack or car trunk. I absolutely respect the world ethic, but I despise the pusher mentality.
It dawned on me at some point that I am not good at peddling. I have been there--I used to sell CDs out of a bag on campus to anyone who would pay me any mind. It wasn't fun, and I wasn't great at it, but I managed to unload enough of them (with everyone else in the band) to make back the production costs. Once that debt was paid though, I never tried to force that disc on anyone again. Not that I didn't believe in the music; I certainly did at the time. I just realized that I'm not a salesman.
My approach to selling music is probably one of the major reasons that my label wasn't really successful. I am good at writing band bios, press releases, one sheets, and the like, and I'm good at being organized, keeping a list of places to send promos, following up on that, clipping reviews, updating the website and so on. What I really always sucked at was getting on the phone with a distributor or radio station and trying to convince them to give a record a chance. It always came off as so desperate to me. My philosophy was always: "Here's a record. I love it and believe in it. I hope you like it. If you do, I have more of them, if not, please give it to someone you think might enjoy it." In fact, that was more or less my exact sales pitch. I could never muster the kind of "this is a ground breaking work of next level shit that you MUST hear because it's HOTTTTT!" kind of hyperbole that I see all the time.
For one thing, without a reference point, there's no reason anyone in the world should listen to a record they get in the mail unless it's out of sheer curiosity. I used to run a label, I KNOW this to be true. I listened to scores of demos for years until I finally just started to throw them in the trash unless they had some amazing cover letter, artwork, or song titles. Usually, the records that passed that test were still disappointing as all hell. So without someone knowing my taste, there's no reason at all that they should believe me when I say "listen to this, I sent it to YOU specifically because I know what you sort of like and this should fit right in there." Maybe it was never obvious that I was selective about the people I sent discs to, but I was, because I hated being on the receiving end of a disc that had absolutely no relevance for my label.
And of course, radio stations and distributors and magazines are getting records by the van-load. See the jaded way that Pitchfork writes about things that they LIKE and you'll see how easy it is to get cynical about that perceived desperation on the other end of every package that comes with a note that says "please love me." Being a small label or an unsigned artist often feels a bit like being that pimply, fat dude with mismatching clothes who asks the class president and cheer team captain to the prom. You know you have almost no shot, but you go for it anyway because fuck, you believe in yourself and you see that she has a Ramones sticker on her 3 Ring Binder and that has to count for something, right? |
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| Evidence |
[Dec. 4th, 2007|11:04 pm] |
For those who asked, videos from my Atlanta preliminary battle and my appearance in the finals this year are now available from the Dr. Rheinhardt page here: Zeroplate.com/rheinhardt.html
As soon as the Atlanta Finals matches are encoded those will be added, along with links to a couple of Flickr pages with photos.
Thanks to everyone who has been supportive in this endeavor. Dr. Rheinhardt may be done battling, but he's just getting started with all of this crazy shit. |
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| The Battle in Seattle part 3 |
[Dec. 2nd, 2007|09:08 pm] |
Battle day was eventful in that it was spent mostly trying to navigate through Seattle in an uncharacteristic blizzard. The snow hit hard right around lunchtime and it didn't really let up all day. This was fun for those of us from the ATL on a conceptual level, but it really just meant that everything moved much more slowly and when that happens, I tend to get flustered.
After an aborted attempt to get into the Science Fiction Museum, we wound up looking for a place to eat. The not-stellar but not-bad Greek pizza we found on Queen Anne would have to suffice. Matt and I were not suprisingly the first to arrive at the venue which was a little room with an ajoining bar that was all underneath a bigger art and music space. It seemed considerably smaller than Chop Suey, the home of last year's battle, but it turned out to be just about the right size.
Kris, the organizer, runs his event with a pretty solid schedule and lots of intentional breaks in the action. This is done in part to facilitate smoke breaks, but it also lets him schedule "showcase" performances by laptop battlers from the past who get more than just three minute blocks to show people what they can do. I like the idea a lot, but it might not ever work in Atlanta unless we could get people to take the set up thing seriously and unless we could get a stage wide enough to set up 8 computers at once. Since all of the battlers were set up at once, they could throw in short (or not-so-short) sets by Vytear, Kris, and Vincent Parker, along with the MC who's name I never really caught.
I drew a 2 for the first round meaning that I was going to play second. I asked "does this mean I'm playing second in the first battle of the first round?" and Kris answered that I was just playing second in the round total. Going in, I had imagined that the format was going to include a round-robin style first two rounds where the six contestants would be split into two groups of three, play each other, and the top guy from each group would be in the final. This was NOT in fact, how the battle was set up.
The first two rounds had no real competitive, head-to-head element to them. Each person picked a number to determine order and then we just played one after another until a break. It kept things moving really quickly, but it was a little confusing after coming from the more head-to-head elimination style tournament that we do in Atlanta (and that they did in Finals past.) This whole format thing would play a big factor later on, but more on that in a bit.
I opened up the battle with my epic metal track (which has no name, by the way.) It was the same opening track I played in Atlanta and it got just about the same response. I mean, the first guy (Cygnus, who competed in last year's final too,) was kind of doing spazzy IDM or something and people were sort of trying to get into it, but you could tell that it wasn't connecting 100%. Then I stepped up in the wizard robe, cranked the new intro to my set with samples from my Black Hole storybook record, and blasted into two and a half minutes of carnage. There was a thunderous kind of uproar and applause and I walked off the stage (and accidentally left Live playing on and on and on.) I knew that track would kill, and it did. I had litterally a dozen or so people stop me after that round and tell me that they loved it. That's always a good sign.
We all waited through the rest of round one and through the break and then subsequent showcase set and I tryed to figure out where the competition was at. At that point, I'd seen everyone play once, but I had really no idea who the frontrunners were. I mean, I should have known that I was ahead by a mile (because I was) but I tend to downplay my own effectiveness as a performer while I'm in the thick of it. I pulled the fourth spot in round two so I figured I had lots of time to get set up.
Since there were no scores released at the end of the first round, no one knew who was officially ahead in the judges tally. This was the first really fatal flaw to this format that I didn't recognize until the whole thing was over. The scoring piece was cool because people didn't have to simply win or lose, and you could get credit for being good even if someone else was just better. I'm not sure specifically how the judging worked--what kind of numeric scale was used or what the categories were or anything like that--from talking with Matt, it sounds like it was kind of nebulous. So going into the second round, I felt like I was in pretty good shape, but there was still NO ONE that had truly been eliminated. As I learned, this was a problem.
I absolutely wanted to rock the Oompa Loompa track when it was most needed, because I think it's honestly an unbeatable thing (unless someone out there is doing something zanier and in over half a dozen battles including two nationals, I haven't seen it) but I also owed it to people to get it on video. My girlfriend hasn't seen it. People at my office were curious. I really wanted to capture it and I knew that the second round was my only GUARANTEED performance left, so I went for it.
There was a slight panic as I took the stage and noticed that the USB adapter on the end of the DDR pad cable was missing, but I ran outside (in my robe and oompa gear) then grabbed my suitcase, tossed through all of it onstage and found the adapter. That turned out to work in my favor because once people saw the DDR pad, they absolutely wanted to see it work. I plugged it all up, fired up GlovePie and went to town. Performing that track is incredibly physically draining but it gets a massive response. Like the first track, when I was done the place erupted. It always makes me smile when I can connect with an audience like that. I know the song is silly and costume is sillier and that it's a big gimmick and it's not a serious song at all but it totally fucking works at entertaining people. Once again, I think I had clearly raised the bar to a point where no one (including me) could jump over it again for the evening. I waited through the rest of the battles and the next showcase and I felt like I was a lock for the final, since almost everyone else was petering out.
Kris tapped me on the shoulder and said "congrats, it's you and Dave Pezzner in the final" and it was as people had told me it would be. In talking with my friends, they all thought Pezzner would be in the final with me because he got the best reaction from the crowd. He definitely had some of the best quality sound of any of the other competitors and he wore a silly outfit and junped around and acted the fool (like me!) so I figured that was fine.
So with my highest energy track gone and my best gimmick gone, I had the blindfold trick left which is not only a tough thing to pull off but also a nod to the world of competitive DJ battles where guys do stuff like that as a big middle finger to their competition. I lost the coin toss so I had to go first, and that was fine. I asked the audience for a scarf and someone threw me a Seattle Supersonics scarf so I tied it around my head and I heard some "oh no he didn't" kind of mumbling. I felt pretty good about that. I then launched into my ode to 8-bit fantasy games (something I call "Dungeon") and it went pretty well. I fat fingered a couple notes and didn't have as much energy as I would have had if I'd been able to see, but I always figured that the blindfold would really sell it. When I was done, again, it was pretty raucous and I walked off stage as Pezzner asked the audience for underwear (since I'd asked for a scarf.) It was a funny way to try and upstage me, but then when NO ONE threw him underwear, it was like DUD. I wanted to oblige so I dug a pair of my dirty drawers out of my suitcase and thre them on top of his soundcard as he was starting be he didn't see that.
I watched Pezzner from the side of the stage he was on and standing four feet from him, I felt like I surely had this competition in the bag. He was playing a track that consisted of four completely mixed wave files and his performance was limited to turning them on or off, adding or removing an effect, and doing jumping jacks and dancing while the computer did it's thing. This was a little insulting to me because it's the worst kind of laptop performance--one where the spectacle is completely independent of the music. You know, people like to see guys with guitars do chicken dances and crazy theatrical stuff, but those guys are always STILL PLAYING THEIR INSTRUMENTS while they are doing that shit. This guy was hitting play, stepping back, and jumping around. Fine.
As can probably be deduced from the tone of this entry, when they called us up to award the trophy, it went to the local hero, Pezzner. Was his set entertaining? Absolutely. While I've never thought that was ALL that mattered in one of these contests, I do appreciate that it's a large part of the equation. Was his music interesting? Sure, it was a good mashup of mindless dance music, done well, and with a lot of crowd-pleasing energy. Was there anything about it that I liked? No, not at all. And that's fine; that's the beauty of a battle with different styles and voices. Still, I was a little dumbfounded that I lost to a guy who was barely interacting with his instrument, and was playing the role of party dj/jester to the local audience more than anything else. Props to him though--he definitely knows how to keep people moving and that counts for something.
So back to that format business--the thing I would point to as my excuse if I wanted to whine about losing. See, without knowing who stood where going into the second battle, everyone had to treat the second round as if they had one loss in a double elimination battle. In a double elimination format, if you're in a position with a win in your pocket, you can take a chance with a lesser track in the second round knowing that you can make up that one loss later if you need to. This encourages risk taking and gives the battle added dynamics. It also means that people can work their way up to their best tracks rather than blow them out at the front end.
I treated the second round as a knock out round because I didn't know any better. Now it could be argued that I should have known that I was a mile ahead after my first track, but again, unless you have that sixth seed in the round, you have no idea what kind of madness someone else is going to unleash. As it turned out, Pezzner and I were probably the front runners all night, with me in the lead until that final battle. Oh well.
What the loss really boils down to is the fact that I didn't employ the right strategy. It's not the format that is the problem--it's the way I approached the format. In a way, I felt like the format let the whole competition down a little bit because I think if you asked anyone in that building, almost every one of them would have told you that one of my tracks was the highlight of the night. And I don't say that to beat my own drum--I literally lost count of how many people told me EXACTLY that. I had lots of Seattle folks tell me 'we're locals but we thought you won.' As I was on the phone with my girlfriend after the battle, sitting on the slushy steps of a closed restaurant watching the snow turn to rain, I was interrupted so many times by people leaving the battle saying "hey man, you were robbed" or something to that effect that I eventually just had to tell Amber I'd call her back.
I had three of the six judges tell me the picked me in the final too, which was weird and kinda got me wondering how the scoring worked. Then, one of the judges who certainly didn't pick me in the final felt the need to explain his decision to me. He talked to me without me asking for him to, about how the order I played my tracks in is what lost it and how if I'd played the Oompa Loompa song in the final, I would have killed him. You know, this is basically the same as asking to see the chef at a restaurant only to tell him how he can improve his recipie. Did I fucking ask for feedback? No. Do I care at all about the reason why some dude thinks I shouldn't have won? No. It's a game, there are parameters and one of those is judges and whatever baggage they bring to the event. I'm happy to go down within the parameters of the event, but I'm gonna go down swinging.
I wasn't too broken up about losing--the prizes would have been nice but superfluous. The trophy was cheesy but fun. The title would have been the best part of it, but you know, I know that I was the best performer there that night and that I just made a miscalculation about the game. This happens in sports, and I'm cool with that. I think people who aren't into sports have a harder time understanding that cause they want to supremacy of art and content to win out over things like arbitrary rules, formats, and judging criteria. I think those are the folks who resisted the laptop battle concept from the beginning in Atlanta, and that's okay. The epilogue to this story is that I still have a successful career with Larvae. I still have tracks that I didn't even play at this battle that kill. I still have chances to work with amazing artists like Shadow Huntaz and to tour and to do all the things I did BEFORE any of this battle business. Would I liked to have won? Sure. Did I need to? You tell me. ;) |
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| The Battle in Seattle part 2 |
[Dec. 2nd, 2007|01:04 pm] |
When we got to Seattle proper, we met up with Colleen and her Seattle-based friends for a wonderful dinner at a Thai place. We watched cats act a fool and then called Kris, the battle organizer to get directions to his place. Since Kris had to work at 9:30 and we were still conversing at that point, we wound up heading over to the bar that Kris spins at.
I immediately recognized Cygnus in the bar so we pulled up seats and had a few drinks with Mr. Andersonic, Dev79, and Cygnus until everyone decided to take it to the dancefloor. It goes without saying that I don't spend a lot of time in bars, clubs, and pick up joints. In the past, I've had my share of nights out at clubs but those nights never involved drinking (for me) and they never involved people taking cell phone pictures of themselves while trying to grind to Fergie tracks. It's funny to watch the convergence of narcissism and the human mating ritual in a space like this. People were clearly trying to impress the opposite sex, but they were almost more worried about capturing the experience with 240x320 pixel pictures and texting the results to people who couldn't make it.
Kris Moon is an awesome club DJ, and I can say that even knowing that I hated 99% of the music he had to play. And I LIKE pop music! We were at the club until last call which is a benevolent 1:30 in Seattle. The night wound down at Kris' house where we were met by Jason Carr, DXM, and Vytear, a case of PBR, and the obligatory herb. That's usually not my scene, so I just tryed to hang for a few minutes before retiring to bed upstairs. I got to sleep on a huge air mattress and even though I could feel myself slowly sinking into it like a sausage in a warm bun, I didn't mind because it was 5 AM Atlanta time and I was ready for the sandman. |
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