I think the open mic was terrible!

[hummingbird]

Quote:I THINK kg SHOULD DO A CONCERT! COMEON DOTS RALLY TOGETHER AND CHANT, "KG, KG, KG"!!!!can't I be a back up singer?

[mojobone]

Dec 5, 2007, 2:31am, michaeldean wrote:Quote:Interestingly enough, there was a Hit Songwriter's Teaching Concert and the ballroom was practically empty.I was quite disappointed at having to choose between that and another breakout class. It wasn't well attended?? That's crazy. I was sooo wanting to see that one...Anyway, I can see both sides of this open-mic issue... As one who last attended a road rally about 8 years ago, I, too, was struck by the difference in the "downstairs" open mics. My recollections from back then are of an exciting, high-energy event that everyone wanted to be part of. This year, on the other hand, I was amazed at the lack of attendance and lack of energy (mostly on the part of the audience, not the performers).Here's my take on why this might be:In 1999 (I think it was), the ballroom was set up with tables instead of chairs. This meant that people could sit around a table and visit while listening to the entertainment. Presumably one could simply turn to a friend and chit-chat whenever someone came on that one didn't particularly care for (that's what I remember doing, anyway). This made for more of a "nightclub" atmosphere and, since people were allowed to bring their drinks into the ballroom, it effectively turned the entire room into a "live music" club.Because the open-mic was, essentially, background music, nobody thought to complain about the lack of "professionalism" of the performers - it was understood that people were getting up there and having a "go" at it who weren't "performers" per se.Another factor is that the rally has become much larger, now, than it was then. I think "serious" performers (those who want to showcase themselves before industry people, and who don't necessarily care about having a "safe" venue to try out their budding skills) realize that their chances of getting called are very slim, and the chances of anyone important being there to hear them are equally slim (did you see any panelists at any of the open mics? I didn't). They don't want to "waste" their time hanging around on the off chance that they may get called. So they don't bother. I think many of them probably figure their time is better spent going out to the bar and networking. Or, they go upstairs, where the atmosphere is much more like that of the open-mics circa 1999.This tends to be a vicious cycle - serious performers don't want to bother with what they consider "amateur hour" where they may have to sit through hours of "mediocre" music for a shot at performing for 100 of those same mediocre performers. This reduces the average quality of the performances, so even fewer people are interested in going to see them. And so it goes - as the audience shrinks, fewer and fewer "serious" performers take the whole thing seriously.Now, I said I see both sides of this issue - here's the other side: Having said all that, I still very much enjoyed all the open-mics (including the one in the main ballroom). I approach any "open-mic" situation with an open mind. A large portion of people who are performing in an open-mic are not polished performers. Polished performers don't need the nurturing atmosphere of an open-mic scenario. Most people who are polished performers are playing at "closed" mics (i.e. they're getting paid to perform). So an open-mic, almost by definition, is going to consist, to a large degree, of people who are not completely comfortable playing in front of people (I was scared sh*tless when I played at the open-mic in 1999).So I go to listen to people who are a little nervous, a little unpolished, and a little "raw". I like that "rawness". I very much enjoy watching other people stretch themselves and crawl outside their shells (was it Ted who said he claps the loudest for the weakest performers? ...right on!). I can very much empathize with those people, and I feel what they are feeling. I draw strength and confidence from watching people go through the same torture that I've gone through many times. When I see other people conquer that challenge, it tells me I can do it too. Sometimes I see them make utter "fools" of themselves - forgetting lyrics, muffing chords, going completely blank and having to start over from the beginning - and when I realize that I'm not thinking any less of them for doing so, I'm able to cut myself a little bit more slack for missing a chord, or forgetting a lyric.A "great" performance can be a highly professional one, or it can be one in which you're given the privilege of actually watching someone grow and stretch right before your eyes. So, yeah, I like open-mics. And their lack of "professionalism" is exactly what I like about them!I would like to suggest that next year we either move it, or have another open mic in the upstairs ballroom (where the mentor lunch was) and leave the tables there! Let's give people a place to socialize and listen to some music at the same time! Why should we have to choose one or the other?and I really like this.

[hummingbird]

Well, let's wait and see if things have changed this year. I think TAXI would have received some suggestions on what could be done after the last Rally, however, they have been doing it for many years & have likely tried various different scenerios. I'm sure they are aware of this (old) thread & have discussed the open mic in their many planning meetings.