STEAM Magazine South Texas Entertainment Art Music volume 8 issue 5 August 2019

314 E AVENUE G, PORT ARANSAS 361-290-7143

4 COMICS 5 QUICK READ 6 ALBUM COVER OF THE MONTH 7 CD REVIEWS 8 PRODUCT REVIEWS: AS SEEN AT SUMMER NAMM 9 CHRISTIAN DAVIS: COMING TO A TOWN NEAR YOU 10 3RD COAST FOOD IE : BLACK SWAN CATERING 12 SUM MER NAM 19 : MUSIC CITY SUCCESS 14 KAREN LAWRENCE: BACK IN THE SPOTLIGHT 16 LANI STENSRUD GRFFIN: VIBRANT ARTIST 17 GIVING THURSDAY A LEG UP 19 N EW MO VI ES & MUSI C PUBLISHER RUSTY HICKS EDITOR TAMMA HICKS COMICS EDITOR ALLENE HICKS STAFF WRITERS STEVE GOLDSTEIN, TAMMA HICKS, RUSTY HICKS STAFF PHOTOGRAPHERS ALLENE HICKS, RUSTY HICKS CONTRIBUTING WRITERS J MICHAEL DOLAN, DEREK SIGNORE, ROB DICKENS, RICK J BOWEN, DEBBIE NOBEL Alternative Weekly Network

August 2019 VOL.8 ISS.5 #89 ON THE COVER...

ALPACA SERIES 3: HANK

BY LANI STENSRUD GRIFFIN

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Lifeiscoffeecomic.com Lunarbaboon.com theawkwardyeti.com

Reckless reason J. Michael Dolan My favorite crazy, genius poet, George Bernard Shaw, said: “The reasonable person adapts to the world; the unreasonable person persists in trying to adapt the world to himself. Therefore all progress depends on the unreasonable person.”

Reasonable: Plan ahead.

Unreasonable: Things are changing so frick’n fast that planning ahead could leave you farther behind!

Reasonable: Never invest more than you’re willing to lose.

Unreasonable: If you really believe in your game, go all in!

Reasonable: If you ask for too much you may crash the deal.

Unreasonable: Never be afraid to make an unreasonable request.

Reasonable: Stop while you’re ahead.

Unreasonable: Ahead isn’t far enough!

Reasonable: Never stop trying.

Unreasonable: You got to know when to fold ‘um.

Important because... “In the beginning everything I ever did or said or suggested, I was told I was being unreasonable. But none of it seemed unreasonable to me.”

—John Lennon

It’s your frIend’s fault!

J. Michael Dolan Nobody has ever made it in show business without the helping hand or support of someone else (stop and think about that). Therefore our degree of success is largely dependent on who we know, who we listen to and who we hang out with.

— Those friends we call friends either encourage us to become the best versions of ourselves or they lock us into a version that works for them.

— Those folks we work with; in the studio, on the stage, behind the camera or in the office, either encourage us to do our very best work or validate our deepest feelings of unworthiness.

— Those people we are related to either acknowledge us for who we are now and support us in where we want to go, or continuously try to show they know what’s best for us.

Important because... the people we hang with the most are the ones who either raise or lower our standards. Therefore, in addition to our old friends, family friends, funny friends and marginal friends we should really spend the lion share of our time with these three extraordinary friends: 1) A friend who is wiser and more grounded: to learn from, confide in and consult with.

2) A friend who’s at a similar place in life as we are: to laugh with and kick around crazy ideas.

3) A friend who needs our support & coaching: to remind us of the essential benefits of selflessness, empathy and generosity (especially with our time) .

breakdowns J. Michael Dolan I think sometimes it’s ok to let things fall apart. Let things go south. Let the whole idea or project breakdown, collapse and crash if necessary. It’s not always about “fix it in the mix.”

In fact, the true creative process is not about “fixing” anything. It’s about constantly reinventing, rewriting, redesigning and recreating until you reach that pinnacle moment when YOU decide if your idea, plan or project will live or die (better you than someone else).

Breakdowns are too often misinterpreted as failures, but they’re not. They’re just part of the process. Believe me, I know you know this. I’m just reminding (both of us) of what we tend to forget in the hoopla and drama of a potential breakdown.

Important because... breakthroughs are always preceded by breakdowns. And if we squirm to avoid the breakdowns, we actually deprive ourselves of the experience and wisdom from which breakthroughs are born.

STEAMMAGAZINE.NET AUGUST 2019 STEAM MAGAZINE

5

Comedian/actor, Charles Fleisher is credited with the observation that, “If you can remember the ‘60’s, you weren’t there.”

This is the true story of three 18 year old girls, Andrea, Lillian and Terry, best friends from Yonkers, New York, and the 100 mile journey they made 50 years ago this month to upstate Bethel for an experience of a lifetime that would become the exclamation point for the end of an era. Andrea takes credit for the idea to go to the Woodstock Music & Art Fair.

Joan Baez was playing there and that was reason enough, as far as she was concerned. Terry somehow recruited their older friend, Uncle Norris, to drive. The plan was for him to drop the three girls off at the festival (actually some 45 miles south of Woodstock, NY), and then be on his way. As they got close to their destination, it was obvious the plan had changed. Nobody was going anywhere; not by car, anyway. So the four of them left the car and walked…and walked. By the time they made it to Max Yasgur’s dairy farm, the festivities were already in progress. Tickets had stopped being taken by then, which didn’t matter, because the girls didn’t have any anyway. They found a spot on the left facing the stage, either pretty close, or kind of far back, depending on who you ask. Although they missed Richie Havens’ set that kicked things off, by the time Arlo Guthrie and Joan Baez played their late night sets, the three girls and their unwitting friend were settling in for the weekend ahead. The

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massive crowds caused massive delays in getting the acts onto the festival grounds. On day two, Country Joe McDonald filled in with his infamous “Fish” cheer, followed by a new band from San Francisco, Santana.

John Sebastian happened to be there and was asked to fill in one of the gaps with an acoustic set, only to admit later that he was tripping his brains out on LSD at the time. There was no sleeping for the girls that late Saturday night. In fact, they don’t remember sleeping at all. Mountain’s powerhouse set was followed by Creedence Clearwater Revival.

The Who’s explosive sunrise performance of “Tommy” is legendary on so many levels. Sunday was a rocking extravaganza, starting with Jefferson Airplane, Joe Cocker, Janis Joplin, and Ten Years After. Then came the early morning sets by newcomers Crosby, Stills, Nash & Young, and the Butterfield

Blues Band.

Monday dawned and the vast mass of humanity had shrunk considerably, but the girls were still there for the penultimate act, Sha Na Na. They remember several of the 32 acts that appeared, but the one they specifically don’t remember was the one that closed the festival; Jimi Hendrix. When asked how they could possibly not remember Jimi’s blistering set, they simply shrug it off. They don’t remember The Band or Canned Heat either. The girls know they must’ve eaten something, but don’t remember eating.

They passed a massive line of people waiting for oatmeal, but chose not to stand with them.

They know they must’ve gone to the bathroom…somewhere.

The things they agree on are that there were a lot of people, some estimates as high as 500,000.

Many of those

people were naked. The weather caused problems for much of the weekend. There was a lot of rain and the mud that was everywhere. They were exposed to pot for the first time and, while in Rome, did as the Romans did, which probably helps account for their fuzzy memories. They met a lot of nice, like-minded people, including a group of travelers from Florida.

(As a footnote to the experience, the girls coincidentally ran into their new friends a week later at a park in their hometown of Yonkers.) Well, it’s been a half century and surely memories of this momentous occasion have faded. Sadly, Lillian passed away in 2005. Terry and Andrea have remained best friends and occasionally still reminisce about their shared experience of a lifetime - what they can remember of it, anyway. Terry is married and lives in Wisconsin. Andrea moved to Texas in 1982 and, thankfully, married yours truly a year later. These two albums, five LPs total, along with the award winning 1970 film, go a long way in documenting the girls’ experiences shared with thousands. It was a major boost for the careers of some now-legendary artists, many of whom are no longer with us. Some of the timeless performances remain Arlo Guthrie’s “Coming Into Los Angeles” and his spacey commentary that follows, Joe Cocker’s soul-wrenching take on “With A Little Help From My Friends,” and, of course, Hendrix’s mind-blowing “Star Spangled Banner.” Peace and Love, and stay away from the brown acid.

JACKIE VENSON JOY (SELF-RELEASE)

BY STEVE GOLDSTEIN Jackie Venson is an enormous talent. It’s that simple. In a world that has seen a minute showing of women in the male-dominated world of guitar greats, it’s so refreshing to hear this young, energetic Austinite combine her seasoned guitar virtuosity with a totally modern delivery to a vast collection of interesting, original songs. JOY is driven by a conceptual, positive groove that runs through each of the 20 tracks. Even “Rollin’ and Tumblin’,” the classic Muddy Waters tune, may not give you the blues, but will make you feel good. This album is drenched with Venson’s dazzling guitar work. Her vocal style ranges from emotionally passionate, as on “Only Have You” that opens the album, to deceptively understated and airy “Keep On” that follows.

The backup band delivers without ever overplaying.

It all mixes naturally with Jackie’s progressive synth DELBERT MCCLINTON & THE SELF-MADE MEN + DANA TALL DARK AND HANDSOME (HOT SHOT RECORDS/30 TIGERS)

BY RICK J BOWEN Texas troubadour Delbert McClinton returns with a swaggering and swinging new album, Tall, Dark & Handsome, released on July 26th. McClinton’s 26th album further explores the depths of blues, jazz, Americana and roots on 14 new, original new songs, written or co-written by McClinton featuring his charismatic rasp, razor sharp wit and mastery of regional vernacular on tall tales of life, love, hard luck and loose women. If Mark Twain were a blues singer, he most likely would have sounded like Delbert McClinton. The set opens

grooves. Her rock and jazz influences can be heard on “ W i t ch cra ft ” and “Next Life.” “Back To Earth” and “Don’t Lie To Me” are standout tracks that emphasize Jackie’s authoritative guitar work. The appropriately named title track has a groove-along dance beat, while “When It’s Right” closes the album and shows that Jackie Venson has a tight handle on the blues, too. There just isn’t the quantity of breakout guitar heroes like there once was.

Sure, there’s Bonamassa, Mayer, Trucks, and a few others. But, as they say, “it ain’t like it used to be.” Jackie Venson can hold her Strat high with the best. She has the confidence in her art, and a great future ahead. JOY will leave you anticipating that future.

STEVE GOLDSTEIN: STEAMMAGAZINE.NET

with “Mr. Smith,” a jumping Big Joe Turner-styled blues. The swampy “If I Hock My Guitar” has McClinton playing the part of a down n’ out bluesman contemplating a visit to the pawn shop to lift him out of debt. The Django acoustic swinger “No Chicken On The Bone” features blazing fiddle from Stuart Duncan to help him spell out his infatuation with a mystery woman. The easy going “Let’s Get Down Like We Used To” glides along with sweet southern sentimentality. The spicy tango “Gone to Mexico,” takes us on a colorful get away south of the border, and McClinton spells out his contempt for a nefarious woman who broke his heart on the Rat Pack-styled track “Lulu.” He then explores the complicated relationship between the unlikely pair of “Ruby and Jules” before revealing his own heart on the lovely sonnet “Any Other Way.” The crew then picks up the horn section again and heads to Bourbon Street for a lively second line, “A Fool Like Me.” Tall Dark and Handsome, should prove to be another cherished addition to Delbert McClinton’s anthology .

RICK J BOWEN: WABLUES.ORG

JIM LAUDERDALE FROM ANOTHER WORLD (YEP ROC RECORDS)

BY ROB DICKENS I keep a pretty close tally of every show I’ve attended over the years – it can come in very handy, both to remind and recount.

But I admit that I have lost count of the number of times I’ve seen Jim Lauderdale perform. I know the first one – at The Station Inn in Nashville in 2009. Since then I’ve caught him on two cruises, hosting five Americana Honors and Awards nights, compere of Music City Roots and co-hosting the Buddy and Jim Sirius FM radio show. I have witnessed shows of him solo, sets with full bands, as band member (eg Elvis Costello’s Sugar Canes) and so many guest spots that speak to his talent, drive and the regard in which he is considered by his peers. Hell, we even have enjoyed hospitality from the same gracious house hosts in gorgeous Nelson Country Virginia (but alas, not at the same time).

I am claiming though nothing special in all this. Some friends can easily surpass my “Lauderdaleness”. What is the point? Well, it is worth mentioning in the context of the sheer size of this man’s bursting music portfolio and what this leads to in reviewing From Another World, his (I think) thirtysecond full release.

“Some Horses Run Free” starts us off the blocks with an insistent and true groove, abound with sharp lyrics flowing and canny chord changes. The waltzy “When You Can’t Have What Your Hearts Wants” showcases this gifted songwriter’s irrepressible true pen, another prototype for a man whose songs have been recorded by countless artists and turned into numerous hits. “The Secrets Of The Pyramids” is more psychedelia country and slow that leads to an embraceable chorus – Third Man Records star Lillie Mae and her

brother Frank Rische provide able assistance.

Even more country and interstellar is “Like People From Another World” which stretches his vocals but has soothing harmonies and a two-step twang.

“One Away” goes a notch higher, a Beatle-esque flair of creeping vocals while “Listen” cuts through and provides a cautionary tale for vacuous behaviour – “listen, listen try not to talk for a while”. “For Keeps” escalates tenderly and harmonically over a classic country landscape (think George Jones) while “Slow Turn In The Road” is a highlight, an engaging triumph, a self-reflecting and deprecating plea with a Moody Blues grandiose passion. “I’ll Forgive You If You Don’t” provides a critical piano undertow and a melody pattern that may prove highly attractive for others to cover.

“The Graceland Horses” is a trippy homage while the painstakingly layered “Ever Living Loving Day” contains a ringing George Harrison guitar break. The closer is the jaunty “Are You Trying To Make A Song Out Of Us” with its tessellated rhythmic pull.

Jim Lauderdale continues to set the bar high with From Another World, a very fine collection of original songs that plays not quite like songs that you have heard, but are familiar in the sense that all the elements are as and where they should be. Another remarkable entry into an extraordinary career.

The final word from the artist: “When I write or play or get into the studio, it feels like it’s all coming together for me – that this is what I’m here to do. No matter what is going on in the rest of my life, how hard things sometimes get, I can leave behind this three and a half minute song and that makes it all worthwhile.”

ROB DICKENS: LISTENINGTHROUGHTHELENS.COM

STEAMMAGAZINE.NET AUGUST 2019 STEAM MAGAZINE 7

STEAM’S Review: Comments: Simple, Inexpensive Solution!

When Mike George was learning guitar he played sitting as most students do and he found that his guitar would slide, breaking his concentration. His search for a product to remedy this was to no avail, so… He created the My Guitar Mate! The only US Patented and Trademarked NonSlip Pad made for playing instruments!

The non-slip pad with finished edges that is placed between you and your instrument. No more slipping or sliding and it doesn’t change the tone.

My Guitar Mate comes in 4 sizes and can be used in many applications! The first one I thought of was a belt buckle cover. I know many players with scratched guitars, because of their buckles and this non-slip pad will stay in place.

An inexpensive solution to a problem guitarists of all skill levels have.

“As an avid fiddle player of the NS Electric Violin, I have found over the years the only issue I’ve had with my fiddle is that it would slip off my shoulder more times than not. After attempting several different solutions to this on-going problem, I was

Reviewed By Andrea Leigh Free Beer Band, Fiddle & Ukulele

By Tamma Hicks, STEAM Magazine

introduced to My Guitar Mate. With enthusiasm I can now say that I play my fiddle without worrying that it will slip off my shoulder. I now just concentrate on what I am supposed to be doing... fiddling.

Thanks, My Guitar mate!” – Andrea Leigh

STEAM’S Review: Comments: Cleans well. Fast and Easy to use.

Reviewed By Andrea Leigh Free Beer Band, Fiddle & Ukulele

By Tamma Hicks, STEAM Magazine

The String Cleaner (by ToneGear) is a great product. Not only does it clean 360 degrees of all strings at once, it doesn’t use chemicals or solutions that stay on and in your strings, and it can be used hundreds of times!

Why is it important to clean your strings?

Simply put, your finger movements (bending, finger picking, hammering, pressing, sliding, etc etc.) leave behind oils, skin, and sweat debris that stick to the strings.

This debris weighs down the string, dampens the sound, and over time can destroy

the strings. The String Cleaner removes the debris and extends the life, strength, and tone of your guitar strings.

The String Cleaner will last for years as long as you maintain it by washing it (per instructions) every two months and any time you change your strings. The String Cleaner is available in 3 sizes: Guitar (all sizes and brands of electric and acoustic guitars with 6, 7, or 12 strings, in any gauge), Bass Guitar (all 4 and 5 string basses and some narrow spaced 6 string models), Violin Viola (most any 3, 4, 5, 6-, or 7-stringed instruments found throughout the world, and all Viola models, except the 16.5" viola because of the string width).

“I just tried The String Cleaner for Violins. What a great tool for cleaning my electric violin strings!

It worked wonderfully on my acoustic fiddle as well and its small size is perfect for my too.

Fast, easy to use and cleans well.” – Andrea Leigh

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By Tamma hicks, STEAM Magazine Photos Provided

Christian Davis is no stranger to the big stage and is currently touring with John Schneider as well as performing at festivals all over the US. His current album, The Big Picture, features eleven tracks of Bluegrass, contemporary Country, and Gospel with musical guests Ethan Ballinger, Avery Bright, Austin Hoke, Rob Ickes, Matt Menefee, Rhonda Vincent, to name a few.

The two-time Dove winning and Grammy nominated artist released his second solo single "The Simple Things" in July. This current release is a follow up to his #2 Bluegrass Today charting single "Rosine I Cry." We sat down with Christian and talked about his deep voice, how he got to be where he is today, and what he plans are from here.

Oh my gosh, your voice is so low. After looking at your picture and listening to you sing, I did not expect your speaking voice to be so deep.

No ma’am, most people don’t.

I was listening to some of your songs and you have a beautiful voice, absolutely beautiful voice! You began singing at the age of 3 and then your information jumps to you attending college?

Yeah, I was recruited by Liberty University in Lynchburg, Virginia to sing for one of the recruiting teams and Jerry Falwell, the founder, gave me a scholarship. I did that and ended up actually starting the Old Time Gospel Hour. We traveled across the coun-

try with him, and at the church he pastored, where he spoke and we sang on the TV program. I was the original Bass singer for that quartet. I did that for four years and then joined the Bluegrass group, Dailey and Vincent, in 2010. I sang with them for about six years before starting my solo career and it's been great.

Did you have a deep voice as a child?

No. I sang the high part up until around age 12, when my voice started changing, and I just started singing my own thing. It's been fun making the transition and everywhere I go I hear, “Your voice doesn't match your body.”

You really connect well with your audience.

When you're singing the story-songs and singing a song that really means a lot to somebody, you can see it by them shedding tears or laughing or however they express their emotions. It really comes across because it shows that you're at the same level as well, and that's the way I want it to be. I don't want it to be like I'm above everybody else, because I'm not. I put my pants on the same way they do and the only difference between me and the audience is I'm holding a microphone.

When people come to a Christian Davis concert, I want them to leave uplifted and encouraged because our job as entertainers is to take a couple hours away from somebody who had a bad or crappy day. My job as an entertainer is if you had a bad day, that's all right just forget about it for a couple hours, enjoy the music and hopefully by the end of the show you will leave encouraged and uplifted. That's what we want.

And you were nominated for a Grammy this year, right?

Yeah, it was for my Bluegrass- Americana album, The Big Picture, and we didn't get

the Grammy, but we were nominated and that's a pretty cool thing.

to work and it’s written by my buddy, a Texas guy named Zane Williams.

Well, that's a big deal. Not everybody gets nominated.

That was fun and, of course, while I was with Dailey & Vincent we got two Dove awards, which is the pretty much Gospel’s version of the Grammys, and I have them sitting on my countertop at home.

We did a story in the June issue with Zane. He's a wonderful songwriter and performer.

I love Zane. He is a great friend and an incredible writer. As a matter of fact, I have 11 songs on my The Big Picture album and I believe 6 of them are Zane Williams’ songs.

I'm so excited to see where this new Country song goes.

Tell me about your album.

My album is called The Big Picture. It was released in August of 2018 and it has done really, really well. It's definitely AmericanaBluegrass. After I left Dailey & Vincent, the Bluegrass group, we worked on keeping the fan base we had. We created the BluegrassAmericana Hour and I did a duet with Rhonda Vincent, the Queen of Bluegrass.

I've been to every other state just not those two That plan seems to be working well for you. Do you write your own music?

I do not. I’ve just been blessed with so many great writers and so many great friends that have sent me some incredible songs. I'm a story-song guy so I don't like to sing those “sittin’ on your truck bed drinking a beer” songs and that kind of stuff. I’m fond of the real-life stories and I found that those come across to the audience as “he is a real person, he experiences what we experience” and that's what I enjoy singing.

Are you planning to go in and record more?

We are. We’re actually working on a brandnew Country album as we speak. We have, however, released two Country songs to mainstream Country radio, one called “Hands Of A Working Man.” It's a great song for the current times because the message, without getting political, is getting back

Touring is obviously not new to you and I know you are on the road with John Schneider quite a bit. What’s that been like?

Well, John is an actor and he's also a great singer. People don't remember that he had four number ones on the Billboard charts back in the 80’s, so when he sings a song like “Memory Like You”, “Sound Of The Tone” and songs like that, the audience is like “Oh, that's the guy that sang that song.”

So it's really cool to be on the road with John because everything he does, whether it's singing or acting or speaking, he is such an absolute pro in everything. I just watch him do this and I'm just amazed every time John is around. He's so great at everything he does. It's been fun and most of all, it's been great to be his friend aside from the music part of it.

How did you two connect?

We met at a Randy Travis event in Missouri for the Randy Travis Foundation. John and I were there that night along with Wilbur Ross from Hee Haw and Si Robertson from Duck Dynasty. John and I got to talking and we shared stories and music together and the rest is history. Of course now, John and I do separate shows as well, but any chance that we get to tour together we do.

CONTINUED ON PAGE 18

STEAMMAGAZINE.NET AUGUST 2019 STEAM MAGAZINE 9

By Tamma Hicks, STEAM Magazine with Input from NAMM and Lipping Group’s PR Teams | Photos By Rusty Hicks, STEAM Magazine

A Few Of The Many Friends We Made At Summer NAMM 19!

(Top to Bottom)

Native Sons Goods My Guitar Mate BrandNewNoise MagSlide Cactus Ampworks Teye Guitars

12 STEAM MAGAZINE AUGUST 2019 STEAMMAGAZINE.NET

From insightful, business-advancing professional development sessions and networking events, to the latest in new gear from established and emerging brands, the music products, and pro audio industries convened in Nashville for Summer NAMM, the Music Industry's annual mid-year gathering. For the fifth consecutive year, STEAM Magazine’s writers and photographers were there gathering information for our readers.

"Summer NAMM seemed to highlight the important role of both the manufacturer and the dealer in maintaining a strong musical ecosystem,” said Joe Lamond, NAMM President and CEO. “While the marketplace is evolving rapidly, our manufacturer and retail members are adapting and finding strength in better understanding each other and finding new and innovative ways to work together to better serve the music-making community.”

The industry cross-section of retail and commercial members spanning music products, pro audio and technologies welcomed 16,001 registered attendees, a 7% increase, and notably, accounted for a 32% increase in international attendees. The show counted over 1,500 brands presented by 500 total exhibitors which reflected this interchange representing all facets of the industry, including WalkaBout Drums, ToneGear, BOSS, Gizmotron, ErgoSonic Percussion, D’Addario, Fender, Gibson, and a collection of leading plug-ins at Software.NAMM. New exhibitors accounted for nearly 200 companies and included the likes of My Guitar Mate, British Drum Company, GO Pedal Boards, Maton Guitars, Whitestone Audio Instruments, Brand New Noise, and many others.

Chris Martin, C. F. Martin & Co.® Chairman and CEO said that the company “Enjoys Summer NAMM because it gives us a very supportive, but more intimate venue to meet with our customers and fellow industry influencers. Its Nashville setting provides for a week of music immersion that you can’t find in any other city in the country.”

For a variety of new exhibitors, the vibrancy and intimacy of Summer NAMM led to new opportunities to put their products before an influential crowd of tastemakers. We attend

the trade show to find out what new products are capturing the industry’s attention whether these items are from a national brand or the boutique, startups, where someone saw a need and found a solution.

Andrew Jones of Deity Microphones, a year-old company, echoed that sentiment: “We do a lot of broadcast tradeshows but we decided to come to Summer NAMM because we’re surrounded by other [microphone] exhibitors who really love what they do.

You’re going to see innovations here that you’re never going to see elsewhere.”

“The response has been pretty awesome,” affirmed Matt Richards of Square Amps, a boutique builder out of Austin, Texas that builds guitar amps out of old radios. “Everyone – everybody who walks through the door is a potential customer. It’s where I want to be.”

Professional development opportunities abounded throughout Music City Center with NAMM U and TEC Tracks. Once the show opened, members started each day with a NAMM U Breakfast Session which covered topics such as Retail Disruptors and The Customer Experience Revolution and the perennial favorite Best in Show. Best In Show decided upon by a panel of retailers and Frank Alkyer (Music Inc. and UpBeat Daily magazine Publisher) who find the hottest products from Summer NAMM that consumers will be buzzing about into the holiday season and beyond.

Retail members seeking the latest best practices and tips to supercharge retail music stores gathered at the NAMM Idea Center. A variety of thought leaders presented more than 25 topics. “One of the things I love about Summer NAMM is the opportunity to engage in the offerings of NAMM U. We are a ‘brick-and-click’ type of store, so we have a large showroom and a great local contingent of customers that shop both in person and online. It is really important that we have the opportunity to renew knowledge on how to best manage the entire retail operation because it is our ultimate goal to provide the best possible customer service, products, and in-store atmosphere. This also extends to our online business, as things that I learn about great retail management will also

translate to our e-commerce as well,” said Brian Douglas, of Cream City Music.

For audio professionals, TEC Tracks featured sessions designed to help professionals take their careers to the next level. Notable sessions included "Deconstructing a Mix," where Grammy-winning engineer Craig Alvin (Kacey Musgraves) walked the audience through how he builds a hit album; "The Making of Willie Nelson's Grammy-Winning 'My Way'" with producers Matt Rollings and Buddy Cannon, along with engineer Steve Chadie, who shared the stories behind the songs; "Immersive Audio and You," which featured pro audio gurus John McBride and Greg Penny, who explored the world of simulated reality, natural-sounding sources and environments.

While Thursday and Friday are for NAMM Members, Saturday is a whole other animal. Deemed the Make Music Experience it is open to the general public. TEC Tracks offered a robust lineup of sessions curated for emerging artists to build successful — and sustainable — careers. Highlights of the day included a Songwriting Masterclass with John Oates of Hall & Oates; "Unleashing and Maximizing the Hit Songwriter

in You" with Grammy- and Dovenominated songwriter Thornton Cline; and "Pensado's Place Live at Summer NAMM," featuring Dave Pensado, Herb Trawick and hitmaking producers and songwriters Beth and Luke Laird and Ross Copperman. Combined, these hitmakers count 40 No. 1 singles with such artists as Keith Urban, Luke Bryan, Carrie Underwood, Kacey Musgraves, Little Big Town, Eric Church and more.

Exclusive to Saturday, A3E (Advanced Audio + Application Exchange) presented the fifth annual Future of Audio Summit, featuring the game-changing technologies and ideas that are driving the evolution of musical products, pro audio, and music-making. Highlights from the day ranged from "The Future of Production: Gamifying a Supergroup with The Fell" to issues of rights and licensing, with "Why Is Music Free and How Can We Get Back on Track," and "Data Collection Is Key to Maximizing Earnings," as well as others.

A variety of NAMM at Night events could be found in the Music City Center and around Nashville. On Thursday evening, at the 36th Annual American Eagle Awards, the National Music Council honored funk leg-

end, George Clinton, the late beloved "Peanuts" composer and jazz piano giant, Vince Guaraldi, and the Country Music Hall of Fame® and Museum. Pianist George Winston offered a tribute in honor of Guaraldi and performed one of his iconic songs from “Peanuts:” “Christmas Time is Here.”

Country artist John Rich offered a touching tribute in honor of Clinton, and renowned Nashville singersongwriter Liz Rose presented the Country Music Hall of Fame with the award. The three honorees were recognized for their contributions and commitment to the preservation of American musical heritage and culture.

On Friday, the industry gathered to honor their peers at the Top 100 Dealer Awards. Now in its ninth year, the Top 100 applaud the excellence and innovation found in music retail. This year, Lark Guitars from San Antonio was chosen as a Top 100 Dealer and Cosmo Music Co. (Richmond Hill, ON CA) was named "Dealer of the Year."

On Saturday, July 20, Summer NAMM welcomed industry professionals from across the spectrum with the Make Music Experience.

Attendees enjoyed curated professional development from Nashville insiders, and a stream of performanc-

es alongside top country songstress, Lee Ann Womack.

MME attendees also had the chance to participate in communal musicmaking opportunities, including a guitar and ukulele circle, as well as perform on the Martin Guitar and Strings Open Mic Stage and experience Fender Play, an app for those learning to play acoustic and electric guitar, bass and ukulele.

Other notable events included Wednesday evening’s D’AddarioTaylor Welcome Party featuring the Time Jumpers with special guest Vince Gill. Wednesday's pre-show Georgia on My Mind Benefit Concert for the Georgia Music Fund, staring the Peach Pickers, and the SheRocks Summer Showcase; and Thursday’s Avid Connect Live After Party At Vintage King Nashville. Little Walter Amps hosted their Annual Endorsee Jam at 3rd & Lindsley with more than 40 artists performing and Robben Ford closing the show.

The music instrument, pro audio, and event technology industries will again gather January at The 2020 NAMM Show in Anaheim, CA. As we packed our bags and headed to the parking garage we couldn’t help but marvel in the success of Summer NAMM 19 and what awaits us next year!

Above: Vince Gill and the Time Jumpers; Ken Turner & Rusty Hicks at the ErgoSonic Percussion booth; and a view of exhibition floor.

Below: TEC Tracks: The Making of Willie Nelson’s Grammy-Winning “My Way”; Leanne Womack performing on the Terrace Stage; Little Walter’s Phil Bradbury with a few of the artists at 3rd & Lindsley.

TEC Tracks: The Making of Willie Nelson’s GrammyWinning “My Way.” | Moderator Beverly Keel, Panel: Buddy Carson, Steve Chadie, Matt Rillings, & Tony Castle About NAMM: The National Association of Music Merchants (NAMM) is the not-for-profit association with a mission to strengthen the $17 billion music products industry. NAMM is comprised of approximately 10,300 members located in 104 countries and regions. NAMM events and members fund The NAMM Foundation's efforts to promote the pleasures and benefits of music, and advance active participation in music making across the lifespan. For more information about NAMM, please visit www.namm.org.

STEAMMAGAZINE.NET AUGUST 2019 STEAM MAGAZINE 13

By Tamma Hicks, STEAM Magazine | Phots by Judy Hill You have already piqued my curiosity by being a ventriloquist.

I was about 9 and Winchell Mahoney was a popular TV show at the time and I wanted a little dummy for Christmas, so I got one and it came with a little instructions pamphlet. It didn't take me very long and my parents were very encouraging; we used to do little talent shows in my house for my parents.

Then I found out that my friend at the end of the street had asked for a guitar for Christmas and didn't tell me, so I went out and got a guitar too at Montgomery Ward.

She and I started playing and learning together and in the meantime, this TV show called Fun For All came to our Southern California town and held additions near us. I auditioned with just this dopey little (ventriloquist) act, probably took about two minutes, but I got on the show. I was still playing guitar and learning.

I would do my little act and sing my song and that became my thing. It's kind of the way it was back then. I didn't think about whether it was good or bad or if I was good or bad, I just did my thing. I started getting shows and I got a bigger dummy and carried him everywhere. I have so many pictures of

us in Catalina and everywhere on vacation carrying this thing. It was about 8th grade when it started getting weird. My problem is, honestly, I can write a million songs but I cannot write a joke. I can be funny and you and I can just go nuts but I cannot write jokes. I quit with the dummy, but I still do it periodically. I had this guy, who did some stuff for Disneyland, make me a new dummy. It's just a weird thing I guess.

I don't believe it's weird, I think it's very interesting. You don't see ventriloquism much nowadays.

You didn't see it much then either. Lost arts, Vaudeville. Thank goodness I learned to play guitar!

Nobody ever asks if it’s a job when you're walking on stage in front of 20,000 people. We don't even call it a job; it's your “craft.”

True! Your first guitar came from Montgomery Ward?

It was a black and red Stella with a tailpiece, it sounded every bit as good as her Airline.

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We learned right out of the book and we stuck to the rules for strings. My parents were singers, my whole family is musical, and we had a lot of instruments around the house so it was a natural thing for me and easy to learn.

And your parents didn't say… "but when you grow up”?

Never. My parents took me to my first audition the first month I got into high school.

My girlfriend and I were in a music store near the high school and she was showing me the music to Mr. Tambourine Man as I was trying to learn it. So I'm playing the chords and this guy comes up and says "Hey, do you want to be in my band?” And I go "whoa, really?”

And you said yes, right?

Yeah! I was just skipping and jumping and doing cartwheels all the way home, I was just so excited! This is in 1969, so things were pretty cool. I wish I had been 20 in 1969, I really would've enjoyed it. When I got home I told my parents, who drove me to the audition which was in a garage, and the rest is history. We did that all through high school. Same band and people. We didn't get

a lot of gigs. We played weird music but it was fun. My boyfriend was older than me and in the band. He was studying music and he wanted me to learn and then made me learn how to play bass when his brother the bass player quit; to show him that we didn't need him.

Just go with your head so you’re capturing the emotion, then you can edit later. You can be a songster.

You can be a craftsman.

A multi-instrumentalist, huh?

I can play the piano pretty well and I can read music. I can play bass, at least fake it pretty well. Of course, the guitar and a little bit of drums and I’ve learned a little bit of violin. I can't play wind or brass instruments, but anything else I can get my hands on I can kind of mess with it.

Very cool. How did you go towards the blues when psychedelic and folk were so popular?

Music was very weird in 1969 and in high school we called ourselves the Ezra Brooks Blues Band and then we thought we would

get sued by Ezra Brooks, so we changed our name. The first song they had me do was not a blues song, it was Jimi Hendrix’s “Stone Free.”

We really did our best with a lot of blues and we had some mentors. Everybody was older than me, they were seniors in high school, so we had all these interesting mentors and one guy sticks out, his name was Zell. He was a much older dude and we would go to his house with his Persian rugs and he would put records on like Muddy Waters and Sun House and make us study on it. All my early days were like that. We just listen to music with my boyfriend, who was the leader of the band, and we would just study music and we did our best. We rarely got hired. Most people were doing other kinds of crowd-pleasing things and we were doing weird stuff like “Since I Fell For You” and “Good Morning Heartache.” It was hard to find songs for a female to sing, because at the time we hadn’t heard any women. We were together for a solid four years while I was in high school; even after they’d moved on from school. It doesn't mean we worked all the time, but we had a few regular gigs at a dive bar. Then one night somebody came and saw us at the dive bar and brought a manager and they stole me out of the band. That was our fifth year.

What happened?

We had broken up for a little bit and I had gone to another band; a very prestigious band in our area. I was in that band for six or nine months, seems like a year, but it was such a hot band. I felt like I really made the grade being in that band, but then our other band kind of got back together and that's when these people recruited me to a band that got signed.

We went out to Mustang Beach and thought it was the most incredible thing. Even with the crowds it is still friendly and wonderful. There's so much music here.

The LA Jets?

Yes, the leader, who loved sports hence the name, asked me to be in the band, and then I was asked to be in another band. I wasn't really driven, it just all fell into place, so I've never really had to do anything cutthroat.

I'm just singing, that's all I'm doing. I'm just here for the ride and it doesn't take anything for me to do that. It's not work, it's just goofiness and I do it for fun. I learned something in the last month; it never occurred to me that I would have to make a living. Ever. My sister was a dancer and she had to hustle to make money. I got signed so at 20, I wasn't in charge. I didn't have to make my money. I never had to make a living at it.

It's interesting because a lot of people don't think that being a musician, singer, dancer, or actor is a real job.

I had a job. I didn't make any money, but nobody asked me that because I'm just kicking butt all over the place. Nobody ever asks if it’s a job when you're walking on stage in front of 20,000 people. We don't even call it a job; it's your “craft.”

My parents were very supportive to launch

me and they loved the whole thing. They never said you need something to fall back on. I did learn to type and I've had to do other things, but I don't think anybody said that to me; even now because music’s a big part of my life or maybe I just close my ears to it.

Studios.

They always call in the middle of the night..

My guess is that you just don't hear it because that's your personality.

I don't think anybody ever said "why don't you get a job" when I was struggling, because I always knew there was life around me and that I would have to do something. When I lived in New York, but there was nothing I could do in New York. Maybe I was just a prima donna. (laughter)

album and I just released a solo song. It's not the first solo thing I've had, but it accidentally happened and it's all happening naturally.

So the Best Of Live, is a new release, correct?

It is a new release of old stuff. I think it was released this year or late last year. Then in June we released my song, I Couldn't Help But Love You. Are you going to put this song on an album?

It will be when I do an album. In the last 10 years I've been writing like crazy and I see that the songs are not about what they used to be.

Now they're looking at other things and I don't care whether it's pleasing to anybody, but then I never cared back then either.

Can you explain that?

It's not love or hate. It's based on you and your group rather than what other people are thinking. I never cared if anybody liked it be-

cause I didn't write it for other people. You're just writing for yourself, you're not editing yourself. Just go with your head so you’re capturing the emotion, then you can edit later.

You can be a songster. You can be a craftsman. That's kind of what and how I do it.

Maybe this song that I’ve got isn't even a song I would do.

Good advice. How did you wind up on Jeff Beck's album?

Well, Rick Delina was the assistant recording engineer on the 1994: album that Jack Douglas produced, so he knew us and what we could do. Rick was doing a coproduction with Jeff Beck, so they called us in the middle of the night and said Jeff had an instrumental they want to put lyrics to, the song was Back On The Streets. They asked if I wanted to do it and I said of course! We raced across town and got a recording of it. We got home and just started going at it and I think we finally CONTINUED ON PAGE 18

So how did you end up here in the Coastal Bend?

My husband and I met in Southern California where I'm from and my husband was a contractor, but the bottom fell out of the economy so we moved to South Dakota in 2009; where we had a vacation home, it’s where his mother and family live and I didn't have to spell my married last name. (laughter) It was a wonderful experience but things started getting rough there and we would have to make enough money in the summer to eat with in the winter. So I started thinking about moving. Then one winter, sitting in our window covered front porch at our old farmhouse, I just said "I think we gotta go”, which is what he said in California. We realized it's true and we started thinking where would we go.

We wanted to be by water. I didn’t want to live in a southern town, I'd been on the East Coast already, and I wasn’t going to Florida. He wanted to throw a fishing pole and I didn't want to go to California. I didn't know about the Third Coast, but he had lived in Texas as a child and young adult and his brother had lived in Houston for many years. We came down here to look around. We met a guy from Corpus Christi and rode (motorcycles) with him one day. We went out to Mustang Beach and thought it was the most incredible thing. Even with the crowds it is still friendly and wonderful. There's so much music here.

We absolutely agree. We may be from Washington State, but this is where home is.

Yes and it has opened up everything for me. Got me started again. I didn't expect to come here and start my thing up again but I saw The Rialto Theater online, because I always look for live music, so I started getting that music hat back on and then I was going over to Port Aransas to the Monday Jam at Giggity’s Restaurant & Bar and met Tony Saracene the second time I went. I'm happy to say that all this has happened since April and has totally sparked me.

In the meantime my ex-husband, who was also my partner in music, decided to release a “Live Best Of” of the album we did in the 90s. Now we have partnered up again and released our Blue By Nature STEAMMAGAZINE.NET AUGUST 2019 STEAM MAGAZINE 15

Lani Stensrud-Griffin, aka Cloudpants Studio & Gallery at the Crooked Little Cottages on Monkey Island, OK, is an artist with many avenues. From paint to sculpture to working with cloth and tree branches, Lani is always making art. On our recent trip to the far northeast corner of Oklahoma to visit with Terry Mitchell & Trisha Conner we were introduced to Lani’s art. Trisha, Allene (my daughter) and I went to the Crooked Little Cottages to see Lani’s work and I fell in love with it; a mad chicken to be exact. Her subject matter runs the gamut between chickens and dogs to star gazers, sketches and portraits of people in her life, Picasso influenced portraits, to the loveable Alpacas she is currently working on. Lani’s willingness – more like need – to enhance what could be the mundane is a direct reflection of her vibrant personality.

Therefore not only does she use vivid colors, but she names every piece and gives it a back story; some more complex than others.

If you have the chance to attend one of Lani’s Spirit Doll Workshops I think you’ll find it to be a fun and relaxing way to spend an afternoon. Spirit Dolls are made from twigs, a ceramic face (provided in the class) and scrap fabric. I suggest you go through your junk drawer, old jewelry box, fabric/ribbons piles, and some of those small sentimental objects you can't seem to throw away.

The Alpaca series started with a visit to Zena Suri Alpacas ranch in Jay OK where she met Thursday the Alpaca and was taken by the little guy’s spirit and will.

Since then Lani has spent much of her art time on the Alpaca Series and is planning to publish a book about the Alpaca Family Reunion along with their paintings. She is also creating a large painting that will be auctioned with all proceeds going to the care and recovery of Thursday.

Facebook.com: Cloudpants Studio & Gallery Lani Stensrud-Griffin

Featured Artist Show, August 2019 Brush & Palette in Grove OK

Community Invitation Class

Aug 24th at Brush & Palette in Grove OK.

BY TAMMA HICKS, STEAM MAGAZINE

16 STEAM MAGAZINE AUGUST 2019 STEAMMAGAZINE.NET

Names of Paintings & Their Back Stories.

Two things to remember: 1 These are all real Alpacas. 2 The stories are true, the names are not; with the exception of Thursday. He and his story are as real as they come!

PAGE 16, COLUMN 1, TOP TO BOTTOM:

Alpaca Series 2: Little Dreamer ‘Dreaming of Ms Betty’ Do you think she noticed me? No you little twerp! She’s moving away and you’ll be the last guy on her mind. What? Moving? Where? I don’t know. Gasp.

Alpaca Series 5: Cantina In the spirit of Freida...Ole'!

Chickens from the Cottages...

Chicken With an Attitude!

PAGE 16, COLUMN 2, TOP TO BOTTOM:

Me. Self Portrait.

Alpaca Series 1: Betty Boop Betty is an Alpaca that lives here in Oklahoma. My friend Jeanne Lind McAferty fell in love with her last May and was curious as to how would she would look thru my eyes. Here's to Ms Betty!

Alpaca Series 4: Maude & Harold Zena Grandparents of all Suri Alpacas.

Unfortunately, they both suffer the effects of old age with aches that seem to worsen with time. Last doctor visit they were told pain meds would no longer be prescribed.

BUT...Medical Marihuana was now available.

Maude looked at her beloved with a twinkle in her eye. “Remember the fun we had that time at the lake with our friends?

Harold, a bit slow on the uptake replies, which time? We went to Monkey Island on Grand Lake lots of times. “ She nudged him slightly and whispered. “That time we smoked dope and laughed so hard we fell off the dock!” “Why yes, oh yes!” Maude said...”Well we can do it legally now!”

Harold perked right up with a newfound spring in his step. Prescription in hand they stopped by a dispensary on their way home. After a few minutes they made their selection and went home to give it a try.

Later that week friends noticed they weren’t out and about as usual. Were they ill?

Did they take a fall? Funny thing, they wouldn’t answer the door either. All they knew is that the music was loud and damned if they could hear anything but laughter. It’s another Happy Ending.

Meet Thursday the Alpaca!

Thursday is a double amputee of his front legs.

To make a long story short… While Thursday was in a trailer to be moved, he became frightened and tried to jump over the gate. Unfortunately he did not make it and both front legs were caught, breaking them. The Vet (at the time) said he should be put down. The new Vet said there was hope that he would walk again with the possibility of prosthetics – they went

with the new vet! As of writing this Thursday has one prosthetic leg and needs to have the other leg’s bandage changed often while they await the second prosthetic.

If you would like to donate to Thursday’s Care and Recovery a Go Fund Me page has been set up on his and Zena Suri Alpacas behalf.

GoFundMe.com/ Thursday the Alpaca Facebook.com/ Thursday the Alpaca, Zena Suri Alpacas

PAGE 17, TOP, LEFT TO RIGHT:

Alpaca Series 3: Hank Hi, My name is Hank. Yeah, I'm Alpaca, but not from Zena Suri Alpaca Farm.

Which is why I'm writing. I need your help.I had this photo taken to post on Social Media hoping to make friends...well, and to meet a girl.

The photographer said I had no 'sparkle' in my eyes. So I asked for a retake and put on my biggest smile. Still no sparkle.

Guess I don't know how to 'sparkle'. I feel really happy but it's not showing up in photos.

What to do, what to do? How will I make friends with an un-sparkle face? **Editor’s Note: Hank has so much sparkle he made the cover of STEAM Magazine!

Chickens from the Cottages This is NOT what a 'Soft-Perm' is supposed to look like!

PAGE 17, BOTTOM, LEFT TO RIGHT:

Thursday as he posed for a portrait showing off his shiny leg.

The real Thursday in his stall at Zena Suri.

STEAMMAGAZINE.NET AUGUST 2019 STEAM MAGAZINE 17

CONTINUED FROM PAGE 9 It's been so much fun traveling around with John and it’s just incredible.

Yes, he was in our July issue and he has quite a crazy schedule, but then again you have had a great history so far as well.

Yeah, I’ve played with Vince Gill, Steve Warner, and Marty Stewart. I've been on the grand ole Opry 98 times. I've played the Ryman, Carnegie Hall, the Lincoln Center in New York, the Library of Congress. I even played for the US Ambassador in Switzerland. R e a l l y , I've been so blessed to play in many places like that and with other musicians of that caliber. It's so much fun to get to do what I get to do and make a living at it.

I've read that you’ve been to 48 states. What are the two that you haven't been to?

The two I haven't been to are Utah and Hawaii.

It's funny because when you think Utah, you don't really think music. The music doesn't really make its way out to Utah a lot, but that's one of the states that I have not been to, but I've been to every other state just not those two. We're trying to find some places where to go now in those states so we can make our list complete.

I find it interesting that you are multiinstrumental, however you hadn't played guitar before joining Daily & Vincent.

That's correct. I didn't grow up playing guitar; I grew up singing and playing trumpet. I started with the trumpet in the fourth grade and played clear up through junior high school and I played in Symphonic band, marching band, jazz band and concert band. I was a part of every band available, but as far as guitar is concerned, those guys contacted me to be a part of their group and I told them I didn't play the lead guitar and they said, “That's okay, we’ll teach you. We're hiring you to sing bass for our group.” They had just recorded a tribute album to the Statler Brothers, so they needed somebody to sing the bass part. They had heard about me through Bill Gaither and Mark Lowery and some of those guys. They invited me to

a show and backstage we sang together and everything just clicked. They hired me pretty much on the spot. Everything I know as far as guitar Jamie and Darrin or somebody in their band has taught me and I'm very thankful for those guys, because without them I would have never had the desire to even play guitar and it's been fun; I learn something new every day.

Are you trying other instruments now or will you just stick with what you have?

Yeah, right now will probably just stick with the guitar and my main instrument, of course, is my voice. That's what I enjoy doing and I play guitar enough to get by but I really want people to hear my voice and my music and hear these great songs that these great songwriters have sent our

CONTINUED FROM PAGE 15 cracked the nut around two in the afternoon.

We called and told them we had it finished, and that's how it went. He was in the studio and I'm singing with his guitar parts.

Facebook.com/ Karen Lawrence and Blue By Nature

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That had to have been a thrill. How did you end up on Aerosmith’s songs?

Aerosmith was another Jack Douglas thing because he was their producer too. We did a summer tour with them as the opening band and a few times during the tour I did a walk on for "Get It Up" and when it came time to record I went in and did it. Studios always call in the middle of the night.

I also worked with Barbra Streisand. That was our song on LA Jets second album that did not get released, but the head producer of the production company took our song Prisoner and gave it to John Peters. John said to me "I'm going to do a movie called

way. That's my main focus right now.

Where are you going to be in August?

There are a lot of things that actually are not on the schedule yet that are about to be. In addition to me touring with John Schneider, I’ll be at some Bluegrass festivals, doing some Gospel shows, and I’ll be in Kentucky, Oklahoma, and all over Texas. We're doing a lot of great stuff, so be looking at mine and John's page.

CONTACT

CHRISTIANDAVIS.COM FACEBOOK, TWITTER, & INSTAGRAM: CHRISTIAN DAVIS

SHOWS

8/2 THE TEXAN THEATER W/ JOHN SCHNEIDER, GREENVILLE TX 8/3 THE LUMBERYARD W/ JOHN SCHNEIDER, ROSCOE TX

The Eyes Of Laura Mars and I want your eyes on it." I never got called for the eyes, but they used the song and Barbra Streisand sang it.

She is one of my all-time favorites!

I got to meet her at a concert for A Star Is Born because our production CEO was highly connected; Charles Koppelman and Barbra were friends. When I was in the high school band, I did Stoney End. I had to do that song five times in a row because people kept asking for it.

It’s not work, it’s just goofiness, and I do it for fun.

So now you’re thinking about an album and about going forward.

Yes, all of a sudden now. I'm like really thinking about the record and I'm thinking that it'll be okay if I have to tour. Weird things just fall into place for me.

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