Saturday, December 16, 2006


from here:

A Group Contract can address issues such as who owns the group name (and whether and in what capacity a leaving member can use the group name), who owns what property (including not only sound equipment but intangible property such as recording agreements and intellectual property such as the songs and the recordings created by the group), and how profits and losses are divided. Since it almost goes without saying that members of a band inevitably leave and groups inevitably disband, it is important to structure an interband agreement in the early stages of a career. It will function like a prenuptial agreement when matters start to disintegrate and make the break-up process less painful.

Friday, December 15, 2006

I knew there was a reason he was one of my favorites,,,

via bookslut:

We also get Raymond Chandler's philosophy on drinking to excess--"I think a man ought to get drunk at least twice a year just on principle"--and his gimlet recipe. "A real Gimlet is half gin and half Rose's Lime Juice and nothing else. It beats martinis hollow."

this weekend

go see hidetown

go see sadomasochistic xmas

go see linus

that is all...

off to the candy store...

Tuesday, December 12, 2006

At long last... Sweatbox!!!

Kid Ornery presents...

Crazy Sounds from Houston, Tx.

The Defenestration Unit - The Sweatbox Sessions - Ornery Master

Enjoy! -- Kid Ornery

This is the only studio album ever recorded by any version of TDU.
It was recorded at Sweatbox under the guidance of Mr. Tim Kerr
and futzed around with by Kid Ornery.

Sunday, December 10, 2006


you can't turn left
in general pinochet's cadillac...

and now, neither can he...

wow! people sure can talk!

Via Theatreport - which is a site in Houston for Theatre or Theater or people who like to argue about soul vs. entertainment and the like...
but this bit from"licketysplit" is right on...

"Brushing teeth" is a common daily text we can all understand. We all do it, repeatedly...yet we never do it the same way twice, not ever.

The same can be applied to the process of "playing".

No matter the text. You learn it, you know it and you execute it, but each time should be as fresh as the last and as full of possibility as the next. It is this possibility, this breath of living truth that captivates the audience and keeps them from being bored, no matter the script, no matter the setting.

All you need is circumstance, action, emotion, something to play. Play truthfully, allow for discovery, allow for sensate experience rather than pre-rehearsed fake behavior, and you will succeed in "catching" the spectators.

but then again so is this bit from TDU's own Jmiller:

No really..stop doing crap plays. Sure acting is important...we are lost and swimming in a sea of sh*t when it comes to acting. We get it. That argument doesn't really say jack about the fact that we are doing crap scripts. Take a look at the front of this site. See all the crap? Do you see it? Glaring at you like a big poop stain on your kitchen floor? How can you miss it? Take a look at Texas Rep's season and DON'T DO THAT. That's what we are talking about here.

I'm not saying I'm an expert I've only directed one play,
and acted in handful,
but it seems to me a good script
inspires actors and makes,
if not bad acting harder,
at least good acting easier.

and other than that I'm just gonna keep quiet and go back
to watching the show!