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:	post by the_taste_of_cigarettes at 2004-09-23 23:02:48

I think, TOS, that you're a little confused.

Metal used to have basement shows all the time. I think when you got into metal aka last year you thought that Palladium shows were all there was to it. There's more to metal than just playing huge shows and showing up someone on guitar, and there's more to music than just trying to copy James Hetfield or Yngwie.

Plus all I'm doing is setting up shows I didn't see but felt were necsessary. I'll be frank, for the past year all I've seen is shows set up by Joe NotCommon and a few select other people. Even in hardcore, the only people really setting shit up is MassConcerts and for DIY stuff, Ben Sisto used to do more but mostly does bigger bands and some crossover stuff here and there. Jonah's too busy to do the work for everybody and shouldn't have to. He basically filled a slot that was left over when all the "punks" got lazy.

I'm speaking mostly for the Greater Boston area.

That said, Joe and all these other people don't have 1,000 hours a week to spend on booking and setting things up, and even if they do, they shouldn't HAVE to. We should all try and do our part to make what we want to see happen happen.

My booking policies are sort of anti-status quo. I book bands that I think don't get enough shows and are actually pretty good -- and sometimes I even book bands that I don't think are good but I think people overlook. I can't do this with EVERY show all AT ONCE but it's a gradual thing. When we started, S&SF was as hungry for shows as we were, so we decided when we had the chances to help them, or PFAP, or other bands, we would do that (TOS collectively).

I always like to give new bands a start because I think it's lame how they have to do the Catch22 of play a show to get acknowledged but can't get a show because no one acknoweldges them. I have given starts to a lot of good bands -- some without ever hearing them first. I've also helped a lot of labels and promoters sink their teeth into doing this kind of work.

Why? Because to me, I like the system as much as I like the output. I like music, but I like the stuff behind the music almost more. Shows are what make me happy, give me a chance to be creative; they help build community, help us make friendships, and give us a chance to be affected by art. It's one of the few things I'm good at.

That is universal to all performance and all music: it is why we create...We do it to satisfy something ethereal inside.

Read the "DIY Booking guide" I posted and you'll see some of my booking policies. I didn't come up with them over night. Since high school I've noticed shit doesn't get done unless you sink two hands and make it happen for yourself. So I've been doing that since...and that's that. Along the way some really great bands and shows have gone through my fingers, I've been lucky to work with, as well as some cool people, some other good promoters, and some cool labels.

That's what I do and why I do it. If you have any qualm with that, you're mistaken. If I didn't book you, I either heard you and didn't agree with your band (which is vague, considering how much I agree with music); If I DID book you I didn't fuck you over -- my track record with that is 100% clean. I've never once fucked a band and if a band ever had a problem, I usually deferred to them or offered to compensate them in whatever way they saw fit. There is nothing I dislike more than a promoter that purposely fucks over people.

Don't like what I do? Put on your own shows! Don't like the records I used to put out? Put out your own records! Don't like my band? Start your own band! And when you do, and people diss on your band, you'll think what I'm thinking now, which is, "Well, considering I wrote this song for myself and I like this song, it seems weird how adamant you are about not liking it. Makes me think you think it will change something...Like I only like what I wrote if you like it."

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