Vibecoding is maybe good for proof-of-concept. Selling something made exclusively by vibecoding feels so much like "we'll make it eventually" or "this is probably fine."
I want someone invested enough to make things really well, really streamlined, and really responsive to a real community.
Last night Sook Yin had kindof a large chunk of my audience. She deserves it, she was involved in raising me, lol.
But it makes me think about how it might be possible to plan my Saturdays out betta next year, cos there's been a lot of this.
But oh god. I can't wait to organize my fuckin studio. That was a great season of performances, but I literally have, like, so many bees in my bonnet that need to be stretched out over about three tables.
And bags and boxes of friggin nonsense that need sorting out.
And I gotta learn about grants.
Bird played so wickedly today. For such a white-magic person, just, like, really devious.
Our instruments meet very well, and we share a fair swath of sensibilities.
Of course, I'm way outclassed as an artist, but that doesn't really get in my way of enjoying what bird and I are working on, lol.
Bird's approach to sound production is very familiar to me. I find it hard not to just jump right in their mouth so I might understand the universe better, but it meets my understanding.
I don't feel embarrassed at my naivety at all when I play with bird. Everything kinda gets discovered.
I'm still getting advertised sounding rods by Aliexpress. They're stainless steel, I can't use that for increasing the bass resonance of my coils! Advertise me a different kind of rod pls.
Resonant Performance, just to reiterate, is a recurring show I made for Conduit.
You will likely have more advance notice about it in the future.
I curate them selfishly, gathering artists on the bill I truly admire.
This time was around Pok tè Pok and CZ.
Tho CZ couldn't join us this time, it was an absolutely phenomenal show.
Next time will also be phenomenal. The first one, which featured ex-FJ and ex-QC veterans, was phenomenal.
Regardless of turnout, every Resonant Performance is worth SIGNIFICANTLY MORE than the ticket price suggests.
The way money has berm working out with showrunning, if I intend to make any kind of a living or pay artists anything close to what they deserve, I think I'm gonna need to set up something less implicitly supported and more explicitly funded.
Payments are rolling out for the latter part of the summer and the start of the autumn.
We're moving back to only sure-deal shows and my monthly till I have something hillarious set up in the new year.
The way money has berm working out with showrunning, if I intend to make any kind of a living or pay artists anything close to what they deserve, I think I'm gonna need to set up something less implicitly supported and more explicitly funded.
As many have said, that takes the onus off the city to support the arts.
Yes. That's the idea. I care SO MUCH MORE about unleashing the art than making a personal profit or having to bully showgoers into attendance.
But I _can't_ adequately remunerate artists without funding.
My mothers parents were so kind and good, and they died before I could fully digest that. Sometimes I dream of a hereafter where I meet them and tell them how they helped plant a seed of kindness in my heart that never went unwatered.
None of these V.Vecker Ensemble albums have a locked groove loop thing at the end of them and I kinda wish there was.
Maybe on every 50th record they cut a strategic little notch into it...
Listening to the Sara Gold album for the first time since I bought it years ago. It's a good kind of album to have in one's collection, cos there's almost a time in every night for one of either of the sides to accompany. Five stars.
I kinda work too hard, tho, for people who don't live here to steal audience from the artists I present.
And I think the dominant and enterprising forces are used to people who don't talk. Jokes on them, I never held my tongue.