Skip to main content

Get off the pot

No matter what I'll be doing in terms of full-time work next year, I will have another book out. After five years of work, When We Were the Kids finally arrives, even if it's via self-publishing.

The hard thing is letting this story be unleashed to the world. I'm not embarrassed by what I've written; I'm more like a protective parent who doesn't want his child to get beat up on the playground within an hour of going to school.

What's very hard about writing a fictional story is that I have a hard time knowing when something is truly "done." Storytelling and editing collide and you become addicted to tweaking. I'm convinced that if it weren't for deadlines, most books would never be published.

I have intentionally only showed snippets of the book to a couple of people. I don't want too many proverbial cooks in the kitchen, but I appreciate honest feedback. And I want the kind of feedback that doesn't tear me limb from limb under the thin veil of "honesty." I want honest feedback, but not something that gets personal and offensive. So far, the feedback has been very helpful.

Maybe I'm in the wrong business, but I can't suppress this book inside my head and my hard drive forever. This is something I want out there. Yet I tend to find myself coming up with more anecdotes every few days, wanting to tweak some more.

One last thing: I'm happy to say I have taken the book's cover image, using items that are literally behind my computer desk. I just so happen to have a drum set, guitar and bass, and amps around whenever I feel the urge to play. Since this is a story about how people came to play music (and most of them still play it), I figured this was a perfect sort of set-up for a book cover.

So, there's the update. Once this sucker comes out, you'll hear about it, at least from this spot.

Comments

Popular posts from this blog

It's a Long Way Down

There was a time when I listened to Ryan Adams' music practically all the time. Back in 2001, as I finished college and tried to navigate post-college life, the double dose of Whiskeytown’s Pneumonia and Adams’ Gold led me to everything else he had made before. It was countrified rock music that spoke to me in a deep way, mainly on the musical front. I don’t tend to really pay attention to lyrics, but I connected with Adams’ lyrics about being young and perpetually heartbroken. I thought some self-inflicted mental pain about awkward and failed attempts at relationships put me in the headspace to relate to songs by Adams, as well as Bright Eyes. There was so much time and energy spent on anger and sadness directed at myself for things not working out, so I found solace in songs like “Harder Now That It’s Over” and “The Rescue Blues.” As it turned out, there was a pattern in my life: if I had a little taste of a feeling of sadness or anger, I could relate to those who had it

I ain't got no crystal ball

I've never been a big fan of Sublime's reggae-punk-ska, but I feel bad for their hardcore fans. Billboard reports that a four-disc box set featuring previously released and unreleased material is on the way. How is this a bad thing? Well, the number of posthumous vault-raiding collections greatly outnumber the band's proper releases. That usually isn't a problem, but the quality of them is very suspect. When they were together, the band recorded three proper albums, Robbin' the Hood , 40 Oz. to Freedom and Sublime . Sublime would be the band's breakthrough record with the mainstream, but that success was very bittersweet. Shortly before its release, frontman/guitarist/songwriter Bradley Nowell died of a heroin overdose. In the following years, the effects of apparently a bad record deal have yielded compilation after compilation. Here's the rundown so far: Second Hand Smoke (1997) Stand By Your Van -- Sublime Live in Concert (1998) Sublime Acoustic: Br

Best of 2021

  Last year, my attention span was not wide enough to listen to a lot of LPs from start to finish. Too much went on in 2020 to focus on 10-15 albums, so I went with only a couple to spotlight. Well, 2021 was a little better, as I have a list of top four records, and a lot of individual tracks.  (I made a lengthy Spotify playlist ) So, without further ado, here’s my list of favorites of the year: Albums Deafheaven, Infinite Granite (listen) Hands down, my favorite album of the year. I was not sure where Deafheaven would go after another record that brought My Bloody Valentine and death metal fans together, but they beautifully rebooted their sound on Infinite Granite. The divisive goblin vocals are vastly pared-down here, as are the blast beats. Sounding more inspired by Slowdive, the band has discovered a new sonic palette that I hope they explore more of in the future. It’s a welcome revelation. I still love their older material, but this has renewed my love of what these guys do.  J