Archive for the ‘tours’ Category

train and moncton

And so we left beautiful Montréal!


G’bye, island! G’bye, Montréal!

We took viaRail overnight to Moncton, and had a sleeping room, which is actually a room, which means we had a room on a train, which is kind of amazing – like, there was enough floorspace to pace if you wanted to – but sadly I was not able to photograph it well.

But seriously, floor space and a closet and our own washroom and AC power and a fold-out desk. And two bunk beds. And a door. With keys. ♥

The Quebec countryside is pretty and mostly farms. Here’s one:

And then the sun set, prettily:

So we watched that for a while, and I wrote a little in my paper journal (but not as much as I’d meant to) and we went to dinner, which was fantastic, and where I discovered I’m rather fond of ice wine, which would also be fantastic if it wasn’t $90 a bottle.

Yikes.

Back in the room, Anna wrote into the night.

…while I headed back up to the lounge car to – well, my plan was just rehearse. But I picked up an audience, and it turned into a little late-night concert! Small but enthusiastic, which seems to be kind of a theme for my shows this trip. Hopefully I can turn that into larger and enthusiastic at some point, but small crowds are great if they’re actually involved and paying attention.

Right after the show, the train stopped and a chunk of it separated off to go to Gasbé, which is where everyone in Quebec goes for vacation. Seriously, everybody. But we kept going, after dropping them off, and awoke to the low forests of New Brunswick!


Facing east, difficult to photograph

We went up to get breakfast (and found we’d missed it, thanks to our phones not picking up the timezone change – hello, Atlantic Time!) but got something in the lounge car instead. And a surprise concert by someone else!


Joanna Barker

After her show, we chatted and traded CDs. She was also playing her way across Canada, but doing it entirely on the train! She’d started on Vancouver Island and was heading back home to St. John’s. Guys, I so need to do this. Seriously.

It took me a while to figure out this name:


Not みらみち. Mir-ra-ma-shee, as in “where you’re tied up to a tree.”

Around noon, we arrived in Moncton and were met by our gracious hosts, Pauline and Neil and the adorable Miss B! Who totally looks and sounds like Boo from Monsters, Inc. They took us home, then out to THE FOOD OF THEIR PEOPLE! Poutine Rapeé.

I have to admit my first thought with the rapeé was that it was a sweet, and that the outer coating was sugar? But it’s a savoury – the outer layer is potato, and on the inside, smoked meats! It’s very much like hombow, only because it’s boiled (very traditional, you say?) it kind of has a slime layer. Which you scrape off, and then it’s actually pretty good!


Miss B and Dad, Neil


Seriously, she’s Boo incarnate. We kept waiting for her to shout KITTY!

We had a whole day, so Pauline and Neil drove us around to show us the countryside. New Brunswick is unsurprisingly also lovely countryside:


Click here for closeup


Click to enlarge

…albeit infested by GIANT LOBSTERS:


Acadian! Lobsters! Of! Unusual! Size!


She’s Et, Jim


Et too, Anna?

And then back to town and off to do a house concert! Again, small but enthusiastic; there were some last-minute cancellations due to the best weather of the last two years and impromptu camping and other outdoors excursions. But, again, enthusiastic. It’s a theme, really. At least one person took some video, hopefully I can get it from him! I need to get off my ass and ask about that… XD

Right about here I started figuring something about the differences between cultures and how much they do or do not value music.

Cascadia’s not particularly music-hostile. Some places genuinely are, and not just fundamentalist environments either. (Singapore is, from what I’m told, rather music-hostile. Just as an example.)

But it’s not a thing that people do, in general. And it’s a little weird if someone does do it; it’s a little spooky, or a little magical, and a bit discouraged, socially. Recorded music is everywhere, but performers are… not generally welcome. I’ve been treated very roughly at farmer’s markets where I’m supposed to be playing, because the farmers – as one put it, too my face – think I’m a “parasite” for not being, well, a farmer.

For not being productive, really, because what I make isn’t important. And it’s socially okay to make that very clear. I’ve had people ask what I was happy about, and when I tell them about it and it’s some music thing, they abruptly changed the subject.

That’s not the norm – in that it’s not the most common reaction – but it normal, in that it happens often enough to be unremarkable. It’s not worth noting.

Unless, of course, I’m explaining the differences between places, like I am now.

So it’s not suppressed – and classical is outright approved of – so there are instrument stores here, and some very good ones! (Dusty Strings in Fremont, Seattle; American Music in Bellevue both come to mind.) But, well, they’re niche. They’re quirky. In a positive sense, absolutely! But… quirky. Off-beat. Off-path. Certainly not something you’d find sharing a big-box store parking lot with Costco or, oh, Home Depot.


…oh.

Yeah. It’s like that.

Every instrument store I went into starting with Montréal and heading east had more variety – not necessarily total stock, but overall variety – than anything I’ve ever seen before this trip. Even the small ones.

That only happens if you have economic demand. And that economic demand tells you, as clearly as can be told without being there, how far down that difference goes. Music is productive; music is something people do.

I’ll talk more about this later. Thank you again, Pauline and Neil, for having us in – and next up: St. John’s!


ps: I bought a xaphoon in Moncton. I’d never seen one before. The first noise I got out of it sounded like a moose call but it really sounds like a hybrid of oboe and sax.

Also in Moncton:


OMG DO WANT. Godin. Particularly the A5 (5-string) version. Droooooooool.

montréal et joliette

So we got on a train from Toronto and went to Montréal! I hate airplane travel but love train travel, and this was quite a bit like the Cascadian rail that I take from Seattle to Vancouver all the time, with two minor differences: 1. the foot was much better, but 2. no lounge or separate dining car, which means I was essentially just in a seat for those hours.

For most people, they’d take the better food – and it was fabulous – but I’d rather have the ability to get up and walk to another car. I hate sitting that long.

Taking pictures from the train didn’t work very well because the sunlight was on the wrong side. But we saw this:


hi lake!

And this:


seems familiar

Which reminded me of this:


oooooh rite

And then once we got there we saw this:


unf

…and I went Hel-LO, Montréal! And then we went to dinner with Vicka and Pywaket! And I determined that in fact, rabbit is super tasty, as was the gelato and chocolate at Suite 88 up on the Plateau, which is where we spent most of our time.

Montreal looks a lot like this!

And also has this, which is where Anna and I would buy all the things if we lived there:


home of the bass ukelele, which I desperately want

Next day was up early for Festival Mémoire et Racines in Joliette! And Em picked us up from Hotel Lord Berri and took us to her favourite Quebec poutine-and-steamed-bun-hot-dog place on the way. I realised I’d forgot my phone so most of this are sadly just off my phone. But!

Anna was particularly happy to see these guys:


Les Charbonniers de l’enfer

…because they never travel all the way out to Cascadia! So she got to see them live. In a tent! And sang along like this:


i did not understand the lyrics

The big OMG SQUEE for me was that some of the musicians were having little pickup sessions, and they’d get together and play at this one building outside the green room, and other people could sit in on this ring of tables around them if you wanted, and play along. So of course I did that, briefly playing with the new spoons I’d just bought:


Picture courtesy Em F

…and then with my zouk, which I had of course brought up from Montréal.

And that went over so well that I got called up to the main circle to play.

O.o

Honestly, it was one of those, “…me?” and “is this really happening?” moments, because this is one of those bullshit daydream fantasy events that doesn’t ever actually happen in real life, except hi, it was happening right then.

It was epic. I played along for a while and eventually introduced a set that featured my Mystery Tune and got a round of applause from the core group over that. They liked both the tune and the whole set! But didn’t know it either – until now, anyway. 😀

Anyway, once that broke up, we went over to the crafts area and bought dinner and I had a kind of hilarious language fail moment. Apparently there’s a thing in bilingual people where your main language is Language A and the second language you speak is Language B and All Other Languages become Language B.

So if you walk up to a vendor you discover is Francophone-only but you didn’t know they were Francophone-only you might just panic and spew, “chotto matte gozaimasu, atashino tomodachi furansugo hanashima ANNA-CHAN!”

And then they ask if you have any English and you go O.O and “…I have some English” and you ignore the question about your native language like you don’t understand it and run away.

so embarrassing XD

The evening concerts were great! I wish I’d had my proper camera; the iPhone doesn’t do well in low and evening light. But this is what Bernard Simard et compagnie looked like:


only, you know, larger

And this is what … I think these are still they, anyway, I’ll edit this when I’m sure… Belzebuth sounded like, recorded on an iPhone!


you can hear Anna in this next to me 😀

And that’s a whole lot of photos! Next: MOAR TRAINS! Only with better photographs, and a surprise concert ON A TRAIN, and Moncton!

there and back and hopefully there again

…and we’re back! Hiya! Back from St. John’s and Torbay and Shediac and Moncton and Joliette and Montreal and Toronto! Working backwards, more or less. There is far too much, and I’m still updating my written old-school journal, but there are things! And I have proof!

I stood in a Great Lake in Beaches:


Yes, my feet are in the water, even if it doesn’t look like it.

And The Mighty If, who was at the house concert later, posted video he took with his camera from the show, which is probably the first recording anywhere of “Get Out”:


Not you, you can stay

We hiked all over Toronto, or at least, downtown parts. This was an Eyesore of the Month building in the drawing stages some years ago and I looked at the drawings and totally agreed, but this is one of those cases where the drawings – and also what it looks like from a distance – are totally wrong, because on the ground once you’re nearby? It works great:


Look at this insanity. LOOK AT IT!

Holy Shit, Bay Street!


No left turns, indeed

Also for some reason some of their street cars have Elfquest pr0n names:


Intersects with Softsheath

And we found out where Cabbages Guy went after he left CabbageCorp:


My Cabbagetown!

And apparently:


Inspector Spacetime got a double-wide

Okay, okay, enough fandom crap. XD Toronto was awesome. How awesome? This awesome:


Canada Doesn’t Hate You

Thanks again so much again to Cow for having me in for a show (and for crash space!), and to both Cow and If for posting videos and pictures and everything! 😀

Next up: Montréal! This is already too many pictures, so I’ll post about that on Friday.

Tomorrow, the first of the studio build-out posts! I’ve got a lot of catching up to do – in everything – but that’s okay. Time to get busy!

whirlwind!

Hello from St. John’s, Newfoundland! Everything this tour has been such a whirlwind and awesome and I’m not even going to try to catch up for right now. But the last couple of weeks have been epic and there’s still more to come!

I’ll have some great pictures next week, and some stories, as well as getting back to regular schedule, but for right now it’s just this HI I’M STILL ALIVE AND ON TOUR post. Back to Seattle late on Monday!

If you aren’t following my twitter account (username solarbirdy), that’s the thing I’m most likely to update on the road, for obvious reasons. Say hi there!

this is not a day to blog coherently

“That’s flowers. That’s become flowers now. Is that a drink?” – me, a few minutes ago, looking in the refrigerator.

Airplanes hurt my brain.

Clearly, I am in no shape this morning to summarise the post-scarcity series, outline or no. I will write that later, instead. Hopefully tomorrow.

the post-scarcity model, part five: touring (part two)

I’m not sure what to say when a series intended to be two parts runs over five long and some of those parts have two parts on their own. Probably, it means I must learn to write shorter posts.

To recap: the old touring model became a problem, particularly for bands, which are are expensive. We talked about the instaband/hive band model in response; go here to refresh your memory.

Of course, all that said, you still shouldn’t turn down paying old-school gigs when they pencil out. Take those! Money matters!


I’m rich! I’m wealthy! I’m comfortably well-off!

But building a career that way is much more difficult than it used to be. Concert culture is really kind of at a nadir right now. It’s not that there aren’t standalone concerts in traditional venues – of course there are! I go to some! But it’s not a thing, like it once was, and more importantly, it’s not a way to build fans like it once was.

I don’t know what killed that culture – the reputation for expense, the hassle venues and labels put you through in the 80s and 90s to prevent bootlegging1, cowardice over “terrorism” and crime – despite crime declining steadily for three decades people talk about “how bad it is” out there – or maybe it’s all this woman:

Or maybe it’s the industry again, with their crackdowns on unlicensed venues, and the cost involved in being one. I know venues around here who were shut down over licensing issues.

It could be any or all of the above, or something I haven’t even listed. Regardless, the culture is not what it used to be. I know too many musicians who have seen their incomes drop 50-70%, and too many who have just dropped out entirely, to think otherwise.

So what to do now? Where do you get started?

The first thing to talk about the house concert. These aren’t new; folk musicians have done these for a long time. But in other genres, these used to be mostly college neighbourhood excuses for drinking and party riots – if you haven’t seen the Runaways biopic, you might, there’s a good example of what they used to be in that film. Spoiler: they sucked.


Not just Kentucky

Over time, however, they’ve become civilised. There are house concert circuits, there are house concert providers who host and take care of you, and do this on a regular basis. Terms are all over the place, of course. Most don’t charge, some want a percentage of the suggested donation, but even that’s generally just to cover expenses.

So what do the hosts get out of it? They get an event, and social credit – a key currency in any post-scarcity environment. They get to be part of it; people who do this like music and care about it, and want to be a part. This is one way.

Meanwhile, you’re offering an experience they aren’t going to get in any other venue. You’re offering something that’s close and personal and right there. And at the same time, you are getting a venue and a chance to make fans.

Seriously, a crowd of 6-12 people in a living room gives you your best shot of doing the most important thing you can do starting your career: making that personal connection, becoming meaningful to somebody, and through that, re-establishing the value of purchase that we talked about way back in Part Two of this series.


I mentioned these aren’t new, right?

Start by getting people who’ve heard you on the internet to host. If you’re lucky you can get fans to do it (hi guys! ^_^ ). Even if the turnouts are tiny, you’ll need the experience and the references. Once you’ve done some of those, you might be able to get the attention of people who throw these regularly. And from there, maybe you can get onto the circuits, if that’s where you want to go.

But don’t do them if you hate them. Don’t force yourself. People will know.

Event shows are another break-in point. Anything where there’s already an event that you can join is an opportunity. You gain cred by showing that other people are interested in your art. You get a crowd already there for something; you don’t have to overcome the stay-at-home inertia.

For example, I’m a musician, but I’m also a venue – I run nwcMUSIC, a mini-music-festival under the auspices of the Norwescon science fiction convention. I don’t have a budget; I don’t pay; but like a good house concert venue, we take good care of you. You get to play in a good environment to a lot of people who are already out at an event and therefore a lot more likely to check you out, stay and talk with you later. You end up with four days of meet-and-greet. You get to do panels; hopefully, you impress people.


The Doubleclicks at nwcMUSIC 2012/Norwescon 35

See also: Sakuracon, PAX, any kind of multi-modal event that’ll draw people in on several fronts and also let you get personal with potential fans. Hell, Clallam Bay Comicon, where I was last weekend? Exactly the same thing.

Because that’s what you have to do: build that connection, and through that, re-establish the idea of value in purchase. Maybe it’ll be merch. Maybe it’ll be CDs. No matter how you count it, it’s about getting people invested in you, and therefore caring about what you do.

To do this, you have to be there, not just show up and take off. You have to be on the whole time, not just on stage. You have to be part of the event, because you’re selling not just your music, but an experience, and a bit of glamour.

If you’re doing a convention or a show and only doing the concert? You’re missing opportunities. Get onto some panels. Be lively and entertaining and prepared. No panels you care about? Propose some. Make a god damned impression.

People also like event souvenirs. CDs can be souvenirs. Even download codes can be merch can be souvenirs – this is why my download code slips are shiny gold tickets, and not just pieces of printer paper. People react to that. Yes, I know, you first and foremost want people to care about your music! I’m in this because I want people to hear my stuff, not because I thought, “I know! I’ll GET RICH by MAKING MUSIC!”

Because that trick always works.

But if they don’t get your CD, or your download code, they can’t listen to your downloads or CD. So stop worrying about why they bought it and just hope they do. If they like you, if they liked the experience, they’ll want the token of being there, and once they have the CD or the download code, you’ve improved your odds.

Similarly, doing a house party on a house party, or house concert tour? Don’t just play and leave; go to the party. Then build in some time between house shows where you can hang out after the party with your hosts in a relaxed and fun manner.


preferably sedated

It’s work, being “on” for hours at a time like that. It’s new and unfamiliar to many, including me. But people are doing music this way, and some are building careers, in this post-scarcity environment. It requires a gregariousness that you or someone in your band have to have, or be able to cultivate.

But it can be done. It’s one way forward from where we are now. Not the only way; but one way.

This time next week I’ll be in Toronto! I’ll be practicing some of what I’m preaching here. There will also be a Part Six of this supposedly-two-part series, which I’ll do my best to post from the road. I do want feedback and suggestions; we’re all making this up as we go along, and there is no well-trod path here. If you spot a landmark, give us a yell! Otherwise, I’ll see you on the road.


1: Which is to say, the kind of youtube video you see from phones at shows now? They used to clamp down on that so hard. Even still photos were often prohibited, and gods help you if you had a cassette recorder or microphone. People used to make special concert-taping equipment, like glasses with hidden microphones and wires that ran down your back. So crazy.
 


This is Part Five of Music in the Post-Scarcity Environment, a series of articles about, well, what it says on the tin. There are no barriers to availability now, and copying is free. What’s a musician to do now?

post-scarcity model part four: touring

Over on his Tumblr blog, Mike Doughty lead an article on touring with this paragraph:

Radiohead wouldn’t exist without early major-label funding. The future won’t bring new Radioheads. All I want to say here, truly, is: let’s get used to it.

This far, I agree. Hell, I started with something damn near identical in Part I of this series, which came out before his, so I didn’t steal it. XD

He follows with this:

This means that there will be fewer bands.

I strongly disagree, but not in the obvious way.

A bunch of things I was going to talk about today – the way that old-school touring doesn’t work – he covered, just after I’d finished outlining this article. Go read his, if you’re curious. But to summarise: less money, fewer traditional venues (by which I mean live-music bars and clubs), the dissolution of concert-going culture (and it is mostly gone), much higher travel costs, and more. Lodging’s no picnic either.

Take that as read; they are the facts on the ground.


It’s kind of like this

One of Mike’s answers is: don’t have a band. They’re too expensive, it’s too much money, it’s $6000 a week for bare-bones, you can’t do it. Sound amazing as a soloist or duo.

I disagree strongly with that dollar figure, but leave that aside for now.

“Don’t have a band” is a solution, and it does work. And in fact you’ll have to do that to some degree – or most of you will, there are always exceptions. As part of that, you have to find new kinds of places to play and new ways to book and so forth; we’ll get to that, I swear to you.

But he’s absolutely wrong about fewer bands. Fewer bands is not actually the answer. More bands is the answer.

Here’s how it works:

You want to tour. A lot of musicians don’t want to tour, but do want to play. They’ll have day jobs they like, but they’ll want to play out and put serious work into it.

So you tour around as a solo or duo at first. As you’re doing that, you network the living fuck out of all the good local people you can, and build enough contacts to have a band in every town. Or, at least, have one in the central towns within an area that’s a day-trip away from shows.

This has actually been my game plan with CRIME and the Forces of Evil. A lot of people seem to think I want to be a solo act. Were that the case, I wouldn’t have a band-style name.

This isn’t bad planning; it’s a strategy. And that strategy has been: work my act up, play far above where my few years of experience would indicate (which involves a lot of catch-up in skills), write an assload of songs, get attention, get known…

…and start attracting Forces. An ever-shifting cloud of supervillains musicians, non-travelling or even travelling musicians with whom I get to play in different towns and venues. We meet up, we practice a couple of times together, we do a few shows, it’s awesome, we go our separate ways until we come back together again.


Not entirely unlike this

The best part is, everyone get something out of it. Touring musicians who want bands get bands without the travelling expenses. Limited-touring people get a chance to step up, play with more people, build into however much mobility they want. Non-touring musicians get to be a part of it, for reals, without any of the touring stress.

Alternatively, there are still a fair number of cover bands out there. This can and should be a new lease on life for them. They’re already all about covering other bands; now they can do it with the actual act.

And what makes this workable is the same technology that upended the old system: cheap, easy, reproduction. You make a scratch recording of how you want a song to sound live. Channel left is everything from the song except the musicians you’re meeting up with; channel right is the part they need to learn. Play both, you get the whole song.

When you get into town, you rehearse a couple times as a unit, mostly to practice timing, and then you do your shows.

Everybody wins.


so much win

Now, it’s a skillset, as with everything else. But it’s a skillset people can and will learn. I know they will, because I didn’t invent this. It’s already happening. SJ Tucker was my gateway for this, but it’s all over the place in both filk and nerdcore, two of the big forms of geekmusic.

It even has names. Sometimes it’s called the Instaband concept. I think of it as the Hive, but that’s my Teen Titans fandom showing, or rather, the AU fanon where…

Right. Sorry. Topic drift.

Regardless, I saw this happening and thought, I want that. I’m adapting it to my own needs, and I’m trying to build on it and improve it, of course, and I write about things because I’m one of those people who sees a problem and a possible solution and starts waving their hands wildly about going GUYS GUYS GUYS OVER HERE OMG!

Which I like to hope is a contribution as well.

Also, I recognise the connection to pre-recording-industry town bands and orchestras. If you don’t know; every little town, even really little ones, used to have a little band that played all the events – holidays, parades, whatever. It’d be made up of all the local people who had businesses or farms or whatever, but who liked playing music. Touring musicians would utilise them, too.


St. Pepper reporting for duty, ma’am!

But it was much harder in many ways, because while you could have sheet music, you couldn’t know what it should sound like. So quality was lower, and it was supplemented by touring bands as that became more possible. With large touring bands becoming economically unviable, we’re kind of going back to that system, only this time, with far better tools – and better quality.

In short, all of this can happen, because it is and has done before. Given the correct circumstances, it will again.

And we’re over 1000 words already, so that’s all for today. We’ll talk about where to play out in a post-concert culture, and ways to make money at it, next time.
 


This is Part 4 of Music in the Post-Scarcity Environment, an ongoing series of articles about, well, what’s on the tin.

that was so much fun you guys

OMG you guys Westercon was so much fun! Having Leannan Sidhe and Marcos Duran on stage with me for the show? Epic and I so need to do that again. Also, I can’t believe programming tapped me to fill in for Alexander James Adams on stuff – they ran me around like crazy and I damn well earned my attending pro badge, but in a great way. And Greg Bear called me awesome after our panel together on Sunday. AAAAAAAAAAA so much fangirl squee.  O_O /


to wit

Panels went great. I have a few things to add to the Kitting Out Cheap handout (talking of: WESTERCON KITTING OUT CHEAP PARTICIPANTS: This is your digital handout!), the alien music panel was all sorts of fun, and leading the Pirate Parade lets you go around being total jerks but since you’re doing it as pirates everybody loves it. XD I got to listen to the Building a Spaceship panel from back stage while dressing for the parade, I wish I could’ve been there for the whole thing.

Really, I wanted to go to that convention twice, once so I could actually attend it. XD


yeaaaah that webstreaming thing

I’m sorry the concert webstreaming didn’t work! It didn’t work for anybody. The video people had server issues and couldn’t get it fixed until Sunday. They should be able to get me the audio and video, however, and I’ll see how that came out and hopefully get some of it on YouTube. Both tech crews (audio and video) had to struggle mightily against travails this past weekend, and worked their asses off doing it – hats off for grace under fire to all of them.

I bought so much art. You should totally check out Céline Chapus’s work. Also Elizabeth Berrien’s wire sculpture if you can see it in person – photos give you an idea, but don’t do it justice. Also, Torrey’s Prince Zuko costume is really good, she’s nailed that whole accurate-to-the-totally-wrong-scarring-in-the-show thing, the detail work is super-nice.

Also: best convention afterparty I’ve been to in some time, a great way to end the show. Thanks all you guys! I’ll get the next RIAA/business of music post up tomorrow, and see you next weekend at Comic Sans/Clallam Bay Comiket!

montreal and st. john

Hey, guys, I need some help filling out an Eastern Canada house concert tour! I have gigs in Toronto and Moncton, but I’m looking for Montreal and St. John’s, in late July and early August. House concerts are really easy to host, and I don’t even need crash space or anything. If you have any pointers, please throw them to me, because I’ve never been these places before!

Also, HI to Cascadian Independence Project people! The album you’re looking for is Cracksman Betty! We’re doing a review raffle, so if you post a public review, let me know! Give Dick Tracy Must Die a listen, too. Full-band elfmetal RAR! 😀

using the hangouts

Hey, are any of you on Google+? If so, Leannan Sidhe is trying to use the G+ Hangouts feature for weekly bardic circle playing events on Wednesdays. Punters – people just there to listen – are more than welcome.

I’m going to try to make next week’s; I couldn’t make the inaugural last night because I was at Session in Renton. Honestly I have no idea how this works as I haven’t used it yet, but yay, experiments! She’s also doing a Monday version to see whether that works better for people. Go read her page for that.

I AM LOOKING FOR MORE SHOWS. Seriously, guys, right now I have nothin’ until July and Comic Sans/Clallam Bay Comiket. I really, really, really want to do more house concerts! Hosting is not so difficult – it’s like throwing a party – and I will and do travel. Travel days are awesome if I have time to wander around at all. You find things, like rivers, and purple mountain flower, and I mean, how else can I show people that, despite all my bitching about Skyrim, it’s kinda true:


I do


kinda sorta


live there.

And I like goin’ around seein’ it.

Watch out for dragons! (⌒▽⌒)

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