eftychia: Me in kilt and poofy shirt, facing away, playing acoustic guitar behind head (Default)
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posted by [personal profile] eftychia at 05:26am on 2007-05-08 under

"Don't explain the background of a song in more than one main sentence - if I haven't read the book I don't want a summary of it now; have trust in your song and that the perfomance will carry the entertainment; have you ever heard Queen explain what's the meaning of Bohemian Rhapsody? No one understands that song. No one's complaining either." -- Christine Hintermeyer, 2007-04-10, on stage patter.

[I can see genre-based, song-based, and venue-based exceptions to this rule even if it's a good rule of thumb[*]. So I'm less interested in hearing opinions about whether it should always be followed absolutely, than whether it's a good general guideline.]

[*] I know, I know, there are etymological landmines in that phrase. I'm still searching for a replacement idiom that works as well and flows as naturally.

There are 8 comments on this entry. (Reply.)
redbird: closeup of me drinking tea, in a friend's kitchen (Default)
posted by [personal profile] redbird at 12:10pm on 2007-05-08
My first thought is that you need the introduction to be an interesting and/or amusing part of the stage patter, which means preparing one if you need it: "This isn't a song about Alice."
 
posted by [identity profile] merde.livejournal.com at 02:59pm on 2007-05-08
yes, exactly. i do introduce a couple of my songs with stories about why or how i wrote them, but always with an eye to entertaining the listener. and unless you're as fascinating a raconteur as John Prine, such an introduction should never take longer than, say, a minute to deliver. and even that's pushing it.

if it can't be done in a minute or less and be entertaining in the bargain, the correct approach is to ask the audience "how many of you are familiar with the books of so-and-so?" and if most of them aren't, don't play that song. if most of them are, say "well, at least some of you will get it, then," and move on.

okay, i'm just holding forth like a big windbag now, but i have a bug up my butt about people with poor performance skills. i recently saw a highly respected local musician open a benefit concert, and it was absolutely the worst opening set i'd ever seen. now, this guy is gray-haired and has been a fixture of the Austin music scene for something like 25 years, but somehow in all that time he's never learned a number of things i figured out years ago:
  • the first song should *always* have energy and forward momentum, to catch the audience's attention.
  • no long and/or slow songs in the first three, period, and never end a first or opening set with a slow song. it's hard to carry off slower songs live unless you own the audience anyway, and even then you risk losing people between sets if you don't leave them with some momentum going into the break.
  • when you're the opener, that audience *is not yours*, and you need to calculate your set to grab maximum attention quickly and lead smoothly into the next group. this goes double if it's a benefit concert, where you specifically want to keep the audience amped up and enthusiastic. this also means no long, rambling intros -- save that stuff for your own audiences, who'll appreciate it more than a bunch of strangers who are probably there to see the headliners.

i have an enormously talented friend who used to always lose his audience after the second set. he does two kinds of songs, in the main: clever parody stuff, and tearjerker honky-tonk. he'd pack the first set with funny stuff and do all downbeat songs in the second set, and most of the audience would get bored and leave.

anyway. yeah, still lecturing. time to shut up now. sorry, i'm always stumbling over soapboxes like this.
 
posted by [identity profile] merde.livejournal.com at 02:39pm on 2007-05-08
i read a fanfic recently in which characters from an anime show were playing D&D. the author felt the need to give a 500-word explanation of D&D up front, but it was completely unnecessary -- the story made enough sense to be enjoyable anyway.

since i don't hang around filkers (it's too painful, i have perfect pitch, man), i don't run into this in that area, but i do see a depressing number of authors succumbing to an urge to overexplain. even published books are often filled with pages of unnecessary exposition or awkward constructions that attempt to explain ideas that the reader's imagination should be entirely sufficient to cope with. it's worst, of course, in sci-fi and fantasy books, since they are by definition filled with concepts that are unfamiliar to the reader.

it makes me grind my teeth.

i'm a tech writer -- i explain things for a living. still, my philosophy when it comes to my job and to fiction is to keep the explanations to a minimum. if something needs enough explication that it requires a digression from the matter at hand, you can find a better way to handle it -- a glossary, a reference section, or, in the case of fiction, finding a way to work it into the storyline in a way that isn't distracting. (flashback scenes can work for this. one character can tell a story to another. but for the love of all that's holy, please never write anything like this:
"Dalforgen," said [livejournal.com profile] madbodger, referring to a randomly-generated word once produced by his Hashbaby program, which he and his intrepid roommate later decided would be a good word to mean "a word that doesn't exist."

dragging a reader out of a storyline to explain something that could be made clear from context instead, or wasting time in front of a story or a song to provide a backstory, is intrusive at best and tiresome at worst.

okay, that's my rant for the morning. now i have to go off and write more software documentation.
 
posted by [identity profile] liritsvoice.livejournal.com at 04:42pm on 2007-05-08
i generally believe a work of art should speak for itself. goes the same for music.
siderea: (Default)
posted by [personal profile] siderea at 05:43pm on 2007-05-08
RARRR!!! YES!YES!YES!

I was just gonna post have had for a while on backlog a rant to just this point: TRUST YOUR MATERIAL, SHUT UP AND SING!

It's on my mind for several reasons -- Madcap Rumpus Soc. needed less (or a different sort of) MCing than they got, talky performers at NEFFA -- but really it was the big beautiful posters promoting Deborah Henson-Conant's show popping up around town. She's not this worst offender, but she's the most heart-breaking (for me) because she has sooooo much going for her musically, and she doesn't let herself use it at all, constantly upstaging the music. GRAAAARRRR!!
 
posted by [identity profile] gclectic [typekey.com] at 06:15am on 2007-05-10
Actually, I kinda enjoy Deborah's music when it's on a CD, but I quite enjoyed the one time I caught her live. The difference was that she grabbed and engaged the audience with the stories she told between and around the songs. This is the same thing that others have said above -- it doesn't matter so much how long your "intro" is, as long as you realize that it is part of the performance and should be scripted, practiced, and performed just as carefully as the rest of the set. (If you've had a bad experience at Deborah's live performances, then either you like her music better than I, or you don't like story-telling as much, or she was having a bad day. I'm a harpist myself, so I've got nothing against her music -- though I'm not as much into the concert-harp/jazz repertoire -- and I've got a lot against *bad* story-tellers -- which she definitely isn't -- so it's all going to be relative.)
 
posted by [identity profile] garnet-rattler.livejournal.com at 06:25pm on 2007-05-08
'General policy' instead of 'rule of thumb'. If you ever need alternate phrasing for something, I got Lots of practice creating euphemisms while dealing with the ~political types at the DOJ in DC.

And, yes, it IS a good general policy. Let the music speak for itself. If someone Really wants to know, they can ask when they come up to buy your CD!
 
posted by [identity profile] blueeowyn.livejournal.com at 07:47pm on 2007-05-08
I think it is a good rule of thumb but perhaps too strict. I can see a couple of sentences being OK as long as they are short. Having backup explanations for dealing with technical difficulties can be good. I've heard Peter Yarrow talk about the meaning of Puff for a couple of minutes, playing the melody line the whole time while waiting for Noel to deal with a major retune (DC area can be hard on guitars for evening concerts).

That said, I want the banter to NOT be the main time or anywhere near.

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