The Session >> Discussions >> What happens in our minds when we "lose our cool" and miss the notes?
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What happens in our minds when we "lose our cool" and miss the notes?
What happens in our minds when we "lose our cool" and miss the notes?
In the entertaining post about tying tune names to the tunes, Will mentioned a very ugly, but true phenomenon. It's that moment when we really concentrate on NOT messing up that hard section of the tune - even though we have always played it just fine before, and even though we are really trying to get it right - it gets screwed up. Why does this happen? Why did it happen to me every time I tried to play the first part of "the scholar" tonight in rehearsal? It never gave me a problem before. What's wrong with my Zen thing? Did my "dogma get run over by my karma?" How do you avoid this problem?
Dirk
It's not just musicians who get this problem. Some years ago, the Royal Shakespeare Company in Britain was doing a long run of "Hamlet". The opening line of the play is "Who goes there?". A week or so into the run the actor whose line it was couldn't for the life of him remember it, and froze completely, even though it was a play he knew inside out and his part wasn't one of the more difficult. I've seen it happen to a soloist in a concerto that she had performed dozens of times. Her memory went at a critical point. The conductor picked up the score and held it in front of her for a few seconds; she recovered, and hardly anyone in the audience or the orchestra noticed this momentary glitch, or the conductor's quick thinking.
This sort of problem happens to most public performers sometime or another, and I suspect (but don't actually know) that it may be something to do with overconcentrating. I don't think it's the same as the result of not quite knowing the stuff 100% or being under-rehearsed. Are there any pyschologists among us who can give an explanation, which might indicate a solution?
The actress Sinead Cusack was being interviewed on the radio the other day and was reminiscing about her big break, when she was offered a part by the Abbey Theatre company. The company were moving into a new building and were putting on a play by Louis MacNeice as the inaugural performance. In one romantic scene, the script and directions required her to walk to the front of stage with her lover, point out across the auditorium to an imaginary lake and sigh, 'Look at that couple in the punt'. Despite being warned constantly during the weeks of rehearsal that the line was potentially a disastrous spoonerism, come the opening night the treacherous consonants turned up in the wrong places and shortly thereafter Sinead C was cordially invited to leave the Abbey Theatre Company.
So things could be worse than messing up the start of 'The Scholar'.
I read a pretty good quote in a golf magazine from a pro who was talking about the mental aspect of the game of golf. He said that instead of thinking about all of the money and/or fame he was going to win or lose based on this put, or thinking about all of the people watching him on the course and on TV at home, he tried to block out all of that and instead concentrate on what he wanted to happen, and how he was going to make that happen. He said to envision the successful completion of the put and then stay concentrated on what you want to happen. This applies to playing music.
If I'm having a hard time concentrating, I close my eyes while I play until I get in "the zone." It helps me to concentrate on the music instead of everything else that is going on.
Another thing that works for me is to just believe in myself. I think that the huge egos and "in-your-face" type attitudes of some of the greatest athletes in the world is a part of their secret for success. If I get myself reved up with something akin to this kind of self confidence I always perform better no matter what it is.
I think the belief in myself helps in the recovery from these momentary lapses. Perhaps it supplies the confidence that will help me keep going even after this happens, or it may help me play some improvisation to "noodle" through the flub. I have had disastrous moments, though, when belief in myself has turned to overconfidence, and a little premature celebration happens in the brain just as I'm getting to an interesting part in the tune. At that point, I have lost concentration, and I have screwed up the following part in the most spectacular kind of squeaking and belly flopping I've ever performed. I think part of the art of concentration is somehow not getting distracted by that ego at the wrong moment, or not letting it last longer than the moment, somehow.
Is someone says to you "Concentrate and what ever you do... don't think of elephants!" The first thing you are bound to do is think of a pachyderm just to make sure you are not thinking about them. After that it may get harder and harder not to think about them and about reeking revenge on whoever told you not to think about them in the first place.As someone whose addled mind is constantly in "a zone" I find it helps a lot if you know what the progression of notes are following the ones you are playing and it always helps to have a few variations to fall down on.
mac, was that the Hamlet run starring Kenneth Branagh? I saw it in Stratford-on-Avon, knocked my socks off.
Yeah I recently botched a potentially great transition into a tune I knew like a rock in front of some players I was hoping to impress, & was kicking myself later for it. For my part, I was trying to show off by ornamenting a tune I was just learning, thereby causing me to miss the boat. That'll teach me. :(
Emily, I can't be sure whether it was Kenneth B's "Hamlet" - it was some time ago. I read about it in a magazine article about golfer's "yips" and international soccer players missing open goals from 10 yards, and similar professional disasters. Apparently, in the case of the RSC actor he was useless for the rest of that scene and the others had to "carry" the poor guy.
I've found it good policy with a tune I've recently learned complete with one or two ornaments not to play those ornaments the first few times at sessions. For one thing, the session is probably playing a bit faster than the speed I've been learning and an ornament at that higher speed will put my timing out, and concentrating on the ornament will, as you've found out, tend to hinder my recollection of what comes next, so I might find myself playing the second ending to the A part instead of the first ending.
I think ornaments will come in their own good time when the tune becomes instinctive.
In 2001 I was at workshops in Listowel, and in one of the concerts put on for the students Brendan McGlinchey was playing a couple of reels solo on stage. He got to the end of the A part of the first reel and stopped suddenly. He laughed and said "I've forgotten me own bl---y tune!" (cue sympathetic laughter from the audience). Whereupon he went to the side of the stage and had a quiet word with one of the other musicians there who presumably hummed the start of the B part to him. Brendan then returned to centre stage and played both reels through without incident, to tumultuous applause at the end.
A tutor referred to this incident next day and said anyone can forget part of a tune they know well, when performing. The trick is to do what Brendan did - laugh it off and relax. And if a memory lapse occurs while you're performing with a group, then drop the volume, keep your fingers moving, and whatever happens keep the rhythm going. The chances are then good that you'll get back on stream in a bar or two and no-one will notice. A bit like that solo lady cellist I mentioned earlier, in fact, although I think the conductor deserved a medal for his quick thinking on that occasion.
Emily, no matter what you do, when you are trying to impress other players, Don't try to impress them! (Good grief, it sounds like what I used to tell myself when I was dating.)
Of, course, if all else fails, it's always good to have a few good noodling, improvisational techniques, some backup variations, and
that most important ability to laugh it off. If you forget the B part of a jig, try slipping into a rendition of "Leave it to Beaver." or something. Thanks for the story about Brendan, Trevor. Those kinds of moments are fun for everybody.
The other thing that helps is remebering that we are not in the middle of performing brain surgery with the terrible experience of, "What was I doing just now?" It's only music.
But, even so, I'm curious about what kinds of things might help us learn to concentrate better without over concentrating? What is the secret of that eleven-year-old fiddler who sometimes sits in with us, and can watch the bar TV while playing fast reels without ever missing a lick?
Heh, Dirk, I notice that I play better when I quit paying attention to every little note in the circle and instead look around the room, winking at people I know (and people I'd like to know better and noticing what new artwork is on the walls and what the bartender is wearing, and reading what that kid's t-shirt says on the front, etc.
Or maybe I just think I play better because I'm not listening to myself.....
Trevor, I heard Johnny Cunningham do a similar thing once at a solo concert--stopped in mid phrase and looked at us in the front row and said, "Well that's never happened before. My bow was going in the wrong direction." And then he laughed and made some crack to himself about "up and down, how can either one be 'wrong?'" and went on his way through another 25 minutes of nonstop reels.
Actually, I have a harder time remembering my own tunes than the ones I didn't write. And it is supremely embarrassing. But it gives everyone else a great laugh, and that's not a bad thing, making people smile.....
Will, it might actually be good for you socially if you have a harder time remembering your own tunes than the others. What would happen if it was the other way around? Would it be akin to laughing too hard at your own jokes?
There's another good reason to look around the room, too. If I forget to make eye contact with the other players and look around, then there's the danger of going into what my wife calls "the piper zone." Actually it's nothing more than a completely vacant expression on my face which can happen if the concentration level is too high. It isn't a pretty site - mouth gaping open, eyes staring, unblinking, etc. Do you think that it also may help to listen to other players while we play? For one, we may be more together rhythmically...
For years, I could only play in groups if I concentrated really hard on what I was playing...much to the detriment of my noise fitting in with what everyone else was doing. But otherwise I got distracted and fell apart.
Then I learned to keep playing while paying attention to the rest of the group for rhythm and basic melody.
Then I got comfortable enough to listen to what individual players were doing and try to echo their riffs, all while trundling along on my own instrument. Eventually this becomes second nature and it's by far the most fun way to play. But it is a learning curve, and it took me some years to get there. To me it feels like my playing is at once on auto pilot and instantly accessible for me to take the controls and veer off in a different direction, based on what the person next to me or across from me is doing. Some day I might even get good at it....
This is all very instructive. Since I play with Dirk quite a bit, I can now more creatively needle the hell out of him knowing what he thinks about this. *grin* Be warned, Piper. Heh.
Regarding the pouple in... er, the couple in the punt: they should never have mentioned the word spoonerism to the poor woman - it was asking for trouble. Imagine if someone were teaching you The Collier's Reel and they said, "Oh, and mind you don't lapse into The Farewell to Connaught," and proceeded to demonstrate their similarity. You' never again be able to start one without slipping into the other.
Unfortunately, my fingers and my ears conspired against me, discovering of their own accord the similarity between the two aforementioned tunes. There's no hope for me now.
My mother told me how she once beat my dad at bowling simply by asking him which foot he led off with. I sometimes think we'd be better off without brains -- at least that's my story and I'm sticking to it!
And just to add to the list of big names that things like this happen to, I remember seeing Matt Molloy doing his big solo with The Chieftains several years ago. Right in the middle of The Mason's Apron he crashed completely, but just stopped and started again where he left off, completely unconcerned. Which I found quite inspiring.
Hmm this may be too risque for thesession, but based on Dirk's facial expressions, we have a running joke out here that, well, melody players often look like, well, we might be, uh, visiting the lieu, where the backers have that slackjawed drooly face of someone, well, doing something a little more intimate.
Close your ears blu, you too mark. But since you both are melody players, I'm sure you're familiar with the aforementioned facial expression anyway.
Gary Larson's has pinpointed this one in his Far Side cartoon where a percussion player in a big orchestra is waiting to bang his cymbals thinking "I'm not going to blow it. I'm not going to blow it"....
A short while ago a tune was posted, which I identified in the comments as being in G lydian. This set me thinking about the stranger modes such as the locrian, so I looked around for a suitable candidate to play around with and homed in on the Shores of Lough Gowna, a B minor tune.
If you play it with all the sharps as naturals, you have a tune in B locrian. I wish I didn't because now I can't get the locrian version out of my head! And as for "unremembering" it and getting back to the straight version, well .... I think I need counselling.
Be warned! This is bit like the legendary joke book where if anyone opens it and reads the joke they immediately die laughing...
Oh no! Zina read EVERYTHING that I wrote! Now I'm in trouble.
I'll have to get her back by playing the Swallowtail reel right before the Congress reel in the session. (evil laughter.)
LOL -- don't bother, I always mess those up anyway, it doesn't take any special effort! *snicker* It's one of those "start playing the one and end up playing the other" set of tunes for me, I don't know why, there's just something in the B of those tunes that makes my fingers play into the other....
As if I needed any extra ammo to give Dirk a hard time...You just make it too easy, Dirk! ;)
What happens in our minds when we "lose our cool" and miss the notes?
What happens in our minds when we "lose our cool" and miss the notes?
In the entertaining post about tying tune names to the tunes, Will mentioned a very ugly, but true phenomenon. It's that moment when we really concentrate on NOT messing up that hard section of the tune - even though we have always played it just fine before, and even though we are really trying to get it right - it gets screwed up. Why does this happen? Why did it happen to me every time I tried to play the first part of "the scholar" tonight in rehearsal? It never gave me a problem before. What's wrong with my Zen thing? Did my "dogma get run over by my karma?" How do you avoid this problem?
# Posted on January 13th 2003 by dirk
Re: What happens in our minds when we
Dirk
It's not just musicians who get this problem. Some years ago, the Royal Shakespeare Company in Britain was doing a long run of "Hamlet". The opening line of the play is "Who goes there?". A week or so into the run the actor whose line it was couldn't for the life of him remember it, and froze completely, even though it was a play he knew inside out and his part wasn't one of the more difficult. I've seen it happen to a soloist in a concerto that she had performed dozens of times. Her memory went at a critical point. The conductor picked up the score and held it in front of her for a few seconds; she recovered, and hardly anyone in the audience or the orchestra noticed this momentary glitch, or the conductor's quick thinking.
This sort of problem happens to most public performers sometime or another, and I suspect (but don't actually know) that it may be something to do with overconcentrating. I don't think it's the same as the result of not quite knowing the stuff 100% or being under-rehearsed. Are there any pyschologists among us who can give an explanation, which might indicate a solution?
trevor
# Posted on January 13th 2003 by lazyhound
Re: What happens in our minds when we
The actress Sinead Cusack was being interviewed on the radio the other day and was reminiscing about her big break, when she was offered a part by the Abbey Theatre company. The company were moving into a new building and were putting on a play by Louis MacNeice as the inaugural performance. In one romantic scene, the script and directions required her to walk to the front of stage with her lover, point out across the auditorium to an imaginary lake and sigh, 'Look at that couple in the punt'. Despite being warned constantly during the weeks of rehearsal that the line was potentially a disastrous spoonerism, come the opening night the treacherous consonants turned up in the wrong places and shortly thereafter Sinead C was cordially invited to leave the Abbey Theatre Company.
So things could be worse than messing up the start of 'The Scholar'.
Paul M.
# Posted on January 13th 2003 by sergeant fox
Re: What happens in our minds when we
Cook at that louple in the punt? What's wrong with that?
(Great story, Paul M.!)
# Posted on January 14th 2003 by cuchulain54
Re: What happens in our minds when we
I read a pretty good quote in a golf magazine from a pro who was talking about the mental aspect of the game of golf. He said that instead of thinking about all of the money and/or fame he was going to win or lose based on this put, or thinking about all of the people watching him on the course and on TV at home, he tried to block out all of that and instead concentrate on what he wanted to happen, and how he was going to make that happen. He said to envision the successful completion of the put and then stay concentrated on what you want to happen. This applies to playing music.
If I'm having a hard time concentrating, I close my eyes while I play until I get in "the zone." It helps me to concentrate on the music instead of everything else that is going on.
Another thing that works for me is to just believe in myself. I think that the huge egos and "in-your-face" type attitudes of some of the greatest athletes in the world is a part of their secret for success. If I get myself reved up with something akin to this kind of self confidence I always perform better no matter what it is.
-Troy
# Posted on January 14th 2003 by RTP
Re: What happens in our minds when we
I think the belief in myself helps in the recovery from these momentary lapses. Perhaps it supplies the confidence that will help me keep going even after this happens, or it may help me play some improvisation to "noodle" through the flub. I have had disastrous moments, though, when belief in myself has turned to overconfidence, and a little premature celebration happens in the brain just as I'm getting to an interesting part in the tune. At that point, I have lost concentration, and I have screwed up the following part in the most spectacular kind of squeaking and belly flopping I've ever performed. I think part of the art of concentration is somehow not getting distracted by that ego at the wrong moment, or not letting it last longer than the moment, somehow.
# Posted on January 14th 2003 by dirk
Re: What happens in our minds when we
Is someone says to you "Concentrate and what ever you do... don't think of elephants!" The first thing you are bound to do is think of a pachyderm just to make sure you are not thinking about them. After that it may get harder and harder not to think about them and about reeking revenge on whoever told you not to think about them in the first place.As someone whose addled mind is constantly in "a zone" I find it helps a lot if you know what the progression of notes are following the ones you are playing and it always helps to have a few variations to fall down on.
# Posted on January 14th 2003 by Greenwiggle
Re: What happens in our minds when we
mac, was that the Hamlet run starring Kenneth Branagh? I saw it in Stratford-on-Avon, knocked my socks off.
Yeah I recently botched a potentially great transition into a tune I knew like a rock in front of some players I was hoping to impress, & was kicking myself later for it. For my part, I was trying to show off by ornamenting a tune I was just learning, thereby causing me to miss the boat. That'll teach me. :(
# Posted on January 14th 2003 by emily_bmore
Re: What happens in our minds when we
Emily, I can't be sure whether it was Kenneth B's "Hamlet" - it was some time ago. I read about it in a magazine article about golfer's "yips" and international soccer players missing open goals from 10 yards, and similar professional disasters. Apparently, in the case of the RSC actor he was useless for the rest of that scene and the others had to "carry" the poor guy.
I've found it good policy with a tune I've recently learned complete with one or two ornaments not to play those ornaments the first few times at sessions. For one thing, the session is probably playing a bit faster than the speed I've been learning and an ornament at that higher speed will put my timing out, and concentrating on the ornament will, as you've found out, tend to hinder my recollection of what comes next, so I might find myself playing the second ending to the A part instead of the first ending.
I think ornaments will come in their own good time when the tune becomes instinctive.
trevor
# Posted on January 14th 2003 by lazyhound
In 2001 I was at workshops in Listowel, and in one of the concerts put on for the students Brendan McGlinchey was playing a couple of reels solo on stage. He got to the end of the A part of the first reel and stopped suddenly. He laughed and said "I've forgotten me own bl---y tune!" (cue sympathetic laughter from the audience). Whereupon he went to the side of the stage and had a quiet word with one of the other musicians there who presumably hummed the start of the B part to him. Brendan then returned to centre stage and played both reels through without incident, to tumultuous applause at the end.
A tutor referred to this incident next day and said anyone can forget part of a tune they know well, when performing. The trick is to do what Brendan did - laugh it off and relax. And if a memory lapse occurs while you're performing with a group, then drop the volume, keep your fingers moving, and whatever happens keep the rhythm going. The chances are then good that you'll get back on stream in a bar or two and no-one will notice. A bit like that solo lady cellist I mentioned earlier, in fact, although I think the conductor deserved a medal for his quick thinking on that occasion.
trevor
# Posted on January 14th 2003 by lazyhound
Re: What happens in our minds when we
Emily, no matter what you do, when you are trying to impress other players, Don't try to impress them! (Good grief, it sounds like what I used to tell myself when I was dating.)
Of, course, if all else fails, it's always good to have a few good noodling, improvisational techniques, some backup variations, and
that most important ability to laugh it off. If you forget the B part of a jig, try slipping into a rendition of "Leave it to Beaver." or something. Thanks for the story about Brendan, Trevor. Those kinds of moments are fun for everybody.
The other thing that helps is remebering that we are not in the middle of performing brain surgery with the terrible experience of, "What was I doing just now?" It's only music.
But, even so, I'm curious about what kinds of things might help us learn to concentrate better without over concentrating? What is the secret of that eleven-year-old fiddler who sometimes sits in with us, and can watch the bar TV while playing fast reels without ever missing a lick?
-Dirk
# Posted on January 14th 2003 by dirk
Re: What happens in our minds when we
Heh, Dirk, I notice that I play better when I quit paying attention to every little note in the circle and instead look around the room, winking at people I know (and people I'd like to know better
and noticing what new artwork is on the walls and what the bartender is wearing, and reading what that kid's t-shirt says on the front, etc.
Or maybe I just think I play better because I'm not listening to myself.....
Trevor, I heard Johnny Cunningham do a similar thing once at a solo concert--stopped in mid phrase and looked at us in the front row and said, "Well that's never happened before. My bow was going in the wrong direction." And then he laughed and made some crack to himself about "up and down, how can either one be 'wrong?'" and went on his way through another 25 minutes of nonstop reels.
Actually, I have a harder time remembering my own tunes than the ones I didn't write. And it is supremely embarrassing. But it gives everyone else a great laugh, and that's not a bad thing, making people smile.....
# Posted on January 14th 2003 by Will CPT
Re: What happens in our minds when we
Will, it might actually be good for you socially if you have a harder time remembering your own tunes than the others. What would happen if it was the other way around? Would it be akin to laughing too hard at your own jokes?
There's another good reason to look around the room, too. If I forget to make eye contact with the other players and look around, then there's the danger of going into what my wife calls "the piper zone." Actually it's nothing more than a completely vacant expression on my face which can happen if the concentration level is too high. It isn't a pretty site - mouth gaping open, eyes staring, unblinking, etc. Do you think that it also may help to listen to other players while we play? For one, we may be more together rhythmically...
# Posted on January 15th 2003 by dirk
Re: What happens in our minds when we
For years, I could only play in groups if I concentrated really hard on what I was playing...much to the detriment of my noise fitting in with what everyone else was doing. But otherwise I got distracted and fell apart.
Then I learned to keep playing while paying attention to the rest of the group for rhythm and basic melody.
Then I got comfortable enough to listen to what individual players were doing and try to echo their riffs, all while trundling along on my own instrument. Eventually this becomes second nature and it's by far the most fun way to play. But it is a learning curve, and it took me some years to get there. To me it feels like my playing is at once on auto pilot and instantly accessible for me to take the controls and veer off in a different direction, based on what the person next to me or across from me is doing. Some day I might even get good at it....
# Posted on January 15th 2003 by Will CPT
Re: What happens in our minds when we
BTW, have you heard the one about the three leprechauns trying to get into the Guiness Book of World Records (joke continues ad nauseum).....
Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha Ha.....
(Sigh....sorry
# Posted on January 15th 2003 by Will CPT
Re: What happens in our minds when we
This is all very instructive. Since I play with Dirk quite a bit, I can now more creatively needle the hell out of him knowing what he thinks about this. *grin* Be warned, Piper. Heh.
Zina
# Posted on January 15th 2003 by Zina Lee
Re: What happens in our minds when we
Regarding the pouple in... er, the couple in the punt: they should never have mentioned the word spoonerism to the poor woman - it was asking for trouble. Imagine if someone were teaching you The Collier's Reel and they said, "Oh, and mind you don't lapse into The Farewell to Connaught," and proceeded to demonstrate their similarity. You' never again be able to start one without slipping into the other.
# Posted on January 15th 2003 by ragaman
Re: What happens in our minds when we
Unfortunately, my fingers and my ears conspired against me, discovering of their own accord the similarity between the two aforementioned tunes. There's no hope for me now.
# Posted on January 15th 2003 by ragaman
Re: What happens in our minds when we
My mother told me how she once beat my dad at bowling simply by asking him which foot he led off with. I sometimes think we'd be better off without brains -- at least that's my story and I'm sticking to it!
# Posted on January 15th 2003 by cuchulain54
Re: What happens in our minds when we
And just to add to the list of big names that things like this happen to, I remember seeing Matt Molloy doing his big solo with The Chieftains several years ago. Right in the middle of The Mason's Apron he crashed completely, but just stopped and started again where he left off, completely unconcerned. Which I found quite inspiring.
# Posted on January 15th 2003 by Gzeg
Re: What happens in our minds when we
Hmm this may be too risque for thesession, but based on Dirk's facial expressions, we have a running joke out here that, well, melody players often look like, well, we might be, uh, visiting the lieu, where the backers have that slackjawed drooly face of someone, well, doing something a little more intimate.
Close your ears blu, you too mark. But since you both are melody players, I'm sure you're familiar with the aforementioned facial expression anyway.
# Posted on January 15th 2003 by emily_bmore
Re: What happens in our minds when we
Gary Larson's has pinpointed this one in his Far Side cartoon where a percussion player in a big orchestra is waiting to bang his cymbals thinking "I'm not going to blow it. I'm not going to blow it"....
# Posted on January 15th 2003 by MrGanAinm
Re: What happens in our minds when we
A short while ago a tune was posted, which I identified in the comments as being in G lydian. This set me thinking about the stranger modes such as the locrian, so I looked around for a suitable candidate to play around with and homed in on the Shores of Lough Gowna, a B minor tune.
If you play it with all the sharps as naturals, you have a tune in B locrian. I wish I didn't because now I can't get the locrian version out of my head! And as for "unremembering" it and getting back to the straight version, well .... I think I need counselling.
Be warned! This is bit like the legendary joke book where if anyone opens it and reads the joke they immediately die laughing...
trevor
# Posted on January 15th 2003 by lazyhound
Re: What happens in our minds when we
Oh no! Zina read EVERYTHING that I wrote! Now I'm in trouble.
(evil laughter.)
I'll have to get her back by playing the Swallowtail reel right before the Congress reel in the session.
# Posted on January 15th 2003 by dirk
Re: What happens in our minds when we
LOL -- don't bother, I always mess those up anyway, it doesn't take any special effort! *snicker* It's one of those "start playing the one and end up playing the other" set of tunes for me, I don't know why, there's just something in the B of those tunes that makes my fingers play into the other....
As if I needed any extra ammo to give Dirk a hard time...You just make it too easy, Dirk! ;)
zls
# Posted on January 15th 2003 by Zina Lee
Re: What happens in our minds when we
Hey, despite my facial expressions, I'm only "easy" in some ways.
So, has anybody here actually succeeded in playing "Pigeon on the Gate" back to back with "The Drunken Landlady?"
-Dirk
# Posted on January 15th 2003 by dirk
Re: What happens in our minds when we
But definitely not "cheap", Dirk... *snort*
# Posted on January 15th 2003 by Zina Lee
Re: What happens in our minds when we
More intimate than visiting the lavatory? I can't imagine what you mean, Emily...
# Posted on January 16th 2003 by ragaman
Re: What happens in our minds when we
Emily, I think I now understand why some players prefer to play with their eyes wide shut.
trevor
# Posted on January 16th 2003 by lazyhound