Beagle
 
...
All "extroverts" are bad actors and musicians?  that's a pretty broad generalism (and very narrow minded).
 
Good actors and good musicians are those who:
1) have at least a basic talent
2) practice that talent
3) have a consistent desire to improve

there is absolutely no generality regarding personality type which dictates "good" or "bad" musician.  there are all types of each in each personality type.

Thanks. 
 
I'm not sure that "talent" is even a requirement. I was given to work with newer folks, that did not even know if they had talent, but the ability was always there. The question is, like anything else in life, how you apply yourself, and study what you are doing. Some are better students than others.
 
As an example, DA was new to the stage, but had done a few small things here and there. When we got together, we were able to work out some neat stuff in rehearsal, up to and including psychic stuff, where you knew where the other "character" was thinking and what would happen next and was always ready for it. The end result, of an exceptional performance, which even a Professor of mine applauded my ability to get so much out of the actors, was that he was immediately chosen to play Iago, in the upcoming Willie runs. And DA, being the studious person that he was, had all the lines down in 3 weeks (that's insane, mind you ... over 600 lines of dialogue!), and then spent the next 3 weeks in rehearsal with hockey and football outfits bullying people around during the rehearsal, which immediately gave him an incredible edge ... and of course, he stole the show. A close friend of mine, after the performance when we met DA, even said ... wow, he's so soft spoken ... but it should tell you what preparation and desire to learn more about your part, can take you.
 
You take that to a music stage, and that person, will blow out the audience so fast, it won't be funny, but music rehearsals, are too much about the notes, not the performance, and this takes away a vital 3rd dimension in the performance, and in my book, this is the part that scares folks, because they do not know how to "get into it", enough, to allow it to live on "its own" ... which is so important and memorable in music in a handful of moments! IT'S NOT ALWAYS IN OUR EYES AND HEADS! IT'S ALSO IN THE PERFORMERS!
 
Reminds me of a set of words in MEATLOAF's book (fun reading and worth it!), and he says, that he's an actor that sings. And if he can't get into it, the song doesn't work! And this is the important part of it all ... you have to learn how to get into "character", and not be afraid of it.
 
Music is no different! 

I was OK until question 4....unless 'looks like he's been set on fire and put out with an axe' is acceptable...

Rehearsals don't have to be about the notes at all.  That is practice.  On your own.  Rehearsals can be totally about the performance itself with all the nuances and detail and emotion.  I have witnessed some nice music being played in rehearsal.  And thinking wow, pity no one else heard that.
 
I think the trick  is what Danny is saying too.  Once you really start to get into it, you start to feel good, and excited, not scared anymore.  Then your playing can go through the roof.
 
On the other side of the subconscious mind stuff, you can really start to imagine and believe amazing things as well, not just say bad things not happening, and then the amazing things start to happen too.  But you do need three things though.  Repetition, faith and expectancy.
 
If you suffer stage fright it is because you have told your subconscious mind that so it makes it happen.  Change your thoughts and you change your destiny.  This is Joseph Murphy now, not me, but I have applied the principal and I am convinced it works.  Craig I am glad you and others are interested in this as well.  It is fascinating stuff.

craigb

jamesg1213
I was OK until question 4....unless 'looks like he's been set on fire and put out with an axe' is acceptable...

I thought the same thing - LOL!
 
As much as I tried, I simply never had the hair for the 80's - oh well! 
 
(That Rain is one lucky guy, eh?  Hehe...)

I did!  check out the mullet!!!
 


 
BTW - I didn't know it at the time, but that beautiful young woman seated in the front middle became Mrs. Beagle 26 years ago!

 
(Oh yeah, nice catch Beagle!  )

Very good points Kenny.
 
You reminded me of one particular pub gig where we turned up to be greeted at the door by 4 or 5 evil looking guys.
 
''You the band? You better be good, or you're ******* dead''
 
Concentrates the mind, that kind of thing.

Every time I happened to help friends setup at a new place (or was playing roadie) I would always take an outlet tester and check the power receptacles.  All you need is for one to be wired backwards to not only screw up gear, but it could be potentially fatal if someone plugged in to one socket touches another person plugged in to the wired backwards socket.
 
You ought to clean up that list and make it into a nice "Kenny's Gigging Tips" sheet! 

Just put down the Kool-Aid and back away from the TV eph! 

I could never be part of the Goth scene, but I do love most of the music!
 
My preferred room is large, high up (for a great view of some country-side, mountain, meadows and lake) with lots of windows and mostly white with color added.
 
And this is the type of house I wouldn't mind having!  (I doubt you would see many Goths in this!).
 

Slugbaby
...
A bandmate saw me shaking before a show once and asked me these simple questions.
1.  Have you rehearsed enough to know what you need to play?  (yes)
2.  Do you trust that the rest of the band has rehearsed enough to know what they need to play?  (yes)
3.  Do you sound good? (yes)
4.  Do you look good?  (yes)
"After answering those 4 questions, you should be comfortable.  You're presenting exactly what you intend to. What the audience is thinking is irrelevant as long as YOU have yourself covered."
... 

I asked the girl about to go on stage for her first time ... the same 4 questions (with minimal variations, like do you know who you are saying the lines to?) ... and then the fatal error ... she pointed "out there" ... and I looked at her ... and said ... wait a minute.
 
(Questions chapter 2)
 
5. Which play are you in?
6. Where is the story?
 
So why the finger pointing?
 
Answer:
I don't know.
 
My final words. You are very good. You learned your lines well. You worked them great with the others. Now, it's time to go out there and have fun with the others. You might have to pause a little if they laugh ... that's OK, you can turn a bit and look at the next moment, and make it look like you are thinking what to do next.
 
Answer:
Oh. OK
 
She stole the show and got a standing ovation, even after incredibly smart moments, when a map that was 10ft tall and 20ft wide, fell over her head ... and she adjusted beautifully, by bringing it to the guy that was "interviewing her" and asking where she wanted to be born on the map. What would likely have been the hardest moment for most actors, when things fall apart, became the highlight of the show ... her dragging the map (further off the wall!) to the guy! Perfect. Couldn't have been written. 
 
But it was all an extension of the rehearsal process, which worked on adding/subtracting things that were not a part of the story, so they knew how to get in and out of it. BUT, you have to know your lines/score, so you can ease up when you have to.
 
But it helps when you can make sense of the work, and help guide a line to the next. While this is more "internal" in music I think, since no one discusses meanings and thoughts regarding the sequence of notes (very important for theater and film, btw), in general, for my seeing, this is where musicians disconnect. It becomes too many soloists in the same room. Or what do they call it? Too many chef's in the kitchen? And I find those ideas and situations scary, as the inevitable is that you are fighting something else, which is ego driven and should not be a part of the work you are doing and trying to catch an audience with. Even Eric has complained about that ... sometimes I feel like I'm all alone, and nothing makes sense, to play, or do. I'm guessing he doesn't even know the musicians half the time, and they all fall into 3 or 4 lines of music in lieu of rehearsal?
 
To me, that music, and show, has already lost the spark, and to think that one person can bring it back, is a very unfair and very screwed up thing to demand of anyone, when more often than not it is the whole band that makes it work, not just the guitarist, keyboardist, or drummer, or anyone else.
 
To me, this is what Rain is fighting the most! But I think he has the withitall to do so, and at least showcase some ability, where most just talk and do not know how to play as well. Baby, just get out there ... and do your shine! YOUR SHINE!
 
(This is the reason why I do not like to do what everyone else does. You will always be compared to someone else, no matter how good you are. Sort of like Blues guitarists ... a dime a dozen ... now which one is better? Who has the best inner feeling? No one can find the depth, because it is an idea, NOT A REALITY. Think Jimi. Think SRV. Think others. You really think they did what they did because they did not like to "trip" and "fly" with the music? It's about your inner space! And that is "direct'able" ... but most bands are not that far into the work at all ... they are too much into invisible ideas of this or that! Of course you will be shaky and scared. It's someone else's idea that is not clear, concise and ready, or the players would all be ready and already shining.

I played two services this morning. After 18 months of live playing, today was the first time I didn't feel nervous and actually got absorbed by the music. It felt great. Such a soulful experience.

craigb

michaelhanson
I played two services this morning. After 18 months of live playing, today was the first time I didn't feel nervous and actually got absorbed by the music. It felt great. Such a soulful experience.

Nice!  Remember that feeling well and you can recall it the next time you start off nervous.  One quick method is to make what we call an anchor.  Go over your experience in your mind noting everything that's going on around you (the lighting, sounds, people and, especially, how you feel), intensify it, then anchor it by doing something like pinching an earlobe (hold it for a couple of seconds).  The next time you want that feeling all you have to do is pinch your earlobe again and your previous state should return for you. 
 
It's a useful technique, but it relies on you having a great experience to relate to (which you now have!).

Oh god, nurse ratchett used the royal *we*.

Boy you really have that room pretty much done now, don't you?