el Goose Times Volume 9

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VOLUME 9: SUMMER 2023

Volume 9 Summer 2023

Table of Contents Editorial Staff Jon Caruso Lisa Governa Ryan Storm Marc Komito Rick Gallego Amanda Cad Andrew DaRosa Tamara Sastow Joe Joseph Rus So Paige Caruso Jack Quinn

TEDitor-in-Chief Goose Chicks TEDitor & Classifieds Queen Music Maestro Contributing Writer & Resident Dance Teacher Resident Chef de Cuisine Master Storyteller & Logistics Specialist Feature TEDitor BC Music Therapist & Multi-instrumentalist Creative Guru & Webmaster OG Fan & Historian Idea Entrepreneur & Goose Chicks Ambassador Number One Newsie

Pages 4-7

Same Old Shenanigans Interview with Greg DeLuis

Pages 8-9

Depths of Space Spring Tour 2023 Review

Pages 10-13

el Goose Chicks Sam Wray: Love and Rhythm

Page 14

It Burns Within Music Fandom and the Impact of Song Discussion

Page 15

Beside the Fire's Glow The Earthling and the Alien with special guest writer B. Cheese

Pages 16-17

Ted the Goose Comic "Everything Must Go"

Page 18

Classifieds & The Adventures of Strange Man Comic

Page 19

Hot Tea in Rick's Kitchen Special Feature Rise Up On the Tide - An Interview with Mast Brewery's Devin Pieroni & Parker Olen

(satellite) Team Marc Chiavon Sparkman Clark Mikah Atkind Rebecca Jane Lee Khalee Kay Alex Grosby Brian Weber

Meme Wizard & el Confidante Comic Artist & Strange Man Accomplice Sister Spud Canadian Artiste & Visionary Creative Queen TEDvertising Advisor Music Analyst & Sage

Special Thanks To: Greg DeLuis Sam Wray Greg Knight & Dave DiCianni Mister Dude Devin Pieroni & Parker Olen Mast Landing Brewery B. Cheese

VOLUME 9: SUMMER 2023

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Same Old

The el Goose Times interview with

Greg DeLuis Master Luthier & Owner DeLuis Guitars

What inspired you to become a luthier and ultimately start your own company, DeLuis Guitars?

My love of guitars and playing guitar is of course at the center of it all. I was just a kid being influenced by my grandfather, who was handy enough to keep his instruments playing great, and it was at his workbench that I first saw lutherie tools, vacuum tubes, capacitors, etc…all pretty cool to my young self. He also gave me my first Stewmac catalog at 16. By then, I had been playing regularly in bands and bars (underage) just trying to cut my teeth and becoming more and more in love with the guitar in general.

I pursued sculpture in college and was originally headed for the fine art world. I think that also heavily influences how I approach lutherie, because I look at my guitars as pieces of functional fine art. The real moment I knew I was going to be a luthier was when I picked up the book, Steel String Guitar Construction by Irving Sloane…the section on Jimmy D’Aquisto changed my life.

I'd love to hear more about your family life growing up, and how it influenced where you are today. Was music important in your family?

Music was important in my family. Holiday gatherings often turned to late night jam sessions. At the center of these jam sessions were a pair of Gibson instruments from 1919 and 1929, respectively. They were the tools of the trade for my great uncle Jimmy DeLuis, who was a professional musician. They were revered objects-that was apparent to me at a young age.

Old-school craftsmanship is a cornerstone of your business. Why was this important?

Photo Credit: Ashley DeLuis with Jon Caruso

Craftsmanship is the quality that comes from individual creative expression, refined skill and a meticulous attention to detail. As technology continues to evolve and machines become more efficient with production, the importance of traditional craftsmanship especially handcraftsmanship - has never been greater. This kind of high-quality craftsmanship is what differentiates and elevates in an increasingly crowded space, whether functional or purely aesthetic. Thinking about how this applies to music, musical instruments are functional pieces of art where craftsmanship can make a huge difference.

For guitars, the materials used for the body, neck and type of electronics used, for example, can make a huge difference to how the guitar looks, feels and sounds.

Lutherie, the craft of making, repairing or restoring stringed instruments, depends on great craftsmanship, as Luthiers spend years studying wood and instrument construction to truly understand how instruments work and how they can improve upon its sound. The craft of luthiers is essentially divided into two main categories: makers of stringed instruments that are plucked or strummed, like guitars, and lutes, for example; and makers of stringed instruments that are bowed, like a cello, double bass or violin.

Guitar lutherie has evolved significantly since it began in the early 19th century, with the rise of technology and machinery, but there’s something about hand-made guitars that give them more character and personality. A machine cannot replicate what comes out of the hands of an individual, who put their heart and soul into every individual piece. These guitars are essentially functional works of art.

The el Goose Times had the opportunity to speak with Greg DeLuis, master luthier and owner of DeLuis Guitars, about what inspired him to become a luthier, the story behind Rick’s new guitar, “The Empress” and more.

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I’m not categorically anti-tech (my fret templates are laser cut, for example), but I think a lot of processes in guitar construction that once added the artists touch (inlay, hand carving) have been automated and the instruments themselves stripped of romance. There isn’t typically a lot of transparency in lutherie - plenty of makers outsource or automate what could (and I believe should) be handcrafted, unbeknownst to the customer. The quick and easy way only benefits the maker, not the player. I strive for integrity, honesty and high-level craftsmanship in how I approach lutherie. Using old-school traditional construction methods, like hand inlay and hand carving, is how I do that. I think it matters.

Based on your experience, how do different types of wood impact a guitar’s overall sound?

Wood is a precious resource and I feel privileged to use what is often rare and difficult to source.

The wood’s visual beauty inspires throughout the process, but what really sets the process apart from the big guitar factories is that I’m LISTENING to the wood throughout the process.

As far as different species and their inherent qualities…I believe it’s really a weight:stiffness conundrum. But, you can count on certain tonewoods for certain resonant qualities and use that information to EQ the instrument to a certain degree…At least at a baseline.

VOLUME 9: SUMMER 2023

Rick’s guitar, for example, features a highly figured, big-leaf Maple for the top and back, in addition to steam-bent Indian Rosewood sides and Mahogany linings. The neck is Honduras Mahogany with carbon fiber reinforcement and a two-way truss rod. The use of Maple for the top and back and Mahogany for the neck is carried over from Rick’s old guitar…keeping the tonal signature that the wood itself was providing in Rick’s tone.

On the DeLuis Guitar website, it says that “all custom DeLuis Guitars start with a conversation.” How did the conversation start with Rick? Did he reach out to you?

I had been listening/following Goose for some time. Rick is an incredible and very special player and I knew I wanted to make him something epic.

Fast forward to Aug 22, 2022. My pal Sean Heydorff (aka Blues for Sallah) happened to know a few people in their management, got us into VIP at the Greek here in LA and after the show I was able to speak at length about a potential guitar design with Rick in the lounge. Then I sketched and worked on preliminary designs, we got the concept where it needed to be and “The Empress” would soon be born. The most exciting part of designing a custom instrument, to me, is realizing that when you’re working with an artisan, the sky is the limit.

Pictured Left: The first rendering of the guitar concept sent to Rick after their initial discussion.

Pictured Right: A color rendering of the guitar sent to Rick, prior to small changes and construction.

Some design aspects were changed along the way, but the general vibe remained, per Greg.

When I first spoke with Rick at the Greek (LA) we were pretty much on the same page as far as possible construction features. Rick already sounded fantastic, so the task at hand was delivering MORE of Rick’s already amazing sound. The next time he and I communicated, I sent a few mock-ups, which we stuck to very closely throughout the process. As described in the tonewood question, I chose woods that I felt would capture and enhance his sound in the best possible way.

Once the woods were selected, then begins the hand carving process. The tops of my instruments are hand-carved with traditional violin/cello planes and cabinet scrapers. Carving and tuning the top and back as well as additional tuning of the bracing and recurve areas is where, listening to the Wood (and aether) can result in the instruments greatest potential and what sets a sensitively constructed, luthier-built instrument apart from something off an assembly line.

Walk us through the process of crafting his guitar. What makes Rick’s guitar unique?

The main points, as discussed with Rick in our OG conversation, were a fully hollow instrument, light and responsive which in high gain situations can be like riding a wave. Top that off with a couple extra frets and minding comfort by designing a beautiful ergonomic package. If you really account for every design feature, every line and curve, it is a very unique guitar and a new look while keeping all of Rick’s playing needs met.

When I’m in the early stages of guitar building for a client, everything starts with wood selection.

In this case, I chose woods already at the center of Rick’s tone and that was the tricky part. Rick always sounded great so the goal was just giving him his tone plus a little extra.

Pictured Above: The guitar mold Greg created for "The Empress"

VOLUME 9: SUMMER 2023

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The most significant difference to me between Ricks old guitar and “The Empress”, is that the old instrument was shaped by computercontrolled routers on an assembly line, while mine are completely handcrafted. At big factories/companies the automation is the norm.

I only bring this up to illustrate what makes this instrument different from heavily CNC-assisted builds (in a big or small shop) or something off an assembly line. The top plates of his new instrument are hand carved like a violin with hand planes. The entire process I’m carving and listening to the wood and each plate’s final graduations are unique to the qualities of that particular piece of wood.

Here’s a rundown of the specs we landed on:

"The Empress" A hand-carved, fully hollowbody electric guitar Body: Hand-carved curly maple top and back(big leaf), Steam-bent mahogany sides with mahogany linings with hand carved ebony tailpiece

Pictured Above: A sample of the tools Greg uses for hand-carving guitars - all used on "The Empress" Pictured Below: "A picture of Rick I took with my iPhone of the first few moments he picked up the guitar after delivery/at soundcheck"

Neck: Honduran mahogany Ebony fingerboard and headplate 2-way truss rod 25” scale length 12” radius Mammoth ivory nut Hand cut inlay Electronics: Lollar low-wind imperial pickups Roughly how many guitars have you personally crafted up to this point? What are some of your favorites?

It’s over 100 instruments at this point… the stand out guitars for me are “Liberty”, made for Austin McCutchen from Grateful Shred - which was my first project via the Grateful Guitars Foundation, as well as a design collab with my dear friend Sean Heydorff, aka Blues for Sallah.

The other obvious favorite would be “The Empress”, made for/with Rick. He’s a beast with that guitar. Seeing my instruments being played on stage is the greatest joy.

What’s it like delivering a finished guitar to your clients and watching/listening to them play the piece?

I usually overnight ship guitars, so I don’t get to see those first moments in person very often.

That’s why with Rick it was an extra special delivery for me. When Rick first picked up the guitar, he immediately played unplugged and was making music. We all went upstairs for sound check and Rick really started to enjoy the new space this guitar could give him, then when he said he wanted to play it that night it just solidified for me that between him and I, we nailed it, and he hasn’t put it down since.

That’s the feeling I strive for every time with every guitar.

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Do you have any advice for aspiring luthiers?

In any high-level craft, I think learning the fundamentals, creating muscle memory, and just getting really skilled at your craft is a prerequisite for doing great work. You have to put in the time, there’s no shortcuts in this field if you want to put out excellent work.

What's next for you? Do you have any other exciting projects in the works?

John Lee Shannon of Circles Around the Sun/Grateful Shred and I have a project that’s getting started. I’m so grateful every day that I’m very busy with custom orders and each one is special and exciting in their own way. This is my dream life.

Thank you so much for your time, it’s been a pleasure! If fans would like to learn more about luthier Greg DeLuis, visit his website by scanning the QR code below make sure to follow DeLuis Guitars on Facebook & Instagram!

All photos provided by Greg DeLuis unless otherwise noted.

All rights reserved.

VOLUME 9: SUMMER 2023

Photo Credit: Adam Berta Photography

VOLUME 9: SUMMER 2023

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Spring 2023 Leg 2 Recap with Ryan Storm The 15-date second leg of Goose’s 2023 spring tour saw the band journey from the Midwest to the west coast, introducing many new fans to their music and the power of their current sound. With lots of smaller venues than have been played further east as of late, the quintet had the opportunity to experiment in a more intimate environment that allowed the music to take new shapes and directions.

Beginning in Madison on April 13, a statement about the forthcoming tour was immediately made with massive versions of “Borne,” “Wysteria Lane,” and “Indian River.” Most notably the latter song, whose “Welcome to Delta” jam has rarely ventured outside of standard territory. Peter especially shone in this show with unique synth and organ work within the big jams.

The Year of Big T seriously continued to assert itself through the ensuing two nights at the Salt Shed in Chicago, now immortalized in the form of a live album (including an exclusive 30-minute soundcheck jam!). With newer songs like “Everything Must Go” and “Thatch” featured prominently in the setlist of the first night, Goose confidently delivered what many have dubbed the jam of the year so far – a 30+ minute “Hungersite.”

Trevor Bass himself is the leader throughout this jam which features multiple distinct sections and the beginning of the many appearances of the “Crosseyed and Painless” intro jam.

This two-chord bliss motif, usually with Peter on Vintage Vibe, became a staple of the band’s improvisational toolkit this spring. 4/15’s first set was highlighted by an incredible “Echo of a Rose” -> “Inside Out” pairing, thirty minutes of high-quality Goose jamming.

In the second set, true pandemonium was unleashed during what quickly became known as the “Saltcakes,” a “Pancakes” of epic proportions that saw the whole band pouring every ounce of energy into the breakneck-speed jam that refused to stop peaking. Completing the previous night’s unfinished “Madhuvan” in the encore, Goose continued west…

In St. Paul, the band once again blended the vibey “Tumblé” with the song’s original composed section and jam.

While the two previous versions performed in this way had a sort of uncertainty to them, Goose was ready and pulled off the transition from slow to fast perfectly. Embarking on a long and exploratory jam, the band wound up in the first full performance of “Loose Ends” with lyrics of the year, tying a neat bow on the repeated teases that had shown up throughout the spring.

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With a day off, the quintet ventured into the mountains with a two-night stand in Bozeman, Montana. Night one was all about a rock ‘n roll vibe, made clear during the first set’s 19-minute “Elizabeth” where Rick let loose flamethrowers upon flamethrowers of guitar (and WELCOME BACK “Doc Brown”!). The real star of the show, however, was the “Rosewood Heart” deep in the second set. With Spuds really attacking the drums and a super punchy groove developing, Peter would eventually pick up his guitar (an atypical shift) to lend a dark and crunchy tone to the jam. Goedde really went for it during this fast-paced improv as he turned off most of the overhead stage lights, using the tall panels behind the stage to add a spooky tone to the synth-drenched music. A smooth segue into the first “Weird Fishes” cover since 11/16/21 and a smooth “Red Bird” -> “Butter Rum” put a nice exclamation point on the first night. The second night in Bozeman saw another surprise bustout – “Cantaloupe Island” was played for the first time since 12/5/19 and was a complete in-themoment audible by the band. Later in the show, “Everything Must Go” got the second-set jam vehicle treatment its previous versions had been hinting at, Rick and Peter absolutely locking in on a hot minor-key groove in the middle. The year’s first “No Rain” (did Peter tease Dark Star?) continued a strong set ahead of “Hungersite” and an incredibly efficient “Madhuvan” closer, marking this two-night stand as Goose’s first-ever run in Montana without a play of “Escape.”

In Boise, they came out swinging with a “Factory Fiction”-infused “All I Need” in the first set, while an outer-space “Wysteria Lane” took centre stage for the second frame. Peter shone on Vibe while the rhythm section created a tom-heavy base. Goedde utilized his special light curtain that is part of the pared-down small venue light rig to paint the band in a plaid pattern as the jam went into the deep reaches of outer space.

Culminating with a build into “Get The Funk Out Ma Face,” Goose delivered on the rest of the show with an extended “Jeff Engborg” set closer and the return of “Lead the Way” after the longest gap in its history.

PA issues plagued the first set of April 22nd in Seattle, where the shortened first set contained multiple attempts at “Lead Up” and a push-up competition between Jebb and Naveed as the issues were fixed. Returning for a massive second set and a fixed sound system, Goose uncorked their longest jam to date in a 45-minute “Echo of a Rose.”

Musically going all over the map, this behemoth holds your attention from the first note to the last, and was a statement that the band was not going to let some silly tech issues get in the way of an incredible concert. “Sleepwalk” made an appearance for the first time since 12/31/21 later in the set, while Bob Seger’s “Hollywood Nights” found a perfect home within “Arrow” for the second time in recent memory. For the second night in Seattle, a party vibe permeated throughout the show with an absolutely phenomenal “In Your Eyes” RHYTHMIC CLINIC in the first set and an extended “Hot Tea” to open the second.

Trevor fronted the band on the first-ever “Achy Breaky Heart” played in front of a live audience – its only other performance was during 2020’s Bingo Tour.

Heading down the coast to Eugene, perhaps the best show of the tour – musically speaking – happened at the intimate 800-seat McDonald Theatre.

Once again utilizing the smaller light rig, Goedde shone along with the wild improv journey in the first set’s “Borne” as Rick threw up wave after wave of delay loops as Peter leaned heavily into textures in tandem. An incredible soundscape took shape that has to be heard to be believed. Some are calling it the JOTY… While an “Empress of Organos” second set opener is usually a sign of a relatively standard piece of improv to kick off on a high note, Eugene’s took a plunge deep into the dark and evil thanks once again to Peter’s Vibe and synth work. Rick ripped apart minor key arpeggios that brought AC/DC to mind as the music accelerated into a boiling motif. By the time the song was over, Eugene already had two high-ranking jams in the books.

“Rosewood Heart” was up next and was 20 minutes of charging, focused Goose jamming.

VOLUME 9: SUMMER 2023

All four band members locked in for the entire thing and put the pedal to the floor, leaving the mostly-unfamiliar Oregon crowd with jaws on the floor. An emotional “Peggy-O” and the alwaysincendiary “Arcadia” set the band off to the legendary Warfield Theatre in style.

Photo Credit: Adam Berta Photography

Celebrating tour manager Sam King’s birthday on the first night in San Francisco, Goose busted out Ted Tapes cut “Dragonfly” for the first time since 6/10/22 during a spontaneously spacey “Into the Myst” jam. Drums were king in the rest of the show throughout the beast-mode “Pancakes” and exceptional “Red Bird.” Jebb especially has really grown into his playing over the past couple of months, contributing more and more to the band’s sound with each passing show. Night two was an alloriginal affair whose highlights began early in the first set with “Elizabeth.” The usual choogle, led by Rick’s brand-new DeLuis guitar, transformed into a majestic and beautiful bliss motif in the second half that soared into a perfect “Not Alone” landing pad. Set 2 opened with an absolutely incendiary “Thatch” (what version isn’t incendiary?), stretching past the 20-minute mark for the first time. Groovy Peter tune “Feel It Now” kept the vibe going, but the real improvisational meat wouldn’t come back until the encore’s “Madhuvan.”

Beginning with a tidal wave of effects and sounds, Rick brought the band back above water with a dark and eerie space that gradually and smoothly transformed into a rocking major-key peak reminiscent of a familiar song to many in the crowd.

The final show of tour proper and the only outdoor date took place in San Diego – while on the shorter side, the band still offered an energetic two sets for the SoCal crowd. A surprise short-gap appearance for “Loose Ends” within “Rockdale” and a blissed-out “Arcadia” shone in the first set while a fiery-turneddreamy “Hungersite” dominated the second frame.

Two nights in New Orleans at the Daze Between festival for the true conclusion to the tour were excellent affairs – highquality festival sets with standout versions of “All I Need,” “Tumble” (with an incredible jam in the middle that sounded almost pre-composed…shoutout Aardvark), “Thatch,” and “Hungersite.”

The real star, however was the “Hot Tea” featuring Neal Francis on keys and The Horn Section. Played in the slower and horn-centric album arrangement, vibes were high as Peter and Neal shared the rig and traded solos. The horns took a strong turn with it while all on stage sported massive smiles. Go listen to this ASAP if you haven’t already!

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Another spring tour wrapped, another lengthy excursion with Goose once again proving that they are a warm change-of-season band. As we head into an early summer tour filled with festival dates and another long headlining run not happening until September, we will no doubt be listening to the contents of these spring shows time and time again.

So, until next time…GOOOOOOOOOSE! Read more of Ryan’s show reviews and more at ryanstorm.substack.com.

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Chicks

Photo Credit: Ben Atkind

Sam Wray: Love and Rhythm with Lisa Governa Trigger warning: This article contains topics that may be distressing for some readers.

Topics include depression, anxiety, suicidal thoughts, and addiction. Please engage with this written piece thoughtfully and practice self-care.

If you’ve been to a Goose show, chances are you’ve seen Sam. You know the chick with the big, beautiful smile, the cutest fits, dancing like nobody’s watching, hugging her friends at the rail, emitting the most insane positive energy you can feel from across the room? Yup, that’s her! She’s a beaming ray of love and light, an empathetic friend to all, and the love of Ben Atkind’s life.

A good ol’ fashioned Tinder match.

“It was right at the start of the pandemic March 2020 and everyone was on lockdown. I’d been to three Goose shows prior, and had absolutely fallen in love with the music. So of course, I couldn’t say no to a date with the drummer of my favorite band. Never would I have guessed that this would be the beginning of a wild adventure and a beautiful love story.”

But humans are dualistic by nature; what we outwardly project to the world is exactly that — a projection. Sometimes, we show exactly how we feel. Our projection is a true reflection of our thoughts and emotions. Sometimes, they don’t align at all. Sometimes, we’re suffering silently, but it looks like we’re living the dream. Sound relatable? Sam gets it too, and she was so kind and brave and vulnerable to share her journey with us. Let’s dig in!

Ben made his passion for starch clear from day one. “Our first date consisted of Ben making me potatoes (the Spuds nickname is no joke) and watching a live stream. I have no idea what the band was because we were so excited to talk and get to know each other. There was an instant connection and we fell in love so effortlessly. The pandemic allowed us the perfect opportunity to get to know each other because he wasn’t on the road.”

Sam entered our Goose community orbit via her relationship with drummer Ben Atkind, but she was a fan before they got together. How did they meet?

Sam is so grateful for the opportunities she’s had to support Ben and Goose on their road to success. The live stream from the top of Rockefeller Center is one of her favorite experiences.

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“I just remember this magical feeling of watching the person that I care for the most fulfilling his dream and playing in a space like this. It was definitely a pinch me moment. To be able to be there, standing on top of that building was surreal. I couldn’t believe that I was allowed to be a part of this moment. And you bet I was there dancing my butt off on that roof. It’s really wild to think about though because there’s at least a dozen moments that have that same magic for me as the Rockefeller Goosemas… Ben sitting in with Umphrey’s McGee at Suwannee, Radio City, Bingo Tour. So many magical moments to choose from!”

Our community has had the privilege of watching their love blossom over the last three years. There’s been countless photos and videos of piggy back rides, hand holding, back rubs… How can you not love their love?! Their soulmate status was sealed during the rescheduled Goosemas at Mohegan Sun on 2/26/22.

Ben proposed to Sam on stage in front of thousands of fans.

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“Thank goodness there are literally a thousand videos of this moment because I blacked out going up on stage. The second I heard the last drum hit on Empress, I knew something was up. I thought maybe Ben dropped a stick or something. The second he reached for that microphone, I knew exactly what was happening and I blurted out, ‘You son of a bitch.’ The other girls had to literally push me up on stage.” You can actually see Sam mouthing those words in a video of her gracing the huge stage. It was an epic show for many reasons, but it was so special for everyone in attendance to be included in their beautiful moment.

Sam is blessed not only with an incredible partner, but also with a loving family in the Atkinds. “Let me tell you, I won the in-law lottery with this family. Ben’s mom and I have a special connection with so much love.

There’s no one I would rather joke around with and harass than Ben’s dad. His sister Mikah was like an instant best friend for me.

His sister Elise and her family are as wholesome as it gets. I’m actually wearing a bracelet right now that Mikah, Elise, and I all have that says ‘sisters’, and bracelets that say ‘we love you Aunt Sam’ from my soon to be nieces and nephew. And don’t let me forget the cousins. Ben has so many cousins and they are all just spectacular humans.”

So what’s the fairytale ceremony these two lerv birds have in mind for their nuptials?

“We actually have zero wedding plans right now. I hate the idea of spending a ton of money on one day. And Ben played in wedding bands for years and he’s been to so many weddings that neither of us really just want to plan the wedding. I wouldn’t be surprised if we elope and have a party with friends and family to celebrate. For us, it’s all about the love.” Sounds perfect to me!

Currently, Ben and Sam are focused on building their love nest as they recently purchased their first home together.

“My creativity is flowing with all of the projects to make this home our sanctuary when off the road. I love hands-on projects.

Growing up, my parents built the house that we grew up in and as a family we built a lake house in upstate New York, which has given me some experience and made me super handy.”

I love a good love story as much as the next chick, but what’s under the surface of Sam Wray? Who is this special lady? Let’s dig a little deeper…

Sam is fascinated with people and inspired by art and nature. The Goose community has allowed her to indulge in both of those passions. “I love connecting with humans and getting right into the ‘real’ stuff. I often find myself struck with curiosity about the world around me. Meditation, reading, painting, and documentaries are some of my favorite ways to spend my downtime. Music is my happy place. I go to concerts at our local venues any chance I get."

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Photo Credit: Jay Blakesberg "I grew up playing violin, guitar, piano, harmonica, and singing, but now I leave it to the pros. I love hiking with my pup and sitting with nature; the sunshine fuels my soul. I started hoarding houseplants about two years ago and only kill about 20% of them at this point.”

"I wanted to revolutionize how we support the Autism population. I’ve explored different positions in the field including performing evaluations, leading teams of therapists, training teachers and therapists, and providing direct therapy.”

She attended UMass Amherst for undergrad to pursue a career as a SpeechLanguage Pathologist, but her innate ability to connect with people was undeniable. She discovered a meaningful work that truly fulfilled her.

Smart, successful, madly in love… the projection is as real as it seems. Here’s where the duality kicks in. Sam has a history of depression and anxiety along with co-occurring disorders. Despite living her dream, Dr. Darkness came creeping in and refused to be ignored. She made a necessary and profound self discovery.

“After working with children with Autism Spectrum Disorder, I knew I had to pursue a specialty in autism. I did a graduate sequence at UConn to become a Developmental Specialist, and for the last eight years, I have been a Developmental Specialist for infants and toddlers with disabilities. I fell in love with supporting families through the process of acceptance that comes with having a child with autism.

It was so easy for me to fall in love and connect with these neuro-diverse little ones. I found myself dedicating all of my time and energy to reading the latest autism research, learning from different specialties, watching webinars, and spending half of my paycheck on accessible supports for the kids I worked with."

“I looked in the mirror one day and didn’t know who I was. The work-a-holic Developmental Specialist had lost her fire and along with it, her identity. I became the girl dating the drummer of Goose. And for a while, I loved it. But, just like my job title, I let this take over my perception of my identity. I slowly moved away from doing the things I loved. My hobbies, friendships, self care, creativity, and so much more withered away until I was unrecognizable.

My depression and anxiety began to kick in at full force. I found myself looking towards substances to bring me up and down. And with that, 2022 became the most challenging mental health year that I have ever experienced.”

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“In the preceeding winter months, I had done a lot of quarantining while working from home to make sure we didn’t get COVID and the shows could continue. The isolation paired with my loss of identity sunk me to new lows. I decided to find my baseline and embrace sobriety. With this, new challenges arose. I didn’t know how to self regulate. I was always looking for external remedies to balance my internal storm. It took courage to face the codependencies I had developed. And so much pain. I cannot downplay the pain. It was so tremendous I wanted it all to stop.

It was when I started looking for ways to end my life that we knew I needed more support than I had at home. With the help of my friends, family, therapist, psychiatrist, and Ben, I flew out to Sierra Tucson to get the support I needed. Sierra Tucson is a residential treatment center that provides support for a range of behavioral health problems. Just like any other treatment, it wasn’t magic. It didn’t ‘fix’ me. But with their support and my commitment to my mental health journey, it was everything I needed it to be. I still struggle. I still have depression and anxiety. But I also have tools, knowledge, support, and so much more. It has all been a beautifully painful journey and I will forever be grateful that I didn’t quit along the way.”

Tired and weary, lost and reaching out, only then will you find yourself… Sam has since embraced this part of her life, and rather than give in to it, it’s fueled her passion. “As beautiful and meaningful as this experience has been, I’m feeling a change in the current and a shift in my career goals. Since going on my own mental health journey, I am finding that my passion is shifting towards the mental health field… I spend much of my time working with NAMI (National Alliance on Mental Illness) where I run a support group for young adults with mental illness, and Backline where I work with a team of inspirational humans who provide support to touring professionals in the music industry.”

Let’s highlight the importance of why Backline, a 501(c)(3) non-profit, is an essential resource for the music industry.

What a lot of music lovers don’t realize is the vast majority of professional musicians and their crews don’t have access to affordable health insurance. They are forced to turn to the extremely expensive private sector market or pay astronomical prices for out of pocket medical expenses.

On top of that, musicians and their crews are in a considerable high risk line of work; tour life is tough. Long hours on the road, physical exertion loading in and out, performing for 3+ hours a night for thousands of people, all while fighting lack of sleep and operating on a diet based on convenience rather than nutrition — these are just the obvious opportunities for physical injury.

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Photo Credit: Sparkman Clark Car accidents, broken bones, Covid exposure, or food poisoning from a questionable truck stop glizzy could result in a crippling expense. The financial blow is worsened if the show can’t go on.

What’s talked about even less, are the mental stresses plaguing the industry.

Isolation from family and friends.

Depression. Anxiety. Social media pressure. Stigmas glorifying life on the road gaslight the actual emotions and experience. Treatment isn’t easily accessible. Prescription drugs needed to regulate aren’t affordable. All of this compounds into a perfect storm.

With drugs and alcohol abound, many industry folk fall victim to various addictions in an attempt to self medicate their untreated issues. The cycle continues. What do you do when your means becomes the means to your end?

Rehab is time consuming, stigmatized, and out of the budget. New material needs to be written, recorded, and promoted, so tour life carries on. And on and on…

Benefit shows, GoFundMe campaigns, and other crowd sourced funding have been normalized as the go to method for generating revenue in times of crisis for artists. Though it’s beautiful to see music communities come together to support artists in need, it’s unreliable, inconsistent, and most dangerously, it’s reactionary.

Help doesn’t always come in time.

THIS is why the work Backline does is so important. They connect music industry professionals and their families to mental health and wellness resources that specialize in the challenges faced specifically in this line of work. They can help stop the cycle, or better yet, provide preventative care before untreated issues become life threatening problems.

VOLUME 9: SUMMER 2023

It takes an immense amount of strength and courage to get help. Sam is a shining example that it can be done if you’re willing to be honest and do the work. “I’m so proud of the work that I have put into myself as I heal my personal and generational traumas… I’ve come out of a really dark place and it has been the hardest thing I have ever done. I’m so proud of the energy, love, and care I have put into myself. It really is the most rewarding work you can do.

There’s no better investment you can make than caring for your mind.”

We are so grateful for Sam’s bravery in sharing her story. Being vulnerable is uncomfortable, but even if just one person feels less alone, feels inspired to empathize with others no matter what their projection looks like, it was a sacrifice worth making.

Photo Credit: Em Wallis

“I want to be a part of the solution to break the stigma on mental health. To model vulnerability, compassion, and acceptance.

For others to know that they are not in this crazy world alone. The gratitude I have for the Goose community and the music community in general is immense. To have the opportunity to be a supportive part of this beautiful human collective and hear how others can relate and connect is so special. I aspire to continue growing and stay open to new paths that I come across.”

You don’t have to be a soldier all the time.

Know that life comes better in love. Give love. Accept love. You are worthy!

“Reach out to your friends when you need support. Offer support when you have space to give it.

Asking for help is cool.

Therapy is cool. Be cool.”

Photo Credit: Adam Berta Photography

Photo Credit: Jay Blakesberg

Be like Sam. To learn more about Backline, a 501(c)(3) non-profit that connects music industry professionals and their families with mental health and wellness resources, please scan the QR code below:

Photo Credit: Adam Berta Photography

VOLUME 9: SUMMER 2023

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Music Fandom and the Impact of Song Discussion with Tamara Sastow

As an anonymous Goose fan outside The Capitol Theatre once said:

“Obsessing over Goose is fun, but obsessing over Goose with other people who also obsess over Goose is divine.”

At its core, music fandom is a social phenomenon. It’s something people do together. In the realm of a dedicated fan community, such as the Goose community, the band and their music generally serve as the initial catalyst for fans’ interest and engagement.

However, while the music itself is undoubtedly a foundational element of the fandom, the social bonds that define the community are about much more than just the music.

As a licensed music therapist and a dedicated member of the jamband community, my passion lies in exploring the intricate relationships between music, people, and well-being.

Embracing both aspects of my identity has allowed me to gain a unique perspective that perpetually transforms the prism through which I view the jamband community. And it is within this context that I contemplate the dynamics and interactions among Goose fans, and how ordinary yet significant moments of engagement, discourse, and shared experiences promote both intrapersonal and interpersonal connection and growth.

A frequent Goose fan activity is the creative discussion of songs. These discussions take place both in person and online, where numerous groups and threads exist specifically for this purpose. Various facets of each song are investigated, such as its origins, the era and context of its creation, its composer’s personal experiences, its play count and statistics, its placement in the setlist, its potential connections to other songs, and more. Fans enthusiastically exchange a wealth of knowledge, analyses, hypotheses, and their own unique interpretations, intertwining personal connections, resonances, and perceived meanings.

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Not only are these discussions intellectually stimulating, but they also provide valuable insights into people's innermost thoughts and feelings.

Songs that hold a special significance to someone often reflect their personal philosophies and life experiences, revealing meaningful aspects of their identity, and creating space for genuine conversations about intimate matters that would usually require more time and trust to develop. Through deep exploration of these songs and their nuanced meanings, fans come together in vibrant discussions that enrich their collective understanding, and strengthen their connection to the band's music and to each other.

Music has inherent therapeutic qualities. It’s a phenomenon of rituals, spirituality, holistic healing, social unification, recreation, and entertainment, and has been associated with health and healing in several cultures around the world. And today there’s the profession of music therapy. Classically defined as the clinical and evidence-based use of music interventions to achieve individualized goals within a therapeutic relationship, music therapy is a specialized field that utilizes music and its various facets to address cognitive, physical, emotional, aesthetic, mental, spiritual, psychological, and social needs of individuals of all ages, in diverse clinical contexts.

Within a clinical music therapy context, the implementation of psychotherapeutic song discussion involves a strategically structured process to optimize its therapeutic impact. The exact format and techniques used vary depending on factors such as the music therapist's theoretical orientation, the therapeutic environment, and the specific treatment goals and objectives established for each individual client or group. It encompasses a broad range of applications, and typically consists of active listening, exploration and reflection, discussion and interpretation, and integration and application. The therapist selects the song based on its therapeutic relevance, carefully considering the lyrics, melodies, theme(s), and overall musical qualities and elements. It is then utilized as a catalyst for therapeutic exploration and dialogue.

Therapist and client(s) actively listen to the selected song together, after which clients share their immediate reactions, emotional responses, and any memories evoked by the music. Through structured discussions, clients engage in the interpretation of the song, sharing personal insights and reflecting on how the music resonates with their own experiences, thoughts, and emotions. The therapist actively guides the process, offering prompts for deeper introspection and facilitating a meaningful exploration of the song's themes, symbolism, and underlying meanings. As clients continue working with the music therapist, the valuable insights gained from these discussions are integrated into the broader therapeutic journey over time, allowing them to forge connections between the explored themes and their personal experiences, relationships, and growth objectives.

In a group music therapy setting, song discussion is commonly utilized to enhance communication, self-expression, interpersonal connection, and personal growth within the group dynamic. It creates a sense of connection and support within the group as participants share in the collective experience and emotions related to the music, reducing feelings of isolation and promoting a supportive environment. It also cultivates empathy and perspective-taking as individuals listen to each other's interpretations and experiences, while enhancing interpersonal skills and developing a sense of community. The clinical use of song discussion in music therapy can be particularly beneficial for individuals struggling with emotional distress, trauma, or communication difficulties, as it provides a structured and accessible medium for self-expression and therapeutic growth.

By exploring the profound impact of song discussions in a clinical setting, we witness the parallel benefits of similar, less formal engagements within the jam band community. Song discussions that take place among jam band enthusiasts not only foster deep connections and strengthen relationships between fans, but also offer a glimpse into the therapeutic potential of engaging with music in this way. As we reflect on the parallels between these two worlds, we are reminded of the universal language of music and its ability to touch hearts, create connections, and inspire transformative journeys of recovery, self-discovery, and harmony.

VOLUME 9: SUMMER 2023

The Earthling and the Alien

By B. Cheese and PhDJ One day in the summer of the future, Mike was walking down the street, really enjoying himself. The birds were singing, the sun was shining, and for the first time in his life, he had gotten lottery tickets for Fall tour. Still, something was missing.

All his life, Mike had felt a little bit like a ghost.

He had friends, but most of the time, Mike enjoyed being alone. And he definitely didn’t enjoy social media the way most of his friends did. That didn’t help, either. But, Mike didn’t like hearing the people online, and watching them boast. He was quieter than that; and sometimes felt just a little out of place with everyone else.

Mike was minding his own business and getting some plant-based groceries at the supermarket when… a spaceship came out of nowhere. It was understated, a sophisticated gray color, with windows and wheels just like a Sprinter van. Most people probably wouldn’t have even recognized it as a spaceship, but Mike knew better. He had been studying astrobiology, and astronomy for as long as he could remember. He wasn’t sure what he loved so much about the sun, planets, and stars, but because of all those years of reading, Mike saw something that gave it away.

Mike knew that there was no human on earth that would spell Tweekz that way; the only possible explanation was that this almost completely human thing in front of him was actually not from this planet. At that moment, the alien asked a question.

“Where have we gone?”

“Hello,” said Mike. “You’ve landed here in Connecticut. It’s the day of the annual Goosemas in July celebration.”

“Where should we go?” the Alien replied, looking around with uncertainty. It didn’t appear he was all that impressed with whatever this Connecticut place was all about.

Mike understood. The Tri-State area was home, but had never really felt like home to him, either. Also, the streets were starting to fill with music fans, Goose-shaped foam fingers, and street carts selling the traditional hot dogs and bananas on sticks. That could definitely freak someone…er something out.

The Alien got serious, or at least what seemed serious to Mike. “Are we from this planet?” it asked. Mike paused - how should he answer that? Is anyone really from anywhere? And how could Mike know where the Alien was from? He was still amazed at what was standing right there in front of him.

The wheels on the bottom of the ship weren’t actually moving; they were gliding just above the surface. Only a spaceship could do that.

Mike’s pace quickened; he had to see what it was all about.

“I don’t know,” Mike answered honestly. It was at that point that he noticed something about the Alien that changed everything. The Alien was carrying a book called “A Western Sun.”

“What in the world is going on?” asked Mike.

“In this world..or theirs.”

“How did you get that?” Mike asked, with a sense of urgency. “A Western Sun” was one of the rarest books in all Goose lore. Apparently, Rick had written the story while he was out on Trey’s boat at sunset one evening celebrating Taboose Tour IX. Rumor had it that the only physical copy had drifted to the bottom of Bowery Bay, along with the last of the evermysterious El Goose Times first volumes. No one had seen it since; until now.

At that very moment the spaceship crashed very quietly into the side of Terry Alfredo’s Osteria. No one even noticed; they probably thought it was just another electric scooter accident. The ship didn’t even look that banged up; just a few scratches that seemed to be repairing themselves in front of his eyes.

Mike went to see if the person or whatever it was inside the Spaceship was okay. He went up to what looked like a door, and out stepped an…Alien.

“Beboo,” said the Alien, who also happened to be dressed in what could only be described as an early 80s acid denim ensemble…on acid.

Mike knew it was an alien because of just one detail; a t-shirt that read, I’m with Tweeks.

VOLUME 9: SUMMER 2023

The Alien replied, in perfect English, by the way, that his people had been holding onto the book for many years, knowing that one day they would return to give it to its rightful owner.

Fortunately, advances in anti-aging and autotune techniques had made it possible for Rick and all the members of Goose to retain the same luster as always, and so have kept their legions of fans in the same state of El Thirst as always (respectfully). What kept nagging at Mike, however, was even more important than the book itself.

If the Aliens had been on Earth at some point and knew all of this about his favorite band, then they must have lived here, he thought, also noticing a Bingo Tour sticker on what looked like the back bumper of the spaceship.

Mike was completely perplexed, and without thinking, muttered, “are we earthings or aliens?” under his breath.

“I just don’t know anymore.”

The Alien looked up, and told Mike the time had come to think of a different way to spend his days.

“Checkin’ that email, watchin’ the clock,” he told Mike. “That’s no way to live. We used to be like you; working for bosses who didn’t care about us. They were just always eager to tame the flock.”

The Alien continued, “But you know what? You think they notice what’s in the air? No way, Mike. We have to take care of ourselves, and each other. There’s no Planet B for the billionaires. Only for us. So, are we earthings or aliens?”

“I don’t know,” Mike replied, again unsure. It was then that he realized.

That was no spaceship. It was a fully restored 1985 Volkswagen Vanagon, painted in a sleek Chrome. And the Alien was actually his old tour buddy Ethan, who had moved to Salvation Mountain in Slab City, California about 15 years ago. Mike realized that the mushrooms his roommate had left on the counter were not for his famous homemade veggie lasagna. It all made sense now. Kind of.

Ethan had come back into town for Goosemas in July bearing gifts. Most notably, rare finds like the book and the misprinted Tweekz airbrushed shirt. Where had he gotten all of those, Mike didn’t know, and didn’t want to know. They hugged, and Mike tried not to notice Ethan’s extra long arms and fingers. It was surely just the mushroom lasagna talking.

After a few minutes, Mike found a ticket, and he went to Goosemas in July with Ethan. From that day forward they had a great bond with each other, even if from time to time, Mike noticed Ethan eating Reece’s Pieces while riding his bike in the nighttime sky. To celebrate their friendship they even wrote a song called Earthling or Alien. It was mostly the same question repeated over and over again, because he still didn’t know.

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presents

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"Everything Must Go"

a Ted the Goose cartoon

by Jon Caruso

VOLUME 9: SUMMER 2023

Who dares disturb the mighty ELMEG?

We'll help you, Ted... under one condition.

Accept the past as it is and look forward, not back.

Elmeg has spoken.

VOLUME 9: SUMMER 2023

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Frederick W. Huhn, ABR, RENE c. 860.949.4988 Scan the QR code below for additional information about me, FAQs & more!

Marino Realty LLC 45 N. Main Street Marlborough, CT 06447 Licensed in CT & MA

https://buffalodabbers. bigcartel.com

Want to advertise your small business, celebrate an anniversary or shout out someone special? Contact: elgoosetimes@gmail.com today!

By Sparkman Clark Episode 6: A Lesson to Learn Previously on The Adventures of Strange Man…

I

a took

spil

l!

But there’s a lesson to learn, and a cup to refill!

Strange Man took a tumble.

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VOLUME 9: SUMMER 2023

Special Feature:

Rise Up On the Tide An interview with: Devin Pieroni (Marketing Sales Manager)

& Parker Olen (Owner, Creative Guru, Label Artist, Beer Namer Guy and many other things)

with Chef Rick Gallego We are going to try something a little different for this one: instead of doing a recipe we are going to get the "tea" on one of Maine top craft breweries Mast Landing. In my real life, I'm the General Manager of Operations for a restaurant group in Boston. Within that, I am also the beer buyer for our 3 restaurants. This job has given me the opportunity to build relationships with some really cool people within the craft beer community (and huge Goose fans) like Devin Pieroni (Marketing Sales Manager) and Parker Olen (Owner, Creative Guru, Label Artist, Beer Namer Guy and many other things). I had the chance to chat with these guys about all things Goose, art and beer. I hope you enjoy and please Support Local Breweries.

Can you tell us about Mast Landing?

Since opening in 2016, we have showcased our beers at festivals across the country and internationally, shared them with new fans here in the Northeast, and poured them for countless locals and visitors at our taprooms in Maine. We pride ourselves in being approachable for all beer fans, regardless if you are a level 4 Cicerone or just had your first New England IPA. We want everyone to feel welcome at Mast Landing.

We focus on brewing the highest quality beers while also using our independence and socially conscious mindset to support our local community and industry. Our goal is to make sure that each Mast Landing beer that you drink is amazing.

Could you tell us a little bit about yourself, when you started at mast landing, what your job is there, etc.

I’m one of the owners of Mast Landing and lead everything on the creative side of the company.

My favorite part of my job is designing the can labels, as well as naming each beer. I pretty much have full creative freedom to do what I want, so it’s fun to be able to let music influence my creative process. We actually just took a tally and Mast Landing currently has 33 beers that are named after songs or lyrics. That’s pretty crazy.

I have 8 years experience working in beer and got my start in Distribution and worked my way through a few breweries before ending up with Mast Landing (Harpoon, Mill House Brewing, Singlecut). In the past few years, I moved up from NYC and currently live in the woods of Rhode Island with my wife (Cassie) and 2 dogs (Fee and Chance; yes, "Fee," as in the Phish song). I've always had a passion for Craft Beer since my early restaurant/bar days but also have equal love for live music. I've seen so many different bands throughout the years but always enjoy seeing Jam Bands the best. The atmosphere is what got me on the bus (as they say) and haven't looked back since. Live performances are where I'm at my happiest and I love the connections made through the music and the people you meet each time.

Goose has been a band that reinvigorated that spark for me and it's always a pleasure when I get a chance to see them.

Do you remember the first time you heard Goose and what was your first show?

I first heard Goose during the summer of 2019. It was at a cookout in the backyard of a friend’s house who is a massive Phish fan and Time to Flee (from Peach Festival 2019) came on. During the jam, I immediately stood up and went over to the iPhone that was playing to see what band playing. It was game over from there. I had been in somewhat of a music rut for a few years and Goose couldn’t have come into my life at a better time. Unfortunately, like a lot of “newer” Goose fans, the pandemic started before Goose could make it up to my area for a show and after having to miss 2 shows in a row due to COVID, I was able to seem them live for the first time during the TABOOSE Tour. However, I’ve been an almost nightly member of the couch tour crew since 2020.

The first time I heard Goose was on a road trip back from Peach Festival in 2018. I just happened to find them on Bandcamp (I believe it was a show from Kentucky) and once I heard "Madhuvan" for the time, I was hooked. My first show was at the Yarmouth Drive-In on the Cape on 9/12/20. It was such an odd time to see a concert but I thoroughly enjoyed myself through the balmy cold night. I recommend a listen because it's by far the best "Your Ocean"> "Fish in the Sea" I've heard.

Sometimes I’m trying to match a beer name and label to accurately represent the liquid inside the can, but other times I have a label design in my head that I’m waiting for the right opportunity to use on a beer. However, I do have a list of about 200 possible beer names on my phone, half of which are probably music references.

How much do the music, the art and the beer work together for you personally?

I often tell people I have the best job in the world because I get to combine my love of art and beer together and get paid for it. When music is added into that equation it’s really hard to imagine being happier doing anything else for a career. At Mast Landing, we’ve done a few collaborations beers that happened organically with other bands like Young The Giant and Guster and those experiences were incredible not only on professional level, but a personal level as well.

What other references do you have lined up down the pipe?

We’ve got another Goose themed beer releasing in July to celebrate their show at Thompson’s Point in Portland on July 6th. Selfishly, I’m hoping it will persuade them to play my favorite song, "Factory Fiction," during the show.

What was your first beer named after a Goose song? What gave you the inspiration to name it that?

Favorite Mast Landing Beer?

We’ve had many beers named after jam band references and lyrics, but our first Goose beer was “Chasing Satellites” from "Hot Tea" of course.

"Hot Tea" is one of my favorite songs and I love the line “…been chasing satellites since we landed on the moon.” So I jumped at the opportunity once I had an idea for the label design. I think the name has a cool ring to it even if you have no idea who Goose is as well.

Oh man! It’s hard to pick just one. I would have to say right now I’m loving our Session IPA “Little Victories” but my favorite beer changes frequently throughout the year.

When you design a label, what comes first. The beer? An idea? The Name? How does it all come together?

This is obviously a tough one for me and I’m not sure I could ever pick just one, but the label for “Beachfront Property” is definitely one of my alltime favorites. I think it’s one of those labels that represents the taste and vibe that we were going for in that pilsner.

Every beer is different. I would have to say it’s probably a pretty even split between all three.

DDH Tell Tale Pale Ale.

Favorite Mast Landing Label?

33 (collab with Vitamin Sea) *Big Celtics Fan

For all things cool and craft beer in the NE area and beyond you can follow me @thecuratedcraftma

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