Tag Archives: music

It’s Brainstorming Time Again

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The “brainstorming” phase has begun for the annual Pegasus Awards for Excellence in Filking — i.e., writing and performing music often related to science fiction and fantasy. Anyone who has an interest in filk is considered part of the “filk community” and can contribute to brainstorming possible nominees, as well as nominate and vote for winners.

Pegasus Award Logo

(Pegasus Award Logo.)

 

Pegasus Awards are given out in four permanent categories, as well as two categories which rotate from year-to-year:

  • Best Filk Song — any filk song that has not previously won a Pegasus
  • Best Classic Filk Song — any well-known filk song at least 10 years old that has “entered filk community public consciousness”
  • Best Performer — any filk performer who has not won in the past 5 years
  • Best Writer/Composer — any writer/composer of filk songs who has not won in the past 5 years
  • 2016 Rotating Category: Best Adapted Song — which can include adapting or parodying a mundane song or a filk song, but can also mean adapting a poem or book
  • 2016 Rotating Category: Best Exploration Song — which includes songs about “finding out what’s Out There“

If you’re not sure whether you’re really eligible to submit brainstorming ideas, the award by-laws define “exhibiting interest” using examples such as filking at SF&F conventions, attending filk conventions or “house sings,” taking part in related on-line forums, and just “discussing filk and filk related issues with other filkers.” So, if you made it this far in this post, you can probably claim to have exhibited interest and therefore would be qualified to participate in the Pegasus Award process.

If you have some favorites you’d like to suggest (and you can suggest as many as you can think of), fill out the Brainstorming Poll Form. There is space on the form for five suggestions in each category, but you’re allowed to fill out as many brainstorming forms as you like!

The nomination phase will start in the spring, and voting takes place in the late summer. The Pegasus Awards are awarded at (and administered by) the Ohio Valley Filk Fest in October.

So, start brainstorming! (And let me know if you need some suggestions….)

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The Gift Church: Choir Loft, or Orchestra Pit?

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This is the fourth entry in an on-again, off-again series. Links to the first three are at the end.

It’s Holy Week, which seems a good time to re-visit the idea I floated last year of “The Gift Church” — a Christian church that would practice radical generosity on a regular basis by spending more on the needy than it did on itself. This week, as we commemorate the central event around which the entire Christian faith revolves, the question is: how might worship be different at The Gift Church?

Over the past couple of years, as my wife and I have attended different churches here and there, I’ve observed an all-too-common sight in contemporary churches: worship musicians who seem to be performing for the benefit of the people in the seats rather than leading those people into a worship encounter with the living God. (I observed this so often when we first moved south that in 2009 I wrote a short essay about it that you can download, entitled “Ignore the Tour Guides, If You Can.”)

Easter Saturday at Destiny
Church service, or concert? Sometimes it’s hard to tell. (Image: “Easter Saturday at Destiny,” by Andy Rennie, on Flickr under Creative Commons.)

Then two weeks ago I began to think that the design of most of our contemporary Protestant churches makes it too easy for worship leaders — musicians and singers — to become performers, and thereby too easy for congregations to become passive recipients instead of active worship participants. My first thought as I walked out of the service that morning was that instead of choir lofts, our churches might do better to have orchestra pits.

Consider how the choir loft in many Protestant churches differs from the choir in, say, many cathedrals. In cathedrals, the choir area is often built such that the singers face the central aisle with their backs to the outer wall, leaving the area open so the congregation can see all the way to the apse, which often faces the rising sun and presents a beautiful if not inspiring display of stained glass. In contrast, a choir loft, platform, or stage, often backed by nondescript decor, has dominated the front of many of the churches we’ve visited, placing the choir or worship leaders under bright lights and face-to-face with the congregants.

But worship is not meant to bring congregants face-to-face with stage-lit people: it’s meant to bring them face-to-face with God.

(Yes, I know that some churches seat the choir in the back, in a balcony. From what I’ve observed, that’s relatively rare. Permit me to continue with the contrasting idea.)

Consider, in contrast, the orchestra pit. In many performance venues, only those who sit in balconies can see much of the orchestra in the pit, because a pit orchestra is not meant to be the center of attention. That orchestra is in place to augment, supplement, and set the mood for the action on the stage; likewise, worship musicians are there to augment, supplement, and set the mood for worship. They are not there to be worshiped, nor to attract attention to themselves, but to make it possible for the congregation to worship.

If the worship team — whether an acoustic combo, a power band, or a full orchestra — were below congregants’ line-of-sight, rather than between the congregation and the cross or between the people and the altar, would it help the people worship better? Maybe not: maybe people want the spectacle; maybe they want to be entertained.

But it would remind the musicians that they are not there to be the center of attention. They are there to serve the Lord and the congregation — it is a worship service, after all — and not just a chance to show off their musical chops.

(Yes, there is a place for special presentations, whether solos or duets or quartets or choirs; whether instrumental or vocal, accompanied or acapella; whether songs or readings or full-on dramas; and in those cases putting the presenters on a stage works so everyone can see them. But those are not intended to draw the congregation into worship.)

There just might be an even better arrangement than either choir lofts or orchestra pits.

I’ve never seen this tried anywhere, but what if church was conducted “in the round,” so to speak, with the worship musicians gathered in the center of the worship space and the congregation ranged around them. Instead of being on risers or on stage, singers could be spaced out among the congregation to help the people sing (which seems infinitely preferable to those worship teams in which soloists sing almost all of the songs, such that the congregation seems unsure if they should be singing or not). In this arrangement, the musicians and singers in the worship team would be worshipers along with the congregation, inviting the rest of the attendees to sing along because they are close to the music, almost part of it themselves.

Maybe that wouldn’t work — maybe the sound would be too uncontrolled, too inconsistent. Maybe it would work. But maybe what really matters is paying attention to the fact that it’s a worship service, not a concert.

Which brings me back to the question posed above: how might worship be different at The Gift Church?

In putting down my thoughts on how The Gift Church might operate, I wrote this:

Worship. The Church shall present worship opportunities that emphasize reverence for God’s holiness, majesty, and power, and gratitude for God’s presence, protection, and salvation. Worship services shall respect but not be bound by Christian traditions and, when practical, shall incorporate elements of prayer (Philippians 4:6), music (Colossians 3:16), teaching and exhortation (1 Timothy 4:13), and fellowship (Hebrews 10:23-5). Worship leaders shall, to the best of their abilities, focus attention on God rather than on themselves or the congregation. The worship environment shall, to the extent possible, be designed, built, and/or arranged to minimize distractions and to concentrate attention on the object of worship, i.e., the Lord Jesus Christ, more than on worship leaders. The Elders and others responsible for planning and presenting worship shall develop a rotating calendar of worship services, suited to the needs of the congregation and the community, to celebrate all major Christian holy days and such additional festivals and holy days as they may see fit.

Most of that I wrote last year, because I wanted to emphasize that The Gift Church would not be a church built to entertain itself — and certainly not to indulge itself. Worship would be an important element of The Gift Church, but the church would not exist just to provide a space for worship. The church would exist to serve: purposed to spread the Gospel not by just talking about it — “God bless you, go in peace,” as Keith Green sang, “while all Heaven just weeps” — but by living the Gospel, denying itself and taking up the cross and channeling its contributions to the needy.

As I’ve noted in earlier installments, maybe a church with that purpose wouldn’t survive for very long. But it might make a difference while it lasted.

Anyway, I just added the line about the worship environment last week, when I started thinking about choir lofts and orchestra pits.

What about you? When do you feel the most engaged in worship? Would a different worship environment, or worship approach, help you feel closer to God? Do you want to be invited to participate in worship, to take an active part in the praise to the extent you feel comfortable? Or do you want to be sung to, talked to … entertained?

And if you are a worship leader, what are you doing to keep the attention off yourself and on the Lord?

Or am I the only one who cares about these things?

___
Previously in this series:
The Church I’d Like to Start: A Church that GIVES
The Gift Church: Its Guiding Principle
The Gift Church: How It Might Work

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So, I Saw a Car on Fire …

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Yesterday, on my way home from the MystiCon science fiction and fantasy convention — which went very well — I came around a bend on I-40 and saw a car on fire, and a young man pulling items out of the vehicle.

I was the first person to pull over, and by the time I got out of my truck the little car was completely engulfed in flames. The young fellow had stopped trying to retrieve his belongings because the fire was too intense. I dialed 911 on my cell phone, but I couldn’t pinpoint the location for the operator because the only nearby sign was obscured by trees. The driver was also on the phone with the dispatchers by that time, so I rang off.

In the next few minutes, two more cars had stopped to see if they could help. Thankfully, the young man was unhurt, but here’s what his car looked like when it was all over:

(Thankfully, the young man driving this car was not hurt when it caught fire.)

Turns out the driver was headed toward Raleigh in search of construction work. I offered to drive him into Raleigh — it wouldn’t be that much out of my way, and seemed better than having the Highway Patrol drop him off at a gas station — but he couldn’t raise any of his friends on the phone and they didn’t respond immediately to his text messages. So he decided to head back to Pilot Mountain, where he had come from … and I agreed to take him. (I thought about buying him a bus ticket, but a quick search showed it would cost more for that in my money and his time than it would to drive him.)

When we got him and his few remaining things in the truck, I warned him that he’d have to listen to the “old man music” I had on CDs. He didn’t seem to be bothered by that.

We made a quick pit stop, where he wouldn’t let me buy him anything to eat or drink, then we headed west. I tried to make small talk, but between the turmoil of the event and still trying to reach his friends he wasn’t very talkative. (I can relate to that, since I’m not usually very talkative either.) Then, as we were coming up on the outskirts of Greensboro, one of his friends finally called him on the phone.

They said they could come get him, but because they would be coming from the east side of Raleigh we turned around and headed back east. We talked about a number of different places he might tell them to meet him and finally agreed on a suitable spot. By the time we got there, we had listened to the first Hootie and the Blowfish CD, the first Kutless CD, and about a fourth of the Cruxshadows’ Dreamcypher CD. He never commented on my eclectic taste.

When we stopped and unloaded, he offered to reimburse me for gas. Of course I refused and told him to pay it forward when he could. If I’d had more presence of mind, though, I would’ve found some sneaky way to slip a few dollars into his backpack for him to find later. I’ve kicked myself for missing that opportunity.

In the end, I made it home from the convention a few hours later than expected, but I made it home. I didn’t mind the delay; as I told one of the state troopers, if one of my children were in that situation, I hope someone would offer them a ride, too. I just hope that young fellow finds his way to a good place, finds the construction job he wanted, and bounces back quickly from this temporary setback.

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Report from My First Filk Convention

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Last weekend I failed miserably at being in two places at one time.

For several years, on the second weekend of January I’ve attended illogiCon, a fun little fan-run science fiction and fantasy convention in the Research Triangle; this year, however, I changed things up a little and attended GAFilk, the Georgia Filk Convention, in Atlanta. This was the first convention I’ve ever attended that was dedicated to filk, i.e., primarily to the music of fandom. I had a good time, but I found myself wishing I could’ve gone to both!

GAFilk is a “relaxacon,” and as such is a very low-key affair. Being a smallish convention, it was not divided into multiple programming tracks and did not offer a variety of simultaneous events. Almost everything took place in a single ballroom!


(L-R: Michael Longcor, GAFilk Guest of Honor, and yours truly, during “open filk.” Photo by Amber Hansford, used by permission.)

So, how did it go?

The Good. At most conventions, the best part is seeing friends that I only see a few times a year, and GAFilk was no different. In fact, I was quite pleased at seeing many friendly faces I recognized from other conventions. Also, it was nice to meet face-to-face some of the people I had previously interviewed on the Baen Free Radio Hour podcast.

The programming consisted primarily of concerts featuring the variety of guests, but a few other events were included. The opening ceremony on Friday night, for instance, include a champagne toast to the “Fannish New Year” and segued into an amusing “My Filk” game show that featured two competing panels and a variety of filk-related questions. My favorite game-within-the-game was “Second Line,” in which the emcee read the second line of a song and contestants got points if they could identify the song title, the performer, and/or the opening line.

The first concert featured Erin and Rand Bellavia, the “Con Committee’s Choice.” Rand is well-known as the co-founder of the band Ookla the Mok, and he and Erin put on a very good show. Actually, all of the concerts were quite good: toastmistress Judi Miller enlisted the aid of several friends during her show (as well as adding verve to almost all the proceedings with her enthusiastic American Sign Language interpretations); Interfilk guest Glen Raphael’s set included not only his original songs but also my favorite song from Carla Ulbrich’s latest album (viz., “Totally Average Woman”); and Guest of Honor Michael Longcor played a great set despite the distractions of Ms. Miller’s exuberant signing. “Super-Secret Guest” Elizabeth Moon’s concert was more of a reading and Q&A session, but was nevertheless delightful.

The “2 x 10” concert session was also enjoyable. Attendees signed up for 10-minute slots during which they presented 2 songs — hence the name. I signed up, too, and sang “A Ship With No Name” and “Another Romulan Ale”. And of course every night featured open filking into the wee hours of the morning!

The Not So Good. The worst part of GAFilk was the headache I developed on Saturday night. I blame the fact that I sat directly in front of and very close to the banquet band’s main speaker. Shortly after sitting down I wished I had brought my ear plugs with me (I always travel with them, but they were upstairs in my room), and shortly after eating I excused myself, returned to my room, took some medicine and tried to relax. My head was still hurting when I went to Elizabeth Moon’s “concert,” so I didn’t mind it being a low-key event. I went back upstairs and lay down for a bit after that, so I missed the auction, but I made myself go to the first hour or so of the open filk before I called it a night.

Also on the “not so good” side, though I suppose I should have expected it, was the emergence of the “Sad Puppies” controversy during Friday night’s open filking.* I’m not sure if the fellow at the other end of the filk circle knew, when he sang the line “they’re all bad writers,” that one of the SP3 authors was listening to him croon. (I was tempted to ask him how many of my published stories he’d read, and what specific flaws in them led him to the conclusion that I was a bad writer, but I demurred; I suspect I know the answer and it’s something less than one.) In the filk circle tradition of following a song with another in the same vein, two other people sang “Sad Puppy” songs after the first one, which I suppose I also should have expected. Again I didn’t make any sort of deal about it: I said nothing, just as I say nothing when, occasionally, I find other particular songs distasteful or objectionable. The artists are well within their rights to express themselves as they see fit.

There and Back Again. All told, GAFilk was a good experience and is a pleasant little convention. I’m more used to general conventions at which I have definite responsibilities (go to this room, at this time, to talk about this subject), so to a certain extent I failed at the kind of laid-back, low-stress attendance expected at a “relaxacon.” Despite my inability to relax into the event, for the most part I had a good time.

I wish I had the skill to be in multiple places at the same time, because then I wouldn’t be faced with the illogiCon-or-GAFilk question. The first is a general convention, a little over 6 miles from my house; the second is a specialized convention, a little over 6 hours away. Simply from a logistics standpoint, I suspect next year will find me staying closer to home; but, stranger things have happened!

Anyway, kudos to the Con Committee and all the volunteers for putting on a fine convention. If you’re looking for a low-key, music-oriented fan experience in early January, I encourage you to consider GAFilk!

___
*No, I’m not going to take time in this post to explain what the controversy was (or is). Look up “2015 Hugo Awards,” or if you want my take on it read this post. I consider the horse dead, though beating it can be an enjoyable pastime.

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Blogging the New CD: W is for Winter

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This is the final post in a series about the songs on my new CD, Distorted Vision.

The most intense winter I ever experienced was at Thule Air Base, Greenland. I was stationed there from July 2000 to July 2001, and had the privilege of commanding the largest tracking station in the Air Force Satellite Control Network and the pleasure of making friends with a lot of terrific people. Among other things, I got to stand on the Greenland ice cap, to visit Inuit hunting camps, and to swim in North Star Bay — while icebergs floated nearby!

So when my friend James Maxey asked me to write a song for a winter-themed event he was hosting, my thoughts immediately turned to what winter was like at the top of the world, only 750 miles from the North Pole.

I have been where the winter steals the sun for months on end
Where ice-laden winds blow blinding storms down to the frozen bay
And the solstice noon is midnight dark and the cold will not relent
And every soul despairs a little as the old year fades away

— “Winter Simplifies the World”

Sled dogs on North Star Bay
The frozen bay, with Mount Dundas in the background. Thule Air Base is behind you as you look across the bay. (Image: “Sled dogs on North Star Bay,” by NASA ICE, on Flickr under Creative Commons.)

The song moves through sadness and loss and into determination and hope, because if we can hang on through the dark, cold night that seems as if it will never end, we can find love and joy when spring returns. And so I hope you can find something to like — or even something to relate to — in “Winter Simplifies the World”.

To paraphrase George R.R. Martin’s epic fantasy, winter is always coming. But spring is always coming, too.

___

Finally, here’s a picture of where I used to work, taken in January 2007:


View of the Thule Tracking Station’s radomes that protect the ground antennas from the elements. Taken during the long Thule winter “night.” (USAF Image.)

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Blogging the New CD: T is for Ten Thousand

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This is the penultimate post in a series about the songs on my new CD, Distorted Vision.

When I write filk songs, I sometimes mash together in one song different science fiction or fantasy stories, movies, or ideas. In “Ten Thousand Years Ago”, which is actually the first song on my new CD, I included references to Highlander, the first movie of that franchise; some key elements of Doctor Who; vampire stories in general, with allusions to one recent series in particular; and the first Harry Potter book, all in an attempt to create a funny song.

If I had been born 10 thousand years ago
At the dawn of civilization, one thing that I know
Is that if I had been born 10 thousand years ago …
I’d be dead by now

Unless, that is, I was immortal
Like that fellow in that movie where there could “be only one”
But I’m not a very good swordsman, so if I met the Spaniard or the Kurgan
I’m pretty sure I would be done

— “Ten Thousand Years Ago”

Guilty Viewing Pleasures: Highlander
“If I met the Spaniard … I’m pretty sure I would be done.” (Image: “Guilty Viewing Pleasures: Highlander,” by Ingrid Richter, on Flickr under Creative Commons even though she probably didn’t have permission to reproduce the image either.)

When I first wrote this song, it consisted of just the chorus (and the time period was only 1000 years) — in other words, it started out as a simple joke, kind of a sung one-liner. Then I added the verse about Highlander, and decided to try to expand the song with other immortality or longevity references. The second verse I came up with, though, was about zombies; it seemed to work well enough when I sang the song at conventions, but when the time came to record the final vocals I decided I didn’t like that verse anymore. So the morning before I was going to record, I wrote a new second verse about Doctor Who. I like that verse, so I think the final recorded track turned out much better than that intermediate version.

But only you can decide if it’s truly funny. I hope “Ten Thousand Years Ago” gives you a chuckle!

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Blogging the New CD: P is for Parties

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Ninth in a series of blog posts about the songs on my new CD, Distorted Vision.

The last event at many (most? all?) science fiction and fantasy conventions, after the dealers have packed up, the closing ceremonies have been adjourned, and most of the fans and guests have departed, is the “dead dog party.” That also happens to be the title of the last song on my new album:

The convention is almost over, it’ll soon be time to go home
Back to the mundane workaday world, where I sometimes feel so alone
When I make some remark about STAR TREK, or steampunk or robots or clones

— “Dead Dog Party”

You may not be a convention-goer; I wasn’t, until fairly recently. I’ve been a science fiction and fantasy fan for most of my life, but I grew up “far from the madding crowd” and far from any conventions, and indeed did not start attending conventions regularly until I’d settled down after retiring from the Air Force. And because I came to fandom late, many times I’ve walked around a convention — especially a big convention like DragonCon — in wide-eyed wonder and with a degree of nervous trepidation, not unlike Gollum as seen here:

Gollum hanging out amongst party goers
(“Gollum Hanging Out Amongst Party Goers,” by Ariane M, on Flickr under Creative Commons.)

That said, for the most part I’ve been very pleased with how accepting and accommodating people in the SF&F community have been. Sure, at WorldCon in London in 2014 I felt a little out of place — even in the filk room, where the regulars pride themselves on being open and friendly — and this year’s awards controversy brought out the worst in a great many people and led to a lot of people being uncomfortable at a lot of conventions, but in general my fellow fans have welcomed me, made me feel at home, and become my friends.

Which is why I hope many (most? all?) fans can relate to the chorus:

All my friends in fandom understand the things that I like
No matter what I am into, they don’t think I’m out of my mind
So when I’m driving away, you might hear me say
That I can hardly wait ’til next time

— “Dead Dog Party”

In many respects, then, this song is a tribute to fandom itself: fandom as it is, and maybe fandom as it should be. So regardless of whether you think of yourself as “fan” or “fen” or just “casual consumer,” and whether you’ve ever attended a convention or not, if you like science fiction and fantasy at all I hope “Dead Dog Party” resonates with you in some small way.

And if it does, I hope you’ll let me know.

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Blogging the New CD: M is for Mercenary Maxims

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Eighth in a series of blog posts about the songs on my new CD, Distorted Vision.

So, do you read Schlock Mercenary?

If not, some background: Schlock Mercenary is a space opera webcomic by Howard Tayler about the exploits of a 31st-century band of mercenaries known as “Tagon’s Toughs,” of whom the most dangerous — and arguably the most entertaining — is the nearly indestructible carbosilicate amorph, Sergeant Schlock.*


Sergeant Schlock with a guitar! Howard’s caption: “I suppose this means Schlock knows how to look like he knows how to play the guitar.” I can relate! (2012 image from Howard Tayler’s blog.)

One of the references that the Toughs use in the series is a collection of aphorisms known as the The Seventy Maxims of Maximally Effective Mercenaries. When I decided that I wanted to write a Schlock Mercenary-based filk song, the maxims seemed like the perfect source material. I enjoyed the challenge of incorporating, sometimes paraphrasing, and arranging different maxims into verses so they could be sung and also still make sense.

Here’s verse one:

The maxims are better far than doctrine
They make more sense and are easier to learn
They’re all about fighting smart instead of harder
And they start with the simplest: Pillage, then burn

You know that any Sergeant who’s in motion
Outranks a Lieutenant who doesn’t know what’s going on
But an ordnance technician moving at a dead run
Should be followed because he outranks everyone

— “The Maxims of Maximally Effective Mercenaries”

That first verse has only 3 maxims in it (numbers 1, 2, and 3, to be precise), but in the succeeding verses I fit in 13 more. That’s one reason why the song is called “The Maxims …” and not “The Seventy Maxims …” — because there was no way to fit in any more and keep the song a reasonable length!

Before I recorded the song, I sent the draft lyrics to Howard and his wife Sandra (whom I have known longer since we are both members of the Codex online writing group), and I was pleased that they accepted my tribute in good humor. You can listen to the final version and see if you think it’s a fitting tribute to the webcomic.

I hope you like the song, and Schlock Mercenary itself!

___
*Described on the Wikipedia page as having “no easily definable limbs, organs, or moral compass.” (And, speaking of Wikipedia, some enterprising Wiki editor might want to edit that page to add a reference to a particular tribute song ….)

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Blogging the New CD: L is for a Lake of Beer

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Seventh in a series of blog posts about the songs on my new CD, Distorted Vision.

This post will work best if you can read it in an Irish accent … though an English, Scottish, or Aussie accent would work fine as well.

We should probably answer the obvious question: what happened to letters G through K? In this blog series I went straight down the line from A is for Anti-Candidate to F is for a Faded Coat, so why did we jump all the way to L?

I’ll tell you why. First, because the album only has 11 songs on it, so it was unreasonable to think that I might use all 26 letters of the alphabet. Second, while I could have used “G” this time and said it was for a “Great Lake of Beer,” since that’s more of the song’s title, I elected not to.

Sue me.

This song is actually based on a prayer attributed to St. Brigid of Ireland, who lived around A.D. 453-523. You can find several versions of her prayer online, some annotating it as a tenth century prayer, but of course if she really wrote it then it would be a fifth or sixth century prayer. This version starts as follows:

I’d like to give a lake of beer to God.
I’d love the heavenly
Host to be tippling there
For all eternity.


St. Brigid of Kildare, rendered in stained glass at St. Joseph Catholic Church in Macon, GA (1903). Image from Wikimedia Commons.

I took St. Brigid’s prayer, added some words here and there to render it in four rhyming stanzas, and also added this chorus:

I’ll raise my glass in highest honor
Of the man who turned the water into wine
For he taught us how to live a little better
And I’d like to drink with him for all of time

— “A Great Lake of Beer (for the King of Kings)”

And because it’s an Irishwoman’s prayer (based, some sources say, on her vision of heaven as having a great lake of beer), I tried to write my best approximation of an Irish tune around it. The only way for you to decide if I was successful, of course, is to listen to it.

I hope you like it!

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Campaign Chronicle: Election Day!

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Okay, sports fans, get out and vote!

If you can see your way clear to do so, I’d like you to vote for me* — but from the standpoint of the society we live in, I hope you’ll at least get out and vote for someone. As Robert A. Heinlein wrote in Time Enough for Love,

If you are part of a society that votes, then do so. There may be no candidates and no measures you want to vote for, but there are certain to be ones you want to vote against. In case of doubt, vote against. By this rule you will rarely go wrong. If this is too blind for your taste, consult some well-meaning fool (there is always one around) and ask his advice. Then vote the other way. This enables you to be a good citizen (if such is your wish) without spending the enormous amount of time on it that truly intelligent exercise of franchise requires.

I quote that by way of explaining that I don’t mind if you vote for me because you think I’m a swell guy or you appreciate my record of service or you like my sense of humor … or if you just happen to cast your vote in my general direction because you’re voting against one of the other folks. (This also applies if you live outside Cary’s District D, outside Cary itself, or even outside North Carolina, and you just want to write me in for some other office.)

To go along with my tongue-in-cheek approach to all things political — and especially to my own campaign — you can also vote for me for one simple reason:

vote no1
(“vote no1,” by Sean MacEntee, on Flickr under Creative Commons.)

That fits, doesn’t it? After all, on my first album I sing,

Politics, that’s the life for me
It fits my arrogant, megalomaniacal personality
I’ll get my name in the papers and my face on your T.V.
And take good care of myself, my friends and my family — yes, that’s the life for me

— “I Think I’ll Run for Congress”

And on my second album I follow that up with,

Politics, politics, the life I want to lead
To make sure I get what I want, and you get what you need
I may be arrogant and megalomaniacal but it’s just because I’m great
Come out and join me any time — fifty bucks a plate

— “The Anti-Candidate Song”

You don’t mind a little arrogance and megalomania in your politics, do you? At least I’m honest about it.

Anyway, today is the day! so I should probably be a fraction more serious.

Since it’s time now to stand and be counted, don’t worry any more about spreading the word about my campaign, unless you want to pick up the phone and call your neighbor to encourage them to vote — or pick up your neighbor and bring them to vote! And if you need a reminder about what I really stand for, I wrote a few weeks ago that

  • I believe the fundamental purpose of government is to preserve your (and my) rights to life, liberty and the pursuit of happiness;
  • I believe that our rights, both individual and collective in the form of the government, should not infringe on the rights of others;
  • I believe that government action intended to help anyone should be carefully evaluated on the basis of who it is likely to hurt in the process, and rejected if the benefits do not justify the cost;
  • I believe in being accountable, by which I mean being “able to give an account,” i.e., able to explain one’s reasoning for actions taken … and not taken;
  • I believe that many if not most people who present themselves as politicians take themselves far too seriously; and
  • I believe that serving in office is more important than running for office.

If any of that appeals to you, I hope you’ll consider voting for me.

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*For today’s election in particular, I’m on the ballot for Town Council in Cary’s District D.

Spending Disclosure: As of this date, my campaign has spent a total of $84.

This blog post was “paid” for, at the cost of $0 and whatever time it took Gray to write and upload it, by The Gray Man: Service, Leadership, Creativity.

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