The arguments continued. And were getting nowhere. They even got off on what was an appropriate costume for a few minutes. I strummed the guitar and stood up.“We need a Gantt chart,” I said. “Where’s Mr. Bryce when you need him? We’ll have to chart the dependencies and figure out how much time each task takes, then what the scheduled lags are for interruptive activities, and finally, determine the critical path to make sure everyone’s deliverables arrive on time. Once we have the critical path, we can project an exact date for completion of the final product. By the way, can anyone tell me what the final product is supposed to be? Are we talking about just getting a random bunch of music into the public eye or is there an actual plan for a progression of platforms and products? And exactly how many hours a week are you scheduling our time for? A three-day show at PopCon or a Ren Faire is ten or more hours a day. You then expect us to put in four more hours each of those days. "Yes, I was very young when I first sang on the stage. I believe I was but four years of age. I seem to remember singing, "Ave Maria" by Shubert. My Papa played his violin and I stood next to him. The one thing I remember about that performance was how surprised I was at the end of the song. The limelights blinded me during the performance and prevented me from seeing the audience. When the song ended and the auditorium erupted with applause, it stunned me to see all of those people. At first, I was frightened, but then I felt intrigued by their reaction. Papa said that a person playing an instrument or singing a song holds complete power over their audience. The power to make them feel the way we want them to feel. Happiness ... sadness ... regret ... love ... hate ... fear, Papa said that a truly talented vocalist could cause their audience to experience any emotion they wished. My Papa taught me to sing, but it has been many years since I trained with him. It has been many years.
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