2012

Recognized by Billboard Magazine’s online platform from 2008 to 2012 with official artist and album pages, underscoring a sustained presence and recognition within the industry’s most authoritative music database. Lindsey Boullt established an enduring mark in the industry’s premier music publication during a pivotal era.

NOTE: There was a lot of press world wide for the album, although ‘Composition’ never charted in Billboard, the folks at Billboard gave me my own pages. I was also listed on the Led Zeppelin Billboard Magazine page (see below) – Upper RH corner of the page, view the similar artists…THERE I AM! (there i was) – the bald guy holding the guitar…

AND… incredibly…I was also included on the Billboard –Mahavishnu Orchestra Pages along with the super musicians/bands on this list! It was great. I do have the artist/album front pages, somewhere on a very old backup drive/flashdrive. i’ll find it eventually.

Above are the original Billboard Magazine pages. Scan ‘similar artists’ above –

… absolutely amazing time….

After 4 years, Billboard changed their website. Rock n Roll!

April

“Notable Alumni” – University of Texas/Arlington Magazine 2012.

UTArlington – Music School Link

I didn’t come to music the way most people do. There were no childhood lessons, no instruments waiting in the corner, no roadmap. Music was an envisioned path out of turbulence. At 21, to calm down, I bought a guitar on my birthday.

After one month of studying the guitar, I had completed the Fredrick Noad guitar book, which would usually take a year, or so, to complete. Somehow, I understood the instruments’ complexity. I was living in Austin, Tx, my mother prophetically said, “if you want to learn anything, you must immerse yourself in that environment.” For me, the only environment that fit, was school. I moved back home. My mom was worse off than I was. There was zero money. We had to borrow a stove for the house. I enrolled in junior college for a year, then off to UTArlington. My long term thinking – derived from 4 years (17yo to 21yo) of being on my own, was that I needed a ‘degree’  in order to get a ‘day job’, because I would be moving around the country, and needed stable income upon arriving in the new city.

 I was deeply drawn to music as the path forward — not a dream, but a path, a way of life.  I worked two jobs while attending school full-time, practicing four to six hours each day.

Money ran out every other Wednesday. Paid again on Fridays. Every other Wednesday, I would buy enough gasoline to make the 30 mile commute through to Friday classes, and I would buy a pack of cigarettes (I am not a cigarette smoker). Smoking the cigarettes curbed my appetite, becoming my meals from Wednesday’s lunch until I could get paid on Friday at 7p. This lasted for several months. Those were tough days.

And yet, I never missed a single class. Not one. I refused to back down from my circumstances.

Walking into university-level courses in composition, theory, counterpoint, ear training, and orchestration after only a year of playing was overwhelming to say the least. Many nights spent transcribing entire works by hand, filling notebooks with scales, modes, and key studies. I would be brought to tears by senior-level theory. Without even a tape recorder, I memorized musical passages at school and replayed them from memory late at night. No one truly knew how difficult it was. But the commitment was made. So I kept going.

Eventually things got better.

The University’s acknowledgment of my work stands as one of the highlights of my life. To be acknowledged by the very institution that once felt impossibly out of reach is an indescribable feeling. I remain forever grateful to the University, the UTA Music Department, and especially Jazz Director Bill Snodgrass for taking a chance on me. In 2009, UTA President James Spaniolo visited me in San Francisco – an incredibly wonderful and humbling experience.  And quite the cool dude.

The Long Decade

By late 1990, in New York City, the momentum was finally building, I was beginning to make things happen musically. Then, everything stopped. My wife was suddenly diagnosed with cancer, and our world turned upside down. Music would wait, we relocated to Houston, Texas, home to some of the leading cancer research hospitals in the country. I worked a full-time, non-music job while she fought through surgery and recovery. Our son, David, was ten years old. We were all so young – it scares you, it wakes you up.

 I remember thinking: if life can be this short, then ‘full speed ahead’. From 1992 onward, I never worked outside the art world again, devoting myself entirely to the creative life, no matter the cost.

In 1992, I decided to do the math and to count the hours of sleep compared to someone sleeping a normal seven or eight hours a night over that decade. The result astonished me: I had been awake for roughly a year and a half longer than the average person during that ten-year span. A year and a half of extra conscious life.

Those years carried us across the country from DallasFort Worth to Los Angeles, New Jersey, New York City, and Brooklyn before we settled in Houston. At the time, it all felt endless: exhausting, uncertain, and heavy. But looking back now, it was an extraordinary decade.

We bounced back from the medical emergency, accomplished as much as we could in the biz there, got David into UT/Austin, and moved to San Francisco August 1998.

A whirlwind awaited.

August

Friday, August 3, 2012
FLASHBANGBOOM! – music/art performance/technology/underground
SLIM’S SF – Buy your tickets now! 5-hours of non-stop stage & floor acts!

Lindsey Boullt’s Musician Showcase
w/Ginger Murray’s Beesknees Production Co.
Showcases SF/Bay rising artists in music/art performance/technology/underground.
Televised on JazzCult TV, SF Bay area