big budget album recording

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I was passed this link on another mail list I'm on. It is an account of a recording apparently being made at this moment.

http://www.prosoundweb.com/recording/mm/week1/mm.php

it is a long read, and somewhat techy in places, but honestly well worth thee effort. The writer, "MixerMan" is an extremely insightful fellow, and his many knowing asides from the dreadful tale he relates are worth taking the time to look at this on their own.

N0RM4N PH4Y, Saturday, 31 August 2002 21:14 (nineteen years ago) link

sounds like he is recording the bmx bandits.

keith, Sunday, 1 September 2002 14:40 (nineteen years ago) link

Thanks for the link. A very enjoyable read.

Mark M, Sunday, 1 September 2002 16:30 (nineteen years ago) link

This is great stuff - truly "trapped inside a nightmare". I've once heard a producer (who just suffered from a very unprofessional rock band) mention something to the extent that it's no wonder that "electronic music" was so popular these days - those guys are all producers with their own studios who deliver tracks all year round, as opposed to the "herding cats" syndrome with rock bands.

Siegbran Hetteson (eofor), Sunday, 1 September 2002 16:32 (nineteen years ago) link

The first time in ages I was laughing at the computer screen.

Melissa W (Melissa W), Sunday, 1 September 2002 17:15 (nineteen years ago) link

that was entertaining. i only got thru week one so far, yikes.

ron (ron), Sunday, 1 September 2002 17:37 (nineteen years ago) link

For some bizarre reason I keep picturing the band in my head as being the Vines.

electric sound of jim (electricsound), Sunday, 1 September 2002 21:17 (nineteen years ago) link

This was great! But I hate being left hanging... I want more!

Jody Beth Rosen, Sunday, 1 September 2002 21:40 (nineteen years ago) link

I'm only a day and a half in, but already this confirms my long-held suspicions that it's the Mastering Life for me. Nice comfy studio, no noisy buggers on t'other side of glass, all sounds PRE-recorded.

Michael Jones (MichaelJ), Sunday, 1 September 2002 22:34 (nineteen years ago) link

That piece links to a great interview with a former Motown engineer named Bob Ohlsson.

Jody Beth Rosen, Sunday, 1 September 2002 22:45 (nineteen years ago) link

it's too bad he doen't say more about what kind of music he's recording. I seriously want to know what band that is.

ejad, Monday, 2 September 2002 11:54 (nineteen years ago) link

I seriously want to know what band that is.

It would have to be a band that was in a "bidding war" two years ago and has yet to release any music. What guitar-based all-male band with a lousy drummer was in a bidding war in 2000?

Jody Beth Rosen, Monday, 2 September 2002 13:49 (nineteen years ago) link

wiht a singer who loves "vintage" shirts and a guitar player who likes Vox AC 30's I'd guess this is some kind of a emo/indie band but thats just a wild guess

ejad, Monday, 2 September 2002 14:17 (nineteen years ago) link

am i the only one who finds this passive-aggressive "vibe"-master more repulsive than the twits he's writing about?

The Actual Mr. Jones (actual), Monday, 2 September 2002 17:59 (nineteen years ago) link

am i the only one who finds this passive-aggressive "vibe"-master more repulsive than the twits he's writing about?

Nah, I don't think he's passive-aggressive -- he's just trying to be diplomatic while maintaining control of the situation. I'm really impressed by the way he's handling things; I would probably walk off the job on the first day. If anything, the producer's the passive-aggressive one, walking out of the room when things get too hairy, not being upfront about the "contract" issue.

Jody Beth Rosen, Monday, 2 September 2002 18:06 (nineteen years ago) link

for me what bugs me about him is that he lives in LA

ron (ron), Monday, 2 September 2002 18:10 (nineteen years ago) link

He sounds hateful. And instead of moaning he should just get on with the job. It's his own fault for not doing his homework (ie attending rehearsals and listening to demos). Just turning up cold on the first day at the studio was just dumb. He said that he got a sinking feeling about the project straight away so why not do a bit of research before committing yourself to a long job like this? Equally dumb was trying to fix the drummer's bad timing by chopping up the multitrack tape with hundreds of edits - he should have been trying to coax better performances from him, but if that failed then digital editing would have been a lot quicker.

David (David), Monday, 2 September 2002 20:59 (nineteen years ago) link

And it's quite obvious you know what you're talking about, too.

electric sound of jim (electricsound), Monday, 2 September 2002 21:26 (nineteen years ago) link

What's that supposed to mean?

David (David), Monday, 2 September 2002 21:31 (nineteen years ago) link

Engineers are not necessarily welcome at pre-production sessions. It could also be that he was not necessarily decided upon as the engineer until after the pre-production. It's not particularly reasonable to assume that it was all his fault that he didn't know what he was in for.

The comment about the editing and 'coaxing better performances' was one I had a fair bit of trouble with. Sometimes it's not as straightforward as that. If you're working to a time limit (which admittedly these guys don't appear to be) then you might have to work within the limits of the band's skills as they are. If the drummer is lacking then doing takes over and over or changing the approach may not make any difference to the quality of their playing.

Mixerman made it quite clear why he was against digital editing, so tape editing was the only solution without outright replacing the drummer with someone who could play in time. Plus it was possibkle that it was cheaper to do it this way than rent the ProTools gear.

Sometimes the only way to coax a better performance out of a band is to send them away to practice for a few more months. I'm not being facetious.

electric sound of jim (electricsound), Monday, 2 September 2002 21:52 (nineteen years ago) link

This band were apparently acquaintances of his. They wanted him as engineer to be an 'ally' against a producer they were suspicious of. So he could have done some informal research of his own (ie not interfering in the producer's pre-production, just between him and the band).

Regarding the drummer - the writer admits in some of the later instalments that the drummer improved somewhat (with drug intake boosting his confidence and when playing with a film crew present). It seems he lacked studio experience and wasn't used to playing to a click track.

It's all nonsense anyway. How bad can this drummer actually be? To the average listener I mean. At the end of the day it's the quality of the songs not the drumming that's going to be more significant in whether the band is successful or not (look at Oasis for example).

David (David), Monday, 2 September 2002 22:43 (nineteen years ago) link

How bad can this drummer actually be? To the average listener I mean.

I'll definitely agree with you here. I doubt that he's nearly as bad as Mixerman makes out. Most of the time I wouldn't notice the quality of the drumming on a recording unless it's really crap or particularly distinctive. Eccentricities in drumming are something that can make a recording just that little bit odd and interesting.

electric sound of jim (electricsound), Monday, 2 September 2002 22:48 (nineteen years ago) link

How bad can this drummer actually be? To the average listener I mean.

It wasn't only that he was bad, though -- he was inconsistent, and he didn't take direction well. The parts he played (the beats, the pieces he was hitting) would change from take to take, which can make it difficult on an engineer who's trying to put together one usable take. And I understand the whole "odd and interesting" thing, but I gather most producers really do not wanna have a Shaggs on their hands, for obvious reasons.

Jody Beth Rosen, Monday, 2 September 2002 23:28 (nineteen years ago) link

yes engineers can be irksome at times but here

I come to find out that Lance, my assistant, is his Nephew and that he would like to help Lance get some experience in recording.

is the point at which this diary became CLASSIC.

J0hn Darn1elle, Tuesday, 3 September 2002 00:16 (nineteen years ago) link

Luckily, Lance turns out to be one of the smarter and more dependable people involved with the project. It sounds like Mixerman likes the kid, and he should -- by Mixerman's account Lance is responsible, he learns quickly, and he's not a prick.

Jody Beth Rosen, Tuesday, 3 September 2002 00:35 (nineteen years ago) link

I agree w/Jody Beth as a generality, and I don't find MixerMan's attitude at all hateful. The drummer's faults go beyond just being a lousy player - If the band had ever done gigs at anything above the smallest level, he should have known that one should NEVER start banging on the kit when it's being miked up - in all my years as a live sound engineer, I only ONCE witnessed someone pulling that one. Furthermore, if the band had played any gigs, the drummer should have some knowledge of the rudiments of soundchecking, instead, when MixerMan tried to get him to do a run on the kit, he repeatedly fucked up. The fact that he can oy get a reasonable performance down when the guy is amped up on cocaine, well, for fuxake, y'know? I think that if anyone is at fault here, it is the producer. he sounds SeRiouSLY unprofessional. MixerMan's comments on the "Alsihad" digital editing system ("Alsihad" = "Pro Tools", I'm guessing) are very much in line with stuff I've read on other forums from audio professionals - what is the point of actually recording a real drummer at all if you are just going to chop their performance up so all the beats land on the grid lines? (see the aside on U2's first album) Likewise his opinion on name mastering and mixdown engineers, and their contribution to the homogenous sound of modern rock music albums, likewise his disdain for the use of brickwall limiting during the mastering process, likewise his preferal of the Otari Radar digital multitracker etc etc etc. All stuff I've either read about from people with this specialised knowledge, or a couple of times witnessed myslef, albeit under somewhat different circumstances. We did find with running the PA system that after a while we got to REALLY appreciate those folks who had some basik idea of what they were doing, by which I mean, they knew how to set up their gear. As an aside, one thing I do remember really well was this heavy metal gig where the main act was a technoflashy lead guitarist backed by a drummer and a bassist. The guitarist had a multieffect unit, and had programmed it in his bedroom, with all the sounds swathed in Cocteau Twins-like amounts of reverb. I remember actually taking the Drums and bass out of the rig, and turning the guitar signal up all the way, and still all you could hear was this lead guitar, sounding like a recording of someone farting about on a strat at the far end of a warehouse. After the gig, the band gave me a bunch of shit about it, I tried to explain what the actual problem was, but the guitarist had just bought the effect box, and would hear no criticism of it, so they blamed me and said I was incompetent, which I wasn't. Another time, I did the sound for this REM ripoff band in thee upstairs room of thee old "Broken Doll" pub in ewcastle. Their guitarist brought a huge Marshall rig suitable for playing City Hall sized venues, he turned it up all the way so that it drowned out the rest ov the band, the got so pissed he literally had trouble standing up. He would *not* turn down. Again, the band blamed me for their incompetence abnd untogetherness, and refused to pay for the PA hire. Once you've dealt w/losers like these a few times, your tolerance slips, especially when they are contrasted with people who know what the fuck they are about -and in my experience such people are NEVER attitudinous. I did on-stage sound for Leath3rfac3 at London Astoria, and some other venue down there where the other bands they played w/were R3d Kr0ss and (groan) the s3ns3l3ss th!ngs. I have to admit that L34th3rf4c3's music was NOT to my taste, but what a pleasure to work for them! They knew EXACTLY what they wanted, and were able to communicate this knowledge to you in an understandable way, furthermore, if you needed to hear one of their instruments in isolation, they complied with yer requests w/o anf fuss of fucking around. Also, they were courteous and polite at all times. This sort of professionalsim, which "Bitch Slap" clearly completely lack is what makes a band capable of working well in a studio situation. It makes it much more likely that they would capture some kind of magical performance in the studio, rather than fucking about, like w/the bass player singing, or the drummer wasting a day with his collection of latin percussion. I guess that really what the point of MixerMan's story is is that the record company has set up a scenario where an untogether band is in an out-of-control situation, and that's why I think the story he tells is such a good one, FWIW.

N0RM4N PH4Y, Tuesday, 3 September 2002 21:17 (nineteen years ago) link

Well the band sound like wankers, certainly, though I wonder how much of this is exaggerated for entertainment value...like what drummer wouldn't understand simple sound-check instructions (unless he was trying to wind up the engineer, of course, which could be a possibility because he'd already had a tongue lashing from the man).

I might well be in agreement with this engineer on many subjects but I just don't like his smugness (or the sycophantic posters on his forum). Sorry.

David (David), Tuesday, 3 September 2002 21:51 (nineteen years ago) link

Norman's definitely right about one thing - the clue level of musicians is often inversely proportional to their attitude level. One wonders if the attitude is borne of frustration, not being able to communicate what they want or feeling insecure about not knowing what they're talking about, and so they take it out on engineers who really don't deserve it.

electric sound of jim (electricsound), Tuesday, 3 September 2002 22:52 (nineteen years ago) link

all those massive fights I've had about overbudget/overtime clauses in producer/mixer agreements suddenly make sense to me now.

"Ok so if goes over budget for reasons in the mixer's control then it comes out of the back end."
"What if it's the band's fault?"
"How can it be the band's fault if the mixer sucks?"
"The mixer doesn't suck! It won't happen so just leave it our way."
"If it won't happen then why do you care?"
"Because it's a bad precedent. Our mixer always gets this."
"Since when?"
"Since always."
"No he doesn't but if we have to retrack it, it comes out of the mixer's point."
"But the point is for the mixer's TIME! He could be recording [unlikely successful recording artist] right now! He wants to work with your band for some crazy reason"
"Well [unlikely popular mixer] is dying to mix this album, so fine."
"Ok I'll call mixer and get him out of the studio right now."

etc., etc.

anon, Wednesday, 4 September 2002 05:50 (nineteen years ago) link

are there anymore diaries like this out there? thanks.

Aaron Grossman (aajjgg), Wednesday, 4 September 2002 20:10 (nineteen years ago) link

is anyone still following this? The band has left for a cruise, and the engineer, producer and assistant are recording the album sans vocals.

Aaron Grossman (aajjgg), Wednesday, 18 September 2002 04:37 (nineteen years ago) link

I'm still following it. It's still fascinating. Even if I'm even now starting to to doubt it's 100% a true story.

electric sound of jim (electricsound), Wednesday, 18 September 2002 05:10 (nineteen years ago) link

sounds like the vines to me...except they've finished their album already...unless it's time-lapsed...oh.

Charlie (Charlie), Wednesday, 18 September 2002 05:27 (nineteen years ago) link

I agree that this could be a fabrication. like maybe the guy stuck together all strangest things that ever happened to him. Then again he probably wouldn't have so many boring entries if that was the case

ejad, Wednesday, 18 September 2002 17:29 (nineteen years ago) link

It has been established that it's probably not The Vines, Tsar, Cave In or the Ataris. In case you were wondering.

electric sound of jim (electricsound), Wednesday, 18 September 2002 22:19 (nineteen years ago) link

Yeah, but Ejad, adding in the boring passages adds, like, realism. Gives the right "vibe", seeing as he is the "vibe master".

Chewshabadoo (Chewshabadoo), Wednesday, 18 September 2002 22:39 (nineteen years ago) link

While i didnt liked him initially, i now tihk Lance is by far the best guy outta of the story. Mixerman is too feking bitter

vic (vicc13), Thursday, 19 September 2002 02:14 (nineteen years ago) link

Unlikely he is any more bitter about his job than the overwhelming majority of the working world.

electric sound of jim (electricsound), Thursday, 19 September 2002 03:47 (nineteen years ago) link

im not part of the working world so i like, dont know

vic (vicc13), Thursday, 19 September 2002 03:51 (nineteen years ago) link

You're probably better off not knowing, I suppose.

electric sound of jim (electricsound), Thursday, 19 September 2002 03:53 (nineteen years ago) link

I started reading this thing and now I'm hooked. If there's any justice in the world, this would be made into a movie. I'm thinking maybe Kevin Spacey as Willy, Steve Buscemi as Mixerman, and Keanu Reeves as Dumb Ass.

o. nate (onate), Thursday, 19 September 2002 14:30 (nineteen years ago) link

Oh. My. God.

I am never complaining about another recording session that I have been at again in my entire life. Oh, there are fresh levels of hell I never dreamed of.

Still, I would love to know who it is...

kate, Thursday, 19 September 2002 15:34 (nineteen years ago) link

okay this thing is getting too much unreal. Now fucking Lance is writing the diary(i cant find exclamation and question marks in this pc bah) What the fuck is up with dat

vic (vicc13), Thursday, 26 September 2002 15:44 (nineteen years ago) link

I'm only on week three, but this is brilliant. To have made this up would have been quite an undertaking, it's so fucked up it has to be real (and it does remind me of a lot of precedents I've seen in other bands and studios taken to extremes).

Jordan (Jordan), Friday, 27 September 2002 07:09 (nineteen years ago) link

All this shit just goes to show what tw@ts exist in and around bands. Why are band allowed to have little cubicles with their own 'ambience, man' in the studio. Why don't these people WORK?

What IS all this shit about spending a week getting the right drum sound? I'm more convinced than ever that *conventional* bands shouldn't be allowed anywhere near a studio unless they can bang out 2 or 3 three tracks a day and finish an album in a week. Jesus - how long did it take to make 'You Really Got Me', 'Substitute', 'Spiral Scratch', virtually any Motown or Studio One classic?

I'm convinced that there's no *need* to fat-arse about like this lot. I couldn't work that way.

Dr. C (Dr. C), Friday, 27 September 2002 07:57 (nineteen years ago) link

I'm convinced that there's no *need* to fat-arse about like this lot.

Of course there isn't. And no-one outside of the industry is going to give so much as a single toss how in time the drums are or how much groove the bassline has. And they're certainly not going to care whether it was recorded on Protools or Analog.

electric sound of jim (electricsound), Friday, 27 September 2002 08:09 (nineteen years ago) link

It keeps them *busy* though. I suppose if occupies these wankers for so long, the longer the respite we get from their wretched *product*.

Dr. C (Dr. C), Friday, 27 September 2002 08:24 (nineteen years ago) link

Jim I think you are absolutely wrong about that. Well, right insofar as the buying public isn't gonna care about the technical choices, but wrong insofar as one technical choice is going to make them say "these guys are cool" and the other will make them say "I think that song sucks."

nabisco (nabisco), Friday, 27 September 2002 14:53 (nineteen years ago) link

I think the public actually does have a pretty good sense of when drums are not in time or when bass parts don't groove. It doesn't require musical training to hear these things - just as it doesn't require an art education to be able to say "That painting doesn't look very realistic" - although it does require a lot of training to be able to execute a realistic painting, just as it requires a lot of practice to be able to play in time.

o. nate (onate), Friday, 27 September 2002 15:35 (nineteen years ago) link

And it doesn't even have to be "oh, those drums are out of time" -- usually it's just a subconscious "no, I think that song is sort of lame" where a few slightly-different technical decisions might have had the person's fist pumping.

nabisco (nabisco), Friday, 27 September 2002 16:58 (nineteen years ago) link

I'm so confused about where the journal has been moving to...

Gah, now it's like the writing/hosting of the journal is as much a soap opera as the journal itself.

I don't buy this "Lance is really Mixerman" theory, not at all, siree.

kate, Friday, 27 September 2002 17:42 (nineteen years ago) link

I think the public actually does have a pretty good sense of when drums are not in time or when bass parts don't groove.

It didn't used to matter about these things - listen to Keith Moon, Mitch Mitchell etc. - their timing is all over the place, indeed it was part of the charm of the music. But that charm doesn't seem to be much valued any more. Most drummers seem to aspire to be tight, like programmed drums, and maybe the public have got so used to quantised beats and very tight, comped live drums that they subconsciously reject sloppy playing in a way they didn't 20+ years ago.

David (David), Friday, 27 September 2002 21:31 (nineteen years ago) link

I'd say I was actually wrong about the bass groove, which is pretty important. But out-of-time drums, unless they're wretchedly bad, tend to not get noticed so much. The drums on my band's album are all over the place and it seems the only people to ever notice were the band.

electric sound of jim (electricsound), Saturday, 28 September 2002 00:02 (nineteen years ago) link

Holding up Keith Moon as some sort of excuse for the average drummer to play off-time strikes me as an awfully dangerous plan.

And the point isn't strictly whether something is out-of-time or not (although a lot of very rigid producers seem to turn it into that) -- the point is whether it works or not, and surely it's better for any particular product to have a producer who can identify when it doesn't and try to improve that somehow. (In other words, the call here should be less "let them play out of time" and more "well out-of-time isn't necessarily bad, so please be judicious when deciding whether or not it needs to be futzed with.")

Leave alone my guess that the majority of drummers who play out of time play out of time in an straight-up "bad" and not an "interesting" way.

nabisco (nabisco), Saturday, 28 September 2002 00:32 (nineteen years ago) link

DAVID IS DUMB-ASS SHOCKAH!!!

vic (vicc13), Saturday, 28 September 2002 02:18 (nineteen years ago) link

I half suspected that using Keith Moon as an example would be misunderstood. I wasn't talking about his style of drumming but his sloppy timing which you really notice when he has to play a simple beat. My point was that in the past a lot of drumming was relatively scrappy by today's standards but it was regarded as acceptable because there was nothing much to compare it to (except maybe certain session drummers noted for their accuracy). By accident the scrappiness often sounded nice as well - clumsiness and frailty can be appealing. Appealing, not 'interesting'. You might listen to a record and think oh that could've been played better, but you would accept what was there and find good in it. Especially when you could hear that someone was trying. Now there are ways to fix all that. And because it can be done it is done. I'm under no illusion that this will change though, because the nuances I'm talking about don't seem to be of value to most people.

David (David), Saturday, 28 September 2002 13:56 (nineteen years ago) link

And more recently, Metallica did rather well with a sloppy drummer.

Siegbran Hetteson (eofor), Saturday, 28 September 2002 14:31 (nineteen years ago) link

I still stand by original point. With great records, made by great artists the WHOLE THING is so utterly compelling that a few duff bass notes or a drummer who can't keep strict tempo are irrelevant.

Great records (by *conventional* guitar bands) cannot be made using the process that these guys use to make records, because the WHOLE PROCESS necessarily produces something stillborn. At first there should be TOTAL emphasis on speed, intensity and purity of performance - and technical stuff should come later.

This is why no great major label, big budget, guitar-band records are made anymore. The guitar in the mainstream is dead.

Electronica/Dance/Other Stuff works differently and this doesn't apply.

Dr. C (Dr. C), Sunday, 29 September 2002 14:05 (nineteen years ago) link

You guys talk as if every record is made by a "great artist."

The fact is that if you're making a record and there's something going wrong with it, it doesn't really help to say "oh, with great artists this wouldn't happen" and scrap the whole thing -- it's a lot more practical to, like, fix it.

nabisco (nabisco), Sunday, 29 September 2002 17:23 (nineteen years ago) link

Get you head out of the sands guys. Bad drumming and bass playing = crap. Mixerman and Willy chose not to use pro-tools and mixerman belives protools to be a sub standard platform. Tests that he has conducted doing transfers from 2" tape show that bottom end is missing when the two are played back. Radar on the other hand does not show any of these problems. This battle is all documented on the DUC. I have worked with players like these and its just a nightmare. 95% of what you think is exceptable has been worked on in protools for hours.....moving kicks and snares correcting fills. In most cases the band does not even know. Its all done when they are gone.
This is reality.......and Bitch Slap is confirming what many know and many don't understand.
Cheers

Ron S, Tuesday, 1 October 2002 03:53 (nineteen years ago) link

95% of what you think is exceptable has been worked on in protools for hours

Pish. Probably half of what I listen to probably hasn't been anywhere near a protools studio. I don't think I'm alone in saying I'd rather listen to a good band recorded on whatever than a bad one chopped to bits on a computer to make them 'acceptable'.

electric sound of jim (electricsound), Tuesday, 1 October 2002 05:17 (nineteen years ago) link

rockist

vic (vicc13), Tuesday, 1 October 2002 15:45 (nineteen years ago) link

Not that I'd ever actually be able to tell the difference..

electric sound of jim (electricsound), Tuesday, 1 October 2002 22:07 (nineteen years ago) link

95% of what you think is exceptable has been worked on in protools for hours.....

Not sure who 'you' is referring to. My point was that I find the old, un-edited style more acceptable because it has more personality and charm and yes frailty. Unfortunately most people are now accustomed to the smoothed-out, more generic products of today so the industry sees those techniques as more or less essential.

David (David), Tuesday, 1 October 2002 22:28 (nineteen years ago) link

one month passes...
he's ba-aaack (and in nyc, we should invite him to a fap sometime haha)

maura (maura), Friday, 22 November 2002 21:15 (nineteen years ago) link

Yes, yes, yes, yes, yes, yes, YEEESSS!!!!

Thank you god, my prayers have been answered, I've been jonesing for Bitchslap for MONTHS! I even dreamed about them...

kate, Friday, 22 November 2002 21:37 (nineteen years ago) link

kate, that's terrifying.

he's just plain wrong about many NYC things (big surprise), but no more so than any other tourist.

bucky wunderlick (bucky), Friday, 22 November 2002 22:27 (nineteen years ago) link

I'm trying to think of where this French bakery is so I can figure out the location of the nearby studio. Who in this town sells kickass chocolate croissants?

Jody Beth Rosen (Jody Beth Rosen), Friday, 22 November 2002 22:52 (nineteen years ago) link

It's got to be on that block on 30th Street. You know, the one that every bloody studio in NYC is located on? But then he probably would have said Chelsea and not Midtown. Technically, it is Midtown, though, it's right between Penn Station and the Post Office.

kate, Friday, 22 November 2002 23:14 (nineteen years ago) link

i <3 mixerman

chaki (chaki), Friday, 22 November 2002 23:20 (nineteen years ago) link

nine months pass...
Hey guys,

I stumbled across this thread, as I'm putting together the 'reviews' of my story for some pitches (yes, big plans on the horizon!). I would just like to say that I found all your comments very enjoyable thank you for that.

I particularly found Bucky's comment: "he's just plain wrong about many NYC things (big surprise), but no more so than any other tourist."

Seeing as I grew up in North Jersey and spent an inordinate amount of my childhood and young adult life in New York City, I find it nothing short of humorous for me to now be called a tourist. Yes, it's true, since I've lived in California for so long I find the general over-abundance in New York City slightly disstasteful, but that doesn't make me tourist!

Honestly, can I help it if I became suddenly and inexplicably lactose intolerant shortly after I turned 30, and I have been permanently deprived the joy of a New York Pizza? So depressing. I could kill myself just thinking about it.

Oh, well. Tofu burger, anyone?

Mixerman

mixerman, Saturday, 23 August 2003 07:53 (eighteen years ago) link

Hi Mixerman.

Loved yr story.

mei (mei), Saturday, 23 August 2003 09:40 (eighteen years ago) link

two years pass...
I think the band is Tsar.

They seem to have some criteria similar to the book. Switched record companies, replaced bass player and drummer before the new album came out. Also had a minor hit in 2000 and started recording in 2002.


http://www.laweekly.com/ink/06/02/class-payne.php


"In classic major-label style, whatever supporters Tsar had at Hollywood ultimately departed the label, leaving the band adrift and vulnerable to attack. While Hollywood did get a new head of A&R who was, according to Whalen, a true music lover and very fond of Tsar, the label’s head honchos were so out of touch that the band felt like they were living in a purgatory-like limbo."

stickyfingers, Friday, 2 December 2005 22:11 (sixteen years ago) link


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