The Making of Lost Frequency

The Making of Lost Frequency

Coat of Arms - By Adam Cartwright

In 2010 I had an idea. I wanted to create a crossover between my two passions: Music and Comics. I had been working on a sci-fi comic for a few years and the idea of bringing music to the world and art to my music was really exhilarating. My band was on the rise, working on our first album (Self Titled), and I was eager to create some original music. In short, Adam, Miguel and I wrote a few songs, the band disbanded, I bought the rights to the music, and reformed the band with a completely new membership.

The new band recorded/released Unavenged as a matter of necessity, because we desperately needed recordings that were reflective of our new sound, however, I hadn’t stopped working on this ‘Space Album’ idea I had. In fact, I was already in talks with Yoshitaka Amano (Final Fantasy) about cover art, and swapping emails with a Japanese translator who could help me communicate with my future collaborators.

The original sketch from June 16, 2012

The intent was to write a series of songs that all tied together to form a story that would tie into the comic book world. I would attempt to collaborate with a few key composers and musicians whom I greatly admired, and who had inspired me to become a musician. As a kid, I specifically started listening to music so I could hear the catchy tunes from video games, and as a teenager I learned to play the accordion so I could play those tunes. The idea of possibly talking to and working with the very same people who unknowingly introduced me to music still gives me goosebumps, but I made it my goal.

Big Dreams for Vinyl

Since the band was a democracy, and the others didn’t fully understand my vision (I was notoriously bad at explaining things back then), my Space Album kept getting pushed further and further back in favor of learning more video game covers for live shows. Being a live band, there’s a pressure to always bring new music to the stage and it’s not as easy as you might think to learn too much new material at once while maintaining a regular set of songs people have come to expect from you. However, I was able to forego more sleep than the others and by 2012, I’d already written outlines for 20+ songs. I was arranging these songs into sequel stories/albums. I actually had a release schedule too, which outlined proposed releases for the next few years, leading to a meeting of the characters from the comic with those of the Space Album in 2018. It all seems sort of silly in retrospect, but I was really passionate and organized about it. I also must have been annoying because on more than one occasion the band basically said that I was forbidden from mentioning the Space Album or anything to do with it for three to six months.

The music, which was fully original, drew inspiration from video games to give many of its songs context in a story sense. A careful ear can discern subtle nods to the Mass Effect, Diablo, Silent Hill, Wizards & Warriors, Metroid and more.

 

Character Concept - Adin

As we passed the end of the world into 2013 and released the Dead Labs single (from Space Album II) I began talking with the collaborators I’d mentioned. In addition to working with friends and local musicians like Adam, Miguel, and Michael (and my cousin Johnny), a chance encounter at MAGFest led to talks of a collaboration with Kinuyo Yamashita (Castlevania)! I had also begun to hunt down the original mod (WAD) team & composer from Doom II's HRII, a process that took something like 18 months (and used a LOT of old email extensions). I had also begun talks with Terri Brosius, the voice of SHODAN, about reprising the role for a song I’d written! Somewhere in 2013 the band voted to release a new album consisting of 50% original and 50% cover songs, basically so we didn’t upset our fans with a 100% original album too soon. I, banned from talking about the Space Album for six months, used the extra time to refine the songs I was writing, and ultimately gave up one of my ‘Space Album’ songs to finish the album (LMTYAS) on time... without telling them that it had anything to do with the Space Album and the emptiness of being alone with your thoughts for too long.

Recording with Eric

Between 2013 and 2014 many amazing things happened. The stars aligned and Amano was able to find time in his very busy schedule to create not only the cover art, but 9 additional pieces for the album, I also finally made contact with the right person on the DOOM II HRII team, and I also flew to Boston to create the System Shock inspired ballad with Terri and Eric (who composed System Shock and created the effects for the SHODAN voice)! A series of extremely fortunate events (and two amazing tours across Florida and the EU) also led to us working with Tommy Tallarico on a track! On the side, I also started working with Wily and Bruce (of the NESkimos) to create 15 rough songs for a new story within the Space Album/Liberty setting. I also somehow got to hang out with Brian Johnson (AC/DC) a few times (just us! It was insane!) and he said quote “I love that Hacked song!” Mind. Blown.

I cannot express how great these two years were from a writing/creative perspective.

Concepts for Grey and Arkhain by Casey Bailey

However, on the band front, Moose’s job became increasingly demanding and he had less and less time to practice or learn new material. The two times we arranged for him to go to a recording studio were both cancelled by freak accidents (he nearly drowned himself after hitting his head on a rock, and after recovering from that he was hit by a car while riding his bike and briefly hospitalized). Moose and I had Phil (Careless Juja), Michael (Star Lake), Adam (RE), and Wily (NESkimos) record live drums for the entire album, while Juja, Michael, and Johnny recorded live guitars and bass for 1/3^rd of the album to help speed along the recording process, unknown to the rest of the band. The others, who were now out of college, had less and less time to learn the songs outside of our limited and very busy practice schedule. Since many of the songs would probably not be performed live, having close friends record parts for the album, with Moose’s blessing, seemed logical from my perspective. However, when revealed, the others were not as enthusiastic and expressed that they wanted to contribute musically to the album (which is understandable). So, all of these tracks, about six months of work, were completely scrapped. Around this time it was also put to a vote that I would not be singing on the album, as I have a fairly limited vocal range.

Powerless without the others, progress on the album slowed and eventually ceased. We set up deadlines multiple times that we consistently missed due to legitimately great opportunities like shows, tours, and the chance to write our own video game soundtrack. The band created/released the Big Blue EP and started talks of a completely new full length cover album that would be recorded before the Space Album but by that point my own ability to spend the entirety of every weekend in Orlando had also diminished as met my future wife and I got started on my career path.

Lone Survivor by Casey Bailey

While I was leaving the band, and at their request I didn’t mention the Space Album for about nine months until after they were squared away with the incredibly talented Jackson. They actually had a joke inspired by a Fight Club line: “What’s the first rule about the Space Album”. By this point I was fairly disheartened, and basically took the best tracks from the various Space Albums I’d written that could fit the story of Lost Frequency and cut everything else that even felt vaguely weak to me or that didn’t directly push the story forward. Clearly the one album would be it, if it would ever happen at all. I was fortunate to be working with the incredibly composer and musician Steven Melin on two of the last “missing” tracks I needed to complete the story after the cuts were made. I was now able to effectively use my own experiences in creating the album to write better lyrics too. While I’d started the album superficially writing about the emotional journey of the protagonist, to me the creation of the music itself now represented a very personal journey of loneliness, bitterness, silent victories, anger, euphoria, and depression, which I was able to use to write better lyrics. In many ways the album’s very tone is a reflection of its creative process.

Sometime after I left the band we started talking about the Space Album again and it was agreed that it would make the most sense to release it as Random Encounter, as the art strongly reflected the membership of the band, I had approached all of the guest artists as the band Random Encounter, and because Kit & Konami had both invested time in learning the music. Somewhere around late 2015 we had a meeting where Kit promised to create the drums for the album, Konami & Kit would both work to create the guitars and bass for what was left, and I’d work on accordion, violin (did I mention I took two years of violin lessons?), and keys. It was fairly hard work and Konami & Kit vastly improved upon my creations and added their own songs to the mix as well, which I swapped out for more cut songs.

  

Anyone recognize those guns?

At some point, when I used my comic’s social media to mention the Space Album, the band expressed that most of them were unaware of my plan to set the album’s story in my comic book universe. It had been years since we’d had any formal discussions about the album (I’d only just been ‘un-banned’ from talking about the album… again) and they’d felt blindsided by this idea. The short version is that the Space Album would no longer be a part of my comic world.

A full year and a half or so later, the final tracks were submitted and much to my delight, probably due to time constraints, my original vocals for one of the songs was passable enough to be left in! I will say that while Konami is a much better vocalist than I am in most ranges and styles, and brought a dept I couldn't have hoped to on pretty much everything he touched, there's something about singing the words to your own song that feels nice. Brandon Strader worked his magic over the next few months to make the album sound great while Kit and I revised the story booklet. Hearing the final mixed songs brought a smile to my face. Strader, Kit, and Konami did a fantastic job.

Though I had deviated some from my original intent, I’d accomplished something far greater and grown up somewhere during the process.

So, inspired by the very people who helped bring it to life, fueled and lovingly crafted with real and very raw emotions, Lost Frequency is finally complete! I hope you’ll take the time to check it out now that you know the story behind the music:

http://music.randomencounterband.com/album/lost-frequency

Con Review: Megacon 2014

Fun Fact: The chair is also balancing on top of something...
Photo by Brittany C. Horne Photography!

About 95% of my time at Megacon this weekend was spent from behind the table of my band's merch booth but I still feel like I have quite a lot to share. Let's start with some stats: This year Megacon grew exponentially from a normal, state-sized convention to a nationally epic 85,000 person super-convention! There were countless guest artists, special guests (including Stan Lee), and vendors which occupied the Orange County Convention Center's South Concourse (a move from the smaller West Concourse). To clarify: the line to get in on Saturday was so incredibly large that people literally wrapped around the convention center (exceeding a half mile of total line, but more likely a literal full mile of line i'm told!), cell phone reception in areas of otherwise good reception slowed and ceased altogether due to the extra 85,000+ people, and the halls were literally packed so tightly that it was neigh impossible to walk through without constantly touching or bumping into someone. The costumes were amazing, the people were friendly, there were cool things in sight every step of the way, and Megacon was better than ever this year!

Waking up at 4am on Friday

My story begins on the Friday morning of the convention at about midnight, packing my car full of my band's merchandise. With the assistance from my good friend Peter I was able to pack the car with over 1000 cd's, shirts, hoodies, stickers, posters, and all of the other merchandise that a band would need. This weekend I would be representing my band, Random Encounter. I slept for about 4 hours, woke up around 4:40am on Friday, and drove to meet with our guitarist Konami to pick up a few hundred copies of an album he forgot to bring to the last band practice (or just didn't have room for). We met at a shady gas station at around 5:20am, exchanged packages, drove our separate ways, and by 7:30am I found myself at the Orange County Convention Center loading docks. Moose (our drummer) arrived at around 8:15, about the time the doors opened and exactly the same time I got my exhibitor badges from the loading gate. We loaded in, set up the booth, he headed out, and I took a few minutes to look around the convention center.

LIFE SIZED RANCOR!!!

The amount of traditional vendor booths this year felt about the same as last year, with some natural growth of course. This year saw the return of the giant collection of robots (Literally. R2-D2 style robots, Daleks, etc), a series of star wars set replicas including a Rancor, a giant Lego area, a significantly larger artist alley consisting of up-and-coming artists, a larger guest signing area, and wider alleys for people to walk through. In the final minutes of my only real free time to walk through the convention center (before I had to go back to the booth to relieve Moose, so he could go home) my eye caught sight of a print that looked remarkably like something Charles Vess would make. Since he more or less stopped making prints YEARS ago I was in disbelief and started talking with the couple that owned the booth/company known as Chimera Publishing. We talked for maybe 10 or 15 minutes about art and artists, having a really great time. I learned that the image I saw was indeed a Vess print, and that they also had another print of his as well. Lacking a last minute birthday gift for my girlfriend (a huge Vess fan) I got both and victoriously returned to my booth, comically enough numbered "666." I'm not superstitious, but the number certainly helped people remember which booth to find us at. It also got me a lot of advice from superstitious individuals.

The 8am line on Saturday was said to be a MILE long,
extending well outside the entrance!!!

The doors opened and a flood of people came in. Over the course of the morning I gradually positioned my chair precariously atop the band's merch tote box and played songs while people walked by. I talked with a bunch of people, made friends, made fans, and made people smile. I think that's what I enjoy most about conventions, making people smile. I gave out stickers to kids and played music based on what people were wearing (Doctor Who was huge this year). I talked to pretty much everyone who walked by my booth regardless of ethnicity, age, or attire, and I've found over the years that some of the most interesting and friendly people are those you never thought you'd want to talk to: gruff punk rockers, the extremely Satanically inclined, older folks walking by with scowls on their faces. I really like cheering people up, entertaining them, and it was a pleasure to be the first accordionist ever seen by many I talked to. I caught up with old friends, played music, chatted, and gave my sales pitch nonstop until the doors closed. By the end of the day I was completely exhausted and fell asleep in a room (at a friend's house) that I was later informed contained a half dozen decomposing rabbits.

Among my favorite costumes of the weekend...

Day 2 was similar to day 2. Waking up at 7am to insane traffic; a blur of a day playing music, meeting with people, and selling merch. I forgot the cash box half way through the drive to the convention center and had to go back for it, waking up everyone in the house on accident. At the convention I watched as a "very straight man" hit on a "very cute girl", only to realize when she opened her mouth that she wasn't a girl at all. As Forbes Magazine suggested in their article on Megacon, geeky things are now becoming mainstream and as those people who would not refer to themselves as geeky are gradually introduced into this new world things like this will become more commonplace and "normal" folks will gradually find themselves liking things that were formally thought of as being reserved for the extremely geeky like anime, comic books, and (if I have anything to do with it) video game music. The future looks fun!

My chair only slipped once the entire weekend!

Cave Story: Download it for FREE NOW

Throughout the day I gradually got higher up on the chair, still recklessly balanced atop the tote, sold stuff with the help from a few friends like Peter Pepper, Kat, and Loki, and saw dozens of friends and fans from cons/shows past. Being my 4th year as a vendor at Megacon I've made quite a few friends and was pretty nostalgic at points through the weekend. There were more insane costumes, new friendly faces, and literally THOUSANDS of people walking by the booth every hour. At the end of the day my band played a show (the Ongaku Overdrive Megacon After Party) with Shammers, Sci Fried, and Marc with a C a few blocks away which I felt was a grand success. I slept on the sidewalk before the show started, was utterly exhausted before/after the show, and did my best to give a high energy performance and sing, despite having just played for maybe 8 hours a day for the past two days on no sleep. It was a great night and we didn't get to Moose's place to sleep until 2am, this time in the room NEXT TO the room with the decomposing rabbits.

Friendly faces at the rock show

I woke up on the morning of Day 3 feeling off. Undaunted, I got to the convention center by 8am, but I still felt sick, shaky, and tired. By the time the doors opened I phoned for backup and did my best to sell merch with Kat's help until Konami and Rook arrived. I played one final round of Ren and Stimpy's: Happy, Joy with a man dressed like Powdered Toast Man who stopped by the booth and was utterly exhausted. My bandmates took over the booth from there as I packed up and took the long walk back to my car. None of you will believe this, but I was able to spot Waldo again this year. I just wasn't fast enough to snap a good picture before he ran off and blended into the crowd. I was unable to find him again on my way back to the car. Traffic at 1pm was still pretty bad for Orlando traffic but it was nothing compared to the insanity of the Saturday crowd. 

Voltron anyone?

Megacon was an extremely fun time this year. It's grown a lot and and I feel I've personally grown with it. My only big regret this year is that I could not have been there longer but I am extremely grateful for all of the awesome people I was able to meet, and for having the ability to play a show within walking distance of the convention center this year! I'm already signed up for next year and can't wait. 

Who is awesome? This guy!

Feel free to share your stories from this weekend here or post pictures (or links to pictures/videos) in the comments section below!

Game Review - Banjo Kazooie: 15 years later...

Back in 1998 I went on a road trip to Montana with my trusty giant (20 pound) 8'' screen TV, an N64, and a copy of Banjo Kazooie I was borrowing from a friend. During one of the more exciting journeys of my childhood I beat what I remember as being one of the best 3D adventure games ever made! If the save files from my friends' cartridges bear (no pun intended) any resemblance to my own skill at gaming, it probably took between 20-40 hours to get through the game with a 100% completion rate, completely unassisted by strategy guide or the internet (which wasn't a particularly useful thing at that time for walkthroughs). I've been trying to get my hands on a copy of Banjo Kazooie ever since and this weekend, a full 15 years later, I had a chance to pick it up, plug the very same N64 (complete with an expansion pack) into a 19'' flat screen, and use the same controller I used back in the day! I was extremely curious how good the game would still be and wondered with dread if perhaps I remembered Banjo Kazooie to be more fantastic than it actually was.

Cue the opening sequence. I was immediately pulled back in time through nostalgia wormhole by this insanely quirky game. Banjo smiles and laughs as if greeting an old friend, stares straight at you and knocks on the screen, shattering the 4th wall in the opening moments. As the cheesy music picks up, the new game starts, and Tootie is kidnapped, I couldn't stop thinking how hokey but strangely enjoyable the game already was. Perhaps it might just survive the test of time after all...

Plot

The plot is about as deep as one can expect from an All Ages game. You're a big brother bear named Banjo and your little sister bear, Tootie (named such because she plays the flute) is kidnapped by a witch named Gruntilda. Gruntilda wants to steal Tootie's youthful looks so you and your bird-friend, Kazooie (who lives in your backpack) need to rescue her so this doesn't happen.

Fearsome Foes!

Gameplay/Feel

The moment I had control over Banjo and Kazooie the muscle memories from years past told me to try all sorts of jumping moves that didn't seem to work. At first I thought that perhaps I was thinking of the controls for another game but after I talked to Bottles the Mole I quickly re-discovered that you need to learn all of the various moves throughout the course of playing the game by finding mole-hills and having brief yet comical exchanges with Bottles. A few such exchanges and two stages later I found my skills rivaling the apex of my childhood. I was able beat entire levels without dying and questioned if it was just an easy game by today's standards or if perhaps I was just really good at Banjo Kazooie. A few more stages, by Mad Monster Mansion, I discovered that the game has a fairly balanced difficulty curve and found myself genuinely challenged. Rare did a good job with balancing an ever-increasing difficulty without inducing crippling and entirely unenjoyable difficulty spikes found in games like Psychonauts.

The controls of Banjo Kazooe felt alright, even by today's standards. Banjo and Kazooie a fairly responsive and easy to control for the most part but it's sometimes tough to judge exactly where you are spatially, like when you're trying to jump from one floating object to another, or when your trying to judge the correct distance for an attack against a large enemy. It's often hard to judge how close/far you are from objects and creatures when swimming, flying, or even walking in some instances and I often found myself dancing around the pickup items. I think this can be attributed to lack of shading or shadow effects, which is something that can be blamed on the game's age.

Depth Perception Issues...

The Bad

There were only three things I outright disliked in Banjo Kazooie.
Swimming underwater felt slow, clunkly, and difficult to control, especially if you're not inclined towards Y-inversion. This made underwater item pickups frustrating because even if I knew what I wanted to do and how to do it I generally couldn't because of the lack of depth perception.

Another mechanic I really disliked was shooting eggs. I found it to be extremely difficult to aim eggs (a projectile you shoot) at distances greater than point blank. This was only mildly frustrating by comparison to swimming because in the few instances where you need to shoot eggs you are only required a lucky shot or three, and egg ammunition is plentiful.

I also noticed that there were a number of seemingly difficult-to-reach but utterly useless rooms you could reach that pertained to secrets that only affect the game's sequel(!), but that otherwise had no purpose. About half of the game's levels seemed to contain such a secret rooms and I found myself aggravated at the lack of in-game explanation, and the amount of time I spent scouring those empty rooms in confusion, looking for hidden notes or puzzle pieces that just weren't there.

After playing through 15 additional years of platformers and adventure games it also felt like there should have been a ledge-climbing mechanic in Banjo Kazooie, which my brain subconsciously noticed was missing. You can jump into ledges, you can jump over ledges, and you can climb trees, but you can't attach yourself to a ledge and climb up it (or drop from it). Mario 64 (a console release title) featured this mechanic so I don't think it was a system limitation.

"Freedom"

Between the quirky but expansive level design, Mumbo Jumbo's ability to turn you into various magical "creatures", and the ability to fly gained early on in the game there really isn't much of the game that feels unexplored if you attempt a 100% completion playthrough. Before the days where games pointed you in a direction with a giant arrow, a minimap with a giant marker, and a HuD that obscured 25% of your screen, there were games like Banjo Kazooie that told you "there are 10 puzzle pieces, 100 notes, and a few Jinjo's hidden in each level. Good luck finding all that, get lost in any direction you'd like, and have fun!" There was a sense of true exploration throughout each level and I was really glad to reexperience that. It's surprisingly fresh when not 8 hours before I was playing an unnamed modern game where giant looming markers and flashing lights show you where to go on a screen obscured by HuD, or in other games where the level design is so bad that you literally need to follow the mini-map for guidance and just ignore what you actually see on the game's main screen. Banjo Kazooie inspires a sense of excitement when you're exploring the levels by not force-feeding you directions and allows you the freedom of multiple paths... which ultimately lead to the paths you didn't take but it's the illusion of freedom that this game gets right and the cheery sense of achievement you feel when you complete each level with 100% efficiency. The game also throws some silly things things at you like Gruntilda's sister, who tells you all sorts of silly facts about the witch, like the name of her band in highschool.

Kazooie eats those...

Art/Music

The art direction is toonish and despite the issues with depth perception that I mentioned earlier the game's graphics were revolutionary for its time and withstand the test of time as far as I'm concerned. They're not bad and they'd be considered stylistic if you saw them in a new release. At worst, they're about on the same level as the games Nintendo is still releasing on the 3DS.

In terms of music I feel that the soundtrack to Banjo Kazooie was well done. The arrangements are simple, a little hokey perhaps, but the songs constantly change and evolve as you're interacting with the environment. Each stage has a distinct song and within each stage exists several renditions of that song affected by your physical location within the world. Are you walking into a dark and creepy cave? The music for the level will seamlessly become a slightly more creepy version of the same song played on a digital xylophone. This feels fairly advanced for its time and is still an example of what solid interactive audio design can be.

Breaking the 4th Wall

Closing Thoughts

Banjo Kazooie has survived the test of time and in my opinion will always be a solid classic that future gamers can enjoy and seasoned ones can return to time and time again. I can see myself returning to play it in the future, which is rare, though I still have yet to try out the sequel: Banjo Tooie.

Distant Worlds (A Final Fantasy Orchestra)

Thoughts on Distant Worlds.

Back in March there was an announcement that the Final Fantasy orchestra known as Distant Worlds would be performing in Miami, so I purchased tickets the same day and eagerly waited 8 months to see the first orchestral production of my adult life. (Disclaimer: I saw an orchestra when I was 7 but have long since developed an appreciation for music) The four hour drive to Miami wasn't too bad and by the time we arrived, roughly an hour and thirty minutes before the performance, over a hundred people were already waiting outside the building dressed in sharp suits, nice dresses, cosplay, and the occasional person in regular day-clothes. As the event was a special date for my girlfriend and I, and as Distant Worlds is an orchestra, we opted to dress sharply which fit in with the population, generally made up of people in their 20's and 30's. We brought our 3DS, which many other well dressed people openly sported, and were not disappointed when we acquired 50 or 60 street passes before the doors even opened. It was a truly classy gathering of nerds.

We were briefly interviewed for a website, got our tickets from Will Call, picked up physical copies of the Distant Worlds I & II CD's and found our seats near the front of the stage. As we chatted and watched the people around us, as one by one musicians slowly took the stage. The musicians seemed generally older, in their 40's or 50's perhaps, and my mind spun as I heard them each practicing parts from various songs that have been ingrained in my subconscious for decades. I heard a brass instrument practicing Man with the Machine Gun, a violin play a part of Clash at the Big Bridge, and for once in my life, these people were actually practicing the songs I thought I heard them practicing, not simply something that sounded similar.

As the stage nearly filled I noticed a man in a man holding a violin who the other musicians seemed to look at for cues. I suspected that he was the local coordinator for Mr. Arnie Roth, the conductor of Distant Worlds. I was once told that orchestras don't generally physically travel from show to show, but that a few key members do, and that the rest of the performers are locals who specialize in being very good at learning and performing the music of another conductor. This seemed to add up, because most of the musicians looked local (as opposed to from Japan or Stockholm), and the excitement on the face of the coordinator was plain to me. It seemed like he'd been waiting for this day for a very long time and was proud of his orchestra. As a performing musician I was overwhelmed with the sheer volume of instruments on the stage. An entire music store worth of string instruments, a drum set, brass section, wind section, and a harp! I silently contemplated how difficult I thought it was to arrange a song written for the 4 layers of a Nintendo cartridge to fit a 5 or 9 piece band, much less an orchestra of that size. In one brief moment, seemingly out of nowhere, Nobuo Uematsu took to the stage and the roar of cheers was almost deafening, pulling me from thought. As Uematsu walked back stage and Arnie Roth took the main stage there was more cheering, midst Arnie's calm but proud (in the good way) introduction to the music and the orchestra.

For those of you who don't know Arnie Roth, he's the guy who put together Distant Worlds, Play! (a video game symphony), and is involved with the band Mannhein Steamroller (do yourself a favor and check out Creatures of Levania). He's also collaborated with many well known video game composers and is known for staying true to the composers and to their music. Though most of the audience didn't notice until he was formally acknowledged, Uematsu himself humbly sat in the 10th or 15th row of the general audience to watch the performance unfold. 

Arnie Roth & Nobuo Uematsu

After a moment of powerful silence the first song began, a medley of songs from Final Fantasy 1 through 4 called "Medley 2002." The music, the combined efforts of dozens of talented musicians working in perfect tandem, was truly magical in quality. It's a shame that words like "masterful" and "perfect" are as overused as they are within our modern vocabulary because they truly describe what I saw and heard. This talent, combined with the fact that the songs being performed were incredibly important in me personally caused me to literally tear up and miss out on the well executed video that accompanied the first medley. I should mention that the videos throughout the evening were a mix of concept art by Yoshitaka Amano, gameplay, and cinematic footage that fit the theme and game of the music being played. 

A list of songs I can remember being played include the Medley 2002 (which includes the FFI: Overworld theme and FFI: Matoya the Witch), FF IV: Battle with the Four Fiends, FF VIII: Eyes On Me, The Final Fantasy Victory Theme, FF VI: The Phantom Forest, FF X: To Zanarkand, FF XII: Kiss Me Good-bye, FF VII: Opening - Bombing Mission, FF VII: Aerith's Theme, FF XI: Vana'diel March Medley, FF VIII: Man with the Machine Gun, FF IX: Melodies of Life, FF V's Main Theme: Ahead on our way, FF VIII: Don't be Afraid, A Chocobo Medley that included what I think was Mambo de Chocobo, an amazing new Battle Medley that included Clash on the Big Bridge, Fight With Seymour, and FF VII's Battle Theme (Which Arnie called Still More Fighting), and the Final Fantasy Main Theme (the Credits roll).

Highlights for the evening included first class performances by Susan Calloway (the singer songwriter who Nobuo Uematsu personally hand picked to work with), a completely unexpected arpeggio added to the Phantom Forest, and the entire battle medley (which was amazing). In one of the most beautiful songs of the evening Nobuo Uematsu himself came on stage to play keyboard as Arnie Roth played lead violin for what we were told was the world premiere of Distant Worlds' FFVI: Dark World. It was hauntingly powerful and it's the only rendition of the song I've ever heard outside the game. Another pleasant surprise was an encore of One Winged Angel where Arnie informed us that they didn't have a choir so the audience would get to sing lyrics with Uematsu himself! It was a larger than life moment where not everyone was sure if he was joking or serious. It wasn't until the end of the first chorus that most people actually started singing but the underlying message was clear... Distant Worlds would not have been possible without the support of the people in the audience, or the greater audience that's supported Square Enix's fantastic franchise, Final Fantasy. There was a lot of excitement in the room (two people got engaged during the show, earning a cool thumbs up from Arnie), and though those present were from many walks of life we all shared in a common interest, a passion for the music of Nobuo Uematsu.

Myself and Kaitlin
with Susan, Arnie, and Uematsu

Sitting so close to the performers I was able to occasionally hear Arnie humming parts of the songs aloud, see the growing of a subtle grin on the face of the coordinator (the gentleman with the violin) each time the audience cheered, the sound of Nobuo Uematsu solo-whistling the Victory Theme, and the words that were spoken that didn't reach the microphone. Words of congratulations between Arnie, Susan, Uematsu, and the coordinator. Words of thanks to the audience that never reached the microphone.

Kaitlin and I were able to meet and congratulate the trio after the concert, still glowing with joy (which is amazing considering Arnie had been conducting for over two hours!). They signed our CD's, took a picture with us, and thanked us for coming to see the show. Having an appreciation for what Arnie had put together, for Susan's talent, and for Uematsu's profound influence on my life, I wanted to say more but I completely choked up upon meeting them and instead of "thank you for one of the best nights of my life" I was only able to get out the words "thank you." Before I knew it, we were already out the door, back in the car, back on the highway, and back home. Distant Worlds Miami was an experience I will never forget and one that I hope many more people will get to enjoy.

Nerdapalooza 2013 Review: The Careless Juja Live Band

The cover image of www.Nerdapalooza.com

The past two months have been a colossal exercise in multitasking and time management as I've done everything within my power to put together a cohesive band from scratch, while at the same time maintaining a pre-existing band, a few day jobs, and a functional life.

Our story begins with a semi-serious application sent to MAGFest and Nerdapalooza in February or April on behalf of a semi-fictitious "10 person" Careless Juja Live Band. The idea behind the application was that I had some free time at the beginning of the year and I was very interested in opening dialogue with some friends (and family) I'd been doing recordings or collaborations with over the years who I normally had little excuse to talk to. I listened to the best tracks that Juja and I had made over the years and counted the number of instruments needed to fully bring them to life, concluding that 3 guitars, 1 flute, bass, drums, accordion, glockenspiel, piano, and violin would be "required." I called Juja to see if he was on board and after promising to cover his airfare he reluctantly agreed to play a single show with a "CJ [Careless Juja] Live Band", in the rare event that we were accepted to perform at either venue. I also checked with the aforementioned friends who happened to play the various instruments listed above and got a similar response: If we happened to get accepted, that they'd agree to play.

The application was very laid back as a result, because even though I came up with the idea I really didn't expect us to get accepted. Here's an excerpt:

"We enjoy horse rides (don't judge it), walks on the beach, painting tabletop miniatures, sex, non-lyrical music, video games, rescuing orphans from bulldozers, cats, good television,  consecutive 18+ hour non-stop recording sessions fueled by a potent mix of energy drinks, propane, and King of the Hill."

My response from Nerdapalooza came in record time: "No." The application guy happened to be a friend of mine and did this every year whenever I applied as Random Encounter. I got a more formal rejection email a few weeks later from Nerda, along with a formal and friendly rejection from MAGFest. I specifically remember informing everyone in the "band" that we'd gotten both rejections and thanking them for being on call for my crazy idea... Then on August 12th, a mere two months, and one week prior to the festival, I got a phone call while was driving through North Carolina in hellishly warm clothing (a suit for work), on a hot summer day, in a truck that didn't have very good air conditioning. The call was from Nerdapalooza, asking if we were still interested in playing and if we'd still be able to pull off the show. I was in the denial phase, thinking the call to be a joke, so I confidentially told him that we could easily put together a half hour set (of music) from scratch, and it was only after the phone call ended, about 5 minutes past the point where I expected someone to reveal that the offer was a joke, that the gravity of the situation hit me. I immediately called all of my new band mates to verify that they could still be involved, and some were now unable to commit learning that much music in that short a time frame. It took about 3 days for Juja to understand that the application was serious and it wasn't until we were officially listed on the Nerdapalooza Website, a full week later, that we were able to confirm the band's full membership. I immediately commissioned the incredibly talented Jaime Kittens to make a logo for the new band that would give us a distinct look and feel from Random Encounter, whose toes I did not want to step on in the slightest.

I really wanted to start arranging the new band's music immediately, but I was already using all my free time to record an album, and playing shows as Random Encounter, which absolutely had to come first, so I didn't get to start arranging for CJL until a week and a half after we knew who as in the band. As I trudged through the first track, about a month and a half prior to the show itself, I had the very hard realization that arranging music for 9 instruments from scratch (in MIDI) was fairly time consuming work. This is the first song I put together, Cave Story: To Grass Town, where I envisioned all of the band members walking up on stage in a specific order to join in and add to the song, making it sound gradually more full. It took me over 6 hours to put together. As I was departing for Belize I downloaded Mixcraft 6 on my laptop so I could work from Central America and spent most of my nights there arranging without any way of effectively communicating with the rest of the band. Juja arranged two songs from his end and when I finally reached a steady internet connection I asked the 88 facebook fans of Careless Juja if they had any requests, because we still had about 4 minutes of music yet unpicked. Someone (I forget who) messaged me with "a song from Goldeneye" and by this point in the arranging/MIDI process I was getting very efficient to the point where I could put a song together in under an hour. At the very last minute Juja added the Game of Thrones theme and a mere month before the show the band mates were all given demos with their respective parts. A partial delay in the arrangement process was when one of the members of the band told me he couldn't commit to the show because a month wasn't enough time for him to deliver a quality performance. I admired his honesty and found a few extremely talented guest artists to take over his parts during key songs but in truth we were now an 8 piece band.

AdamOne's Setup

The practice phase for this band new 30 minute set should have taken every waking hour of my days, but Random Encounter had an album release show, an Escapist Expo, and a Nerdapalooza to practice for, which had to always come first as it's my life's work and passion where Careless Juja is more of my free time and an enjoyable hobby. As a result I focused the bulk of my practice efforts on key moments of the CJ show: the part where I'd reveal to the world that I'd been taking violin lessons for the last year, the part where I'd perform the ridiculously complex Professor Layton accordion solo, and the entirety of the Game of Thrones theme, which is my girlfriend's favorite song and the one people will most clearly recognize if I've screwed up. I was more or less on call for 4 weeks as band members would periodically check in with arrangement questions, transportation issues, or important realizations at odd hours of the night, like the fact that none of us owned guitar amps or a full sized keyboard. As I borrowed practice guitar amps from friends, rigged my computer speakers to accept a guitar input (yep, it came to that), upgraded my room-mate's guitar, and bought a glockenspiel stand, I started to feel excitement as the greater plan started to come together. The musicians I was working with were incredibly talented and if it was not for their collective and individual prowess I don't think we could have pulled it off. The band consisted of:

Ben, Chris, Juja, AdamOne
"Who Ya Gonna Call?"

Juja - One of my best friends, though he lives in Utah, who's just as quirky and into the music as I am. We only met once in person for two weeks but record music together regularly for Dwelling of the Duels.

H3lios - A piano-major in college who created Random Encounter with me many years ago. I see him less than once a year and he's all but my brother.

JY - H3lios's better half, a professional grade concert pianist from South Korea, and a dear friend.

AdamOne - A living, breathing metronome, and the original drummer for Random Encounter. He's now a father of two, a husband, a visual artist, co-worker, and a drum instructor with a few school-level music manuals under his belt. As a drum instructor his qualifications for glockenspiel, an incredibly unforgiving instrument, were perfect. He also can translate my gibberish into music-speech and doesn't get to interact with people our age often due to his occupations.

Lord Pike - A true rock drummer involved in quite a few awesome bands including: The Returners - VGM, and Lords of Thunder! I greatly admire Pike but for some reason we never get to hang out.

The Chris - Another fairly new friend, he is the bass player for Gimmick! and a fellow obscure-game enthusiast i'm sure I'd be extremely good friends with if we lived closer than a 17hr car ride apart.

Ben - The singer/songwriter/guitarist of Space Camp Dropout and my nephew. I can still remember the day he was born and though we sometimes record stuff together, we've never formally worked on anything publicly.

Lord Pike, JY, Helios

Walmart Quest!

The week before Nerdapalooza I'd easily logged over 11 hours into practicing the 20 second solo part for the Prof. Layton song, and still hadn't learned Warcraft 2 or Sword Master at all. I fully expected to have some time to practice the following week and was caught off guard when Ben showed up on Monday ready to learn the set. Suddenly the prospect of free time to learn my own parts, or to go for a relaxing swim was gone. My heart sort of plunged, I think I went pale, and taught him everything I could for as many waking hours as we could fit into each day. Juja arrived the following day, greatly helped speed up the learning process, and by the time the next installment of the band arrived on Thursday Ben knew the entire set. I'll credit him that he was able to pull it off and learn everything before they arrived. As Helios and JY arrived and went to sleep, fresh from a 17 hour drive from Texas, Juja and I left for a 6 hour drive to and from Orlando to practice songs with Random Encounter. We got back well after midnight, practiced our set with just the two of us, and fell asleep at about 2am or 3am on the morning of Nerdapalooza. At some point during all of this I'm told that we went shopping for food and that I cooked two or three meals by myself, that I didn't light anything on fire this time, and that they tasted surprisingly good, despite me failing at cooking at every moment prior to food coming out of an oven.

Sort of like an engagement photo but they're already married

Later that morning, after a hearty breakfast and we practiced as a half-band with AdamOne (who drove over from Tampa). An hour or two later Pike and Chris arrived (with Jen and Jen) and the band met in person for the first time. No one actually knew anyone else in the group except me, so it was a pretty neat experience watching everyone I personally knew interact. AdamOne started talking and snapping poly-meter beats (two different time signatures that line up and are done at the same time!) with Ben, JY was laughing with my girlfriend (who was an extremely good sport about all this much noise on a Friday morning), and Chris was telling stories about some bad RPG's he'd played, while I recalled a few cautionary repossession tales. This was all during a lunch break we took because the rest of the day was spent practicing the hell out of our 10 song set list from 11 or 11:30 through almost 5pm. Then we packed up and departed for Nerdapalooza. Notably I thought I forgot to pack my 3DS, though I just hid it well within one of my bags, and missed out on two days worth of street passes.

A short (~3hr) ride through traffic later we arrived at the official Nerdapalooza hotel. The lady at the front desk was either very friendly or hitting on me, i'm sort of oblivious to the finer points of social interaction, but either way I got the hotel room keys, parked next to a truck with 4'' steel spikes on its wheels, and climbed up the 4 stories to the hotel room. Juja, myself, Ben, Clay, and Prophet (who drove in specifically for the practice) stayed there until around 9 or 10 practicing [video link]. We left immediately after, unloaded our gear at the band room, parked at what I thought was the closest parking lot to the event, spent another 20 minutes walking to Nerdapalooza, got our badges, and immediately started seeing people we knew. People from the Random Encounter album release show, people i'm friends with on the internet, people i'd met at Megacon, at MAGfest, at Nerdapalooza the years prior. All of them were genuinely friendly and every person we passed with the 3DS made me curse my careless nature. We were able to catch the majority of Professor Shyguy's set, which was very energetic, and to both my and my girlfriend's enjoyment he played the Simple Pop Song, and Doctor Who am I?. He also did a song from Tool (a band I don't really know, but other people seemed to really feel it). During the set I noticed that the calm and collected Ben, who previously had no care in the world for geek culture or music, went wide eyed as Shyguy proceeded to play a guitar solo while simultaneously playing the keyboard. It was the first sign of happiness i'd seen him show all week.

View from the Green Room between sets

The rest of the night was sort of a blur and besides bumping into a dozen other people I knew, and giving all of the members of the CJL band tee shirts (which were hot off the press from earlier that day due to a shipping error), I only really remember a horrible restless night of tossing and turning in the hotel bed. I was utterly terrified about how the next day would go down. If we lost our place at any point during the set, none of us (save AdamOne) had any reference as to where we could come back in, especially during the more progressive songs. Before the lights went out Juja mentioned that he wasn't even entirely sure where his guitar solo fit in Tristram or Warcraft 2, and asked that I cue him somehow for both. At about 2am I woke up in a cold sweat realizing that we never figured out how we were going to end the Prof. Layton Song either. I tossed and turned, waiting for 3am, 4am, 5am, then 6am. An eternity of anticipation later and it was somehow Saturday and I was already exhausted.

Photo from the show, not the sound check

We had apples and peanut butter for breakfast, rallied everyone, and showed up at the OCCC promptly at 10am. It turned out that TMBG [They Might be Giants] (specifically their tech crew, not the actual band) was doing a sound check, so Lauren and I got in some last minute practice... because I now realized that she had never practiced with anyone from the band before. As we practiced in the hallway near the stage, John Flansburgh walked by and tried to open a door that I'd previously discovered was locked. I think I must have said something stupid, maybe a horrible pun about the doors or locks because he stared at me for a moment as if I was crazy before the door somehow opened for him. This now marks the second time I've left a not so awesome impression with J.F., and though I'm sure he forgot the moment I'll embarrassingly remember for the rest of my life. Lauren and I followed John out (we had been locked out for awhile) and watched as TMBG sound checked to Rhythm Section Want Ad. About 20 minutes before we were supposed to start our show, we were given the green light to load onto the stage and set up gear for 11 musicians in record time. The sound-guy asked if we could cut one of our songs and we obliged without question.

The Careless Juja Live Band

The show itself was sort of weird, sort of fun; A lot like how the old-school Random Encounter shows used to go. I'd spent the last two months envisioning the moments on stage, planning, plotting, practicing, preparing, and once I got on the stage it didn't go exactly as I'd planned and sped by as if I were but a passenger on a roller coaster. For starters we didn't have time for any sort of grand entrance, just a "You've got 25 minutes, go!" so much of the suspenseful visual stuff I'd planned for the first song, where everyone got up one at a time, was lost for the sake of not cutting more songs. This really wasn't anyone's fault except my own. Sound checking is time consuming work and I didn't want to start our show until I was confident that we sounded great. I'd already made the mistake of trying to play a full set without a proper mix two years back and it didn't go so well. Two other moments that didn't go quite as planned was when I pulled out the violin, played it with the best intonation I've ever managed, and later found out that none beyond myself could hear it because I forgot to sound check the violin into the vocal microphone. Lastly, due to a false start on the Prof. Layton song, band members got confused and the solo i'd spent the bulk of the last month practicing never happened. These three incidents aside the show was a complete success by my standards. I was personally ecstatic as I got to hear the songs I'd been working on for two months (in MIDI) performed with real instruments as the band I had no idea would ever exist actually performed a show! We started and ended the set strong. We kept peoples' interest. We got through the most important/difficult songs well. We nailed Sword Master, Goldeneye, and the crucible of Tristram. All of the members of the band had fun and all of the fear left me as we reached the end of the set. In many ways I was surprised that the set was already over, feeling that way even as we started the last song. We broke down the equipment, cleared the stage, and finished loading all of our gear just in time for the Lords of Thunder. Rasputan, a former RE member who I'm still good friends with, helped us out a lot on Saturday and between him, AdamOne, and Helios we were back in time to revel at a masterful execution of the Perfect Dark Ending Theme (a song we'd recorded as RE but never completed) by LoT. Special thanks are also due to Clay, Jen, Jen, David, Konami, Prophet, Lauren, my parents (who showed up!), and the guy who bought one of our tee shirts.

The first time we got to hear To Grass Town with the full band was on stage

My sense of time after watching the fantastic Lords of Thunder gets a bit warped. I remember getting food with the CJL band, talking about how Lauren and Juja were absolutely beaming during our set and how even Helios had cracked a smile for a few moments. For JY a live show with other musicians was something she'd never experienced, and Ben finally understood what we were all about, and a bit about what the whole nerd-culture thing was like. He referred to it as a sort of "hidden world" akin to the wizard's world in Harry Potter, located just behind the trudge of daily life. We traveled through the vendor/artist areas and spoke with almost everyone we passed. There was a lot of talent there and AdamOne/I began talks to commission one of the artists. I also got to finally meet the extremely friendly and stylish Jaime Kittens (who made the Careless Juja Live image!). We caught the OneUps with brentalfloss set and enjoyed their classy renditions of brentalfloss songs, which are video game songs with often comical (but sometimes serious) lyrics. As I watched the end of the set, people from the side of the stage hurriedly motioned for me to get ready to load my gear next to the stage. Oops... I forgot about that. So, I quickly ran to get my accordion and regretfully missed the end of their set.

Katamari on the Rocks w/ brentalfloss

The Random Encounter was almost entirely stress free for me. All my nervousness was long gone from the CJ set, we (RE) already had a huge crowd of friends sitting front row as we were sound checking, and i'd overpracticed all my parts for a show I could have played with my eyes closed. Just before we were ready to get on Juja was fussy and wouldn't get off his 3DS, but the awesome fog effects (a mere 5% of their total fog abilities I was told) again distracted me from noticing too much. Dead Labs went amazingly well, and I was surprised to see people singing along. I think that's my favorite song we've done so far. Katamari also went very well, and it was awesome to share the stage with brentalfloss again. My only complaint for the set was that I found myself wishing the stage wasn't so high so we could interact with the audience more. Just as we were getting to the part where we intended to play Death of a Friend I had the sudden realization that I hadn't seen Dr. Wily, the lead vocalist for the song, arrive. It turned out that he'd driven to the wrong venue, the Social, about an hour away (parking and walk included) and missed our show by mere minutes, so we played Terra instead. The rest of the set went without a hitch, except for me making a great miscalculation at the end and totally toppling Rook's Korg keyboard off the stand, key side-down in front of everyone, and running from her (she's also wireless) through an area of the stage I certainly shouldn't have run through (lots of delicate gear almost got destroyed by me) but that I couldn't really see until it was too late. I got yelled at for that as well, made two genuine apologies, and felt oddly down for completing an otherwise good show. It's not every day you can leave two negative impressions with your favorite band in a row. Still, getting to see and talk with all of our friends/fans/family after the show helped cheer me up. I was also later told that the TMBG roadie who I spoke with had actually enjoyed our set and felt kind of bad about yelling at me, so perhaps I didn't leave such a bad impression after all.

A rare photo of Jeff Douglas, the guy who takes awesome photos of the bands

I packed my gear quickly, did my best to stay clear of Rook, and followed Clay to some kind of green room that overlooked the main room. There was also a lot of walking before this, and a dinner in a strange restaurant with giant replica animals, but I don't remember how we got there or what we ate. Ben, Clay, Juja, my girlfriend, and I all found ourselves in the otherwise empty green room a few hours later, too exhausted to rock out with the incredibly talented Moon Hooch: a sax duo that circles each other while playing and makes their performance look a lot like a 1980's knife fight musical. We got to briefly chat with the drummer from Green Jelly, who had some neat stories, and Schaffer the Darklord, who had completely forgotten/forgiven the time I'd accidentally screwed up his name at a show two years ago. Schaffer is a pretty chill guy and I felt bad for missing his set. In addition to being a solid performer, the last time I'd seen him he'd given me some musical ideas I'd implemented into my own original works.

Who's that Icky guy?

We (joined by Chris, Jen, and "Mad Hatter" Jared of The Gekkos) entered the main room about the time a crowd started to form and were able to get within 10 feet of the stage for They Might Be Giants! This was the closest i've ever been to them at a show and it was easily one of their best shows to date. They always put on an incredibly live performance, this time starting with Istanbul, going through a lot more of their newer songs (which was awesome). I'm pretty sure J.L. glanced down at me at smiled at one point, which made me feel much better about any negative impressions I might have left with them in the past. It makes no logical sense but if being starstruck makes me feel better about the weekend that works for me. I had a blast and it was only after physical exhaustion started to take its toll on us that we reluctantly departed from the scene, as stickers were being handed out after the show. A quick thanks should be mentioned as Mrs. Douglas saved one of our number from a case of actual heat exhaustion that evening. All of us slept really well on Saturday night, and I forgot to mention but Helios + JY already started their drive back to Texas earlier that evening.

The Returners!
[The only band that my camera-phone was able to get a good picture of]

Sunday was kind of a hangover style day for us. We stumbled out of our hotel rooms by 11am, checked out, admired the Ben-Hurr spikes on the truck next to us (again), and got to Nerda in time for the best (non-TMBG) set I saw all weekend, The Returners - VGM. They rocked a FF VI medley, they rocked Echo the Dolphin, and Lauren sang the Metal Gear Solid ending theme AND the Phantom of the Opera "inside my mind" song! It's not just that they picked good songs to perform, it's not just that it was my first time seeing them in person, or that I'm friends with most of them; It's that they played well, they surprised me with something I didn't expect (singing!), they were cohesive, fairly diverse in style, and everything they played was well arranged. They were also soft enough for my girlfriend to enjoy (she generally dislikes rock), which gives me some kind of +7 synergy bonus to my own enjoyment. Even Ben, who had previously hated VGM (video game music) was smiling up and applauding the Returners by the end of the set.

The Gekkos

A few minutes later, as Under Polaris took to the stage (I was only able to be present for a few songs sadly. Those guys are a fantastic example of what synth/chip-rock should be and their front-man is the very definition of a High Energy Act!), I talked to the Gekkos and discovered that they wanted me to play accordion for a few parts of their set... as much as I could learn and transcribe to tab form in ~47 minutes. Their accordion player, Jarred, had been in a brutal bus accident that i'm told might not allow him to play accordion ever again (I really hope that's not true), and the day before he was told by a doctor that he wasn't allowed to play accordion for the show, regardless of if he could muscle his way through the pain. As a brother in the ever-secretive League (of accordionists) I transcribed as much of the set as I could and played with them for maybe 6 songs, clapping and singing along (sans microphone) during the other songs. They ended the set with my favorite song of theirs, Pokemon League of the Living Dead and by all accounts that show was without real incident. As I got into an issue with the OCCC parking security the OneUps played a great set, and after that we were semi-forced to load up and head home to watch the rest of the festival via stream. We said our goodbyes quickly (from a tow-away zone) and got ice cream on the way home. The reason I mention the ice cream was that it was served by my roommate's girlfriend (of a few months, who is at my home every week), only I couldn't recognize her outside of the context of where I live, which was sort of amusing because she couldn't recognize me either until after she served us ice cream. We watched the rest of the livestream of Nerdapalooza as Juja and I thought up more ways to advertise our Kickstarter for the new Careless Juja Album. Then, just like that, in the blink of an eye, Nerdapalooza 2013 was over... but it's effects were not...

During the course of the week Ben had gone from an apathetic guitar mercenary, playing music he didn't really care about (so we could spend some time together), visiting a "weird and nerdy convention" he didn't identify with, to becoming one of us. It started with Shyguy's multiple instrument solos, the subtle references to Nerdy things Ben was familiar with but didn't realize were nerdy. It expanded through some genuine and friendly conversations with people we met at Nerda (and the CJL band mates). All night on Saturday (and all Sunday morning) Ben complained that he didn't have a 3DS, after Chris had talked to him at length about how 3DS's work, so I lent him mine to use on Sunday (after finding it) and Ben had a lot of fun picking up street passes and battling armored ghosts. By the time he saw The Returners, their blend of VGM covers with the addition of vocals and the non-vgm song pretty much won him over. Now whenever Juja and myself would hum a tune from the CJ or Returners set, Ben would join in (as opposed to cringing and putting a headset on, which happened earlier in the week)! Ben claimed that Juja and I were popular in the VGM scene and was surprised when he, walking all by himself, was approached by someone we didn't know to autograph a poster. I don't that's ever happened to him before and it left a big impact on him, realizing that he was now a part of the community he didn't think he would like. Later that night, at his request, we went to Best Buy to get Ben a 3DS XL and a copy of Animal Crossing, which he swears his friends in NY will never know about. I smile every time I think that he's become one of us... and as I dropped Ben off at the airport on Monday there was actual sadness from both of us because we'd had fun and wanted him to stay. Nerdapalooza had it's magical affect on him, and I've been getting text all week about how there are certain hotspots in his home town, or how he's frustrated that the stores near where he lives are sold out of Pokemon X and Y, and how he just got Pokemon Y and a copy of Monopuff. Nerdapalooza 2013 was a special time for all us. For Juja it was a chance to really shine, in his words: perhaps the only chance he'll get. For JY it was a time to meet friends from her new home town in Texas. For all of us it was a great time with friends... and for me, it was a chance to bond with my nephew for the first time in over a decade.