vinceconaway: (Default)
I'm having an interning time, operating in my third language. I'm doing pretty OK, and it's starting to feel more natural as I continue, but there are still holdups. For one thing, Italian is a huge help until it isn't. There are a few simple rules to remember and I can often convincingly fake a word using its Italian equivalent. When that doesn't work, though, it really doesn't work, and what I find most frustrating is when a noun changes gender. It's not hard for me to remember that "orecchio" becomes "orejo", except that it's actually "oreja". Drives me up the wall.

The differences are interesting in other ways, as well. Spanish has a multitude of ways to call something attractive, where Italian gets a lot of mileage out of "bella". With "bonita, linda, hermosa", Spanish has a lot of ground covered. And their word for musical tuning gives me great pleasure, "afinar", "to make fine" (as in fine art). Italians are differently poetic, saying "acordare", "to make agree".

To sum up, I'm really enjoying pushing my limits when it comes to language. I'm learning a lot in a short time, and it's really intense. ¡Salud!
vinceconaway: (Default)
It has been a truly wonderful day, performing in Concepcion for the first time. The city is built for busking, and is filled with buskers, but despite their numbers and their amplification I found ample spaces to perform. I had a lot of fun and did quite well for myself, but at the end of the day one memory stands out.

A little girl, maybe six years old, had been handed money by her parents to toss into my hat. I thanked her and made my typical half bow, and she responded with an absolutely florid bow in return. I've been grinning about it ever since.


Jan. 11th, 2017 07:58 pm
vinceconaway: (Default)
What a day it has been!

My plane landed in Santiago shortly before 10am and I cleared customs and immigration with no hassle. I caught a shuttle bus into the city and checked in to my hostel for the night. It's the only night of the tour where I'll be sleeping in a dorm, and it's been fun getting to know some fellow travellers. It's quite a mixed group, surprisingly close to my own age and including a professor and quite a few hikers.

The bed wasn't ready when I arrived, so I left my things and went for a few hours of walking through the city. It was surreal because I know I've been here and spent the night, but absolutely nothing about the city is familiar whatsoever. It feels like total Terra Incognita, and I've enjoyed exploring with a fresh eye. Tomorrow I head to Valparaiso, which I expect to be more familiar since I spent a delightful week there in 2014.

I spent a bit of time today reassembling my dulcimer; I slack the strings for air travel. Its builder has laughed at my abundance of caution, but it makes for much less stressful flights to know that my baby is completely unencumbered and is built to withstand 3000 pounds of tension. In a very rare occurrence, both my flights (CLE>ATL and ATL>SCL) were large enough aircraft that I was able to bring the dulcimer on board with me. Quite often the domestic leg is in a smaller plane and I need to gate check it with the strollers. If I'd known it would be overhead luggage the whole route I might not have spent the time taking the tension out of the strings, but gate checking is always at the last minute and I like to be prepared.

I feel quite well! With only a two-hour time difference I have no jet lag, just fatigue from a very fitful night in a small space. It could have been worse, of course, since I had an empty seat beside me which I shared with the woman on the other side of it so we could both spread out a little. I'm taking it as a good omen for the tour that on a pretty full flight I got such a luxury.

Of course, now that I've arrived I'm realizing my packing mistakes. I forgot sunblock, which was easily rectified at a corner pharmacy (though not before I got a little sun on my afternoon wander). More interestingly, I brought too many dark shirts. I'm used to coordinating outfits with jeans, but this time I decided to adopt a more formal look with black slacks and I probably should have taken that into account when choosing the rest of my clothes. I did run across a gentleman in a similar outfit, however, and his look screamed "musician" so I think I'll be OK.

My phone says that my "strolls" involved 11 miles of walking today, so I'm calling that a win. I certainly feel I've got a better grip on the city, and maybe it'll be a bit less foreign the next time I turn up. Tomorrow I'm off to Valparaiso, the standout city of my 2014 South America tour!


Jan. 9th, 2017 09:42 am
vinceconaway: (Default)
My plane leaves tomorrow for South America and I'm rather nervous. I've been to Chile before, and one reason I scheduled the trip the way I did was to have three weekends in my favourite and most successful busking city from my previous tour. Still, it is a place where I witnessed a theft of a woman's camera from off her shoulder, and has a reputation for being on the dangerous side.

A lot of my anxiety is less serious, though. I'm mainly concerned about catching buses, since the websites haven't let me purchase tickets ahead of time. I'm about to try again, at least for the two buses that are most important for my timing: nights when I haven't booked lodging because I'm planning on an overnight ride. Even so, the crossing into Peru is a bit tricky. From what I can tell, in guidebooks and online fora, the way to do it is to catch an informal taxi (colectivo) across the border to Tacna, and then grab whatever buses I can to Cuzco. Happily, I've had the foresight to give myself three days to manage any delays before I head out to Macchu Picchu, the most timing-sensitive plan of the trip.

So I head back into the void, taking the leap once more. It's a reason I savour travel as much as I do; it forces me to live in the moment and dance to the tune of circumstance. It's brutal on my psyche, but I never feel more alive.
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I'm looking over my repertoire and putting together lists of music that needs work in the next few days before I go to Chile. I've been focused on the upcoming 2018 recording session, so I've been writing, arranging, learning, and retaining new material; but now I need to switch gears. In South America I anticipate that I'll mainly be playing original music, with some renaissance and baroque added for flavour, but I've only got about 20 of my songs performance ready at any given time. If I can add another dozen worthy-but-forgotten pieces into the mix then life will go a lot more smoothly for me.

I'm well into crossing t's and dotting i's.
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I leave for Chile a week from today, and it's a bit intimidating even as I'm knocking out chores left and right. (Emails to festivals? Check! Income taxes? Check! Sales tax filings for $0 in states I haven't worked lately but that impose non-filing penalties? Check!) I'm wondering about what I may be missing, as well as the anxiety over the many things that could go wrong.

Plus, I'm looking further into the future. Do I want to return to the US via Milan or Munich this summer? Come back right before Pennsic or into the thick of it, giving myself an extra weekend of busking at the expense of treasured down time? Do the Holborn Praeludia look like a better fit for the 2018 or the 2022 albums? (Yes, I really do think that far ahead, and the 2020 album is set firmly enough in my mind to know they wouldn't be appropriate there.)

It's a whirlwind, and I'm looking forward to the moment when my butt hits the airplane seat. I stress beforehand, but once I'm strapped in my perspective changes and my anxiety drops as I focus less on what might happen and more on what is actually happening.

I'm looking forward to it.
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I was caught by surprise with several events in 2016, so I'm looking to make fewer assumptions and have fewer expectations in the new year. Happily, I'll be spending much of 2017 abroad, where I excel at living on my toes.

One reason I enjoy traveling is because of the person it brings out in me. As a touring busker I'm well aware that anything can happen, and I embrace possibilities even as I dance among them. As someone who sees recognizing opportunities as his most essential skill, travel is my best mental exercise, and upon every return I feel recharged from having left.

And so, as I make my wishes and resolutions for the coming year, I'm keeping that mental flexibility foremost in my goals. Happy new year!
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I know it's been a hard year for a lot of people, but personally it's treated me fairly well even as I mourn for various people and events. I'd like to thank everyone who made this year so good for my music and travels; it's been a very full year for me, and I can't believe so much has happened in a mere twelve months.

I began the year in southern Ontario, Canada, recording Dulce Melos. I'm incredibly proud of how it came out, and of how ambitious I was with the complexity of its music. I continued my Baroque explorations, delved even further into sixteenth century music, and discovered some fourteenth- and fifteenth-century gems in addition to the Celtic and early medieval music which has long been my foundation.

From Canada I went to Texas, although it minimized my culture shock that I was living in Austin (unofficial motto: "Keep Austin Weird"). I had a truly splendid experience at the Sherwood Forest Medieval Faire, feeling myself absolutely at home among close friends old and new. It's a delightful show with a lot of heart and skill behind it and I relished the experience of playing there. Austin audiences were incredibly welcoming and generous, and between my colleagues and our patrons I had a magical time.

From the newness of Sherwood I returned to my stomping grounds of Gulf Wars, a large SCA (Society for Creative Anachronism) event in southern Mississippi. I had a great time, as my Canadian friends mingled with those I have in New Orleans. We did have a bit of an incident, however, with a massive storm system that swept through. I had just begun a set in the tavern when the intense winds and driving rains began, and I moved my setup to the minstrels' gallery (it's an amazing place). I spent the next few hours at my dulcimer, doing my best to add a bit of calm to the atmosphere. They're calling that night "Gulfnado", and it's a story that will always be shared by those who were there.

I then headed to Italy as I do most years, where I made some discoveries pro and con. Cities that have been good to me in the past, Padua and Bologna, had recently passed anti-busking regulations, and even the nominally friendly city of Perugia gave me some problems. In response, I broadened my busking to cities where I had spent very little time in the past, and was very pleased at my welcome in Prato, Terni, Foligno, and Pistoia. Taranto, Genoa, and Pisa were delightful and reliable as they've been so often in the past, and I'm pleased to have added Foggia to the list of cities where I reliably return.

From Italy I resumed my renaissance festival circuit, picking up in St Louis. I always feel very at home there, with this being my fifteenth year there as a musician, but it was a bit of an oddity; the festival is in the process of moving from the spring to the fall, and these two weekends were "preview" weekends offering a limited version of the show free to the public. Even so, I had a really positive experience, and the weekends were a rousing success.

I then spent a month performing at SCA camping events. It's typical for me to include a few of these throughout my year, as with Gulf Wars, but we were celebrating the fiftieth anniversary of the Society's founding. This meant that I went from St Louis to a ten-day camping event outside Kansas City, and on to a week outside Indianapolis, with a few days visiting my parents before a long weekend at the War of the Trillium surrounded by my family of friends in Greater Toronto.

I then continued my Canadian adventures by spending July as a street performer at Byward Market in Ottawa, the nation's capital. I love Ottawa and, as is a theme in my travels, have a number of friends there. It's my favourite busking pitch in North America, as a historic neighbourhood meets a farmers market under the umbrella of a very helpful and organized management team.

I returned to the States, and to the SCA, for my annual trek to Pennsic, north of Pittsburg. My fifteenth year there, I'm starting to play for the children of people who started listening to me as children, themselves. I taught a class on neat medieval sites to visit in Italy, and I was honoured to co-teach a lesson on street performing with my old friejnd and dear colleague Jack Strauss, who calls himself Dr Henry Best in the Society. We have sharply different styles, and it was a lot of fun to see where our perspectives differed and lined up. I'm especially proud to be a part of this class because it has a history of encouraging artists to become professionals, with several alumni who have gone on to make some brilliant art.

I'm running out of creative ways to say "and then I went someplace else".

So off to the New York Renaissance Faire rode I! It's a truly beautiful show set in a former botanical garden, where I'm surrounded by (you guessed it) good friends, delightedly playing for New Yorkers who live in the live entertainment capital of the world and know how to be a phenomenal audience.

Sadly, the New York Faire overlaps with the new autumn dates of the St Louis Renaissance Festival, but I was able to return for the last two weekends of its season. As I mentioned, the preview weekends had gone off very well, and the full show was an even bigger deal.

After two weekends off, which I spent being a social butterfly in southern Ontario again, I headed south to Louisiana. This was my fourteenth year at the Louisiana Renaissance Festival, after a very difficult year for them. The site flooded in March, under 8 feet of water, and after they had cleaned it up did so again in September. I was deeply impressed at how many people pitched in their labour to make things work, and how well management pulled off the event after two such disasters. Thankfully the weather had gotten the water out of its system, because we only had one wet festival day the entire season for a remarkably good run.

In short, it's been a very good festival season for me. Outside of my live performances, however, I also got a lot more into Internet video this year. I launched a Patreon campaign and I'm very pleased both at its generous reception and with how much fun I'm having. I've been intending to take more video, and this has been a brilliant motivation to keep coming up with new variations. Many thanks to all of my patrons! And many thanks to everyone who has offered me encouragement, feedback, applause, and their business. Without you there could never be me, and I'm deeply thankful.
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I'm going to a New Year's Eve party and I just read the invitation; it's a wake for a brutal year, and we'll be bringing sentiments to burn and wishes for the new year. It's a fairly standard Yule ritual, and not my first rodeo. But like everything else, as I approach my fortieth birthday, it carries a lot of memories.


I had just finished my first season at the Ohio Renaissance Festival and I was informally engaged to my girlfriend of two years (no ring, but she had asked and I said, "yes"). I was on top of the world, and when it came my turn to express my thoughts on the passing year and wishes for the next I stood tall.

"It's been a year of music and love, and I hope for even more to come!"

It was a sentiment to remind me to be careful what I wished for. My relationship ended in early April, but I booked my first full summer/fall season of renaissance festival work and was very much on my toes with launching my career. This meant that I was fresh meat on the circuit, and I call that period my "summer of love".

A dear old friend still makes fun of me for breathlessly calling every week to exclaim, "there's this girl!" as I repeatedly fell head over heels at a dizzying rate. I look back on that time with fondness and I'm on good terms with several of the ladies involved, but while I'm glad to have lived it I would never want to repeat it.

What a wild ride it was, and now I'm a lot more careful with my wishes. I'll let you know what I come up with.
vinceconaway: (Default)
I'm booked through July, here's where you can find me!

January 10 - March 7
Busking tour of South America (Santiago de Chile, Valparaiso, Concepcion, Temuco, Valdivia, Villarrica, Vina del Mar, Antofagasta, Calama, Arica, Cusco, and Lima)

March 12 - 16
Gulf Wars (SCA)
Hattiesburg, MS

March 17 - April 9
Sherwood Forest Faire
Bastrop, TX

May 2 - July 27
Busking tour of Europe (Genoa, Vicenza, Cremona, Modena, Orvieto, Gubbio, Foligno, Pisa, Dubrovnik, Mostar, Sarajevo, Split, Rijeka, Ljubljana)

July 30 - August 4
Pennsic War (SCA)
Slippery Rock, PA
vinceconaway: (Default)
I hadn't realized that backdated entries would go into everyone's feed as they have. I'm so sorry! From here on, I'll schedule daily updates ten years to the day after I made them, so they'll trickle in at a more reasonable rate. Again, my apologies!
vinceconaway: (Default)
It's one of my greatest strengths. The world is full of brilliant artists and sharp business minds, but being competent at both is likely my greatest competitive advantage.

I just said "competitive advantage" in describing an artistic career. I rest my case.

I called it a career, which is also a strong argument in my accountancy. But I'm overselling my case. The key to my success has been knowing when to temper practicality with art, and vice versa.

For example, I just booked a completely frivolous trip to London while I'm busking Italy, since I could keep expenses under $300 including the concert tickets for the show I wanted to see (two back-to-back Frank Turner performances in his concert series "Lost Evenings"). I booked the plane seats now because I wanted to guarantee my attendance once I had my concert tickets, but I haven't yet booked my flight from Cleveland to Milan because it's a business expense I want to be deductible on my 2017 taxes instead of fiscal 2016. By flying out on Sunday morning and returning on Tuesday, I'll only lose a single day to busking, minimally impacting my work schedule.

And so I've put my accountant brain into action in an artistic goal. This is my career write small, from busking tours of amazing places to working festivals where other people go for vacation; I'm not here to make a buck, but to support my own happiness. I've been deeply lucky that it's still rolling along, and I consider the soul of an accountant to be another lucky break.

Many thanks to you all, without whom I could never have made it work!
vinceconaway: (Default)
I've solidified my Chile tour details! I spent a few hours last week with my guidebook and previous research, and I strung together a bunch of cities and dates in a way that looks like a feasible tour. My Patreon patrons got to see this last week, since they're a big help in keeping me on the road, but I'm excited to share details with the general public!

January 10: depart Cleveland

January 11: arrive Santiago de Chile

January 12: arrive Valparaiso and the real beginning of the tour

Janaury 16: travel south to Concepcion

January 19: Temuco

January 23: Valdivia (northern edge of Patagonia)

January 26: Villarica

Janaury 30: back in Concepcion

February 2: back in Valparaiso

February 6: Vina del Mar

February 9: third weekend in Valparaiso (the city was the highlight of my 2014 South America tour and a big reason I chose Chile)

February 13: travel north to Copiapo

February 16: Calama

February 20: Iquique (I know I can't busk there because of city law, but the place looks stunning)

February 23: Arica

February 28: Cuzco, Peru

March 2: Day trip, Macchu Picchu and happy birthday to me!

March 4: Lima

March 7: 2am departure back to Cleveland

I'm getting really excited!
vinceconaway: (Default)
It's funny, but I've been conceptualizing my return to Chile for so long that is hasn't felt real. Ever since I caught a bus out of Valparaiso in 2014 it has been my intention to return, and even buying a plane ticket didn't add much more than typical money anxiety.

But now I've got an itinerary and I've started booking housing. For some reason, the reality of the trip only starts to really come together in my mind once I've done all my googling for busking info, when I've read my guidebook and marked the places to go, and when I've looked at bus routes in order to map out a progression from city to city in a way that makes practical sense. So now I have it, and it feels like A Thing. I'll let you in on the details next week; I want to give my Patreon patrons a bit of a head start on the details since they're helping finance the trip.

Interestingly, the high-profile Macchu Pichu visit isn't really my focus. At a friend's prodding, for which I'm grateful, I've explored my options to get there beyond just putting the nearby city of Cuzco onto the appropriate part of my calendar, and I've asked my parents for a very luxurious Christmas/birthday present to bring the details together. Beyond that, I'm too busy focusing on January to really give my full attention yet to March.

Don't get me wrong, I expect to be floored by the ruins and I've heard legends from fellow travelers. Still, the busking side of things is what really gets my creative juices flowing, possibly because I unhealthfully define myself through my work. Regardless, I've worked through the first phase of anxiety (though I'm sure there will be others), and now I'm eager and ready!
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A lot has changed as I've grown older, and my driving habits are a fascinating example.

When I was 24 I spent six weeks commuting between Cincinnati and Tampa, fourteen hours each way. I was in grad school, taking classes Tuesdays and Thursdays, performing at the Bay Area Renaissance Festival Saturdays and Sundays, and driving Mondays and Fridays. It was brutal, and the next year gas prices and creative problem solving encouraged me to switch to airplanes.

As my body has aged I've noticed that my capabilities for such drives aren't what they once were. More importantly, I no longer have the will to force myself to undertake such misery. I'm at a fortunate place where I can afford a few $50 hotel rooms throughout the year, and I schedule around that.

I rarely drive more than nine hours in a day, and never more than eleven. I'm more willing to take breaks than I was in my twenties, enjoying a stroll around a rest area and maybe indulging in a handstand for blood flow to wake me up. And I'm liberal with allowing myself the aforementioned hotel rooms.

Oddly, however, I noticed today that some of these changes don't seem to be one way. I only started drinking coffee in my early thirties, and recent bouts of TMJ-related jaw issues have caused me to quit caffeine entirely once again; apparently my thirties were the buzzing decade. Today I drove over eight hours and I reverted to form, with only a single gas/lunch/bathroom stop at midday. It seems there was a different variable at work.

Now I'm questioning other assumptions about my aging process. This could be fun!
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Having experienced my first Renaissance Festival at Baycrafters (see Origin Story Part I), I went off to college. I was dating a girl in Dayton, Suzzi Bibby, while going to school in Columbus, and I accumulated a lot of miles between the cities. It was she who introduced me to the Ohio Renaissance Festival.

We went as patrons, and soon were going in costume. We would treat the admission fee as a cover charge and spend all day in the pub, watching band after band. Soon we were playing together the music we were hearing, with my experiments on mountain dulcimer (no relation to my now-primary instrument, the hammered dulcimer) being accompanied by her playing on recorder and bodhrán (an Irish frame drum).

We called ourselves the Tweedford Minstrels, since our music straddled English, Scottish, and Irish traditions just as a fictitious ford on the River Tweed would straddle the countries of England and Scotland. Our first and only performance was at the Ohio State University Medieval and Renaissance Faire in May of 1997.

We had broken up the previous January, and the band outlived the relationship only briefly. I was branching out into new music and we weren't getting together to rehearse as often now that we were dating other people more local to us. I had taken up the cittern, a ten-string instrument that had more volume, more flexibility, and more of a renaissance image. And so I went solo.

In 1998 I played a madrigal dinner, and my hosts Mac and Cheri Corbeil insisted that I audition for the Ohio Renaissance Festival. I didn't feel myself to be ready, but I played the Ohio State Medieval Faire again on my own and gathered the courage to audition for ORF that summer.

To my amazement I got the gig.

Everything else I've done followed from that moment. I discovered that my love of performing went deeper than I had imagined, and I learned that there were people who made a living by traveling the country and bringing joy to their audiences. I investigated the Renaissance Festival circuit and began plotting a future, even as I commuted to North Carolina to fulfill an internship with IBM. A stark choice lay before me, and I was strongly considering Option B.

I have never regretted treading the path less taken.
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I was recently approached by someone who wanted the story of how I got into renaissance festivals, since they are compiling such stories into a book. My imagination was fired by the idea, until I realized they were just asking for a detailed questionnaire. I'll still do that, but I wanted to share the details of how I got into this crazy business.

It all started when I was fourteen years old and my parents took me to the Baycrafters Renaissance Faire in Cleveland, over Labor Day weekend. My young mind was blown, and I knew I had found my tribe. I saw a lady play the lute, and I was shocked that such skills were still known and practiced. I saw my first SCA demo, where a group of fighters demonstrated the difference between Hollywood fight choreography and how massed medieval troops actually conducted themselves.

I went back over the next few years, and the memories blur. As a sixteen-year-old independent driver I was in line just as the parade was lining up. They offered free admission if I marched with them inside a giant puppet, and suddenly I was a performer.

The next year I name-dropped a booth name for free admission. Allen Drago's Patchwork Merchant Mercenaries was willing to vouch for us as employees in exchange for helping him take down the giant pavilion at the end of the show, and it was a small price to pay.

During these trips, one or two days a year over the course of my high school career, I made a lot of friends and became closer to ones I already had. I was involved in a lot of adult discussion it had previously been difficult for my teenaged self to engage. And I saw my first hammered dulcimer.

Matt Ableson was the player, who is now an acquaintance of mine. My family is from a dulcimer-playing region of Appalachia, and I later ran across dulcimers there, but my first experience was through what later became my primary venue: the Ren Faire. And I hate to admit it, but my first impression of the instrument was resentment that my girlfriend had a crush on the guy.

To be continued...
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I have my strengths and my weaknesses, in friendship as in everything else, and my greatest strength in that arena is in supporting my friends who are going through big changes. I see opportunities in difficult times and find them exciting, and with my life experiences I like to think that I'm good in easing people through abrupt trauma. Job changes and divorces are my specialties, in light of my own past.

What I am not good at is offering emotional support in coping with longstanding but unchangeable hardship. I'm not good at coping, in general, preferring to effect big changes in response, but not everyone has such freedom. Kids, finances, and strong senses of commitment, in particular, hold a lot of people in a course they hope and expect to get eventually better but will be unpleasant in the meantime.

This is not my forte. I'm great with a late-night call that says "I left him" or "he left me" but I'm terrible with cocktails over "I'm miserable but can't do anything about it". I'm not good with "I need to suffer through this job another year", but solid with "I just quit/was fired". I am sad to say that I have offered insufficient support to friends who needed it because I can't hear those stories for long before being the voice for radical change.
vinceconaway: (Default)
I've written about my first trip to South America when I went to Buenos Aires on vacation and missed my dulcimer the whole time. In 2014 I went back as a busker, and had an amazing experience.

I hit Buenos Aires, Montevideo (Uruguay), Rosario, San Luís, Córdoba, and Mendoza, plus I dashed across the Andes to briefly visit Santiago de Chile before hitting that country's cultural capital, Valparaiso. I fell in love with Valparaiso and had a really fulfilling experience, but I lost my shirt.

My biggest issue was that South America is really big. Most of my busking has been done in Europe, which is remarkably compact. In Italy, if one city doesn't work I'm within a reasonable train ride of another city I can try, even as repeated day trips if I've prepaid my lodging. In South America that doesn't fly, and it was a better financial decision to eat the loss than to wrack up bigger bills to roll the dice again.

So, when a cop would tell me I was not allowed to busk, I was basically up the creek until I was scheduled to move on. This lead to some really great experiences, but as I said I lost a lot of money on the trip. I'm taking those lessons into account as I plan another South America expedition.

I'm booking a lot more cities, so instead of a week in each place I will spend 3-4 days. It will be a much more hectic travel schedule, but lessens my risk from individual cities not working out (even if I'm busted everywhere I go I'll still get 2-3 days of playing a week). I've done my homework and none of these cities have regulations regarding buskers, but that means nothing when an individual cop decides he doesn't like what you're doing.

I'm also looking to bring some CDs with me. Lacking CDs would have been manageable if more cities had worked out for tips, but they significantly improve profitability and could have helped me with my limited playing time. Also, Argentina has serious trade barriers but Chile has a free-trade agreement with the US, so that will be a huge help as well.

Finally, I'm budgeting with the idea in mind that I'll lose my shirt. Rather than projected grosses, I'm planning on minimal income so that anything above that will be a bonus. Losing money wasn't my problem in 2014, losing money I couldn't afford was my problem.

I'm excited and nervous and can't believe how quickly the dates are approaching!
vinceconaway: (Default)
It was a casual conversation that got deep very quickly, which is my favourite kind. She led with, "the way you live and travel means you'll have no regrets on your death bed". I responded, without thinking, "no, I'll just regret not taking better care of the relationships I sacrificed for travel".

I then expounded, "I'm an egoist but I'm not a narcissist: not a user, just neglectful". Harsh truths at the end of a tiring weekend.

August 2017

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