Ora Marr, YouTune Glitch Me, and The Courage To Try

A friend of mine who I used to go to perform original songs with at open mic nights recently published his first book of poetry.  

He emailed me about it saying he was having those “what have I just done?” thoughts and feelings.

Those are the exact feelings most people would have in that situation, I suspect.  Not unlike playing for the first time at an open mic night, or releasing your first album.  I’ve released 11 albums, and I get that same uneasiness every time.

My response to him was that we all care what people think to some degree, so those feelings are normal.  I reassured him that with books especially, unlike music, people have to buy them and read them first to be able to judge them.  Most won’t, so all they will remember is the announcement that he wrote and published a book.  They might click the link, see the cover, look at the description, then not buy or read it.  

But the word they will spread to friends and acquaintances is "did you hear?...so-and-so wrote his first book...poetry I think" and then the recipients will at the very least remember that.  That's cool in its own right, whether you're out to impress or not, to have people know you wrote a book.  

Personally, I've actually known many people in my life who have written and published books of various kinds, and after becoming aware of it and choosing to not read them, I still remember that fact about those people, and I am indeed impressed they did it.

With music, it’s a little different: they might click the link, start streaming the first song (in the streaming service they already subscribe to), hastily decide it’s not their kind of music, then never stream any of it again…but they can say they checked it out and didn’t like it.  You can’t tell someone to not bother with a book if you haven’t read it yourself.

By the way, that author/poet is Ora Marr, and the poetry book title is "Infinite Eternity."  I haven’t read it, but I can attest to having been exposed to some of the content in draft form, and based on that alone, would highly recommend it:  

https://www.amazon.com/Infinite-Eternity-Poetic-Through-Forever/dp/B0CQZVMTFF

Click the link, see the cool cover, read the excellent & intriguing description, take it from there.

People have to start somewhere, and it could be that someday I will be able to say I gave a little boost with my recommendation that helped him gain some measure of fame, fortune, respect, etc.  You never know, but people tend to focus way too much on whether creative works are good or successful in some measurable way.  Art can relay information, beauty and emotion, which is in itself extremely valuable, regardless of any kind of commercial success it may have.

The main takeaway is lots of people talk about the ideas they have for books, or about the in-progress books they’re working on, but they never get finished or published.  At the very least, he was brave enough to not only give it a shot, but actually complete it, and now he’s an author/poet with a book you can buy.

The same can be said for lots of creative pursuits in these times, when the ability to post your creations inexpensively on the web is not only possible, but fairly easy.  From experience, it’s true for songwriting and music recording and/or live music performance.

It used to be that a record, tape or CD was like a book – you had to buy it to try it (unless they played it in a record store or on the radio and/or you could check it out from a library long after publication), but now most people pay 10 bucks/month to be able to listen to all music, so at least they can try your music without technically buying it first.

More and more, people write/record songs and don’t even bother with the formal distribution to streaming services since they wouldn’t make much money anyway.  Instead, they just post them for free – to public access places like Free Music Archive, Bandcamp, Soundcloud, or with visual content in the form of videos to YouTube.  

In a way, you might think it’s sad and unfair that creators don’t get paid, but if you think of it in a different way, it’s awesome that the creative works get heard at all, and that there are free and easy ways to get them out there for public consumption.  At least, it’s possible for them to be discovered and listened to for free, but that doesn’t always happen since there’s so much out there to choose from.

In that spirit, and the real reason I started this post, was I felt like making another recommendation to you by writing about a music website you might not know about that you might enjoy checking out.  It is:

https://youtune.glitch.me/

It's called Youtune, but if you google that, you'll never find it, so I think it's better to refer to it as Youtune Glitch Me, so you remember the URL.

What is it?

Snippets of "relatively unviewed original songs" posted to YouTube.  It's a curated random collection of songs that play one after another by a diverse group of individuals with varying levels of talent and skill who have posted video recordings of songs they've written and performed that haven't been played much if at all.  Most are live, some pre-recorded, some acapella, most solo, some bands.

Who created it?

A blogger whose blog is about "finding a more human side of the internet":

https://escapethealgorithm.substack.com/

How to use it?

Click the word ENTER, then just start listening, and trust me, eventually, you'll be pleasantly surprised and find something you like.  If impatient, you can click to proceed to the next song, but eventually, if you're like me, you become patient enough to wait for it to progress on its own.

Why do I find it interesting enough to share?

• My first impression, I'm almost ashamed to admit, was that this made me feel better about my own songwriting/performing attempts by comparison.  Not unlike going to open mic nights full of amateurs/novices/hobbyists where you think to yourself that you're better than some of them.

• My second impression was that there's both people who are arguably way worse than me out there, but also that there are people who are arguably way better than me out there whose songs have gone unnoticed.

• My third impression was that I was surprised at how much effort went into these songs and videos that were arguably not that good.  Again, I was almost ashamed at having that impression thinking "why did they bother spending so much time on something not very good?" considering I've put a lot of effort into writing and recording songs that are arguably not good either.

• My fourth impression, or thought, was a realization that it is highly likely that a lot of people out there in the world who have run across my songs have also had the same impression of me (surprised at the amount of effort I put into songs that are arguably not that good).

• My fifth impression, which may have been my first but took a while to surface into consciousness, was that there are a lot of people out there like me who are passionate about writing songs, and regardless of the degree to which they are aware that their songs are arguably not that good, they did it anyway.  

• Expanding on #5 above, this gave me a sense of belonging.  Makes me feel less alone.  It also made me realize that what they do and what I do are just a way to have fun being creative and like me, these people felt compelled to express themselves.  In a way, it's all good.  Just a bunch of apparently regular/normal/average people totally going for it and having a good time, whether they know how bad they are or not.

There's a lot of heartfelt passion in here and I love it.  Lots of people from all walks of life having fun making music.  Listen to this long enough, and you'll slowly change from thinking not everything is your cup of tea to appreciating the effort even if it's not the style you typically enjoy.  Indeed, this definitely highlights the human side of the internet.

It's a bunch of people like me who overcame the feeling of vulnerability and fear of embarrassment.  Most are probably aware they're not that good, but decided to write and perform their song anyway.  I realize I'm leading a horse to water here, that water being a book and cool website with videos of original songs you might like to drink in, or not, can't make you.  Overall, I can now understand that what we all have in common is the courage to try, and that is a beautiful thing!

Open Mic Night: Learn Guitar In Front Of A Real Audience

Embarrassment.  We’ve all experienced it.  I’ve embarrassed myself in front of live audiences.  I’ve also witnessed others embarrassing themselves in front of live audiences, whether they knew it or not.  If you’ve been to a typical open microphone night, you know they can at times be cringeworthy.  People who arguably have no business being on a stage get up anyway and try to play cover songs after barely learning a few guitar chords.  In my case, it was the singing.  I’ve always known I’m not an awesome singer, but I’ve always done it anyway.

From a Tenacious D episode

As a songwriter and recording artist, I’ve released some embarrassing recordings of embarrassing original songs.  Looking back on my catalog, there have always been one or two songs on each of my albums that I wish I’d left off.  I released them anyway for whatever reason I had at the time.  There are no artists who don’t have a few bad songs on their albums, and it’s well documented that even the greats have regrets.  Let’s just say I have quite a few that would not be worthy of consideration for a best-of album.

Here’s a quick list of a few cross-offs that in my own opinion don’t add much to my repertoire:

From the 2004 Moon Dreams album:

• Better Days

From the 2006 Lakeside Landing album:

• Against the Tide

From the 2008 Drive Time Companion album:

• Cooley’s Rap
• The Good, The Bad & The Ugly

From the 2010 Sense Of Belonging album:

• Stay
• Homesick

From the 2012 Cherchez La Femme album:

• Forever In Shame
• With All Of My Heart

From the 2014 Used To Be Good Looking album:

• Goin’ Up To Leadville

From the 2016 Rest Assured album:

• None

From the 2018 Missing The Boat album:

• Got It Made
• Sink Or Swim

From the 2020 Bluebird Days album:

• None

When you wish you could take something back, there can be a lot of reasons:  out of tune, bad mix, too much of a novelty song, stereotyping, contrived rhyming, too-personal subject matter, too sappy, unclear meaning, too whimsical, contains altered state reference, too monotonous, contains mistakes, has sexual connotations, too hokey, contains swearing, etc.  When you wish you could edit something, there can be a lot of reasons too:  rearrange sections, revise lyrics, change key to suit vocal better, change chords, fix minor imperfections in the recordings, etc.

Sometimes in retrospect, you wish you would’ve weeded out certain songs and left them off the album and never released them just because there’s something about each of them that is annoying.  Somehow, your thinking at the time was that they were good enough based on the new song recordings you had available.  For certain songs, being excited about them while they’re new gets in the way of giving them time for later reflection that would reveal they were not as good as you once thought.

When you choose to put new music out into the world, it's a risky proposition because you open your vulnerability for public praise or criticism.  Who doesn’t look back on decisions with regret once in a while?  It happens to the best of us.  The important lesson is to practice patience, and give new creations time before re-evaluating their worthiness of inclusion in a new release.

The Average American Open Mic Scene Revisited

When I was in my early 20s, soon after learning a few chords on a guitar and hanging around other amateur musicians, I went to bars with them where they would let anyone get up on stage and play and sing popular songs.  I quickly figured out I was definitely not ever going to be a great singer, and playing covers was not going to be my thing.  What I liked was making up my own songs.

We've all been there - songwriters, that is - to the event at bars known as open microphone nights - or just "open mic" for short.  Mostly frequented either by people who know the performers well, or other performers who have put their names on the sign-up sheet list.

We've all seen that poor soul who has barely learned three chords get up there and do his best and struggle to get through a classic rock cover song.  We may cringe, we may smile, we may think to ourselves we can do better.  Many of us have been that guy ourselves.  We patiently endure his struggle and politely clap until it's our turn. 

Those guys may never show up again, they may keep at it, they may get better, or sometimes, they keep coming back but never really get much better at all.  As more than just supportive friends or family, we who have been there, done that, have respect for those guys. 

If you're not a musician yourself and don't hang around musicians, you've likely never been to an open mic night.  If you have, and you weren't a close friend or family member of a performer, you probably instantly make fun of how bad they are compared to the mainstream famous musicians whose music you own.

Otherwise, we admire their courage and confidence.  We want them to improve.  It can be fun to give them encouragement, because as performers, after the polite applause and we put the guitar back in the case, get a beer, and re-join the crowd, we never forget the random kind comments, deserved or genuine or not.

Let's face it:  the guys who start that way rarely turn out to be performers with paid gigs.  The guys who get paid gigs and maybe even go beyond that to become famous at some level always start out at a young age, often with lessons and experience in bands as teens.  So by the time they are 20-somethings, they already have something more serious and professional happening than an open mic night.

Or so it would seem.  There are all sorts of peaks and valleys for the guys who start young too.  There are one-hit wonder guys who had record deals teaching guitar lessons.  There are a ton of former members of regionally-famous touring bands working at your local Guitar Center.  Some may seem like they have bad attitudes, as if they're frustrated with their lots in life.  We know the types.

Music careers are short.  Few are sustained for longer than five years of legitimate notoriety.  I'm not talking about symphony orchestra types.  Which brings me to a funny phenomenon, speaking of classic rock - people will still buy concert tickets to see a band play their two hits that made it onto mainstream radio in the 70s, even when the band is only made up of one original member.  You have one really old guy who somehow found himself with rights to use the band name, and who fill the vacant positions with young guys.

Sadly, nowadays there are some open mic nights that feature really good singers and musicians, often who previously had some sort of formal professional involvement in music.  In fact, some open mics require you supply to the organizer/host person some sort of credentials in order to be able to sign up - a "places played" or "played with" list.  Not really "open" but they are good for the live music fans with a high entertainment quality to cost ratio.

When I've been to such places recently - secretly scouting them out as a fan before mustering the courage to sign up myself - I am dumbfounded that these guys are not playing at more prominent venues with paid gigs on a Saturday night.  Usually, open mics are on Monday nights or some slow night for the bar owner in an attempt to drum up more business, but in some places, they are the on the busiest nights of the week.

They come and go.  Some of the prominent ones last indefinitely though.  I'm not talking about the kinds where people do comedy or acting skits or poetry.  I'm not talking about the songwriter group get-togethers in some guy's living room.  And I'm not talking about the ones in music hotbed places like Nashville or Austin or NY or LA or even most university towns - totally different ballgame in those scenes.  I'm talking about dive bars outside major metropolitan areas - the only types of open mics I have any significant experience with - where there are normally no songwriters to speak of.  Trying out your own songs in these places is rare - and if you attempt one, it better be funny to go over well with the drunk crowd.

The typical open mic I'm familiar with used to be dominated by baby boomer folkies, but now they are dominated by generation x'ers like me.  Old overweight white guys with beards and day jobs and acoustic guitars wearing jeans.  To stereotype a bit more, at least half of all performers at these places will know how to play "Amie" by Pure Prarie League, for example.  You know the types.

At one such place in the small town of Holly, Michigan recently, I went in to check it out.  I sat at the bar, ordered a burger, and watched an unusually well-organized open mic with a great mixer and PA system.  The kind that is narrow with brick walls and has the stage behind the front window of the place.  Unsurprisingly, it was all cover songs, but surprisingly, it was run by an older, seemingly well-intentioned guy instead of some 20-something guy like I used to be who was never really good enough to get real gigs and this was his big night to also play himself in addition to hosting.  Also surprisingly, it was on a Saturday night and had unusually good singers and players.  Shockingly high-quality for a small town in the Flint area.

When I commented to bartender lady that these guys were so good I couldn't believe they were playing at an open mic on a Sat. night, she said something like "oh, you have to be a pro to play here."  Then I said "usually open mics are for amateurs who aren't very good," to which she replied "no, that would be karaoke night."  Really funny, I thought, but also too bad there must not be much of a live music demand in the area anymore.  I should tell you that I don't drink, and don't get out much, so I've been intentionally absent from the open mic scene for several decades.  I'm in my early 50s now.

In areas that don't have a music scene to speak of, let alone a songwriter community, the few who self-identify as songwriters will inevitably show up and maybe try an original, but they also have to have an Eagles, James Taylor or Bob Seger song ready to throw into the mix.  It's weird, but it's just the way it is.  A lot of them are just amazingly good nowadays though, which is a reflection on the state of the music business I think.  They should be playing paid gigs if not touring, yet here they are in a dive bar on a Saturday night.

Lots of ways to be employed in music, lots of ways to have it be a side gig to the day job.  In recent years, you have guys like me who really have no business calling themselves musical artists, yet have inexpensive home recording equipment and songs for sale in online music stores.  I really was among the first wave of people who did this when such a thing became possible with the internet and inexpensive aggregator distribution services.

The "record" part of the music business has also changed drastically to allow in the average open mic guys like me.  Sort of.  It doesn't mean you can quit the day job.  It's easy to make fun of all the hacks out there with homemade music on the web who seem to think they are really good, but probably don't have many who agree.  I don't make fun of them.  I am one of them.  I have respect for them.  There are probably 50 rappers from Flint with music online, and 25 punk rock bands. 

Those two genres are wildly popular around here for various reasons.  I'm not sure where the rappers start out performing live, and I know of one all-ages punk place a guy I know runs in Flint, but it's classic rock that dominates the open mic scene I'm aware of.  Still, after all these years away, I'm rediscovering it, and there's one big difference - these guys seem exceptionally good now, which makes me feel even less like I am worthy of putting my name on the list than in my 20s when I actually knew how to play a few classic rock songs all the way through.

Aside from the rap genre - where "dissing" is an acceptable thing, you rarely hear famous musical artists saying anything negative about other famous musical artists in the press.  They even go so far as to be careful about saying which artists or types of music they personally like or don't like, I think.  It must be because they have respect for what their contemporaries have gone through to get where they are, even if it's not their cup of tea.  It's the same reason you won't hear doctors telling you some other doctor isn't very good.  It's just not professional.

I should probably be embarrassed to even call myself a songwriter or musician, let alone a "recording artist."  I'm an amateur hobbyist at best, but it's a great feeling to know my music is "out there" in the world and publicly available for people to potentially discover and hopefully appreciate.  I have to admit that.  If it wasn't possible, I would still be happy to make up songs in my man cave, but it's a bonus to know of the discovery or recommendation potential.  A few people have checked it out and even fewer have said they liked it, but a little of that goes a long way for guys like me.

I make a few acquaintances aware of the fact that my music exists, and there's that possibility - a slim chance they'll click the link to the free streaming.  Even slimmer is the chance that strangers all over the world could and can discover it and enjoy it.  It's happened a little bit, and it's just very cool, so it's a part of the motivation.  There's the nagging feeling you're not worthy though, and that maybe you should be ashamed for even trying.  It's weird.

In the same way that famous musicians are often quoted as saying they intentionally disregard reviews and criticism, the average joe songwriter/home recording guy like me benefits from keeping those kinds of self-defeating thoughts at bay.  Yes, they creep in.  Yes, I know I'm not as good as most of the people who have their albums for sale on Amazon or iTunes.  I try to not let it detract me.

I am a realist in knowing taste in music is a very individual thing.  People's preferences are what they are regardless of reviews.  Not many people will ever discover my music, and most who do will not like it.  The one thing I claim to be somewhat good at and proud of - songwriting - is probably not that good in the grand scheme.  But hey, there are people who don't like Bob Dylan's songs, Jimi Hendrix's guitar playing, or Elvis Presley's singing too.

The average joe American open mic night performer is vastly better now than what I remembered.  It must be there just aren't many opportunities in this depressed, poverty-stricken area than there used to be for musical acts and solo artists to get paid to play in bars on Saturday nights anymore, so they are relegated to "premium-level" open mic nights now.  A sad state of affairs.  Anyone can record themselves and put their music on the web now though, so that's an interesting and possibly sad change, too.

I think it's a good thing though, obviously.  The "kind words" about your online recordings go just as far as the kind open mic performance comments at bars.  As rare and minor and insignificant as they might be, they are nonetheless fuel.

Just because you can afford a computer and a microphone and learn a few guitar chords and write a few lyrics doesn't mean you can actually sell the recordings you put online though.  There's the possibility you can though, which is one of the reasons why people do it.  You know if you have the right song and video on YouTube, you can be one of the .00001% who gets lucky and makes some money with the viral social media recommendation thing.

The bottom line for me is I have to sell about three albums to recoup my distribution expenses (not considering my own labor and equipment purchases) for releasing an album online.  Without any promotion, marketing or advertising to speak of, other than posting to social media a simple release announcement, it's possible. 

So, I keep doing it out of a love for writing songs and recording them.  Performing them is another story.  With recording, I can take my time to get it as right as I can - do several takes and use a few software tools to make myself sound as good as possible, and this is probably better than I would sound live, so I'm willing to go for it with releasing the music in the online music stores. 

I'm seriously not good enough to perform live, and even at the old kinds of dive bar amateur open mic nights I used to frequent back in my 20s, I was a notch or two above the newbie who really shouldn't be there yet, and quite far from the guys who people can't believe aren't famous yet.  I'll never be a great singer, and I've never been one to focus on being a great guitar player, let alone the other instruments you hear on my recordings.

Like the average open mic night guys who keep showing up to play classic rock covers and never really get much better, I am kind of that way as a songwriter and recording artist.  I'm not very good, but I keep doing it anyway.

I just like writing songs, and although most of them are terrible, some are not so bad, so I record and release them.  It's a thing you can do nowadays.  While the few who've taken the time to check out my music may not have noticed, I've noticed slight improvements in various areas over the years.  Onward and upward, steady as she goes.  It's a fun hobby.