Welcome to Episode 41 of the Bandhive Podcast.

It is time for another episode of the band. I've podcast. My name is James Cross. And I'm here with Erin Gingras, drummer of the band Suburban Samurai. How are you doing today, Erin?

I'm doing quite well considering the special guests we have with us in the studio today. Well, in their own studio remotely, uh, connecting with us today. Oh, yeah. You know, it's good to be here. I guess I'm a little surprised to even, uh to be interviewed. That's Ah, it's Ah ah, unique honor. Well, we're happy to have you here. For those of you who didn't catch in the title. We're speaking with Christian James of James and the giant sleep. We talked with Ryan from Robot Dog Studio back on Episode 34.

All about live streaming. And we know you've been working closely with him, doing a bunch of video work, a robot dog as well as being an artist under the name James and the Giant Sleep. And You and Ryan released that amazing music video for my friend the App Estate back in April. I think it was We know that a lot of D. I Y artists don't really have their strong suit in video because musicians or musicians, that's their art. And so we wanted to get you on the show.

First of all, to talk about the music that you dio but also to get more information out there for artists who are just starting out with the video so they can kind of put something together on a shoestring budget as well. So to just launch into it. Can you tell us a little bit about your background in music and video, starting in whatever order you prefer? Okay, well, I guess we'll start with with music, I guess is really what spurns sort of like everything because while sure, yeah, it's like wiggly air.

For the most part, part of how I write music is seeing pictures in my head. So I was like 12, started playing piano when I was a kid. Saved up all summer to buy my first keyboard. Um, you know a bottle and can return, And I just sat there and poured over. I had this, like, first beginner, like blues keyboards sort of book that I just, like, digested. Everything was in it. And it was It was obviously not the kind of music that I wanted to play, But things were starting to click pretty quickly, like I started starting to grasp. Okay.

Oh, okay, so that's a key, or that's a scale. So yeah, it was kind of like just doing the simple math in my head and trying to, like, add all these things together. And I was like, Okay, so So this is, like the like, the raw fundamentals of, like, music basically. And then from there, you know, I mean, this was like a 2000 8009. So YouTube was a big things, you know, we're still like on It's like big rise. And people were getting a lot of popularity and people were making piano tutorials and guitar editorials.

And so that's also another place where I started learning a lot of music, and I was just getting obsessed. I would try to download and pirate free sheet music that I could still barely read. And I still barely can read sheet music, but it was just more or less like. Okay, so these are the cords. I know how the song sounds. And Okay, now I got it. That's sort of a deal. Gosh, fast forward. A few years because we could be here all day. I was 23 this light went off in my head.

I was like, I'm going to die like I know that some day I'm going to not be here. And you know, I love music for so long. Um, there's a lot of things that were holding me back. I got sucked into a religion that was very much. Well, I'll say cult. That was very much against pursuing what they would dimas worldly careers. So I was like, Very I was very devout at the time. But also, like this whole pole toe, like, be a musician and and pursue our and things that I cared about, was always still there and always aided me.

So 23 came around the slide off one went off in my head. I was like, I gotta do something. So at the time, I had my little 2000 and 10 Mac book pro. I think it waas and I had logic nine that I don't don't do this, kids, but I Pirated it on. Uh, you know, I just started tracking. I was just like I didn't know the first thing about mixing e don't know the first thing about mastering I still have this little M audio fast track, and my big focus was just making sure that all the tracks we're in time everything was just like they're so that took me nine months and I recorded 11 songs.

It was terrible. It was a train wreck. I had one condenser mike. I had a friend who played drums. I put that singular condenser mic in front of the drum set, and I was just, like, play. Just do it, Get it In time, we did multiple takes. I could probably dig through my computer and find that whole album is trash. And I knew that it sounds like garbage. You know, I did put it out for people to kind of like listen to because I was like, Well, I at least want to, like, show people what I've been up to for the last nine months.

But then I quickly took it down because I was like, This doesn't live up or represent anything that I want to be or it doesn't really show what is actually happening in my head. So I was like, I gotta find a recording studio. The biggest thing that I was looking for is like, I didn't want to end up in some guy's basement with a jug of urine in his corner and still lives with his mom. You know, I wanted somebody who was like doing it for a living.

Knew what they were doing. Totally competent. And that's where I came across. Robot Doc Studio. I was actually actually vlog my entire recording process. It's up online. You could probably go watch it. Those videos, videos, air. Also terrible. And yeah, you know, the second I met Ryan, I was like, I couldn't get a read on him. I was like, Who is this guy? E? I was like, already I've already listened to all of this work. I was very impressed. I was like, This is amazing. So for a few months, I just went into, like, I'm eating nothing but ramen noodles and being a butter and jelly sandwiches just so I could pay to make this happen.

I didn't care. You know, like the stuff that I do. It's all I live for. I didn't care. I didn't care about anything. You know, I was I'm still running on my winter tires for the last two years, you know, it's it's all about, you know, like maybe that's not the safest thing. But it's just that all that I could really invest myself into that that's all I cared about. So, yeah, we started working like I I mean, I remember talking to him. I was like a little weird kid, like, Do you have you have plug ins?

Do you have Ah, pedals? What kind of pedals do you have? Can you show me your pedals? Just kind of being, like, really weird and just trying to, like, get a feel for like, what I was getting myself into and yeah, but once we started working, there were nights when we burnt the midnight oil like I was there I would take. I was driving from Rutland, you know, like an hour and a half away. And I would like book hotel rooms and we would sometimes worked late into the night and yeah, so I recorded seven songs.

Not all of them are released yet. It's kind of a table project for now. Like the level of what I wanted to achieve with James and the giant sleep required a lot more hands and a lot more patients that when I come across people they just don't have, and I just don't settle for less. If it's not gonna be what I wanted to be, then I table it or I let it go altogether. And James and the giant sleep isn't over by any shows you imagination. But I think you know, once I released the rest of the music, it'll probably take a significant turn where it'll either just be all me or I will try again to piece together a band the way I sort of envision that.

But I don't know, you know, um, assed faras like filmmaking and video goes, uh, when I was like 17 or 18, I bought my very first DSLR. This is like at the turn of the DSR Revolution. You know where you know what What those cameras could do now was really game changing, and people were making content over YouTube. YouTube was like all I fucking cared about. You know, I would watch hours of YouTube videos and look at what people were filming on. And cameras that were popular were like canon cameras for a while.

And I was like, I don't know if I want Thio invest that much just yet. Like, it was still me just trying to break in tow, like, you know, understanding what a camera waas let alone, you know, like making such a big investment. Eso. Anyway, I bought my first DSLR was a Pentax k X, I think shot the most beautiful 7 20 p I think I've ever seen, uh, you know, that was that was really good old days, you know? And then it was good. Like, I mean, there was 10.

80 p, which is the other option. I was like, uh, I don't know the 7. 20 though it looks crisp. Uh, now we're here in four K land and the whole game has changed. But, uh, so yeah, about And it ran on four. Double A batteries, if you can believe it. A thing? Um it was Yeah. I took that thing everywhere. I was filming, you know, get togethers. I was filming just, like, random stuff all the time. Like I was I made my own music videos and a lot of my shot just me by myself.

I'd have toe, of course, put it on a tripod. So it makes theme movement less dynamic. But you could tell a story, and that's what a lot of what I did, you know, like, I wish I had those videos still, but they're gone because I wiped my computer several times. Um, but yeah, you know, and I think about those All those things I showed my friends and I showed her family like, Wow, you know, you got kind of a knack for that. This was like with a kit lens and no lighting.

And let me tell you what, like when you're shooting with a camera with no lighting and you can't really open up that glass past like, F four. You get noisy shots, and by noise. I mean, like grain in your image That's not too pleasant or pleasing. So it's not a low light camera by any stretch of the imagination. But I didn't stop me. Uh huh. So, yeah, I would do that a lot. And after a while, it kind of fell out with it because I got so focused on doing music.

But, you know, filmmaking and video has always been something that's I really don't know how to really explain it. You just kind of like I don't know. I pick up on things and I just sort of do them like, Oh, yeah, I've seen that before, so and I know how to do it, and I do it. I don't know. I just e guess I've learned through watching other people do it enough for, like, watching so many music videos or so on and so forth. Don't really know how to articulate what I'm trying to express, But hopefully that doesn't enough justice.

First and foremost, I'd wanna express like an appreciation for it, and we sort of have touched on it in past episodes. Um, but it sounds like you kind of knocked out the same thing, and it's the idea of it. Sounds like with some of your earlier music, you kind of put something together in the way that you could at the moment to just get it out, established past practice, see what that's about. And then you threw it out there into the world. And then But then you also sort of did the other thing, Which is you did that.

Okay, Like you've walked through the process from start to finish once, and then now you're sort of realizing. Okay, you know, maybe I wanna either control this a little more or sort of, you know, not temper expectations, but sort of set the expectations, I guess, in a different way. And so rather than, sort of, you know, be the opposite of like, I don't know Axl Rose or something. You're taking your time, which is also important. So I just wanted to point that out, that two important things, uh, to try that we've talked about before on the podcast, and it sounds like you've not both of us out.

So thank you. Because I can think of a lot of people who are a huge fan of like Onley one or on Lee the other. And like the answer is Oh, just because without sort of thinking about it. So it sounds like with whatever you do, you definitely put a lot of thought into it. Yeah, I'm I'm obsessive in particular. Uh, e think it shows a lot to that. You were obsessive and meticulous with James and the giant sleep stuff. But with your first album, you just wanted to get something out there.

I think that's what Aaron is saying is you know, even though you have that tendency to want to make it perfect, which I think is really good for an artist because anything less than perfection is just gonna be difficult. And when I say perfection, I mean to the artists themselves because not everyone's gonna like it, Unfortunately. But if the artist feels that it has fulfilled what they wanted to dio, that's perfect for the artist. I think it's really cool that you got that out there and then said, Hey, you know what?

I'm gonna do it again. I'm going to write new songs going to improve, and we're going to do it in a studio and all that I think it's also really interesting how you were saying that you just pick up on things which I guess I could say learn by example except that you're not seeing someone telling you how to do it. You're seeing it and saying, I know how to do that Which is also, I think, a really cool way to pick up on things. And does the same thing happen musically for you as well?

Where it was that specifically for video? Well, I mean, I think a little bit for both. I mean, the thing for me when it comes to music is E guess. I've always had a pop sensibility because it's all I grew up on, where I feel like artists that I come across, they write great music. But you know, there's just things that are missing that, like, make me want to stay there or, like, draw, draw me in or like Oh, that's a great hook. Do it again, except it only happens once in the song.

And then I'm like, I only want to listen to that one part, you know, for me, I, uh so once you digest like I mean, I can't tell you how many times they pour it over hours of watching YouTube videos and watching people like I don't know. Maybe you guys know these people. Alex Goo, Tyler Ward, Christina Perri, Christina Grimmie. She was big, you know, lots of like thes. Very like early adopters of like the way the music industry had changed, you know, especially with the advent of things like YouTube.

And they were making just simple videos of them playing covers in front of their webcam or whatever they had. And then I was like, Okay, so that's the structure of a song. And it kind of goes like that. And for a long time, I was like, Oh, man, I need to be like I need to be Axl Rose and or I need to be, like slash or something like that to write great music. And I said, You know, Well, I mean, that's a whole style of playing that's really like being mortgage tar centric rather than like the structure of a song, you know, and what makes a great song in general.

So it was just like that, like it wasn't even like conscious. It was just sort of like, Oh, I get that. I see that I know how to do that. Or, you know, of course, the way people listen to music now has changed. Like when I was listening to music when I was a kid, And I'm probably sounding like an old person even though I'm not. That old is I would take my little, um, Discman jogger CD player, and I put in a CD and I'd sit on my bed and I would just do that.

I would listen to that thing from front to back. Remember, my cousin was one time he sent me this, Um and excuse me because the band now has gotten a bit of a bad reputation based on a certain lead singer. But brand new, uh, he sent me there the devil and got his raging inside me album. I sat there. I listened to the whole album from front to back, and I just digested all of that. I was like, What are the elements that make this like what it is?

And, you know, I would try to, like, pick apart some of the melodies and things on the keyboard, but it wasn't until much later with my exploration into the music and learning like, you know, the math of music a little bit. The Mawr like theory, end of things that I started to like grasp. Oh, they're playing in a minor key, you know, like, Oh, that's why it's so like that, you know? And I think people, Ah, lot of times afraid of repetition. But I embrace it because for me it's like creating a Web.

And when you create a Web, things get stuck in it. You know, it's like and you're also creating a universe, and the universe is based upon structure. And, you know, without that structure, it's just a stream of consciousness. It's ever changing. And is it really any different from any other form of stream of consciousness? Kind of like a snowflake, like a snowflake has a structure, and it has like and that's what I think. How I think of a song is it's It's supposed to be something like that.

Ah, model or a theme or an idea And yeah, I guess I'm just hating on jam music right now. Careful with that in Vermont. Whoops, anyway, but yeah, you know, it was just like e think it was just sort of like all those things were sort of subconscious and the same with film making, like it's sort of like, Well, you know, like the conventions like I mean, have you ever watched a movie? Have you ever seen what makes the movie look good? Or how a subject is framed like if you're shooting at eye level all the time, that stuff is not interesting.

That doesn't add any like dimension to whatever it is you're filming. It's just very like boring. It's flat Light is another thing, because, you know, we're suckers for contrast, you know? Yeah, I mean those sorts of things. I just feel like I watch people's work sometimes. And I'm like, Did you just do you? Have you ever seen a movie? Have you ever seen of it? You know, I don't know. But anyway, I digress. Well, that actually takes us into one of the things that we wanted to talk about, which is how can d I y artists.

Specifically, musical artists create ah high production value video with a D. I Y. Budget because I know that's something that you're really good at because of your experience and your skill. I think that might be something that you can bring to the audience. Well, here's the thing about D I Y when it comes to doing a music video. If you're a musician, don't do it yourself. Get somebody else to do it for you. Um, the other part two, that is, um, stop thinking about shoestring budgets because they're very limiting.

It's called running gun filmmaking. And it's not the kind of filmmaking that I like to do because my brain is running a mile a minute. And the more questions, the more stuff that you have to ask me or like, Oh, can you get this or can you do that? I'm trying to focus like I'm trying to do this work for you. I don't really believe in this, uh, shoestring budget mentality or like this whole D i Y thing. D I y Yeah, sure, like if you have no other choice, do it yourself.

But if you have the means, because here's the thing. My friend, the apostate when we shot that video, that was of course it was running gun. And yeah, I paid nothing. I should have paid probably close to $1000 for that because it was the whole eight hours. Ryan was nice enough to help film that. I just said This is what I dio. This is how I set this up. Can you hold the camera? Can you frame it however you want? Like you're here? Thank you. But it took every hand from the bassist Phoebe.

That was not our space. That was a place that she worked, that she had gone permission. Like, you know, you have to ask for favors. And if you don't have the people Thio or the hands of the friends or whatever toe offer you spaces or to get in for free, then that's gonna cripple you to you know, here's the thing when we're thinking low budget, I would say Think somewhere inthe e 1015 $100 range, at least because I don't think people understand how music video budgets breakdown. People are always asking me Well, what's your rate like?

I don't charge rate. It's about what the need is for your video, what you're asking for. You know, I've talked to people like Oh, um, when I was just trying to put out feelers for people who wanted to shoot a video This kid comes to me with He wanted, like, some crazy visual effects. Um, something about, like, faces turning into animals or something like that. And I was like, I've never seen that in a video. But I've definitely seen it on, like, instagram where there's, like, a nap That'll change your face toe like a tiger or something like that.

And I'm like, Yeah, cool. Maybe we can figure that out. Okay? Yeah. Green screen. And, oh, you wanna like have it in different locations. Okay, So what's your budget? He gave me something to the tune of, like, I don't know, $300. And I was like, Well, here's what $300 will get you I'll show up. I'll basically what? Because I'm not just a videographer. I know. It's like, Well, like if someone's like looking for me, they're gonna be typing videographer. But what I do and what I offer in the skills that I have are more than just somebody who is a camera man, you know, like, let's like, get really, um, $300 gets you a basic at it and maybe I'll color grade it.

You know, maybe I'll be nice and I'll shoot and not wreck 709 b. Riel. And you know, the thing is, is like, I see so many artists that have these really nice guitars and, like vintage amps and paddleboards with Like, I remember the sky had like a Cali. It's Kelly 69 or Kelly 77 or something like that. It's a really nice compressor. I've been looking at it for years, love that thing. But I mean, that thing was like $800. 9 somewhere in the $1000 range, honestly, And I was like, Okay, so where's your album?

And you know, where's your music video? And like, Who are you? You can invest in all this other stuff, but, like what about the things that promote really, what is your business? And I struggle with it all the time because it's like, Sure, I've shot Cem music videos on budgets less than really what's feasible or workable. And those videos air fine for what they are. You know, I'm busting my ass and trying to make you know a name for myself is well. But when it gets right down to it.

The more money that you have means that you do get better quality. Shoot on your iPhone if you're really like. You know, if you don't want to spend any money, shoot it on your iPhone. But there's a reason why you're contacting me, right? There's a reason for it. And you're looking for a return on your investment. But all you want to invest is a couple $100. That's not going to get you that far. You know, we have to take into consideration locations. Okay, Well, if we're talking about locations, what are the limitations?

Is there enough light? Are we need to get lighting, weaken, rent, lighting. Do you have that in your budget? Do you have it in your budget to get in the door of wherever you wanna go? What about? Did you ever consider that we might need or want a crew of people? You know, if you're gonna have ah story, you might have to have extras and those Those people need money and they need to get paid. You're also gonna have to pay them through their stomach a little bit.

So add on catering better throw them together to go play. If this is a low budget music video like, there's just things that aren't really pulled into consideration. And I think people need to get into the mentality, especially now. Now is really unique time. Andi. I think people are kind of getting a little discouraged and a little sad. Now is the better time than ever to invest in yourself. Invest in your business because guess what? Nobody's stopping and whoever is. There's people that are still running. The race is still going.

No one's gonna have everyone run up to the line and say 123 go And then then you get your chance, toe, get ahead or get noticed or whatever. Now is the time, Especially right now, considering the way especially like with, you know, we don't have performance is happening right now, which I understand is a lot of people's source of revenue. But who's going to show up to your show if they don't really know who you are? The other part to music is that nobody is like I said, like nobody's listening to music like they used to, or at least the way I used to.

I used to put in a CD, and I used to listen to it from beginning to end. You want to know where people are consuming the most of their music honestly, is probably not Spotify. I mean, maybe passively more often than not. But the other part which is free is YouTube. And you better hope that if you're putting your music on YouTube that you have a video attached to it, something that's gonna not Onley engage their ears but their eyes, because we don't listen. Whether you're anymore, we listen with your eyes, you know, it's it's multi cellular.

And I hate just how much people aren't really giving consideration to all the the variables of what they're doing. Because obviously they had all the drive and all the initiative to go and invest in gear and the bass guitar that money could buy and all the pedals. And, you know, they spend the gas money to get to the show for what to stay in the town that they play in every single day. Do they really want to make a career out of it? You know, Is this just for fun?

Then why are you hitting up me or the recording studio that you just wanna basically lowball, you know, and try to make out with some recording, You know, that's where I'm anyway. Well, I love what you're saying there because first of all, you know, you did mention that being in a band is running a business, and that's what our whole podcast is basically about. But I also think it's so important that you're calling out the people who don't want to put in the energy and effort to do a professional music video.

I mean, obviously there are artists, too. Can't get the money together for one reason or another. But you already said that when you are recording, you're eating ramen and PB and J, and so especially if you're looking at, you know, a four or five piece band, they can scrape that money together much more easily because you're just you. You know you're doing that by yourself for other people. If they want to have that success, there is gonna be a cost to it. Not everything in life is gonna be free, totally.

And I think what you're kind of getting to with the gear that artists by you know they will buy a four or $5000 guitar if it's you know, American Gibson or something, and then play local shows is imposter syndrome. They think that having this amazing instrument, which hey, I would love to have a four or $5000 Gibson Les Paul. But people think that having that instrument makes them a better or more professional musician. When really a more professional musician would say, I want that. But I need to release a song with a good music video.

Yeah, you know that. And that's where the priority seemed to lean. And I don't get it because, you know, people talk to me about, like, true bypass pedals, and I'm like, Well, you know, I can't tell the difference or people will talk about Oh, well, your Line six spider sounds like crap. I'm like, Well, have you ever listened to a good player? Play through that? You're not gonna be able to tell the difference between, like the lines of Spider and I don't know, maybe some other amp or whatever.

Like, or at least the average listener. Anyway, I think it's just sort of misplacing their priorities. We all need to want to get noticed in it and have attention. And we don't just get discovered anymore. We need to get that illusion or that idea out of our heads. If you do great, lucky you. You're amazing. Hopefully you don't get chewed up and spit out at the other end because once people are done with whatever fat or whatever you're facilitating or meeting or whatever, they're going to be done with you.

But you know, the ones that have sort of built it from the ground up and established that strong fan base. And maybe it took a lot of time and effort and energy, But like, let's be really, what else do you have to live for? If you have something that you love and that you care about, don't waste the time. Don't waste the time on just playing it safe and seeing what happens and go all in. You know, I had a drummer and you know, he was a great drummer, like a still a good friend.

Care about him, lies and and other projects right now. I paid for all of it. It would have been awesome toe, maybe split it 50 50. But I paid for all of it. I would have loved to have had a band that was like, Yeah, let's like, split it four ways and we'll get so far and we make all this progress But that didn't happen. So here I am. And that's the other thing, too. Is like you kind of pitch a like This is the dollar amount like, you know, and there's some, like, room for negotiation.

But, like, they're like, Oh, no like that. This eats up all of this budget we don't really much like. Okay, well, there's four of you. Did you do the math? Did you think about like Okay, well, you know things. Person pays this much, this person. And then pretty soon you got the You got the money in the budget to do the thing that you want to do. Like, why is that so hard? Or is it like there's only one person that really cares about the project on the other three other three?

You're just along. I never I could never tell. I never know what the what the game is, but and it's not like you know for me myself like Oh, yeah, Pay me more money and I'm gonna be running around with Rolls Royce and a Maserati, and I'm gonna be just flexing on everybody because that's not the case at all. Every dollar that I make right now goes right back into my business, like me trying to build my business and and have the tools and the ability to create quality content.

Because here's the thing, um, Burlington, Vermont could be put on the map. It could be a zbig as anything else. But you know, what it takes is it takes the movers and shakers to get up and do something and make it that no one's gonna bring it to us. No one's gonna put it on the table and say, Here you go have fun. We create that through our own efforts and coming together and making that happen. And yeah, sadly, we live in a system that, you know, it's it's a capitalist system.

It sucks. I don't like it, but money is the name of the game. Time is money, gear costs, money. I've invested in glass and lighting and to well, you know, obviously fulfill my own creative needs in my own creative desires and to pursue something that matters to me. But also because, like when I moved here, I was expecting like, Oh, man, there's gonna be so much available than Scotland and I look around and like, Yeah, there's some people that make good videos or whatever, but I was like, not to the quality that I'd like, or at least not to like, the level that I would appreciate or at least like Maybe there's some people that I'm not seeing and they're just way too obscure.

But like, you know, I thought to myself like Okay, so here I am. I'm an artist. I want music videos. I want to do all this for me. But, like, who's out there? There's not a whole lot out there that's willing to lift other people up and give that to them. So you know, there is an altruistic value to it as well. It's not all about me, me, me, me, me and you know, whatever it's like when people pay it forward, help me out. I helped them out, and that, by extension, also makes a service available for other people.

Other talent because, you know, let's be riel here in Burlington, Vermont. There's like maybe three artists that I know of that have like a really strong presence out there and the, you know, the rest of the world There's like Grace Potter, right? We got fish. I know 99 neighbors is kind of like a new thing, and they're kind of out there doing crushing game. But who else is there really like Think about it like not a whole ton else? And part of it is that there's not enough people out there also trying to draw that attention to what's here because there are good things.

Here is a great artist. There's tons of potential. It doesn't have to be left Thio. We gotta move out west to make it happen. We have to move out of the L. A. And, you know, way could make it happen right here. Yeah, I think that is something that ah lot of artists also don't really take into account is that they have to get out there if they're not in one of these major cities where they're gonna be discovered by another artist who's already made it or somebody in the industry who can help give them a little push for any artist who's listening to this podcast and you're not in Nashville, New York L. A. Or another big music city.

You have toe make those connections. And right now, since people aren't going to shows or anything at all, it's actually a great time to make connections and wow the right people with a solid livestream. But so before we wrap things up, Christian, I think you've had a ton of knowledgeable things to say already. But if you had to boil down your knowledge and experience into the one most practical piece of knowledge that you've picked up over the years, whether it's music or video, what would you want to tell the listeners?

Do it from When I was a kid, there was so much that was holding me back, and I was so absorbed I was brainwashed. I was totally led astray. You know, I had family members that are also very like a bit and over attentive when it came to money. You know, like don't don't spend that much. This is how you get you know, blah, blah, blah, blah. This is how you should manage your budget or whatever, or like in anything just playing it safe. I don't believe in it.

I say if you want to get it anywhere, you gotta take risks, because again, then you're gonna end up in your nursing home when you're what, like 80 90. If you get there, you're gonna sit there, gonna look out the window, you're gonna wonder about all the what ifs. You know what if I actually did talk to that girl or like what if I did actually buy that guitar or, you know, invest in that that recording or invest in that music video or pursue that career? Whatever it is, you're gonna just be left.

With all this regret, I would rather try and literally lose everything that I have. But I would never ask What if then that's where I stand on e love that well, Christian, thank you so much for coming on the show. If anyone wants to check out your music, where can they find it? It sounds Spotify band, Camp James and the giant sleep on both of those things. Um pretty sure it's on. I, like did the blast of like distribution. Um, it's on YouTube is Well, I can see the music video James and the Giant sleep for my friend the apostate.

That's kind of been the latest release, and there will be a third single down the pike at some point when I get around to it. But we'll see. All right. Wonderful. And then if people want to contact you about having video work done for those that air local to the Vermont area, how can they get in touch with you? So there's Instagram Christian James Video. There's also my email, direct email. It's Christian James video at gmail dot com. If you want to see some of my work, of course, the others instagram as well on YouTube and stuff like that.

So all right, Well, it was a pleasure having you here, Christian. Thank you so much for taking the time again. And I think it's really enlightening to see an artist who truly gets it. So I'm really happy we have you on the show. So thanks again. Thank you. I really appreciate you guys having me on Thank you. That does it for another episode of the Bandhive podcast. thank you so much for listening to yet another episode and thank you so much to Christian James for coming on the show to talk about their music, career and experience in the video world.

All of the links that Christian mentioned will be over at Bandhive dot rocks slash 41. So if you like to get in touch with Christian and don't feel like just typing in every single link that they mentioned because there were a lot, you can go to that Web page and we'll have them all listed for you so you can get in touch with Christian and listen to their music or check out their video work and find out whatever you want to find out. Next week, Matt is finally back on the podcast, and we will be talking about how to create and nurture and engaged audience online.

So I'm really looking forward to that episode, and I know you're all going to enjoy it. So that's next Tuesday at 6 a.m. In your favorite podcasting app. We hope you have an awesome week and, of course, as always, keep rockin'