POST!

It's been a pleasant enough summer so far. I've got to say, I miss Statesboro, and more importantly, living at my own place. After this summer it changes forever.

I got back from school and started working pretty quickly. I was done with Borders so I thought I'd try my hand at waiting tables at an Italian restaurant called La Strada. The pay's okay, rather unpredictable. I've learned a lot about that job, namely, that you can do everything right and still do everything wrong. There's a couple real characters there that I've been studying every time I see them. I go back to work at the restaurant on Wednesday so I'll see what I've been missing at the next 'Daily Reprimand' to start the evening.

I got the hook-up with a nice Temp job in Atlanta for Appelman and Schauben, getting paid very well to sell.....things.....to store owners and other buyers with a business license. There's not really another way to describe it. Okay, you know that weird cabinet that might be in your house or in your friend's house that's full of strange fancy dishes, little figurines, and strange looking serving forks that nobody ever uses or touches? This is where it all comes from.
(I swear, you can make anything into a candle.)

On top of this I also was asked (well, pleaded, really) to help with an independant theatre production of Tom Stoppard's 'Arcadia', a difficult psychological play set in two different time periods. I went rummaging through my files tonight to find an earlier correspondence

From the Director, Michael Jones:

"Mr. Stetson:
I place permier[sic] importance on you auditioning as I already have pegged you for a part BUT I remember you saying you would be interested in helping out in the sound design as well. Would you still be interested?
Jason might not be able to fully work it out so any help would be great. I have some ideas if you are interested."

I had to choose between the Trade Show in Atlanta or being in Arcadia, but I ultimately reached a compomise: I would do the Trade Show instead of acting a part, but I would still do work for the sound design.

Shortly after auditions were held I met with Mike and Jason (the co-sound designer) at their rehearsal space, mainly to mingle with Jason about how we would split the work and go about writing music like a couple of music majors longing to go back to work. After all was said and done, a plan was set - I was to do the Regency music and Jason the Modern, all music would be original and they would tie together with a little collaboration.

I began work on the Waltz shortly, because I had already shown Mike and Jason the gist of it when we met and they both liked it very much. I submitted the music done in Sibelius (a software for music notation) through email to both the director and Jason for review before the artificial deadline that Jason set up earlier with our little schedule.....to no response. Eventually I called Jason and he said he got it and liked it, and that he was sorry he hadn't given me anything.

Well, I kept on idea-hunting and wishing for some communication (not for lack of trying with emails and facebook messages) and then time began to crunch as the play opening loomed over the next week or so. I sent more music, scene change type stuff, with no response - until one weekend morning, I get a phone call at the ungodly hour of noon (jeez, don't these guys sleep?) from Jason again explaining again how sorry he was for not meeting his commitments and corresponding with me like any pseudo-professional would surely do. I called later to try and set up a time which we could record the live samples of piano music, since it had been left down to the wire like this. I had received this message from Michael shortly before:

Hey Eric, what day are you going to record?
Also:
Things needed (just to be sure)
Waltz
Bad playing
(Long) Improvised Playing
Frantic/Emotional playing, ends abruptly
Scene change music

All this while the Trade Show was going on. So what did I do? I worked long hours and came home around 9:30pm, then stayed up until 3:30am or so getting things done, only to wake up at 6:30am to get ready for another long day in Atlanta.

With some more failed attempts at communication, and an inability to record on-site with studio software and an acoustic piano as was previously decided by Jason and I, instead, - with my own equipment, I wrote 3 scene change pieces, the frantic/emotional piece asked for above, the main theme waltz, and recorded live 2 segments for soundscape in the show. I submitted my final product the night before the show opened, having completed everything I was asked to do and being forced to stay up late hours because of the forced pressure from my "collaborators" to do things at the last minute.
To no response the next day.

I called later to make sure they got it. They had, or rather, Jason had. Jason, who couldn't send me any projects of his on Finale (another music notation software) because the files were "corrupted". Such odd coincidences abound in this world. At least I knew I had done my part, and done what I said I was going to do from the beginning, having written all the music I was asked to do. Many hours had been spent swapping from piano keyboard to computer keyboard to get things right. I was working with some very hard-to-communicate-with people but at least I was able to write for a show and appreciate those spent hours by seeing the performance.

I saw the performance tonight.

The first thing I wanted to look for was whether or not they had given me credit in the program, not because I'm just that much in love with my name, but because being tactfully forgotten is an insult that's been done to me more than once before, and I've admittedly become rather sensitive to it. In the credits read :

Sound Design: Jason Rudolph

Oh, touche, sir, well played.

I couldn't wait to hear all the enthralling design that was to tickle my ears with its genius. I skipped down to the "Special Thanks" which they had so thoughtfully included at the bottom. Parents, more parents, the guy who did the program, even "Mr. Meloy" - referring to Colin Meloy of The Decemberists, the director's favorite band. Wow, to include all these minor contributors was a very nice gesture on their part. Bravo, gentlemen.

I, however, must have slipped their mind.

I figured at that point that Jason decided not to use any original music and must have just done a back-up "classical music CD" because he never had actually worked on anything for the show. I was mostly right.

The scene change music was all from a Chopin Waltz CD, even the main waltz theme at the end that was received so well on all acounts was rejected in favor of using that one CD for it all. So the majority of my work went to the abyss...but not all. Both of the live recordings I made were heard during the action on stage. One of a character playing very poorly and another tinkering away at his favorite songs in the modern era. Both the director and the "Sound Designer", now openly taking credit for the only sounds that actually were "designed", had the gaul to use any of my work after discarding almost the lot of it and 'forgetting' my name in the credits.

The real kicker for me was hearing within one of the two recordings a part from one of MY songs, (I had put in the opening bars of a song I wrote 2 years ago called "Soft Light" as a way of putting my invisible stamp on it) and knowing that Jason was getting the credit for it.

And then it was over. Good play, by the way. I enjoyed it as much as I could knowing how I was once again used for my inclination to actually do things when people ask me to.

I decided to talk to Jason. We talked, he said sorry about the program. Must have been a mistake (oops, teehee) and that I should definately talk to Mike and not him. I taught him how to loop a sound effect using 'Audacity', rather than keep pressing the play button, so that the next several nights might have a more believable sound design. Don't worry, Jason, I won't take credit for it. He explained that all the work I had done that was previously so well received didn't "fit" with the Chopin recordings he was using.

"But weren't you going to write music of your own so it would all be original?", asked Eric.

"This was easier," said Jason.

I'll give you that. You're right, it's easier to cop someone else's work than do any yourself, whether it's Chopin or me. And I'm not about to compete with Chopin...some legends have earned their place.

So then I talked to Mike. He explained to me that the sound design was the least of his concerns, and he left it to Jason, so it's really a matter for him to discuss. I also got "I really don't want to have this conversation right now." With the same incriminating tone I get from my mother after having wronged her so...only....what did I do? I was asked to help, I followed through on everything that was asked, and then was used for it and treated like a criminal.

I don't get it! What does he possibly have to use "against" me? The only semblance of an 'apology' came from Mike in the form of "I'm sorry for the way you feel." What in bloody hell? I wrote music for your show. You used some. End of story! I'M sorry that you're so full of yourself that you can't see I was doing my darndest to honor my commitments, and I succeeded, and now this?

I don't for one second believe that any "program slips" with my name were "mistaken". A liar. And a coward for not just coming out with it.

So, for fear of repeating myself in my frustration, I left. I was told by Jason that they were planning on "re-doing" the programs. And because I was told this, I know it is true, because these are honest people I'm dealing with.

I, again, am left at the mercy of those who wish to use me for their own devices. How dare you even think to call yourself an artist.


Thanks to all that read this banter.
-E.S.