The "One Man" part is obvious, but I've often wondered about the "Girl Band" part. It mostly symbolizes a break from the unintuitive monotony of typical "girl bands" and a return to truly inspiring naivete that making music should be about: the long jams, improvised songs that are later honed into something listenable, finding a new sound and completely changing the course of what one once thought was "possible" or "impossible." Music is love, and, to be narcissistic enough to quote my own song, "love is all there can ever be."
Either that or because I like dressing up in women's clothing. Anyone's guess, really.

The band is still in its nascent stages, but I had a particularly startling experience singing Plastic Jesus with Andru Bemis. Sweat pouring down my brow, but always met with the fullest applause a small crowd can give. It pretty much overcomes my social anxiety disorder and turns that normally violent sensation into something really beautiful.
I also busk whenever I can, usually at new and exciting locations where no one will know who I am. However, I did do one local engagement just jamming with the members of Nanny Goat's Strut in Charlie's basement. That was nice, and I hope to do that again.

The Internet has a definite influence on the output of musicians and artists, but I really doubt it has any effect on the A&R executive or the management that tells him who to sign. It's still very much a rat race over at EMI or Capitol. Even the "small" labels like Saddle Creek and Matador aren't too particularly fazed by the "free music, free publicity" revolution.
Aside from the "industry," or the money-making end of the equation, there is stil the "band," or the people who are still responsible for the publicity and coming up with songs. In reality, I think we might see an emancipation from the large labels and seeing a more decentralized approach to the commercial aspect of "the industry."
Then again, everything I just said could have been said in the '70s with the advent of cheap compact cassette recording and the punk ethic. But I seriously believe that there is a gravitation away from manufactured music and towards small labels and "self-signed" bands/artists, for better or worse (whatever that means.)

Besides the completely inequitable terms that most labels throw at artists and the limited role the label actually plays nowadays in terms of publicity, even if I were forced to write the next "Cherry Pie" or "Touch of Grey"... I would consider signing with a major label. It's a very comfortable living (save for the mind-rending stress of touring and "contractual obligation albums") and quite possibly the only one I could see myself making.

After that concert, Bemis really had an influence on my music. His voice is somewhat of an acquired taste (very much like mine when I'm recoridng through a cheap dynamic mic), and he makes a modest (to use the term without a hint of irony) living recording Americana and channeling it occasionally into an original song that sounds very much at home with Guthrie and WIlliam Shakespeare Hayes.
Some of the stuff from Beck's Stereosympathetic Soul Manure and The Silver Apples (especially the vocal cuts) have been brought up in the same conversation in my music. Some really direct comparisons, and they seem to fit, really.

I like Kentucky and its burdgeoning music scene, which I am forced to observe at a distance, but Michigan is definitely my home away from home. It's a place where no one blames you for staying inside for long periods of time.

I have three guitars (Danelectro Dano-Blaster, an Indiana "stage acoustic" and a discount Valencia), a small off-brand keyboard I am in the process of circuit bending (as well as another cheap keyboard that runs off of mains). I am currently using my four-track cassette recorder while trying to find a more functional digital audio workstation.