The Kintners Music

As a kid in church in the South.

When I was a kid, I sang at church with Mom a lot. They had this saying about no one at home listening, “Even Jesus had to skip his hometown.” I’ve thought about that since I was a boy, and how true it is. I’ve come up with and found some analogies on it I would like to share, should you wonder too.

This old costume

Hometowns often see you like you were years ago. They do not allow for growth. Many times I’ve heard musicians say, “It is Halloween and I get to wear my 5-year-old costume.” In order to get that Halloween show, that musician has to be who they were years ago. That is not fun for a lot of us who like growth. So showing our new costumes online helps.

Ancient tree in the backyard

I’ve heard an analogy involving an old-growth tree by itself in the backyard not being as cool as in an ancient forest. I don’t really like this one as much because I would think that tree in my backyard was amazing. I get what folks are saying here. But I bet they don’t have old-growth trees in their yard.

Big fish/small pond

I like the big fish in a small pond analogy. Once you play every venue in town a couple of times, what else are you going to do? Most towns in the world don’t have the resources to support a healthy music scene. Mentally or financially, folks are stressed. They can only give so much. That kid they watched grow up playing guitar does not compete with the things on their mind. 

Digital vs Analog

My favorite analogy of being a musician in your hometown has to do with digital and analog. Folks online, on socials, get the digital you. That’s usually a better sell. The digital you doesn’t need food, have hygiene issues, talk too loud, or barely speak. The digital you isn’t obnoxious, doesn’t grind his jaw, doesn’t talk about everything on your mind. Folks at home aren’t given the same deal. They get the analog you that whines, or stinks it up in the bathroom, or eats the last of the cake.  It is possible it isn’t even right to expect the same from each crowd; they get different things from you. Why should they give the same back?

What can we do?

Not much. The thing is, this is so old, it is probably human nature. There’s not a realistic way to change that for everyone. But there are realistic ways to change it in ourselves. I keep saying “music is an inside job.” This is one of the ways I mean that. We can give ourselves what we need from the music we make. If we are able to do that, then we can tell folks how cool it is and be honest about it instead of hoping for their validation for it. How?

For me, I have to get away from most everything. People and noise don’t bother me, but I find them terribly distracting. If I am going to think up something I think is cool and go through the trouble of crafting that, I need to be alone. At least in the beginning stages. If I am to craft something I love first before anyone else loves it, I have to be there when it is crafted. If I am somewhere else, it doesn’t work. I need the moment when it comes together and I think it is rad. If I deprive myself of that, I can’t tell other folks I think it is rad. Important here, for me: I struggled forever, most of my life, in trying to make songs I’d guess folks liked. I no longer do this. I try to make songs I like. Then all I have to do is tell folks I like them. They can agree with my taste in music or not. But it doesn’t let me down, either way.

Also, if no one comes to my show, I am still there. It does not make sense to sit there and play songs I don’t even like for an empty house. If I like them, at least I get to play them. 

The Listener

I talk about “the listener” a lot. I am not averaging out folks who have heard my songs and spitting out lines. I am talking about me. Before I ever played a note, I enjoyed listening to them. I am a listener, first. I learn from every progression on the radio, all three of them. I pretended to be Neil Diamond in diapers, had a tennis racket guitar, I am a listener. I run across peeps who play all the time, but never listen. People know if you listen. If you think they don’t, they probably aren’t listening to you either. It’s wonderful to listen to music, conversations, street noises, even alarm clocks. There are songs in all of that. If you identify with them, someone else will too. Maybe more than a desire to be famous, a desire to make something you honestly love is what’s needed in your artistic career. Don’t pick it or its components from a menu. Craft that shit.

Build. Don’t just take. 

Is this going to help you in your hometown? Probably not. But if you learn music or art, that will probably help your hometown in some way. If you just guess what they want on weekends, you’re really throwing darts. Tell those folks what’s cool. Research it, learn some skills, show up, and put it together. That’s not throwing darts. That’s foundation work.

Kelly Kintner

The Kintners. Djembe Funk (Links to Subvert.fm music)

Finally writing about writing

I wrote a song recently about writing. It is coming on The Kintners album due out Christmas, called “The Kintners – Brand Name Believers.” I explore in song my reasons for writing and encourage folks to do it too. It’s very important in my life. It’s almost like a religion, to me. I don’t “believe” anything on purpose. Writing routinely helps me suss that out. Writing is thinking on the record. Even if you forget, it is right there where you put it.

Forgetting is huge, by the way. Every login, password, glitch, update, ad, lures me away from thinking. I also wrote a Djembe Funk song lately, coming soon, that asks; “how do you ride a train of thought to the end of the line these days?” It really is difficult. I find a blank piece of paper or an offline word processor helps get me to the end of that line. That is where I need to be. I want to share the final stop in my songs. If I never get there, my songs are empty.

How do you get deep without digging?

Much like deep conversation, songs do not get deep unless I am deep into the thought of making them. Conversations rarely, if ever, start off deep. They build, dig. This is what makes me sad about folks who reject me for deep conversations. Don’t let the icebreakers I am terrible at fool you, I am there for cerebral, emotional, challenging. I just have to work up to it. That is not the norm. Most folks size me up before a song is over, or that length of time. I do not give a crap on my end. But I feel sad for folks who walk through life that way. You just don’t get deep without digging.

Google doesn’t help. I am guilty of using them too. But if anyone remembers, it was harder to find information not so long ago. You were on a train of thought until you found it. It was a quest to find what you were looking for. Now it is a search and instant answer on google. Are you going to understand that google as well as something that took a few days or weeks to learn? No. But we are allergic to staying on the train of thought. We have been trained to seek instant gratification instead of embarking on personal journeys for something to keep with us. We keep nothing. Blow and go. It makes for shallow conversations. It makes for shallow people.

Who benefits? …….(the Lenin version, Stalin can suck it.)

Why? Why all this shallowness? I know I keep saying it, but it is true from here. So I’ll say it again; it is so software developers can make more money. You have to look at who is profiting, here. Data and software are the top companies in the world, above oil. They have been for nearly a decade. That’s plenty of time to change the world if everyone has your device that tells them anything you want.

They have the tools, the talent, the budget.

It doesn’t take a rocket surgeon to figure out how to put you on a narrow grid of brand names, beliefs, income level, food preferences, etc.. It does take a data scientist. The software industry recognizes this. Why don’t the rest of us? They have data scientists with all of our data. If I was a big company, why wouldn’t I hire them to get my product moving, besides it being highly unethical? I have known plenty of business owners who find the law as like a green light/red light system. They seem to have no right and wrong sense of their own. Just “if it’s legal, let’s do it.” This is not a quality I look for in leadership, but obviously me and tons of Americans disagree.

It’s not just harvesting, it’s refining. Refining is $$

Data scientists spend on average 80 percent of their time refining and cleaning the data, (google :) ). That’s very important. Just like oil, which powered the industrial revolution, data requires refining to be worth what businesses pay for it. Unless you are a data scientist, you don’t know what to do with all the data collected. This puts a hinge in the process that pivots squarely on the backs of data contractors and data scientists. It might be hard to understand how they’re doing it. But it isn’t tough at all to see who is doing it. It’s them.

I know why you can’t think of lyrics like you used to. If you are like me, you know why too.

If you are like me and struggled for years at creative projects, I’d put down the phone and try it out. I am nearly a month without a cell phone. I write lyrics and play acoustic a lot more without it. Like I used to. That is more valuable to me than anything on profiles or a screen. I struggled with it for years. I shouldn’t have. A one month long test was all I needed. Don’t be like me. Experiment. It helps you think better.

There’s you and there’s the world. Finding a place doesn’t mean staying connected.

I have a lot of theories as to why this is. But we’re all different. I just think being connected to everyone in your brain is a lot like a drug. You probably think better after that illusion is shattered. It’s like a commercial in our heads 24/7. It is just you in there, after all.

Kintners Playlist Alert!!!

PS: I made a 25 song playlist on Subvert.fm of The Kintners stuff I like a lot. I listen to it. Just sharing if you’d like to check it out. Thanks.

Kelly Kintner – Producer, Songwriter

The Kintners, Djembe Funk (Subvert Links)

The hour later thought: Life is like the intro and safety rundown on a plane ride. They tell you to put your own mask on before saving someone. They do not tell you to punch them out and take their mask. I think a lot of folks hear the latter.

Is there a way to make this LESS like a business?

One of the things I don’t like about the music business is the word business. Some folks get off on it. Wheeling, dealing, shaking hands, money flying around. I hate all that crap. However, I think people know that about me and use that knowledge to get what they want from me. So while I hate it, I try to practice at it. It is a skill like anything else, practice helps.

I am not here for you, sorry. That isn’t where I am at.

I just can’t count how many times I have been ripped off. From lousy jobs and ex-wives to slinging records and guitars, voting, to tuition… I can’t catch a break. I sometimes feel like my real purpose in life, looking from the outside in, is to be a battery for other humans. I have so much energy for projects, socially and creatively, I often run into folks who help me feel this way, powering them..not me. That is not a good feeling. And it happens a lot with folks who like “the music business.” What I am certain they’re after is “music benefits.”

I speak for myself. If you feel like I do, I got lucky.

What makes this difficult is I can’t speak for every musician. We are all in different places and we all hopefully like different things. You may not be sick and tired of older hoarder types who will not play a song with you without a prenuptial and lots of signatures. (I have been turned down for collaborations from artists who liked my songwriting but couldn’t do it because I didn’t have enough followers on Spotify.) They are wrong to be that way. You may not be tired of folks telling you how to run your creative life like a god damn spreadsheet when all you want to do is finger paint with friends, essentially. You may not be tired of the only folks in your life who want to talk to you (besides Keri) are the ones who want to give you advice or tell you what you are doing wrong. You might not be tired of listening parties and feigning excitement when you just want to play guitar and write words with buddies. Whatever the case, you might like Subvert.fm because it doesn’t really feel like “business.” That’s a perk from my spot. It feels like a club. That’s what I am looking for.

Do you see the herd?

Today is a Bandcamp Friday and it feels like a corral again. “Everybody go here.” I say, “no.” Simply give me a credit per quarter to use on any day I want that is significant to me or my fans. I do not want to make an email for fans the same day everyone else does. It’s bad enough we all feel we have to distribute the same. Having sales on the same day doesn’t benefit us. It benefits Bandcamp. Maybe it benefits who is getting their data. If you are doing what everyone does, you are following one person, typically. Did you know that? A sure-fire way to get lost in the crowd is to do everything the crowd does. Also, they have to have thought this. So who’s winning? It ain’t the musicians blowing up my inbox a few arbitrary Fridays a year.

That definition of insanity that really isn’t a definition of insanity.

I think there’s always better ways when I get really frustrated. I might have to learn things, make changes, or even buy something. But I don’t think it makes much sense to keep getting frustrated over and over. If that is your bag, this may not be for you.

Keep the AI on Bandcamp.

Subvert.fm is different so far. There’s moderation of content. Some may not like that. They do not allow AI art or music if they can detect it. I like it. I think it’s nice to have a distributor where the fleshies hang out. The aesthetic is different over there. It’s more like a craft mall than a vending machine in a break room. I love craft malls! I don’t care if our music is your break room. But I’d like the store you get it from to be more like a flea market, not like a chain box store. Bringing my wares to the co-op market is a better vibe for me than being a brand or owning a business. Subvert manages to do this by banning AI the best they’re able and actually being a co-op.

What is a co-op? Let’s ask google for something it can still do. Let’s grab a definition:

A co-op (short for cooperative) is a business, organization, or living arrangement owned, controlled, and operated for the mutual benefit of its members rather than outside investors. 

Common Meanings and Types of Co-ops

• Business / Worker Co-op: A company owned and managed by its employees or customers (such as a credit union, agricultural group, or grocery store) where decisions are made democratically—usually on a "one member, one vote" basis.
• Housing Co-op: A residential building or community where residents do not own their individual units directly; instead, they buy shares in a corporation that owns the property, granting them the right to live there and a vote in building management.
• Education (Co-op Program): A college or high school program where students alternate between traditional academic semesters and full-time, paid professional work experience in their field of study.
• Video Games: Short for cooperative gameplay, meaning a game mode where players work together as a team against computer-controlled opponents or challenges rather than competing against each other.

A bird in the hand..

Subvert.fm doesn’t do Bandcamp Fridays. It allows for ownership. It is built from the ground up with the musicians it serves in mind. I am not just a subvert music page, I am part owner. This is important to me. Every software developer, every site, every distribution platform, every business, it feels like, is not going to let me own anything, even if I have money. They rent it out. They make up days you’re supposed to be excited about that are every bit as meaningless as a national holiday, maybe less. They quit selling anything, for the most part. They want a subscription. This keeps costs up front low for the ‘comsumer’. Sounds like a good deal. But we can’t sell it when we don’t need it anymore. All the knowledge we learned just to use it doesn’t apply elsewhere. They get our monthly for life. What they’re after. And I am just talking about trying to give folks a song we made. Keri and I hope our song helps you in a tight spot someday. But we worry about you wanting us forever. We’re more of a “let’s hang out and play songs” type. There’s no “future” in that. It’s about right now.

Meanwhile, back at the craft mall.

I am writing this on a Bandcamp Friday after I have spent a few days uploading 9 or so releases of an album, EP, Singles on Subvert.fm. I made artwork without AI per their policy. A while back I deleted all of our album art when I learned more about AI and didn’t want to be a part of that. Now the process is photos, a friends’ art, I even bought one of them. I have also corrected them on Bandcamp as I do them. But on Bandcamp, the atmosphere is so different. If our song appears on a page of a bunch of Bandcamp releases from other artists, it’s obvious to us a lot of folks are using AI. With a subvert scan, we are back at the craft mall. I like that better.

Finding your brand is finding your belief.

Folks love their brand names. Finding a good brand is much like finding something to believe in. We all want that. But it doesn’t exist very often in reality. Big businesses suck. Subvert.fm could even suck. But as part owner, that would be partly my fault. So I am trying to help it along.

Ownership helps the owners. So why not make them everyone?

When folks are granted ownership or a sense of it in products or companies they use or like, they step up to the plate to keep it. They may even think of ways to help maintain it. By developing a community-owned platform, Subvert has my vote. For now. Things change, especially in software and distribution, I’ll try to keep you posted.

Kelly Kintner, Songwriter, Producer,

The Kintners, Djembe Funk (Subvert Links)

The band is getting back together!

For anyone who doesn’t know, Keri and I have been collaborating online with folks all over the world for years. I’ll write a song, get crazy about it, hear a friend or favorite artist on a part, send them a proposal with a nice demo and idea for the song, and they say yes a lot. I am so fortunate to get to do this. I feel very happy about the work done so far. It has taught me a lot about not just music but working with people. I desperately need all the skills I can get in that area. I don’t get to spend much time around people and don’t even really know how. It’s been that way for years, I don’t expect it will magically change. So not only is music my creative outlet, it’s my social one too.

I do find a purpose with me and an acoustic. But by the time I ask someone on a tune, that purpose has been had. That song has probably made me cry. I have thought about the words a lot. I have placed things where they should go. I get fulfillment out of all that. But I don’t get to hang out with buddies. So I share it. I like hanging out with buddies. Win/win.

A hot mix takes a moment

I have come across some amazing technicians, one of them is probably a genius. I get so wow’d with their mixes, it just blows me away. Sometimes, to be honest, the mix is all I hear. I have to listen to the song several times, over time, to get critical about the song again because the wrapping paper is so shiny. This is where conflict can happen. I wanted to talk about that.

When you think about “rules”, think about “roles.”

I think one of the most important rules about collaboration in music I have picked up over doing it many times is established roles. If you have a two-man team and one is a tech and one is a creative, those folks should trust each other with the roles they want to do. In order to do that, a conversation or agreement helps; “I’ll do this, you do this.” If you stick to that, people often are happy and want to work with you again. This took me a long time to learn. I hope you are taking notes.

“You write a song, I’ll mix it.”

The areas where I have had the hardest time in this regard involve a tech and a creative dynamic. I mentioned I know a technical genius. He is not a creative one, at least in my style of music. That’s okay. I theoretically make the decisions regarding creativity. If he steps on my toes there, it may lead to resentment. It might not even be at final mix time, for me. All the other stuff sounds so good, I can’t focus on the creative aspects when I first get a mix. Sometimes, I may not be resentful until afterward. When I hear a demo, for example, and the drums are in different places. I want to hear my impact on the song and the decisions I made. So I end up listening to my versions after all that work with a genius. It’s not because they sound any better, (they don’t). It’s the drums on the bridge. It’s every bit as much my fault as it is his, this resentment. I hate it.

There is a better way. 

We make rules not just so we can be civil. Rules help us not get hurt and they also help build trust. Not everyone will follow them. But in what I do, most folks do follow them. 

When I was a retail manager at a major hardware store chain, I took a test for a position and was asked in a subsequent interview, “what is the number one cause of turnover?” I had studied their material, so I knew the answer they wanted. It was training, or lack thereof. This chain had figured out 30 years ago that folks feeling incompetent made for a miserable work environment. So they trained me on training folks.

Communication, really. Oldest thing.. not getting better.

Some of the things I learned have carried over into music. This is where I get the “know your roles” tip. If every crew member has a firm grasp on the task at hand, you are ahead of the game. This is usually in a proposal for me. I will have a clearly laid-out purpose for them being on tune. The only time when this gets a little murky is when I hear someone’s presence but can’t quite spot it. They will help me with that, usually. People on our tunes often write their own parts. In my imagination, I can hear how they sound, just not exact notes. So from the get-go, folks know exactly what’s expected and can think on their role. That’s the goal. A lot of collaborations, even “successful” ones, are not this smooth. It’s because of communication. I know it’s cliché, but it is.

The wonk of silence.

As a trucker, a retail manager, and other things in my past, I can tell you communication is essential for good work from multiple personalities. On creative projects especially, a wavelength helps. That doesn’t happen over the web without words flying around. I’m not saying every project has to blow up a chatroom. But I am certainly saying, if you aren’t chatting with coworkers, the work environment is wonky. Expect wonky results. 

Flaking is fine. But don’t expect a pat on the back for it!

I know a lot of talented recluses. They may only send a sentence a day. But if they are into it, they know other folks on the project need the updates, not just me. I’ve been on a record with 23 people, all over the world. It was excruciating at times, just waiting to hear from people. I can’t afford to call them back. It took years off my life last time. It wasn’t the recluses, either. It was the socialites. I don’t mean to say I have anything against them. I have flaked on my fair share of collaborations. But I don’t expect a callback when that happens.

“I thought I hired you to mix?”

Out of all the folks I have worked with, I have come into the most conflict with hiring technical assistance who put in creative assistance. I can even be very clear from the outset, “I make creative decisions, you make technical ones.” I have paid a lot of money (by my standards) to get robbed of those decisions. I have mixed words with wonderfully talented technicians not on setting the compressors, but when the drums come in. Okay, look, as a technician, if a creative is paying you for their vision to come to life, if you rob them of their decisions, you rob them of their vision. Don’t charge them money for that. Your ego is already profiting off their work. Charging them for that is like double-tapping the ATM machine.

I’m a freaking song factory!

So now I am doing it all myself. That’s really the reason I am transitioning to analog. It isn’t as hard. I can have 3 good options in analog setups for something like compression. I can have 100 or more in a computer. I take the 3. Sorry to the folks that want the 100. It’s a compressor. 

Decide, make a move, hear the result.

When I work with analog gear, I can feel and hear the impact of my decisions easily. I think it, I turn the knob, I hear a difference. This, to me, is gratifying in a way computers are not. In a computer mixing situation, I am often selecting from menus to find something that sounds right without having much direction in my head. In an analog mixing situation, I’m finding I hear what I want in my head first and make it happen. There’s only one way I want to work from now on, and it doesn’t include a screen and unlimited options. 

It’s an older model, but it still checks out.

I am taking on tech and creative roles. So, for my situation, the fewer tech options, the better. I want to focus mainly on creative ones. Computers don’t let you focus on other stuff these days. A software company’s goals are to make you use their software for as long as possible. When I am writing tunes, I am not into that. So I had to customize the tech side. It’s old and lean, but it sounds nice. I am okay with that.

If you hear me, contact me. Thanks.

I am very fortunate I get to do this. It is something I never would have anticipated in my life even five years ago. Things happen. If you are struggling and want to talk about analog treatment or creative input on your music project, just know I never charge for that stuff. It’s also take it or leave it. You’re in charge. I just like trying to help creatives get over humps. No biggie. 

If you hear me on a song, singing…guitar…lyrics…bass…fretless bass…djembe… anything…don’t hesitate to give me a shout on the ole email; thekintnersmusic@gmail.com. I don’t charge for that either. It’s fun for me to hang out with musicians and work on other folks’ projects. 

I want to be supportive, if I can help somewhere, just holler at me. 

Kelly Kintner, Editor

The Horse’s Mouth Magazine

I am learning new songs, writing new ones. The Kintners have a double album in the works. We are on schedule for Christmas release.

I wanted to leave a song here, Friday and all.. This is “Smoke and Mud.” It was a massive collaboration. So, in the spirit of that. Thanks!

Also, still lots of free codes for latest release by The Kintners, “Some Folks.” Enjoy.

Thanks Brits!

Thanks to the British, we now have data that should shut down American Football, but it won’t.

When you are poor and athletic, nothing brings the promise of a better life like two-a-day football practice in high school. Like musicians, athletes are dangled in front of wealth, but rarely ever experience it. We’ve known for a while about CTE. Now we have numbers. (Again, thanks to the British.) We put kids in meat grinders here in the USA, tell them they’ll be rich. I have met kids wanting to play football to buy their parents a house. What do you think the odds are of that?

(Google says…)

“How likely is a highschooler in Texas in football to make enough in football to buy parents a house with football money?”

To buy a house, a player generally needs to secure a massive Name, Image, and Likeness (NIL) deal or reach the NFL. 

• The High School Population: There are roughly 170,000 high school football players in Texas at any given time.
• The College Jump: Only about 7% to 9.5% of high school players make it to any college roster, and only about 3% make it to a Division I FBS school, where the major money resides.
• The NFL Jump: Nationwide, out of more than 1 million high school players, only about 250–300 get drafted into the NFL each year. That is a 0.025% chance (roughly 1 in 4,000) of going from high school to the NFL. 

Because Texas produces a disproportionate amount of elite talent, a Texas player's individual odds might be slightly higher than the national average, but they still face a fraction of a percent chance.

What’s the deal with brain damage in America?

In the USA, we do not think much about brain damage, even if you are rich! If you start out poor, we bless you with wealth for taking on such brain damage. Not that you can enjoy it.

I am reminded of Romans and gladiators. I know this news this morning from Britain will fall on deaf ears because folks like football. They like music too! But that doesn’t mean they like the players involved. So athletes and musicians get taken advantage of with lottery-type career systems and concussions.

Are “earning” and “winning” the same thing? What about the losers? Didn’t they earn a living too, doing the same thing? Okay, who out there does not deserve to live?

A musician or athlete does not “earn” a living. They “win” it, often taking it from someone else. Folks do not “work” their way up, no matter how hard they work. It’s a lie. I am not saying they do not work. Many work circles around me. But to get the good life, luck is involved. .5 percent make it to NFL who start out in high school. Now we know 1 in 4 in the NFL get CTE. All that work and luck just to wind up brain damaged. CTE is the second form of brain damage these kids incur too. The first was joining football to begin with, those kind of odds. But they sure do! Also, they’re in high school. Not impressionable or anything ..

Let’s talk about lottery for a moment…

“What are popular thoughts against lottery systems, Google?”

(Google says..)

Popular thoughts against state-run financial lottery systems focus on their mathematical design, economic impact on low-income groups, and targeting of vulnerable communities. 

Mathematical Odds

• Extremely low chances: Winning a major jackpot like Powerball has odds of roughly 1 in 292 million.
• Negative expected return: Payouts average only about 60% of total revenue, meaning habitual players lose a vast majority of their spent money over time. 

Economic and Regressive Impact

• Regressive structure: Lower-income households spend a significantly higher percentage of their disposable income on tickets compared to wealthier individuals.
• Opportunity cost: Money spent on lottery tickets diverts funds from practical savings, investments, or basic household needs. 

Social and Demographic Concerns

• Targeted marketing: Critics note that ticket retailers and advertisements are often concentrated in lower-income and minority neighborhoods. 
• Exploitation of hope: Advocacy groups argue that state-sponsored gambling preys on people looking for financial escape from systemic poverty. 

Government Reliance

• Flawed revenue source: Critics argue that using lotteries to fund public services like education allows governments to avoid raising standard, progressive taxes or providing consistent budgetary support.

Who fixes this?

“Targeting vulnerable communities..” I see it says that. The flawed revenue source is good too. Instead of taxing millionaires and billionaires for civic upgrades and fair policy, we’ll just have a lottery. The plebs can do it themselves. At least they’re right about us doing it ourselves. But we have to get rid of team owners.

I want nice things too. But I also don’t want your kids to be brain damaged so I can watch a damn game.

One thing you get when folks think you’re rich is suck ups. Sycophants. Many people daydream about having folks concerned about their life, achievements, aspirations. Many folks want a team to work on. Many folks like money. Me! I am folks!

I don’t feel I am “owed” any of that stuff. I don’t even really like the sycophant thing since I quit social media and realized how fake everything is outside of it, (inside too, wooboy). I don’t feel like I have “earned” it, either. I am kinda’ lazy, do whatever art projects I want. I love my life, don’t get me wrong, but it isn’t because I am making bank. I am making decisions. For me, that’s just as good.

What do you want money for?

I create mainly because it gives me things to do, think about. That’s what a lot of folks want money for. Guess I found a softer way on accident. (It totally was not on accident, fyi. My reason for music is simply getting to do it. Happy place.)

Music and NFL fans, your sign.

Seriously NFL fans, the burden is on your shoulder pads . Music fans too. Do not reward slimy team owners with more money for 1 in 4 cases of CTE. That’s gladiator numbers. Do not reward greedy entertainment companies and managers using micro-targeting for pop-stars practically vacuuming the money and attention from your very life. That’s brain damaged too. So, I know you won’t do it. I just don’t see it getting better for these kids in high school until you do.

Kelly Kintner

The Horse’s Mouth magazine.

For the last several years, I have been an online musician of the indie type. I have gotten so much marketing (even this morning) about image, brand, yada, yada. Have you ever looked up what brand means?

“What is a brand name, Google?”

What a Brand Is vs. What It Is Not

Many people confuse a brand with design elements.

• Not a brand: A logo, a color palette, a website design, or a slogan. According to theAmerican Marketing Association, these are visual assets and marketing tools, not the brand itself. 
• The actual brand: As defined onWikipedia, a brand is the intangible collection of memories, emotions, and expectations a customer associates with a seller. It is what people say about you when you are not in the room.

Core Components of a Brand * Customer Experience: Every interaction a person has with your company—from answering a phone call to unboxing a product. * Identity and Personality: The distinct human traits and values assigned to a business (for example, rugged and bold, or sleek and modern). * Promise: The unspoken guarantee of quality, consistency, and value a customer expects every time they choose you. 

Why Brands Matter

• Differentiation: They help people instantly tell your product apart from cheaper or generic competitors.
• Trust and Loyalty: Strong emotional connections make customers stick with a company over time.
• Economic Value: Recognized brands command higher prices and build long-term financial worth.

Blunt talk with Kelly K. 

Listen, I’ll be blunt. If you happen to be thinking about this stuff while writing a song, you are thinking about the wrong stuff unless your song is about brands. Then send it my way. If you are advertising your music using “consistency, trust, loyalty, value” as guideposts, what the hell are you doing? Art isn’t economical, even cheap art. We do it because we love it, I thought. But marketers out there want me to feel like an entrepreneur, and I most certainly am not that, pardon your French. I am a music contractor, that’s all. That’s all I want, and I got it.

The big consistency lie.

Many of these marketers will harp on “consistency.” They don’t know the meaning of the word. They are looking for quick bucks with you. Ever think about who needs consistency? Corporations love it.  But does any kind of art? Even the most consistently cool artists like Miles Davis invented a new genre every decade or so. That is not consistent. He was hell on promoters, tour managers, and women. He was a nightmare in many regards. Very turbulent. One of the best. Never consistent. 

Bob Dylan doesn’t have a consistent bone in his body. He does whatever the hell he wants. 70’s Dylan is my favorite. But it is very much different than other decades in his career. To call Bob Dylan consistent is a bold-faced lie. He can’t even find a consistent guitar player.

Those have been among my favorite musicians in my whole life. Not consistent, so I haven’t worried about that in years.

But you know who was consistent? Elvis.

Elvis Presley couldn’t write his way out of a paper bag. 

“What Elvis songs did Elvis write, Google?”

Elvis Presley did not write his own music, but he is credited as a genuine co-writer on just two tracks: "That's Someone You Never Forget" and "You'll Be Gone." 

The Truth About Elvis's Credits

• Real Co-Writes: Elvis helped conceptualize or write lyrics for "That's Someone You Never Forget" (with Red West) and "You'll Be Gone" (with Red West and Charlie Hodge). 
• Fake Credits for Hits: Early hits like "Heartbreak Hotel," "Don't Be Cruel," and "All Shook Up" list Elvis as a co-writer, but he did not actually write them. His manager, Colonel Tom Parker, demanded writer credits and royalties for Elvis as a condition of him recording the tracks. 
• His Own View: Elvis openly admitted this practice, stating in interviews that he got credit just for recording a song which "makes me look smarter than I am." 

Ladies and germs, Elvis is a true brand name. Not only did he have some kind of factory going for crappy old hits, he had a very capitalist manager. His manager is still known to some as a marketing “genius”, (gag a maggot) .. Enter: “The Colonel” Tom Parker.

Tom Parker, Music, Brands.

Tom Parker had a mysterious background involving immigration, citizenship, and traveling. He was an illegal Dutch immigrant. Many think this played a significant role in explaining later actions. Why he was scared to leave the country. Even why he was sued by the Elvis estate after Elvis died. But there’s no doubt, he came up with clever cash delivery vehicles. 

Once such method involved buttons. He had buttons that say “I love Elvis” made. He also had buttons that say “I hate Elvis” made. He knew how to market Elvis to folks who hated him and profit from them. See, Tom Parker was a music version of a micro-targeter. In fact, I venture to say, he would have loved micro-targeting. I wonder if he helped invent micro-targeting in some thought process kind of way. Micro-targeting is data-driven, but the concept behind it is a lot like those buttons.

If you don’t want to write songs and swing your hips and you want to hire a manager you are going to fire and even sue for robbing you later on, by all means, call yourself a brand. But if you want to write songs and relate to folks, brands do not do that. People do.

Maybe we’re all terribly lonely, anyone ever thought of that? And it’s by design?

Being lonely makes us consumers, the crowd, the target audience, and it makes us predictable. This is all wonderful stuff for brands with a data contractor. They have tons to dig up from our private lives and throw in our face, guaranteeing a response. They have recognition and years of being in business despite not being the same businesses years ago. Some folks won’t even hang out with folks who like different “brands” of music, politics, church, even food, or home goods. One person didn’t talk to me anymore because I ate at a chain owned by MAGA’s. Fried chicken, I am going to MAGA’s for fried chicken. If there’s any one thing I trust them for, it is that. I think MAGA’s making southern fried chicken is a good use of MAGA skills. Why would I not support that? Plus, I live in Texas. I couldn’t even get power to the house if I boycotted every MAGA, silly asses.

The way they do it.

A demographic is a specific group of people or a set of statistical characteristics used to describe a human population. 

What Tom Parker and everyone in business and politics want is demographics. These folks want to know what their average customer looks like, what color they are, what church they go to, the sexes are a biggie, where they live, and age too. Demographics are a marketing tool that helps you know where you are doing good and where you could focus. Politicians and businesses alike will customize their message depending on who you are. They essentially say one thing to white women and another thing to black men. Now, keep in mind, I don’t think this is wrong. I don’t necessarily think white women and black men need the same message. Having said that, it is entirely possible they don’t need the same politician, either. If we are talking music especially. Those two crowds are not listening to the same stations. But it’d sure be easier to sell them both songs if they did. Politics is like that.

The point is out there about musicians and brand now. Let’s bring it home.

What do you think being a musician is?

The best way I can tell you to figure out what you want in music is to figure out what someone you like did, and do that your own way. Much like writing a tune might inspire another, careers in music do this too. We used to have apprenticeships to guarantee music for folks when we die, but recording and other factors tore down taking other younger folks in and showing them around on nice stuff. This is a shame. I am very grateful to all the “boomers” who worked with me and showed me anything. I’d be crap without that, and better with more of it.

To me, being a musician is that. It’s teaching. To you? It might be industry. It might be escape. It could be simply something to do. Only one of those things out of anything I can think of is a “Brand Name.”  So while marketers are keen to tell you about brands, they are hoping to resonate with your frustration, not your aspirations.  So many musicians seem weary and frustrated; they think industry is a way to get more people. What musicians do not realize is this mentality makes them vulnerable to micro-targeting. 

It’s not about music, it’s about being lonesome.

If you are lonely, you are vulnerable. It doesn’t matter how smart, how talented, how chipper. It matters how lonely. That is their invitation.

Maybe avoid marketers and work on the lonesome issue? Just a thought.

Thanks.

Kelly Kintner

The Horse’s Mouth Magazine

Ever been in a rough spot?

Last summer I was in a rough place. I had quit social media for a while. I had given up on some friends, and been given up on by my fair share too. I was cranky, not just because I am a bipolar with dysphoric manias, I was upset that “hanging out” seemed to be a thing of the past. I am a very extroverted type of personality, perhaps it hits me harder than most, granted. But it did hit me very hard. Even waiting in line sucks compared to the good ole’ days of talking to anyone.

I thought about selling all the music gear, I thought about a lot of things. But then my doctor diagnosed me with Tardive Dyskenisia after I experienced unpleasant shakiness and tension in my legs, toes, hands..jaw. That changed my thinking.

Yeah, but djembe?

Keri’s father passed away a long time ago and left us some wonderful musical instruments. We have a lovely 12-string from Yahama and a djembe from him. I grabbed the djembe for this first time around the time this was going on. I played drums in school, but I wouldn’t say I was ever good at them. But the hand drum patterns felt relieving, somehow. I felt the djembe drum limber me up for subsequent parts. It’s almost as if the rolling patterns and accents were busting away some kind of plaque on my arms and it made them feel better for other things.

When I play djembe daily, I am better at everything else I do musically. The least I could do was build a band with it. So if you are in a funk and happen to like djembe, you are in luck. Where the name comes from, basically. I wanted to make more funk music, initially, hopefully that part of the plan still works out.

Why no singer, singer?

Before this EP in Sept. last year, I hadn’t done much in jam rock or instrumental music. I tried some vocals on a few things, but it just didn’t feel right. In fact, I have tried to sing on a few Djembe Funk tracks, but it doesn’t feel right for that project. I am open to it, I love singing. But I haven’t found vocals I like for this in myself or anyone else who digs it. So, in keeping true to things I hold dear, no vocals yet. Keri sings a few words on a song, but Keri can do whatever she wants. lol.

Upon listening again…

I just listened to this again and it is a happy record. I might have made a few mixing decisions a little differently, if I mixed it again today. But this is an early work for this project. I’m very happy to present it a year later.

A goto celebration in the speakers.

If you don’t know, these songs, and all of Djembe Funk music is largely about celebrating. Not just happy, not just upbeat, but a celebration. I celebrate movement in my life now. I don’t need many reasons. I hope you’re not paying much attention to the music with folks shouting and throwing things up in the air. But if you happen to be, at least there’s nice djembe going.

We are looking at lot of improvisation.

I generally start each Djembe Funk jam with improvising on djembe, or electric guitar, or fretless bass. Once I have something I like and the BPM, I am off to the races. There’s a lot of the improvisation in each part that winds up on each track. Sometimes it rules, sometimes it doesn’t. I enjoy tracking and feeling free to improvise at the same time. If it vibes, I share it. Most times I don’t.

Citrus Fruit is a rad song, period.

One song made in this session is still one of my favorite songs! I feel like when I can squeak out one of my own favorite songs, I might as well have built my own house. “Citrus Fruit” has never left any playlists I have it on this whole time, by the way. I love when it comes on! I think that is a rad song, don’t mind saying. Had good shit that day, I guess. Must have.

Download (free):

Bandcamp: Djembe Funk Debut

Kintners Repository: Djembe Funk Debut

This is a short little thing, I don’t mind you keeping it handy for quick celebrations. It works for me.

Thanks.

Kelly Kintner

The Horse’s Mouth magazine

Let’s all start from the same place.

I plan on using the word “hostile” a bit this morning because it is precisely the word I mean. So I thought I would include the dictionary’s version here at the beginning so we are all on the same page:

Hostile means unfriendly, aggressive, or relating to an enemy. It describes people who show ill will, ideas that face open opposition, or environments that are harsh and unsafe.

Why definitions?

I like harsh and unsafe. Inhospitable. Relating to an enemy. Unfriendly. That’s what I mean by the word. This is important, I feel. The meanings of words are not ‘choose your own adventure’, not options, not even up for debate, in my opinion. That makes meanings of sentences malleable and I don’t do that unless I am writing tunes or trying to be clever. With truth? With facts? Never. I aim to be clear. Hence definitions, sometimes.

Why so hostile?

Hostile is exactly the word I mean because that is exactly how it feels ‘out in the world.’ If someone disagrees with you on your favorite brand name, politicians, religion, or even pundit, there could be conflict. At least, folks act that way. At the guitar shop, at school, at home, even in bands, it makes for hostile living.

This is corporate life too, if you didn’t know. After all, there’s hostile takeovers, even recently. Folks from other companies or competitors are enemies. The rules are in the hands of those with the most money and power, not a set of ideals to protect everyone, enforced by everyone.

My corporate experience.

I worked a corporate job for a bit. Not too long, less than 2 years was all I could take before driving trucks. I also was in a union, then promoted to no union, as if that makes sense. Nothing about the corporate world appeals to me. I think folks get ruthless to the extent I can’t even be a part of it. I was in collections. At the time I was with a major cell phone carrier. They charged per text message back then. Every day I saw bills for thousands of dollars from teens running up text messages. It seriously bummed me out. Had to leave. Not that trucking was any better. Plenty of corporate bullshit in trucking too. I just didn’t have to screw over normal everyday people in trucking. Just had to worry about myself.

That was 20 years ago and it’s nothing but way more hostile now than then.

The reason, or at least one reason, is micro targeting. Folks might tell me, sure they get my data, “so what?” Well the answer to “so what?” is what they use that data for. Any social media is going to have you pegged in a short amount of time on a grid of brand names and gut reactions. They are going to cater to you not just your preferences, but things that get a reaction from you when they need it.

The culprit.

“Micro targeting collects personal data to build detailed user profiles. Companies and campaigns use this data to send hyper-specific ads or messages to small groups. It changes content to match a person's known fears, hopes, or habits.” -Google search.

They are lying to you, treat them as such.

If you do not know precisely when this happens, what it is about, and the person or corporation behind the campaign, you are being manipulated. No one knows the truth about so many things, yet we are certain of them to the point of hostility.

2016

The Trump 2016 campaign told Facebook users on both sides what they wanted to hear. The MAGAs got their bullshit, but the liberals got their bullshit too about staying home and not voting. This message was sent to both parties, proven, by the same campaign. ‘Staying Home’ was dressed like a liberal meme or pundit, but it was Trump’s micro targeting from a company called Cambridge Analytica. I’d only be mad at Trump. However, he only hired Cambridge Analytica in 2016 after Obama had used them in 2012. However, Cambridge had upped its game in 2016 to collect a record amount of data from third-party apps, surveys, and just playing on social media.

This was a decade ago, y’all. You wonder where these micro targeting sons-of-bitches are at now with the AI tech gone so crazy? Everyone is in the dark now. No one knows shit. Unless you really know, you don’t know anything.

The grid lines, yuck.

Not only has this obfuscated the truth, it has set up and reinforced phony dividing lines. See, when you are only told what you want to hear or what makes you spend money or go vote, you are like a veal of the mind. You are locked in place with a shallower way of thinking. “Digging deep” isn’t on the menu for your mentality. You are in a cage. People I love dearly harbor a contempt for groups of people that only exist in their head or across the world, which is still in their head. I know folks who think they know how things work, they do not. I know folks who think they know motivations and morals of politicians, they do not. I even know folks who think they know what will happen, they do not.

Are you sure???

If we are thinking clearly, looking at the evidence, the only conclusion is there’s a whole ton of things we do not know. Those are the things data contractors hide with their influence and brain washing. Anyone with an ounce of truth in them says “I don’t know” at the drop of a hat these days. Data contractors do not do this. They are liars.

Who stands a chance against data scientists armed with all your data? No one.

If you are on social media you are in a small group in these folks’ eyes. These folks consist of data scientists, bad ass computers, and a ton of your information. They are for hire. Good guys and bad guys both hire them. Could be a political effort like an election, or BREXIT (who also hired Cambridge Analytica, FYI), or it could be a favorite brand name pitting you against competitors. I have definitely seen it in energy drinks, big music acts, movie and TV streamers, even restaurants, and music gear. No one gets out alive.

So what do we do?

The only way I have found to combat the invasion of my mind from influence and manipulation is to get rid of social media and severely cut back time online. I have even gone to drastically reducing screen time. I have removed screens from the main music room. The reason is I can sense the stimulation of screens now, like coffee. That makes me receptive to manipulation. It’s just wanting to visit, but they know that. They cater to it, but in disguise as ‘friends.’ Most of the folks on my lists, I’d never met. They existed purely in my imagination. Maybe they’d have sent an email wishing me well. But maybe they’re brainwashed like I was.

• Side note, documentary recommendation..

A documentary I’d recommend is called “The Great Hack.” It is about Cambridge Analytica and it got me going researching data contractors. This one film made me see the world differently. Everything I have been able to find since points to its veracity. I even googled every fact I could find, google’s proud of these facts. Go figure.

Kelly Kintner, Editor

The Horse’s Mouth magazine

A song about grief, but not dumb (goals).

Keri and I wrote a song a while back when a friend and customer at the guitar shop I worked at had lost his wife of 60 years. We didn’t use his words, or even his persona, but he inspired us to go there in our own relationship in our imaginations. We stayed there for days. I call this a “thought exercise.” I often pretend so I can get an angle for a song.

Thought exercises are very important to me for lyrical angles. I only get the words I am after by pretending for a while. A surface-level understanding doesn’t give me the words I need to write the lyrics I like. Much like a method actor (which I don’t like method-acting as I understand it, lol, go figure), I dwell. I make-believe, I dig deep in the pretending. I want to grab the words folks relate to. Doesn’t come quick, at least yet. It takes days of thought exercises with Keri.

“I gotta’ get moving. It keeps me alive. Keeps me from thinking about you.”

I think if we are struck with grief, some of us feel the need to get to work. Work is distracting. Work feels good sometimes. Work feels like being a part of something too. This might be necessary if we are overwhelmed with sadness. This is just so we can live.

I remember when my grandfather died and I was a kid. My dad took me home and started working on a house project. It helped him think. I have that in me too. When grief happens, nothing like a little labor to set you right.

“I’ve lost my direction, but I’m keeping my stride. Seems like the only thing to do.”

I think this line is human nature in a nutshell. What do we do? NOT keep going? NOT an option. We may not always have purpose, but movement is a sign of life. That can be the purpose. Just living.

That was just the first verse.

Here are all the lyrics and links. There are two versions of this song. I heard the delivery of Dan Cross from London in early production. I am a fan of his rock with Donald Skinner. I asked him if he felt like singing, and he and Donald made a whole version! They are wonderful. So there’s a me & Keri version, and a Dan Cross and Donald Skinner version.

Lyrics, “Like a River.”

Verse 1

I gotta’ get movin’

It keeps me alive

Keeps me from thinking about you

Verse 2

I’ve lost my direction

I’m keeping my stride

Seems like the only thing to do

Chorus

It breaks just like a river

Memories flowing down my face

It breaks just like a river

Pulling me under with the waves

Verse 3

The band’s still together

We never play the songs that you wrote

It’s like we’re stuck on the same note

Verse 4

Your things are where you left them

Down the side of the bed

Maybe I should send them on ahead (Dan’s version’s verse)

Chorus

It breaks just like a river

Memories flowing down my face

It breaks just like a river

Pulling me under with the waves

Bridge

I’ve grown tired of new adventures

Without you by my side

People tell me to move on

I just take my time.

Verse 5

You may be gone

But I’ll love you the rest of my life

People ‘round here don’t know what that’s like

Chorus and out

It breaks just like a river

Memories flowing down my face

It breaks just like a river

Pulling me under with the waves

(end)

Links for both versions of the song, “Like a River.”

• Bandcamp has these tunes: Bandcamp version, Dan Cross. Bandcamp version, The Kintners.
• I also have this in my free folder, here. You (anyone) are welcome to anything in this folder. Repository version, Dan Cross. Repository version, The Kintners.

There’s no difference in where you get them. The difference is in who is singing. And both of those versions are the same in both places.

Isn’t this song, “old?”

We wrote this a few years ago. I am highlighting it on my blog because I think it is good. I think some folks out there I know, and even some I don’t will dig or have dug this tune. Reception was great on it. Had a lot of lyrical conversations with folks who identified with the tune. Believe it or not, “most” people have never heard of this tune. So while it may be a few years old, I think it is still great. I think it still hits. And I think someone might could use it. If not? It’s just a blog entry. No big wup. I am not harmed, nor did I harm anyone by pointing the song out. I like the song. I point it out, honestly. Woke up thinking about the stuff I need to do today, first line swirling around my brain.

About grief:

There’s a tendency in today’s online circles to compare grief, or compare tragedies. I urge you to consider changing this up. When you look at someone’s face who is grieving, there’s no comparisons, no advice, no steps, no pills, nothing. Maybe just give them a hug like I wound up giving that old man a hug at the guitar shop. He was a MAGA, he was 90 years old. Doesn’t matter, dude lost his wife of 60 years. I didn’t think about him faking it like I would have online. He was in front of me. I thought about him, and Keri. I think if I was grieving, I’d have wanted to be talking to me then. That is a good way to be, I feel, in hindsight. I was flying blind, but now the plan is just to be present for those grieving. I think that is a good plan.

Maybe you want to write about something serious, I have a suggestion. (But no guarantees.)

I spend a lot of time in these characters, in their words, in their day-to-day. I get up with them, I go to sleep with them. I imagine them getting dressed, eating, getting frustrated, feeling lost, feeling insecure. This is all serious stuff. I treat it very seriously, even though I am making it up. I am able to do this because I have given myself permission on these big songs to “go there.” I find that simply verbally or in writing, like in an entry. My intent is a crucial step in it being good. I am not just open to what spins out of me like a tornado. I am granting it permission to do so. For whatever reasons, be it I may not feel like it is worth it, or I am worth it, or it can be done, or I am the one to do it, never ends, I do not get to do the digging I am after unless I deem the project okay and worth it. Give yourself permission to chase an artistic goal, whatever it is. Try it. Allow it to take you over. You’re the only one fighting it.

Thanks.

Kelly Kintner, Editor

The Horse’s Mouth Magazine

“Cut them down, rip them all down..”

A while back, I took our music down from streamers. It wasn’t hard, didn’t feel ever like a sacrifice once I finally did it, and it didn’t hurt at all. But at the time I felt like Joan of Arc. I actually made it harder for others to do. Who wants to be Joan of Arc?

Well, that wasn’t so bad.

The fact is not having music on streamers has been nice. Maybe numbers go down somewhere that doesn’t pay me for them, but the positive interactions about my music have skyrocketed. I am no longer a musician in the crowd. There’s no crowd.

What am I in this for?

I value things like warm conversation and exchanging favorite works. I don’t need to monetize that or incentivize it. I already enjoy it. In fact, if I made enough money, I would probably figure out how to buy it. But I have to resort to writing and music, the old-fashioned way. It’s a damn good perk of being a writer and musician that I enjoy those things too. Otherwise this gig would suck. But fortunately I enjoy writing, music, and talking about them. That’s what I aim for, that’s what I get. When I realized that leaving the streamers actually helped me with my goals, I felt vindicated. It wasn’t the annual distribution fee that chapped my ass, it wasn’t so many links to store and copy/paste (although..), it wasn’t even the scammy playlists and folks paying for spots. It was having to partner with such loser companies to “keep up.” Software has always had that pitch. I don’t know why it took me so long to recognize it with music. But I am glad it is recognized.

Want to look at my music? It won’t cost a penny.

So I decided to make a free folder of all the music I have released, (and even not released). It is clearly labeled, what band, what album, what song. Not a mess like a record store. A neat folder. You might appreciate a rundown of what you will find there. This is that.

3 bands to rule them all.

Boots on the Ground – This is a band with BK Birge, (who also writes for the mag). Keri and I drove to his place when he was in Houston not long ago. He had an amazing all analog studio set up there. The board was owned by The Cars! Stuff I had read about, but never heard in real life before. He got me started, The Doc’s fault. We made protest music for a few days, ate delicious food. We will do it again soon.

The Kintners – Keri and I like to sing, write lyrics, record, play small shows with acoustic guitar, and he even help when we can on others’ stuff. The Kintners is the sing-songy band I have always wanted. There's usually harmony, there’s typically lyrics. There’s often big arrangements so far. The next album coming this Christmas 2026, is a double-album of smaller arrangements. Keri writes lyrics like in “Picking Flowers” and it gives me chills for years.

Djembe Funk – This band is me. If anyone is helping their name is part of the title. This is my one-man can do anything band. Djembe Funk’s self-titled record came out June 4, 2026. It is a zany record. Spoken word to protest to punk to acoustic firesides. Before that record, I made a ton of solo stuff, all in the folder.

Shout out to The Horse’s Mouth.

The Treasure is simply the Treasure Chest on The Horse’s Mouth Linktree below my signature at bottom. There, you will find all the free bonuses to the magazine. Art from Chris Triggs, Writers reading audio versions of pieces they wrote, even folks who pitched in the magazine hung around to make music and that is there too.

I need nothing. Just take.

This is a good amount of stuff, it’s all free. I hope you take me up on it. I am done with it, but it really helped me out to make. I’ve learned those kinds of things can help other folks when they’re in the mood for listening. I don’t want numbers going up, I don’t need money, I am counting nothing, except maybe warm conversations where we swap favorite novels.

Thanks.

Kelly Kintner, Editor

The Horse’s Mouth Magazine