Good day, ladies and gentlemen. Norman West, here with an album review. If you complain about how I write it, I thank you for taking me so seriously, but I'm just some random guy on the internet, and not a professional, so your complaining doesn't really matter.
The overarching theme of this era in recorded music sometimes seems to be disappointing blandness. In pop, white-bread artists like Justin Bieber are pushed on listeners, largely BECAUSE of their safety. Justin Bieber is a good, wholesome kid who stays on pitch without putting any feeling into his voice. Unfortunately, rock and metal aren't doing much better. The same people who complain about bland mainstream acts will often smother lifeless "rock" acts like Phoenix and Vampire Weekend with lavish praise. Metal, with some occasional exceptions, has produced largely the same repetitive, irritating sound from every band. The rhythm guitarist chugs exactly one chord until the chorus. The "singer" HAS no pitch, since he's just screeching. The drummer just beats on the double bass pedal with no actual rhythm. You might get a good guitar solo if you're lucky. Thankfully, Ariel Pink and his Haunted Graffiti deviate from the modern, tired robot sound, and proceed to make music sound sentient once again on their 2010 album, Before Today.
Just to begin, the album borrows the best elements of recorded music history. Songs like Bright Lit Blue Skies sound like they could be from the 60's or 70's, with light-hearted guitar chords. Songs like Butt-House Blondies and The Revolution's A Lie have a bit more of a 90's feeling, and if you squint your ears, you could compare them to heavier-sounding Nirvana. Hell, synth-heavy tracks like Fright Night (Nevermore) and Can't Hear My Eyes sound like a combination of 80's smooth jazz and modern indie.
And Ariel Pink's Haunted Graffiti does not at all hesitate to show off the musical abilities of ALL of its members, even if Ariel Pink is at the helm. Unlike some modern albums, the guitar isn't buried under several layers of synth. There are actually riffs in this album! Also, it's fucking refreshing to hear a guitar solo every once in a while, like in Butt-House Blondies. Even if the guitar were buried under the synth, the synth player isn't just playing chords in a repetitive rhythm. The track, Reminiscences, for example is a two-and-a-half minute long keyboard interlude which shows how alive the synth playing can sound. Even playing in the background, the synth in tracks like Beverly Kills provides an ecstatic, psychedelic atmosphere. And the bassist is a fucking BEAST. I don't need to provide any examples of tracks in which he's playing amazingly, since basically the whole album features his awesome bass abilities. Ariel Pink, himself, isn't a bad singer, either. He knows when to amp up the feeling, but he also knows when to chill out. He's neither overpowering nor underwhelming.
Rarely is there a moment on this album where the rhythm becomes choppy and repetitive. I absolutely despise when a band plays one chord in a series of quarter notes for several measures. It shows little creativity, and little motivation. Ariel Pink's Haunted Graffiti, on the other hand, plays around with unique rhythms on every track.
On a short side note, I also love how the song structures range from normal to unconventional. For example, Round and Round starts with an intro, goes to the verse, goes to a bridge, then the chorus, then the verse again, then a different bridge, ending on the chorus. I know this might not seem like anything spectacular, but when we're constantly bombarded with "Intro, verse, chorus, verse" with MAYBE a bridge in there somewhere, it's very refreshing to hear something different.
Despite the fact that it was largely unacknowledged, Before Today has the potential to be a savior of the music industry. When people want music to chill out to, this album provides that without sacrificing musical talent or variation. Before Today is the perfect representative for the glimmers of amazement that need to be encouraged in the doldrums of modern music.
Take it easy.
-Norman West
Showing posts with label music. Show all posts
Showing posts with label music. Show all posts
Tuesday, March 8, 2011
Friday, February 4, 2011
1000 Pageviews! The Joys and Benefits of Noise Canceling Headphones
Sometime (hopefully soon) after I post this I will achieve a massive milestone for me and my shitty little blag. It only took forever and a half but I finally did, I reached 1000 pageviews! I don't exactly know what this even means, and I certainly don't know if it's even close to alot. It's probably not... but that's not deterring me and my excitement!
I am thrilled that I've posted somewhat consistently for three months with absolutely no benefit at all to myself. I take that back, I benefit from knowing I actually have readers. Apparently there's someone in Malaysia who keeps coming back to read this week after week. Most of my other readers are probably one timers or friends of mine, but I don't care. I am reaping your support and it keeps me from concluding that this is pointless... even though it is pointless...
So thank you all! Tell your friends, keep reading, and stuff... I am forever indebted to you or something.
Now it's time to discuss the joys and benefits of noise canceling headphones.
I love these things. They're already designed to encase your ears in a plush tomb of awesome to rid much of the excess sound. But if that isn't enough, as I've found is often the case (I go to community college and ride city bus >_>) there's the wonderful noise canceling switch.
I don't know exactly what it does, but I'm pretty sure it essentially adds more of the right noises to the mess to give the illusion that the other noises aren't even there. It's fucking awesome.
The bass is so much clearer, the treble clips less, the mid tones are crisp... it's fucking magic.
As I sit here at lunch, I see people, less than 5 feet away, laughing hysterically. They're obviously yelling and laughing about, well God knows what. But I can't even hear them, and the volume is only half way up.
So, if you listen to relaxing music, find yourself in loud places, or both. Buy some of these electronic noise canceling headphones. They're awesome!!!
I am thrilled that I've posted somewhat consistently for three months with absolutely no benefit at all to myself. I take that back, I benefit from knowing I actually have readers. Apparently there's someone in Malaysia who keeps coming back to read this week after week. Most of my other readers are probably one timers or friends of mine, but I don't care. I am reaping your support and it keeps me from concluding that this is pointless... even though it is pointless...
So thank you all! Tell your friends, keep reading, and stuff... I am forever indebted to you or something.
Now it's time to discuss the joys and benefits of noise canceling headphones.
I love these things. They're already designed to encase your ears in a plush tomb of awesome to rid much of the excess sound. But if that isn't enough, as I've found is often the case (I go to community college and ride city bus >_>) there's the wonderful noise canceling switch.
I don't know exactly what it does, but I'm pretty sure it essentially adds more of the right noises to the mess to give the illusion that the other noises aren't even there. It's fucking awesome.
The bass is so much clearer, the treble clips less, the mid tones are crisp... it's fucking magic.
As I sit here at lunch, I see people, less than 5 feet away, laughing hysterically. They're obviously yelling and laughing about, well God knows what. But I can't even hear them, and the volume is only half way up.
So, if you listen to relaxing music, find yourself in loud places, or both. Buy some of these electronic noise canceling headphones. They're awesome!!!
Monday, January 3, 2011
Poetry Monday | 5 | This one's derp.
Music Vitae
There isn't a song we haven't yet sung.
There isn't a song we haven't yet sung.
How do we capture the moment when it's made of air
It slips through our fingers without resistance
I think we've lost a bit of ourselves, it seems we no longer care
It feels right when the sound of life is wrong
When the music in the room is that of your life
Forget, forget, forget.
Sometimes a song matches just right
The frequency is that of the universe around it
Sometimes it seems like we just don't give shit.
How do we know when the time is just right or wrong
To hit play or pause some other odd command
I think we've been without the music of life for too long.
If I could get it right, yes, I would dare
When the music in the room is that of your life
Forget, forget, forget it.
Saturday, November 20, 2010
Armac's Shameless Plugging 1 (Tracks 1-4)
*Note: To skip my ramblings to the songs, scroll down, you'll see them*
Hey all. So, Howie graciously allowed me to post some music stuff on Saturdays. That's all well and good, but that left the question of whether to just post stuff I've already written and then self-loathe about it, or like, post new stuff and self-loathe about it. I've decided to compromise. At the moment I'm working on redoing a large portion of my already written music, because the original recordings kinda, well, suck.
The first music I really wrote was all part of a story in a continually resetting universe. The story was called TCCV, or The Caves Coma Vortex. I'm not sure what that means, and neither should you. I ended up 'releasing' four albums worth of songs in that story.
Then I started getting betterish musically.
Now I've decided to make this stuff passable as music and then when I've done that, I'll expand on each chapter and make it into a larger coherent story. More on that when it happens.
Anyways. I'll start my series of plugging and writing new songs with the beginning of TCCV.
The TCCV story starts with a tale of a man who is basically The Human Torch from Marvel Comics.
It wasn't explained really in the original album, but the Man of Fire is the first incarnation of Armac.
Armac is the Hero of the TCCV story.
I also stole it for my username on this and other websites.
Its impossible to not feel lame when talking about this story, sigh. Whatever.
So, something bad happened to the Man of Fire, and he sold out to the devil, who is the first incarnation of Eval, TCCV's villian.
Now he believes himself to be killing sin by literally killing every sinner. Of course, everyone sins at one point or another, so he becomes a mass murderer.
I really should have included some of that backstory in the original album. All we're given is that he's killing sinners.
The layout hereon will be:
Track One - Burn!
The first song is "Burn!" which was the song Howie was gracious enough to feature on Wednesday's post.
This song takes place during one of the Man of Fire's raids on sinners.
He attacks a bar filled with patrons because in his eyes, they are sinners.
The original version of the song (below) was recorded with an electric guitar.
This enhances the aggressive nature of the song.
My voice however, does no such thing.
It's like I'm talking vaguely tonally.
Not to mention the song verges on the indecipherable at times.
The effects on the voice yelling "burn" is not too bad. But it doesn't mask that I'm not really screaming.
The lead voice overpowers the mic frequently too.
The final round of "burn"s sounds like dogs barking.
The last "burn bright burn strong" is stupid.
The decayed feel of the final "burn" is pretty cool.
In the newly rerecorded version of the song (above) I lost the aggressive electric guitar.
The intro is instead a slowly loudening acoustic guitar.
I accidentally recorded some telephone crap over it. I thought it sounded cool and kept it.
The song is very similar except for the change of instrument.
Other differences: It's slower, sounds better recording-wise, the "burn" yells aren't effected, there are backing vocals.
The only musical difference guitar-wise comes during the bridge. The bridge was originally improvised.
Redoing it was kinda difficult, so I Songicized™ it a bid more.
I also changed the ending because I decided that the "Burn bright" part was lame and cheesy.
I do miss the decayed "Burn!" at the end. But it really was a lucky recording the first time and was therefore unredoable.
Track 2 - Web of Lies
This song is a narrative of the Man of Fire traversing the woods.
The original story for the Man of Fire came from a poem I'd written in high school.
The poem is actually track 5 (next week) on the album. So yea.
This song summarizes what everyone who is not the Man of Fire wonders about him.
Then the Man of Fire realizes he might be being tricked. So his flame goes away.
The original recording has pretty abysmal singing on my part.
I'm like mumbling the words slightly.
Eventually the medium-speed guitar speeds up for no reason.
Then theres a 15-20 second improvised bit.
I whisper something over it, "why can't he stop what he started" I think.
I get louder and higher singing after that.
I also mess up the guitar rhythm, so the vocals come in weirdly.
The redo has a greatly expanded intro. I think for the expanded version of this part of TCCV, I'll turn the intro thing into the Man of Fire's theme.
When the intro finishes, the song resembles the original much more. This time, however, I'm understandable!
The song also is slowerish. Not too much, but it stays slow.
Now that the lyrics are understandable, its clear how cheesy they are.
I yell more in this version. Well, sing louder.
I improvise some ooh-ing continuing from the word "fool" and it sounds pretty cool. I hope I'll be able to recreate that.
This oohing is the replacement of the 15-20 second bridge thing.
Then a much more clear "why can't you stop" thing happens.
There is also much more of a transition back to the slow part.
I like the pause after the last verse. Huh.
This song, Burn!, and Backfire were recorded over the summer, so they aren't as fresh in my mind.
The ending isn't bad either. I kinda miss some notes. Whatever.
OOOOh I really like what I did at the end end.
Sorry for seeming vain.
Track 3- Backfire
Backfire is a song with a pun-title. It continues from Web of Lies, in which the Man of Fire gives up his fire.
The Man of Fire expects to be re-integrated into society.
The townspeople just kill the shit out of him.
This song again used electric guitar.
It was definitely fitting. The vocals screwed it up again.
During the verses, they're kinda hard to understand. During the choruses, they're falsetto messes.
During the weird bridges. I'm not sure what they are.
I sound like a 10 year old in this song.
I will say that musically, this was one of my favorites of the day.
Towards the end, the word "dead" in the phrase "dead and gone he fell" pops out of nowhere.
Then the next line "fell from grace" sounds awesome with the guitar crash.
Then it finishes on the cryptic line "and his face has gone away".
The loud crap at the very very end was a segue into the next track.
The new version loses the electric guitar, which is a shame, but the two acoustic guitars sound ok.
The vocals are much clearer. The aggressivity of the chorus is diminished, which is again a shame.
This song deserves electricity. Sigh.
At least I yell the second chorus. To some success. Lol.
The nonsensical bridge is given a bit more clarity.
The weird voice "why is he so useless" part is changed into a more sense-making set of sung lyrics.
The original's bridge was probably Satan's complaints about the Man of Fire being a wimp.
This changes it into a description of the killing, sort of.
Then there is one of like, 4 solos I've ever done. This one isn't too bad. Nothing special.
The ending, is made more definite.
I kept the "fell from grace" thing I liked, but the ending is super abrupt without the segue. Sigh.
On the whole, loads better than the original.
Track 4- The Final Descent
This song is harder to tell the story of.
I don't remember what I originally intended for it.
What I've reverse engineered for a story is that the Man of Fire is in hell, and sees his deceased love.
He can deal with his hell for this reason.
But he can't actually have her.
Something like that.
The original song is a very experimental thing.
Made primarily of blowing into the microphone and looping it.
It was funnish to make, but very unrepeatable.
The booming was way louder than the previous song, so it scared Howie when he first heard it.
I'm not sure of the time of this release in relation to Nine Inch Nail's "Year Zero" but I believe that the pained yelling (representative of hell) was based on "Hyperpower!" From "Year Zero".
Again, I'm not sure when this was recorded timewise.
The lyrics are "I don't know what I'm doing here, but you are here, so I'll stay here, I don't know what you said my dear, you are here, so i'll stay here, I will burn from head to toe, burn your soul, do you know, I know, I know, I'll burn your soul"
There are a bunch of self-rhymes. Which is super cheating.
I do like my voice here, it sounds not too much like my own. I may have digitally lowered it, I don't recall.
Anyways, the new version had to be drastically different, as it was to be acoustic.
That being said, the only real similarities are the lyrics. BUT I changed those too.
I extended them by a lot, but I attempted to keep the self-rhyming.
That being said, give me a break rhymewise, I know it's a cop out.
The songs intro is one I've been toying with for a while, and I finally got to use.
The faux-bass that comes in used to be way faker sounding, but I added a second layer of it without the reverb, saving that.
Everything on this song is my Classical guitar and voice.
The rhythm of the lyrics is more or less the same.
I semi-yell some lyrics.
I like the harshness of the "I know" part.
I may have held the end of the "soul" note too long, whatever.
This may be my only successful use of echoing.
The end is fairly abrupt, but I like it.
Well! Thats my first post.
Hope it wasn't unbearably long. I'm very open to comments.
From here on, I will be recording the next song on TCCV each week, discussing the continuing story, the lacks of the original, and the fixes in the new.
Basically, each subsequent post will be about 1/4th as long as this one.
Also: Because I'm doing them in order, you can listen ahead on TCCV.
NEXT WEEK:
Track 5- The Legend Told
Hey all. So, Howie graciously allowed me to post some music stuff on Saturdays. That's all well and good, but that left the question of whether to just post stuff I've already written and then self-loathe about it, or like, post new stuff and self-loathe about it. I've decided to compromise. At the moment I'm working on redoing a large portion of my already written music, because the original recordings kinda, well, suck.
The first music I really wrote was all part of a story in a continually resetting universe. The story was called TCCV, or The Caves Coma Vortex. I'm not sure what that means, and neither should you. I ended up 'releasing' four albums worth of songs in that story.
Then I started getting betterish musically.
Now I've decided to make this stuff passable as music and then when I've done that, I'll expand on each chapter and make it into a larger coherent story. More on that when it happens.
Anyways. I'll start my series of plugging and writing new songs with the beginning of TCCV.
The TCCV story starts with a tale of a man who is basically The Human Torch from Marvel Comics.
This guy
It wasn't explained really in the original album, but the Man of Fire is the first incarnation of Armac.
Armac is the Hero of the TCCV story.
I also stole it for my username on this and other websites.
Its impossible to not feel lame when talking about this story, sigh. Whatever.
So, something bad happened to the Man of Fire, and he sold out to the devil, who is the first incarnation of Eval, TCCV's villian.
Now he believes himself to be killing sin by literally killing every sinner. Of course, everyone sins at one point or another, so he becomes a mass murderer.
I really should have included some of that backstory in the original album. All we're given is that he's killing sinners.
The layout hereon will be:
Track [number] - [title]
[Bandcamp embed of the new version]
Description of the song's story.
What I detested (and every once in a while, what I liked) about the original recording.
Description of the new versions improvements and lacks.
[Bandcamp embed of the old version]
Track One - Burn!
The first song is "Burn!" which was the song Howie was gracious enough to feature on Wednesday's post.
This song takes place during one of the Man of Fire's raids on sinners.
He attacks a bar filled with patrons because in his eyes, they are sinners.
The original version of the song (below) was recorded with an electric guitar.
This enhances the aggressive nature of the song.
My voice however, does no such thing.
It's like I'm talking vaguely tonally.
Not to mention the song verges on the indecipherable at times.
The effects on the voice yelling "burn" is not too bad. But it doesn't mask that I'm not really screaming.
The lead voice overpowers the mic frequently too.
The final round of "burn"s sounds like dogs barking.
The last "burn bright burn strong" is stupid.
The decayed feel of the final "burn" is pretty cool.
In the newly rerecorded version of the song (above) I lost the aggressive electric guitar.
The intro is instead a slowly loudening acoustic guitar.
I accidentally recorded some telephone crap over it. I thought it sounded cool and kept it.
The song is very similar except for the change of instrument.
Other differences: It's slower, sounds better recording-wise, the "burn" yells aren't effected, there are backing vocals.
The only musical difference guitar-wise comes during the bridge. The bridge was originally improvised.
Redoing it was kinda difficult, so I Songicized™ it a bid more.
I also changed the ending because I decided that the "Burn bright" part was lame and cheesy.
I do miss the decayed "Burn!" at the end. But it really was a lucky recording the first time and was therefore unredoable.
Track 2 - Web of Lies
This song is a narrative of the Man of Fire traversing the woods.
The original story for the Man of Fire came from a poem I'd written in high school.
The poem is actually track 5 (next week) on the album. So yea.
This song summarizes what everyone who is not the Man of Fire wonders about him.
Then the Man of Fire realizes he might be being tricked. So his flame goes away.
The original recording has pretty abysmal singing on my part.
I'm like mumbling the words slightly.
Eventually the medium-speed guitar speeds up for no reason.
Then theres a 15-20 second improvised bit.
I whisper something over it, "why can't he stop what he started" I think.
I get louder and higher singing after that.
I also mess up the guitar rhythm, so the vocals come in weirdly.
The redo has a greatly expanded intro. I think for the expanded version of this part of TCCV, I'll turn the intro thing into the Man of Fire's theme.
When the intro finishes, the song resembles the original much more. This time, however, I'm understandable!
The song also is slowerish. Not too much, but it stays slow.
Now that the lyrics are understandable, its clear how cheesy they are.
I yell more in this version. Well, sing louder.
I improvise some ooh-ing continuing from the word "fool" and it sounds pretty cool. I hope I'll be able to recreate that.
This oohing is the replacement of the 15-20 second bridge thing.
Then a much more clear "why can't you stop" thing happens.
There is also much more of a transition back to the slow part.
I like the pause after the last verse. Huh.
This song, Burn!, and Backfire were recorded over the summer, so they aren't as fresh in my mind.
The ending isn't bad either. I kinda miss some notes. Whatever.
OOOOh I really like what I did at the end end.
Sorry for seeming vain.
Track 3- Backfire
Backfire is a song with a pun-title. It continues from Web of Lies, in which the Man of Fire gives up his fire.
The Man of Fire expects to be re-integrated into society.
The townspeople just kill the shit out of him.
This song again used electric guitar.
It was definitely fitting. The vocals screwed it up again.
During the verses, they're kinda hard to understand. During the choruses, they're falsetto messes.
During the weird bridges. I'm not sure what they are.
I sound like a 10 year old in this song.
I will say that musically, this was one of my favorites of the day.
Towards the end, the word "dead" in the phrase "dead and gone he fell" pops out of nowhere.
Then the next line "fell from grace" sounds awesome with the guitar crash.
Then it finishes on the cryptic line "and his face has gone away".
The loud crap at the very very end was a segue into the next track.
The new version loses the electric guitar, which is a shame, but the two acoustic guitars sound ok.
The vocals are much clearer. The aggressivity of the chorus is diminished, which is again a shame.
This song deserves electricity. Sigh.
At least I yell the second chorus. To some success. Lol.
The nonsensical bridge is given a bit more clarity.
The weird voice "why is he so useless" part is changed into a more sense-making set of sung lyrics.
The original's bridge was probably Satan's complaints about the Man of Fire being a wimp.
This changes it into a description of the killing, sort of.
Then there is one of like, 4 solos I've ever done. This one isn't too bad. Nothing special.
The ending, is made more definite.
I kept the "fell from grace" thing I liked, but the ending is super abrupt without the segue. Sigh.
On the whole, loads better than the original.
Track 4- The Final Descent
This song is harder to tell the story of.
I don't remember what I originally intended for it.
What I've reverse engineered for a story is that the Man of Fire is in hell, and sees his deceased love.
He can deal with his hell for this reason.
But he can't actually have her.
Something like that.
The original song is a very experimental thing.
Made primarily of blowing into the microphone and looping it.
It was funnish to make, but very unrepeatable.
The booming was way louder than the previous song, so it scared Howie when he first heard it.
I'm not sure of the time of this release in relation to Nine Inch Nail's "Year Zero" but I believe that the pained yelling (representative of hell) was based on "Hyperpower!" From "Year Zero".
Again, I'm not sure when this was recorded timewise.
The lyrics are "I don't know what I'm doing here, but you are here, so I'll stay here, I don't know what you said my dear, you are here, so i'll stay here, I will burn from head to toe, burn your soul, do you know, I know, I know, I'll burn your soul"
There are a bunch of self-rhymes. Which is super cheating.
I do like my voice here, it sounds not too much like my own. I may have digitally lowered it, I don't recall.
Anyways, the new version had to be drastically different, as it was to be acoustic.
That being said, the only real similarities are the lyrics. BUT I changed those too.
I extended them by a lot, but I attempted to keep the self-rhyming.
That being said, give me a break rhymewise, I know it's a cop out.
The songs intro is one I've been toying with for a while, and I finally got to use.
The faux-bass that comes in used to be way faker sounding, but I added a second layer of it without the reverb, saving that.
Everything on this song is my Classical guitar and voice.
The rhythm of the lyrics is more or less the same.
I semi-yell some lyrics.
I like the harshness of the "I know" part.
I may have held the end of the "soul" note too long, whatever.
This may be my only successful use of echoing.
The end is fairly abrupt, but I like it.
Well! Thats my first post.
Hope it wasn't unbearably long. I'm very open to comments.
From here on, I will be recording the next song on TCCV each week, discussing the continuing story, the lacks of the original, and the fixes in the new.
Basically, each subsequent post will be about 1/4th as long as this one.
Also: Because I'm doing them in order, you can listen ahead on TCCV.
NEXT WEEK:
Track 5- The Legend Told
Friday, November 19, 2010
Announcement. Post Five. New Record.
Announcement everyone! (don't you love how I act as though people read this) Like I said yesterday, some possibilities were opened up when I flattered my best-good-friend Taylor Quenneville on Wednesday. After talking with him, I've agreed to give him this Saturday to post anything he wants about his music. Whether or not this will be permanent is still unknown and will depend on my mood, Taylor's eagerness, and the influx numbers for Saturday.
So, long story short, Taylor is posting this Saturday, not me; I'm not liable for anything he says or does. I hope you enjoy! Support the arts!
So, long story short, Taylor is posting this Saturday, not me; I'm not liable for anything he says or does. I hope you enjoy! Support the arts!
Next order of business... my personal sentiments.
Although technically every post I make is a new record, I'm going to set this one aside as a particularly important milestone. You see, normally I can't commit to anything in life. Just ask my parents, ex-girlfriend, teachers, coaches, ex-band mates, and almost anyone else. Anything that is going to take longer than a day or has more than like, four steps, I'm practically useless with. I don't do well with big projects. In fact, if you ask Taylor, I think I still owe him a whole plethora of musical projects that I simply never followed through with.
Don't get me wrong, I can get work done. Give me a list of individual things to do and I will get it done, quickly and efficiently. But ask me to consistently do something or undertake a time consuming project and I fail.
I want this blag, my blag, Noblesaur, to be my turnaround. I'm actually committed to posting at least three times a week, on each of my days off; whether or not people read it is not of my concern. It's about proving to myself that I can do something that takes more than a day, week, month, or even year. I want to show myself that I can commit to something with no definite end. In fact, I want to commit to something that shouldn't ever end, until I do.
Such is life, and the important parts of it: relationships, long-term goals, careers, education, family, et cetera.
And so, one week is important. It's a baby step in the right direction. Now I have to extend it into one month, then a year, and then maybe I can apply this idea, this confidence and knowledge of and in my own self competence, to the rest of my life. Hopefully. If it all goes to plan.
Thank you for reading. If anyone is. Whether you stumbled upon this by accident, or followed a one time link from Facebook, or if you have been checking in every other day. Remember to follow me on Twitter @HWClark52. Have a good weekend! I'll try to as well.
Subscribe to:
Posts (Atom)
