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PostPosted: Thu May 21, 2015 2:53 pm 
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Here's another article, this one reminding us that even though our songs sound different, people won't really get what we're trying to communicate unless they also LOOK different.

http://www.onstagesuccess.com/2015/03/y ... dium=email

Recently Tom's team announced that they'll be doing more video blogs and fewer written blogs. So there may be some changes, but I suspect the message will stay the same.


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PostPosted: Fri Jul 24, 2015 3:23 pm 
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Lang Bliss' Video Blog on "Your Artistic Vision."

http://www.onstagesuccess.com/2015/05/v ... ic-vision/

From the "blurb" on that page:
-------------------
In the process of working on your show, you begin to dream about what you’d like your audience to experience, the moments you want to create that you want them to experience. You’d like to take them on a trip. You want the music to give them the opportunity to experience: joy, excitement, fun, hope, sadness, determination, etc. The way that happens is by rearranging the songs in ways that make the musical and visual moments occur more easily; or better yet, more visibly and more sonically. You “help” the audience “hear and see” parts of your song that help build an experience of the song for them that would not otherwise have occurred.


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PostPosted: Mon Aug 17, 2015 7:06 am 
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The link below is "How to deal with shorter set lists," from Lang Bliss, one of Tom's colleagues.

When I was gigging all the time, the hardest thing was playing somewhere where I was only allowed one, two, or three songs. When I did longer set lists, I had an opener that was compelling but "bulletproof," meaning I could get through it no matter how bad the monitors, etc., were. Then, when I had "established my cred" and got a "feel for the room," I knew how to adjust from there. But put me into a new situation where I was limited to three songs or less, and I never really settled in and gave the performance I was used to.

This posting is a video and a blog that contains a good list of "things to consider" when you're in that situation.

http://www.onstagesuccess.com/2015/06/d ... set-lists/


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PostPosted: Thu Aug 27, 2015 3:27 pm 
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Amy Wolter, one of Tom's colleagues, addresses how adding pauses to live performances of your songs can make them seem much more meaningful to the audience. Amy's video includes "before and after" example with a real perfomer.

http://www.onstagesuccess.com/2015/06/play-the-pauses/


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PostPosted: Wed Sep 02, 2015 7:19 am 
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Tom is interviewed by Clay Mills II of Songtown USA

https://www.youtube.com/watch?v=xprVi47 ... e=youtu.be

Songtown USA's facbook page is at https://www.facebook.com/SongTownusa?


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PostPosted: Mon Sep 21, 2015 2:21 pm 
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Tom's associate Lang Bliss on Practicing the right things the right way: Practice Makes Permanent

http://www.onstagesuccess.com/2015/07/v ... permanent/


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PostPosted: Wed Dec 23, 2015 3:38 pm 
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Somehow I got off of the list for receiving these so I haven't posted a new one in a while. That's okay, once you get back to Tom's page, you'll see other articles.

Tom's post on mistaking "winging it" for spontaneity. Unfortunately, it links to articles that only subscribing members can see, but at least you will see other posts and blogs.

http://www.onstagesuccess.com/2011/05/m ... ontaneity/


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PostPosted: Thu Jan 14, 2016 4:38 pm 
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Tom's "Seven Requirements of a Great Front Man"

Which includes solo artists, who are automatically "front men" (or women)

http://www.onstagesuccess.com/2014/10/t ... front-man/


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PostPosted: Tue Jan 19, 2016 11:21 am 
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Amy Wolter's blog on "leaving it all on the platform." Audiences WANT to be reached.

http://www.onstagesuccess.com/2016/01/g ... ermission/

This a funny add-on from me. Forty-odd years ago I scheduled for a repeat gig at a Christian coffeehouse where everyone always talked through all the songs but I was expected to end every set with an invitation. Praying and preparing for the gig I had an inspiration for a little skit which would involve standing on the piano bench and acting out a few lines. If you've EVERY seen me act, you know that's not my strong suit. But just that change of position and stretching the envelope of what people expected from a "Christian coffeehouse musician" brought an intense focus to what I was saying, the sort of "you could hear a pin drop" moment with people audibly gasping that has only ever happened a couple times in my life. How much more if someone with real talent uses the whole stage, his or her entire range of expression, and, frankly "moves" that no one expects. Thanks for "permission" to do so, Amy!


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PostPosted: Tue Feb 16, 2016 12:20 pm 
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Lang Bliss blogs about how creating an effective sequence of planned moments creates the momentum that helps the audience to experience something they'll want to come back and experience again.

http://onstagesuccess.com/2016/02/momen ... momentous/


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Paul Race playing a banjo. Click to go to Paul's music home page.Whatever else you get out of our pages, I hope you enjoy your music and figure out how to make enjoyable music for those around you as well.

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