Entries Tagged 'Music' ↓

Oops I missed Week 17

Note: In 2020, I’m writing 52 blog posts, one per week, released on Mondays or so…except when I’m not because reasons, life, pandemics, etc. This is a placeholder ‘oops’ post for Week 17, where in theory there would have been a post for roughly Monday 27 April 2020. Thanks for your patience!

I’ll just embed a youtube video below and move along, hopefully bringing you a full post this coming Wednesday, and then the week after as well. The ~72-minute youtube video embedded below picks up on my oops blog post for last week, Week 16.

According to the youtube description, this concert is Black Sabbath live in Worcester (not sure which Worcester) in November 1983. With Ian Gillan from Deep Purple on vocals, Tony Iommi on guitar, Geezer Butler on bass, Bev Bevan on drums, and Geoff Nicholls on keyboards. The track listing is pretty amazing. For instance, much of the original Black Sabbath lineup playing Deep Purple’s “Smoke on the Water,” a Deep Purple singer (Ian Gillan) singing Dio-era Sabbath’s “Heaven and Hell,” etc.

  • Children of the Grave
  • Hot Line
  • War Pigs
  • Iron Man
  • The Dark/Zero the Hero
  • Heaven and Hell
  • Iommi solo
  • Digital Bitch
  • Black Sabbath
  • Smoke on the Water
  • Paranoid

Rather than write a bunch here about, maybe, dopamine/adrenaline vs. oxytocin (e.g. Sikh chant) in music, or any other number of topics, I’ll simply say, if you like this kind of music sometimes, as I most certainly do, please enjoy!

Creative Commons License

This blog post, Oops I missed Week 17, by Douglas Lucas, is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License (human-readable summary of license). The license is based on a work at this URL: https://douglaslucas.com/blog/2020/05/03/oops-i-missed-week-17/ You can view the full license (the legal code aka the legalese) here. For learning more about Creative Commons, I suggest this article and the Creative Commons Frequently Asked Questions. Seeking permissions beyond the scope of this license, or want to correspond with me about this post otherwise? Please email me: dal@riseup.net.

Oops I missed Week 16

Note: In 2020, I’m writing 52 blog posts, one per week, released on Mondays or so…except when I’m not because reasons, life, etc. This is a placeholder ‘oops’ post for Week 16.

Previously I had a few paragraphs here, but then decided I didn’t like ’em, and deleted. What remains: three embeds, songs of the Black Sabbath era with Ian Gillan from Deep Purple on vocals, and all the rest of the members the original Black Sabbath crew: Tony Iommi on guitar, Geezer Butler on bass, and Bill Ward on drums. That Ian Gillan Black Sabbath lineup did only one album together, in 1983: Born Again. The first track off the album is “Trashed,” and that’s the first embed below. The other two embeds are from the same lineup live in 1983 at the Reading Festival: Deep Purple’s “Smoke on the Water” and Black Sabbath’s “War Pigs.” All three of these embeds are from, and are all available, on the 2011 deluxe expanded edition of Born Again, which was remastered but not remixed, so the original infamous muffled production quality remains. Have fun if you enjoy this sort of music. I never knew until recently that Black Sabbath at one point had a singer from Deep Purple!

Creative Commons License

This blog post, Oops I missed Week 16, by Douglas Lucas, is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License (human-readable summary of license). The license is based on a work at this URL: https://douglaslucas.com/blog/2020/04/27/oops-i-missed-week-16/. You can view the full license (the legal code aka the legalese) here. For learning more about Creative Commons, I suggest this article and the Creative Commons Frequently Asked Questions. Seeking permissions beyond the scope of this license, or want to correspond with me about this post otherwise? Please email me: dal@riseup.net.

Reads on the private spy industry aka Oops I missed week 9

Note: In 2020, I’m writing 52 blog posts, one per week, released on Mondays or so…except when I’m not: I missed week 9!

Hey there, apologies, I missed another week of my blog. However, last week’s oops post draws together an excerpt from Saint Augustine, Rachmaninoff, and Pussy Riot, so despite its oopsident status you might enjoy it—and this one commenting on a tepid New York Times article published today.

Generic bad guy, dressed as if for wedding, walks around looking stern

A New York Times article reminds me of me and everyone else

The piece, “Erik Prince Recruits Ex-Spies to Help Infiltrate Liberal Groups,” should be the stimulus of an article by me, though what makes near as much sense is to list related links under bolded subheads, as I’m about to do below. Sure, weaving the threads into a story would most excellently impart knowledge; however, I have lesson planning and grading to do this weekend, since I’m substitute teaching for a stint of a few weeks.

I investigated and reported on private spies for years, namely Stratfor but not just them, Erik Prince’s sister Betsy DeVos heads the Department of Education under which I teach, plus I’m quite informed about coronavirus, including here in Seattle, as I’ll be posting about on my blog asap, and finally I’m very aware of what Seattle Public Schools’ flimsy response to COVID-19 actually looks like on the ground. These topics, which may seem disparate, really do tie together…basically: fuck you, kill the poor first as well as all other humans plants and animals, and don’t hyperlink solutions because then people feel bad since their

  • ‘already living my best life’
  • ‘I don’t care what anyone thinks; I already know everything, and need no one to tell me anything ever since I’m da best’
  • ‘I throw a fit if someone uses an unfamiliar word: I don’t know what that means

bubbles are punctured. But I can say it in more thorough, cited, and academic-except-upside-down language. Probably as an opinion piece so the most difficult thing maybe happens: my hyperlinks to solutions/answers stay in.

There are many other reasons why I’m well-positioned to write about the material in the NYT article. What I don’t have these days is a commissioning editor. I could make a list of freelance pitch recipients for some of my readers to consider pinging, recommending they commission me? Just an idea…

Regardless, sure, I’ll spit out freelance pitches (yet again!) to the usual suspects in the corporate and corporate-imitating media, using the New York Times piece as a news peg (sadly, major events including wars and genocides are not considered news pegs, but corporate articles, as major news events, are)… but if any of you out there in our coronavirus world might be able to expedite things by connecting me with a commissioning editor, I might not backstab you and your antisocial friends, on behalf of the prosocial worldwide, for at least a few weeks! (I’m such a good businessman!)

The private spy industry

Cartoon for MAD Magazine’s Spy vs Spy

The short version of what activists need to know: if you take on some corporation or state, it’s not just them who will come at you in return, nor also the opposing activists who disagree or are simply envious of you since you manage to get out of bed and do something, but also the private mercenaries they hire, private spies who are professionals at defeating activists and laughing as they make I-refuse-to-read-outside-my-comfort-zone activists chase their own tails till extinction. These are ex-spy agency people, ex-special forces people, ex-supercop people, whoever gets off via a contract to hurt more massively than usual those who help themselves and others and refuse to comply. Don’t forget, these enemies will use the Duchin formula (see below) against you or already have, and your plan countering that is…?

Here are some reads on the private spy industry:

DEA Plan to Kill Narcos, by me at WhoWhatWhy, 17 July 2013

El Chapo Arrested—Why Now? by me at WhoWhatWhy, 24 Feb 2014

The Counterinsurgency War On—and Inside—Our Borders by me at WhoWhatWhy, 16 July 2014

Will Mexico’s Oil Give the U.S. Another Excuse for Covert Intervention? by me at WhoWhatWhy, 9 March 2015

Related generally, the book Green Is the New Red by Will Potter, 2011

The intelligence mafia, by Heather Marsh, 27 November 2010

Divide and conquer: unpacking Stratfor’s rise to power by Steve Horn at Mintpress News, 25 July 2013

How to win the media war against grassroots activists by Steve Horn at Mintpress News, 29 July 2013 … Standfirst from that one, on the Duchin formula:

The playbook: isolate the radicals, “cultivate” the idealists and “educate” them into becoming realists. Then co-opt the realists.

Free Jeremy Hammond, the whistleblowing hacker who exfiltrated more than five million emails from Stratfor and is now doing extra time behind bars for resisting the federal grand jury into all that computer-y hacktivism/transparency stuff. Also Twin Trouble, Jeremy’s podcast from confinement (really!) with his twin Jason Hammond, known for his antifascist, antiracist successes.

Transcript of whistleblowing panel censored by Oxford Union, by Heather Marsh, 31 May 2018 (See also my documentation of that censorship at The Public and Boing Boing, both in May/June 2018.)

Pull quote from that transcript:

security for them means immunity from criminal prosecution, not just for their actions against so-called enemies but against anyone. The current CIA head talks about a bureaucracy that slows down the CIA – that bureaucracy is our human rights and that is how they see our lives – as bureaucracy. If they kill too many of us at once they have to fill out a form. And that slows them down. Pompeo wants ‘agile’ assassins. He wants killers who ‘fail fast and break things’, as if they were writing stupid apps instead of murdering children. He wants ‘disruptive’ terrorism. And their security is the freedom to do this with impunity and in secrecy.

And who is this nation they want security for? The US were supposedly enemies with Syria and allies with Canada when they were abducting Canadians to be tortured in Assad’s prisons. Their allegiances change at the drop of a hat and they all have each other’s secrets anyway. That is the whole point of their industry. The entire supranational intelligence community has access to each other’s secrets – they need security from the rest of us finding out. And their nation is anyone with enough money to pay them, corporations or states. You had Erik Prince speaking here a while back, the crown prince of mercenary contractors. He made his fortune at the top ranks of US military and intelligence and then contracted all that information to supposedly US enemy China. I believe David Shedd is also now in international private practice. Their nations are whoever can pay. We didn’t really need the US Patriot Act to tell us our intelligence agencies may be allies but the people in our states are certainly not their allies.

This is not national security. It is certainly not security for my nation. My nation consists of the caregivers of communities and the environment all over the world. They aren’t spying on corporations and telling communities what corporations are up to, they are spying on communities and selling that information to corporations. The victims of Jeffrey Epstein, all the victims whose abusers are protected by official secrets and taxpayer funded NDA’s, none of these victims are part of their nation. Their nation is the international intelligence community and the politicians and corporations who can afford to pay them. This is not national security. It is a mafia protection racket available to the highest bidder.

Erik Prince

A billionaire connected with Trump and also a lot of dead bodies killed especially illegally and unethically in exchange for dolla dolla bill.

https://twitter.com/YourAnonCentral/status/1236437533908590594

Democracy Now topic tag for Erik Prince, though there’s probably a lot better out there, maybe try an “Erik Prince” site:aljazeera.com Google search for starters.

Betsy DeVos

Articles, other involving the head of the Department of Education, Betsy DeVos, Erik Prince’s sister, linked by Rachel Anne Levy, a writer, teacher, and education activist in Virginia

I would also try searching “Betsy DeVos” site:democracynow.org on Google. Democracy Now doesn’t seem to have a tag for Betsy DeVos the way they do for her brother.

And now back to me…and Jaco

I wonder if people benefit from these shorter oops posts as they might the longer, less improvisatory ones. What’s your reaction? Is it Like, Love, Haha, Wow, Sad, Angry or maybe even real?

Anyway, if anyone who knows a commissioning editor with access to a large audience, I’ll write all this up into a ‘tell a story’ format, an article that looks mostly like hard news but the publisher can put in the opinion section, with more thoroughness and whatnot than this post, but until then, I’m working on my forthcoming COVID-19 blog post, another blog post concluding my USian escapes the bubble series about my Summer 2019 adventure to British Columbia, and lesson planning + grading.

Meanwhile, gonna listen to the late jazz bassist Jaco Pastorius, who died far too early, in 1987, essentially as a result of what got diagnosed as manic depression, or better put, the lack of effective support for him and everyone else on this planet. Below, two videos that transmit, much like classified information, some transmutation into good moods for me and you.

Bassist Jerry Jemmott interviews Jaco Pastorius in the 1985 Jaco Pastorius Bass Guitar Instructional Video, Modern Electric Bass
“Three Views of a Secret” composed by Jaco Pastorius and released in 1981. Not sure when this live performance is from. Story behind the song by The Music Aficionado
“Liberty City” composed by Jaco Pastorius and released in 1981. This version from his 1981 live ‘birthday concert’

Creative Commons License

This blog post, Reads on the private spy industry aka oops I missed week 9, by Douglas Lucas, is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License (human-readable summary of license). The license is based on a work at this URL: https://douglaslucas.com/blog/2020/03/07/oops-i-missed-week-9/ You can view the full license (the legal code aka the legalese) here. For learning more about Creative Commons, I suggest this article and the Creative Commons Frequently Asked Questions. Seeking permissions beyond the scope of this license, or want to correspond with me about this post otherwise? Please email me: dal@riseup.net.

Oops I missed week 8

Note: In 2020, I’m writing 52 blog posts, one per week, released on Mondays or so…except when I’m not: I missed week 8!

Sorry! I missed last week’s post! Here’s something of a placeholder post for week 8, to apologize and self-flagellate in sackcloth!

Carlo Crivelli’s painting, late 15th century, likely of St. Augustine (Source; More)

Years ago, when I read primary source excerpts of St. Augustine, contextualized by WT Jones, I always liked reading them, for whatever reasons…

Woe be upon me for missing last week’s post!

At least I didn’t fling stolen pears at hogs—as in his Confessions, written in Latin around 400 a.d., St. Augustine described doing in his youth (or, well, he flung stolen pears to hogs):

A pear tree there was near our vineyard, laden with fruit, tempting neither for colour nor taste. To shake and rob this, some lewd young fellows of us went, late one night (having according to our pestilent custom prolonged our sports in the streets till then), and took huge loads, not for our eating, but to fling to the very hogs, having only tasted them. And this, but to do what we liked only, because it was misliked. Behold my heart, O God, behold my heart, which Thou hadst pity upon in the bottom of the bottomless pit. Now, behold, let my heart tell Thee what it sought there, that I should be gratuitously evil, having no temptation to ill, but the ill itself. It was foul, and I loved it

Purify my soul! Etc etc ad nauseam! What is there that can bring back faith in my blog? Perhaps this a cappella choral composition by one of my favorite classical composers (vies only with JS Bach for first place in my pantheon), the All-Night Vigil (sometimes incorrectly called the Vespers) by Sergei Rachmaninoff. It premiered during this month, 95 years ago, in Moscow…

Then there’s the Pussy Riot take, part of which incorporates a motif from the Rachmaninoff. In February 2012, Pussy Riot performed their song in a cathedral and got arrested and later convicted of “hooliganism based on religious hatred,” but they also made an ethics landmark in Russia, spread their effective message, and won fans around the world. I’ll be seeing the band here in Seattle later this month (update 7 March 2020: well, coronavirus). An edited video for their song, “Mother of God, Chase Putin Away,” subtitled in English and drawing upon the February 2012 performance, below (more info):

Wow, now I really feel better (no more unnecessary, stupid patriarchal/perfectionist guilt/shame/etc), and hopefully you do too. Happy first day of meteorological spring to those like me in the northern hemisphere, and happy first day of meteorological autumn to those in the southern hemisphere!

Creative Commons License

This blog post, Oops I missed week 8, by Douglas Lucas, is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License (human-readable summary of license). The license is based on a work at this URL: https://douglaslucas.com/blog/2020/03/01/oops-i-missed-week-8/ You can view the full license (the legal code aka the legalese) here. For learning more about Creative Commons, I suggest this article and the Creative Commons Frequently Asked Questions. Seeking permissions beyond the scope of this license, or want to correspond with me about this post otherwise? Please email me: dal@riseup.net.

Flower Fest 3 at Lo-Fi: Seattle music meets Guadalajaran

Seattle punks TERMINATor meet Mexican rocker Nathalia

September 11 in Seattle saw a moderate-size crowd sweating anxiety away in the Eastlake neighborhood before two Lo-Fi nightclub stages, where four local acts supported four bands all the way from Guadalajara for Flower Fest 3. The festival made a nice way to compare and contrast Mexican rock with rock developed from within the Five Eyes states (FVEY: US, UK, Canada, Australia, New Zealand). That’s a term a little more specific—this writer pedantically notes—than “the Anglosphere,” which would include states such as Jamaica and South Africa where presumably (please correct in comments if wrong) local bands produce a very different sound than either Guadalajarans or FVEYers.

En esa noche

So how does music from México’s second most populous municipality differ from today’s Emerald City sound? First thing to know, if you’re reading this from outside the Pacific Northwest, is that grunge is basically over here. The four USian groups who played constituted two pop punk bands (one, Secret Superpower, easy on the ears and one, TERMINATor, more challenging), a heartfelt acoustic guitarist-singer with a bassist backing him up (Great Spiders), and a set of very talented, medium-hard rockers (Swamp Meat vs. Killer Ghost).

The highly enjoyable Seattle bands are, in the grand scheme of things, not too different from what you’d likely hear on a college radio station in any U.S. port city. Imagine 4/4 time, some nifty idiosyncracies sprinkled in, familiar instruments to hear for a respite at the bar … and you have the general idea. But what about the sound from south of the border?

Judging from Tuesday evenings’s excellent four viajeros (travelers)—an experimental noise-metal crew (Mortemart); an instrumental group of rockers (Mindhala); and two sets of all-around rockers with vocals (Uay and the all-women Neptuna)—Guadalajara rock is typically infused with more rhythmic variety and no fear of major intervals relative to the more strict FVEY sound.

Now let’s see how that simplistic binary plays out or doesn’t with each individual act. One caveat: I couldn’t make out lyrics of any band, so this is solely judging based on audio. And for extra explicit dorkiness, images of Guadalajarans are aligned right, and Seattleites are aligned left.

Seattle on the left meets Mexico on the right

Secret Superpower rocks

First up, locals in Secret Superpower (Soundcloud) sounded a bit like Garbage in a good mood, with Daniel Cutting’s steady drumming and Kira Wilson’s distorted bass underpinning guitarist Paige Spicer’s warm chords. The trio’s dreamy songs welcomed the night in well. For those who showed up early, Secret Superpower enjoyably situated the evening in the context of familiar female-fronted rock, with their own almost retro spin—happiness is too often uncool these days, but like yesteryear, Secret Superpower didn’t fear to put a smile on audience faces.

Confident drummer Daniel Onufer

Next came two local bands in one: Swamp Meat (Bandcamp) vs. Killer Ghost (Bandcamp). The first song of this badass conglomerate of bands featured a rumba-like drum beat that really showed off drummer Daniel Onufer’s confident playing. The second started off with a military-style march on his authoritatively cracking snare while Laura Seniow fingerplucked her bass and Lila Burns added sweet guitar melodies. Onufer’s confidence extended to dropping a stick and retrieving it without missing a beat and singing (and singing well) while drumming. The other guitarist, Sharif Ali, let loose with passionate vocals too. If there’s one word for this superband it’s confidence. Their skill breaks my binary already, because they inserted unusual rhythms that ventured outside radio norms.

Noisy Mortemart, perfecto

Third, a loud noise intro said shit was about to get serious with Guadalajaran psychedelic rockers Mortemart (Bandcamp). Synth player Chaka—fittingly dressed in a NASA T-shirt—guitarist Albert and bassist Kiaran constructed a rumbling howl that caused showgoers to instinctively look around at the P.A.—would it hold? Would our eardrums? With the independence viajeros have, Mortemart didn’t worry about audience reaction and kept going. With his bucket cornet, Eric issued plaintive cries over the aural thunder. Then Daniel’s drums kicked in with a driving beat on the floor toms, the horn’s perfect-fourth agonies now almost lost in the rumble. Kiaran’s bass grooved hard with an octave-based pattern and it was clear the rhythm section would put passion into every simple note as the soundscape continued to be built around us. Chaka even inserted some video game-like bloops and beeps into the strange mix. This writer bought Mortemart’s album Overthinking via Bandcamp and you should too—check out the song “The Healing part 2.” The album versions are far less experimental than the live show, which is good for iterated listening. Put the shoe on the other foot, and it’s a hard time imagining notoriously homebound USians traveling to Guadalajara and repeating this show of confidence. But hopefully someday!

TERMINATor’s Veronica Dye on flute

Fourth, Lo-Fi gave us Seattle-based TERMINATor’s popping punk (Instagram; got a link to their music? put it in the comments). The three-piece: Veronica Dye on drums and flute, Albie on guitar (with hat), Lauren on guitar also (no hat). Veronica looped her flute in for some songs, which gave the music a psychedelic edge, especially with Kevin Blanquies’ colorful, trippy TV static-ish visuals in the background. TERMINATor is currently filming a visual album, which sounds promising and super cool. We take back what we said about all USians in the preceding paragraph; these musicians, who aren’t afraid of challenging listeners while still delivering pleasing pitches, could totally play with confidence in Guadalajara. The looping flute (a simple three-note phrase) added some rhythmic risk. Not all is stable and predictable in corporate FVEY land.

2/3 of Mindhala

Fifth, Lo-Fi offered Mindhala (Bandcamp), an instrumental Guadalajaran band. Victor’s Stratocaster described long, tender arcs above the urgent bossa-like grooves of Anton on bajo electrico and Nathalaia on drums. Some of the fastest notes of the night came from Victor, Anton brought skill to his hammer-ons, and Nathalaia, who would go on to drum for Uay and Neptuna later in the evening, was just getting started with her ample abilities. It would be great to hear Seattle-based rock bands experiment with bossa beats and more technical playing.

Uay, un grupo excellente

Antepenultimately, Uay (YouTube; got more links, put them in the comments please!). This Guadalajaran band serves as a cool example of how Guadalajaran rock tends to differ from rock from the FVEY states. Unlike USians in general, Uay has no fear of vocal harmonies, stomping the kick drum every beat, using major intervals to build riffs, and rumbling regularly on the toms. Chaka (in his NASA T-shirt!) laid down powerful bass-playing that matched Nathalia’s hard-hitting drums. Kieran added extra percussion with a second snare; all this rhythm inspired a woman up in the balcony to dance in sexy circles. Vocals came from guitarist Oby and Nathalia (which made two drummers singing that night). This writer is predicting more great music from all these Guadalajaran musicians in the future and wouldn’t hesitate to hear them play again. Gotta make sure the orange boy-king doesn’t actually build a stupid wall, so that can happen.

Great colors behind Great Spiders

Penultimately, guitarist-vocalist Omar Shambacher’s Great Spiders (Bandcamp) played some thoughtful pop tunes with a bassist (know her name? leave it in the comments). This pensive music served as a nice breather between the louder UAY and Neptuna. It encouraged this writer sit down and rest for a few minutes, thinking over the night and being glad to live here in this corner-of-the-map city. Heartfelt songs long developed, Great Spiders sounded comfortable for FVEY-raised ears without sounding completely conformist either.

Neptuna canta en español

Ultimately, Flower Fest 3 closed with Neptuna (Bandcamp), four women from Guadalajara, all of whom sang as in the image from the balcony. The reliable, powerfully playing Nathalia drummed yet again, but this writer failed to get the names of the bassist, keyboardist, and guitarist (know them? by now you know where to add ’em). Nathalia frequently kicked on each beat in that Mexican style as the women sang in exquisite Spanish. Neptuna also makes use of rests (silent pauses in the music), something FVEY rockers all too often leave out. Go check out their Bandcamp and spring for the album Mar Rojo (Red Sea); this writer just did.

Hasta pronto

All the bands were totally enjoyable, but the Guadalajran music sounded more of a nation, fluxing and changing with vibrato and rhythmic variety…whereas the Seattle music was a bit more square, a bit more predictable, a bit more of uber-state Five Eyes. Travel generally enhances art, so remember, no bad borders, no wrong walls…

Creative Commons License

Flower Fest 3 at Lo-Fi: Seattle meets Guadalajara by Douglas Lucas is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International License. It does not affect your fair use rights or my moral rights. You can view the full license (the legalese) here; you can view a human-readable summary of it here. To learn more about Creative Commons, read this article. License based on a work at www.douglaslucas.com. Seeking permissions beyond the scope of this license? Email me: dal@riseup.net.

Patriot and Mailman at The Chat Room, 9 March 2013

Two awesome local bands played here in Fort Worth last Saturday at The Chat Room (Twitter).

“Shake Me” by Patriot

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When I first met Jake Paleschic, the leader, singer, and songwriter of Patriot, he was reading Flannery O’Connor, ’50s and ’60s author of tough, serious short stories and two intense novels. Patriot is just as real as her work. Gritty, not unlike James McMurtry, Jake’s music makes you care — he and his band play, everyone stops to listen. The rest of the band is up to the task of accompanying him. Austin’s experience on classical guitar has trained his right hand to give every single note on bass its own sound, rather than the stream of identical notes you normally hear. Tyler’s fills on lead guitar are as thoughtful as he is, adding to the music like a voice. And Peter’s drumming feels personal, a genuine feel, where so many drummers just bang away mindlessly. I always want to listen to these guys.

Patriot (Bandcamp; Facebook):

  • Jake Paleschic — guitar, harmonica, vocals
  • Tyler Brown — lead guitar
  • Austin Kroll — bass
  • Peter Wiernga — drums

Jake Paleschic

Tyler Brown

Austin Kroll

Peter Wiernga

Set list:

  • Bullet
  • Ballad of Joey Gorman
  • Speak Momma
  • Shake Me
  • Long May I Sleep
  • Day Moon
  • Slow Love
  • Brimstone Blues

“Seth Met a Girl” by Mailman

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Mailman is really fun. Austin has free range for his talent, and Jon sings from his heart. I’m eager to hear “Suburban Angst” recorded, perhaps their catchiest song. Read more about Mailman on the excellent site FortLive.

Mailman (Facebook):

  • Jon Phillips — guitar, vocals
  • Austin Kroll — guitar, vocals
  • Reece Presson — bass
  • Robby Rux — drums

Mailman

Set list:

  • Nevermind (It’s Not So Bad)
  • Working
  • Suburban Angst
  • Seth Met a Girl
  • Slug
  • Black Dress
  • Terrible People
  • Hard Way

Ralph White also played solo that night, as did someone else — if you know this other person’s name, leave it in the comments. And if you know the name of the original artist for the song “Hard Way,” leave that in the comments.

(Thanks to Fernando Ochoa for help with some of the photos.)

Creative Commons License

Patriot and Mailman at The Chat Room, 9 March 2013 by Douglas Lucas is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. It does not affect your fair use rights or my moral rights. You can view the full license (the legalese) here; you can view a human-readable summary of it here. To learn more about Creative Commons, read this article. License based on a work at www.douglaslucas.com. Seeking permissions beyond the scope of this license? Email me: dal@riseup.net.

James McMurtry in Denton, Texas, June 2012

Opening song: “Bayou Tortous”

James McMurtry (Website, Twitter, Facebook) played at Dan’s Silverleaf in Denton, Texas, last Friday, June 29. I’d been looking forward to hearing him play long enough that when news of his show came across my screen I bought a ticket straightaway. His music sounds like hard work feels. Nostalgic realism, sometimes touched by a dreaminess you’re surprised to hear out of this rough-looking guy. From “Levelland“:

Mama used to roll her hair
Back before the central air
We’d sit outside and watch the stars at night
She’d tell me to make a wish
I’d wish we both could fly

James McMurtry

I found out about McMurtry by reading about his father, writer Larry McMurtry of Lonesome Dove and Brokeback Mountain fame (I’m fond of the his novel All My Friends Are Going to Be Strangers). That led to me finding one of his son’s best-known songs, the protest piece “We Can’t Make It Here”:

At the Denton show, his bassist Cornbread played with a classic Ampeg tone, a good heartbeat beneath McMurtry’s razor-sharp chords. Drummer Daren Hess kept the framework strong throughout. If my memory’s correct, guitarist Tim Holt joined the stage for the ninth song, “We Can’t Make it Here.” He stayed on for the remainder of the show (except when McMurtry played a solo song or two). Holt had a guitar teacher’s facility for putting the right licks in at the right times to top things off. The band grew louder as the night went on, the two guitars howling like a hard rock band’s, and they closed by jamming out at such volume (for a small venue) that the speakers’ lack of distortion surprised me; the mix of the instruments and the gear’s performance was perfect — a sound a band gets once their success allows for good equipment and their years of effort are consistently paying off.

Cornbread

Daren Hess

Tim Holt

McMurtry has a great blog where he’s expressed his support for Occupy Wall Street:

With regard to Occupy and Law enforcement, mayors and college presidents seemed to be charged with giving the orders, at least officially, and they are subsequently charged with taking the heat when the execution of any of their orders goes terribly wrong and produces violence, physical injury, and embarrassing Utube. Politicians and Administrators don’t generally like controversy, it’s bad for careers. I don’t think such people would give orders that would likely result in some really messy controversy, unless enough pressure were brought to bear on them that they would fear for their careers anyway. I think there are bigger forces at work here. […]

I hear complaints that the protest is unfocused, that the protesters rejection of traditional hierarchy renders the movement ineffective as a political force, that it has no clear message. But I don’t see a problem yet. Occupy has been effective simply by coming into existence. No one organized Occupy ahead of time. A call went out and people showed up. They’re still showing up and their numbers and tenacity do have an effect. They get noticed. As for the message, one can google Keith Olbermann and hear the message, well written by Occupy and well read by Olbermann. Basically, occupiers want to take their country back from the banks and lobbyists. Their demands aren’t that different from those of the Tea Party. The two groups should join forces. They’re mad about the same conditions, though they disagree on where to put the blame.

The Tea party blames the government, Occupy blames the corporations that now own the government. Is there that much difference? Ultimately, we will all have to join forces if we are to call ourselves a nation. Right now, we are too polarized to be effective. We no longer recognize each other as Americans. The mayors and college presidents who call out the riot squads apparently don’t know that those are their fellow Americans getting beaten and pepper sprayed. Those are American sons and daughters. Those are American students, American librarians, American grandmothers, and American veterans, and when they get hurt, we all get hurt. The stick swinging has to stop. It serves no useful human purpose.

He also blogs about his observations during his travels. The little observations and the powerful sense of place that show up in his father’s novels appear in his songs, too; many of them are narratives of ordinary lives and the travails people experience. From “Out Here in the Middle“:

They broke into your car last night,
took the stereo
Now you say you don’t know why
you even live there anymore
The garage man didn’t see a thing,
so you guess it was an inside job
You made a reservation, a table for three
They said you’d have to wait,
somebody must have bribed the maitre’d
Boss got mad and he blamed it all on you
Food was bad and the deal fell through

(Chorus)
Well out here in the middle
you can park it on the street
Step up to the counter;
you nearly always get a seat
Nobody steals. Nobody cheats
Wish you were here my love
Wish you here my love

Reminds me of the town Missoula in Montana…

Full Band

The show had a sad point for me in that McMurtry’s music was one of the things my ex-wife and I shared. (My divorce concluded last month.) You have something with someone such as a marriage or a business or a band, and then the structure isn’t there anymore; you remember good things and bad things, and it’ll always be that way, but you come across things that remind you of what used to be. And there’s nothing you can do about it. It’s hard to take.

Some more about McMurtry: NPR, a Rumpus interview, and this short clip from CNN:

Here’s the set list from the show (links go to official lyrics). I couldn’t figure out all the song titles from my notes, so you’ll have to pardon me for the blanks. If you know, leave a note in the comments.

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James McMurtry in Denton, Texas, June 2012 by Douglas Lucas is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. Based on a work at www.douglaslucas.com. Seeking permissions beyond the scope of this license? Email me: dal@douglaslucas.com.

Jones, W. T., History of Western Philosophy, Keep Me Company

Divorcing, I’ve been going back to a lot of material from my earlier life, especially my teenage years when what other people said didn’t matter to me so much; in a marriage, or at least in mine, you are constantly having to compromise, appease, and betray yourself.

One thing worthwhile I salvaged from my teenage interest in the noxious ideas of Ayn Rand is the W.T. Jones History of Western Philosophy series. Jones was a philosophy professor at Caltech, and his otherwise little-known five-volume set became a bit more popular outside academia after Rand’s followers promoted the books.

W.T. Jones History of Western Philosophy

  • Volume 1: The Classical Mind. Second Edition (1969).
  • Volume 2: The Medieval Mind. Second Edition (1969).
  • Volume 3: Hobbes to Hume. Second Edition (1969).
  • Volume 4: Kant and the Nineteenth Century. Second Edition, Revised (1975).
  • Volume 5: The Twentieth Century to Quine and Derrida. Third Edition, with Robert J. Fogelin additions (1997).

I read them initially in high school: the late nineties. I understood it through about Volume 3. Sometime in the early 2000s I read it again on my own while studying philosophy in college, and I understood it through most of the 4th volume. Now I’m hoping to walk away with the whole thing understood.

All this philosophizing about life, on my and Jones’s parts, and I don’t even know who this guy is! I tried to read up on him tonight, but found little online. A retirement bulletin from Caltech explains helpfully that he specialized in world views, taught at Pamona College prior to Caltech, wrote seven books, and received several honors: he was a Rhodes Scholar, a Guggenheim Fellow, a Lippincott Fellow, a Proctor Fellow, a Ford Faculty Fellow, and a Phi Beta Kappa Visiting Scholar. The bulletin also quotes him as writing in 1977 that “One of the great aims of education should be to help students learn how to enjoy — enjoy, not merely tolerate — cognitive dissonance, cognitive ambiguity.” Very wise indeed.

A Seattle Post-Intelligencer article from 1986 reveals that his son, Jeff Jones, is a playwright. Jeff Jones wrote a collage-like play built from beach movies, Bible movies, Plato, and Latvian folk music. The article calls it a “beach biblical ancient Greek Latvian epic,” and it is part of a series the younger Jones titled, with apparent impishness, “A History of Western Philosophy.” (He also mentions going to therapy.)

I’ve been (re-)reading the elder Jones’s History of Western Philosophy almost every night just before turning off my iPhone flashlight. Aristotle definitely helps me fall asleep. Once I wanted to read the Copleston eleven-volume History of Philosophy — Copleston was a Jesuit priest — but in that series there are no translations for the plentiful Greek. Although I know some koine, Copleston’s Greek was still … Greek to me. An acquaintance has been asking why I’m wasting my time reading a history of western philosophy that isn’t Bertrand Russell’s. Because I’ve been told Russell is very opinionated in his presentation, whereas Jones quotes primary sources extensively and provides good context and what seems to be fair and only a little analysis.

Volume 1: The Classical Mind, by my bedside

There is really not much online about Jones, and little of his personality in his very objective, mostly humorless history. However, sometimes Jones reveals himself with his examples:

But is Plato’s psychological analysis of human nature correct? Is his account of the form “man” adequate? It seems clear that people who suffer from hangovers should not drink to excess and that people who have a tendency toward indigestion should not overeat. But one hardly needs to be a philosopher to discover this. How is Plato’s theory to deal with the man with a cast-iron stomach who prefers lobster to lyrics, boogie-woogie to Bach, and sitting in the sun to differential equations? We may agree that such a man is not living a well-rounded life, but are we justified in telling him that he is less happy than the man who lives a well-rounded life?

We could say, of course, that the man who prefers boogie-woogie to Bach simply doesn’t understand Bach. This line of argument is not without force. Bach is difficult; where the untrained ear hears only noise, the musically educated ear hears “exquisite harmonies.” Hence it is not surprising that a great many people prefer boogie-woogie. If, however, they were to study music, they might find that an increased musical appreciation repaid them for their trouble. But suppose that, after devoting some time to Bach, the man who prefers boogie-woogie says, ‘Well, I still don’t see anything in classical music.” We might be tempted to reply, “If you don’t, then so much the worse for you.”

This retort discourteous is, of course, not conclusive, and Plato would not have wanted to rest his case merely on the possibility of cultivating one’s taste. He wanted to maintain that the nature of man really is what he described it to be and that the man who doesn’t find it so is mistaken, not merely deficient in taste.

“Boogie Woogie” performed by Count Basie’s Blue Five:

Bach Prelude & Fugue no. 3 in C# Major, Well-Tempered Klavier Book 1, performed by Glenn Gould:

I’m going to read W.T. Jones’s History of Western Philosophy and sit in the sun at the same time!

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Jones, W. T., History of Western Philosophy, Keep Me Company by Douglas Lucas is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. Based on a work at www.douglaslucas.com. Seeking permissions beyond the scope of this license? Email me: dal@douglaslucas.com.

Party at Stay Wired!, Oct 15 2011

On Saturday, Stay Wired! Coffeehouse & Computer Service (Twitter, facebook, 2918 W. Berry Street, Fort Worth, TX 76109) hosted an awesome party, organized by Ted Wick and Travis Hildenbrand as the production team Canadian Caveman. Cover was $6 and beer upstairs was free (tips suggested).

Kari talks about burlesque history

The night’s main attraction proved to be Christopher Walker‘s CYBERPUNKS Burlesque. Here are the members’ names in the order pictured above, left to right.

  • KARI KALVIG, Associate Artistic Director
  • LUCY GUNN
  • MYSTICAL TEMPTRESS
  • MISSY LEMURE
  • NEVAEH ROGUE
  • AMBER ROMANCE
  • MAGENTA D’LITE
  • MAX VALENTINE

The burlesque troupe performed twice, once before the bands, and a second time after either one band or two had played (I can’t remember for sure).

Nevaeh Rogue was extremely confident. Definitely the star.

NEVAEH ROGUE

Mystical Temptress was a very fun performer, clearly having a good time.

MYSTICAL TEMPTRESS

Max Valentine was entertaining as well. I think he has a pretty good job.

MYSTICAL TEMPTRESS & MAX VALENTINE

Missy Lemure’s expression and hair are amazing here:

MAX VALENTINE & MISSY LEMURE

Nevaeh again for the win.

NEVAEH ROGUE

Nothing in their way:

Christopher Walker‘s CYBERPUNKS Burlesque

Signals & Alibis (Website, facebook, ReverbNation) began for the bands, returning to the site of their first-ever gig.

  • Brian Carter (guitar, keyboards)
  • Darby Eckles (drums)
  • Sybil High (bass)
  • Rebecca Jozwiak (vocals, keyboard, guitar)

Singing, Rebecca never met tied whole notes she didn’t like; her voice glided well over the dreamy, reverb-heavy atmosphere Brian brought with his guitar. Darby’s drumming created the right stoner-rock framework, and Sybil’s bass, strong as a piano’s bottom strings, undergirded it all.

(Maybe it’s captious to criticize, but the addition of eccentric fills from Brian and Darby would add some nice detail to their soundscape.)

Thanks for the Burnett’s Whipped Cream Vodka, Sybil!

DJ NOiCE (Twitter, facebook, SoundCloud) played house music, cyberpunk-sounding stuff.

You can hear DJ NOiCE in this video compilation. This was the first time I’d ever used my (DSLR) camera to record video, and the first time I’ve ever edited video by computer. What strikes me about this video is how much fun everyone’s having.

Collective Dreams (Twitter, MySpace, facebook, ReverbNation) played second.

  • Caleb Barber (guitar)
  • Travis Hildenbrand (drums & percussion)
  • Ben Rodriguez (bass)
  • Albert Salinas (guitar)

Travis is a talented drummer. But all and all what this instrumental band did was stare at the floor and play progressive rock to one another. They were talking to themselves, but at least they seemed to enjoy it.

Downstairs by the coffee bar Hyung-Joo Kim tore it up on cello for passersby. He’s a graduate music student at UT-Austin.

Hyung-Joo Kim, cello

Stereo Type Writers (facebook) played last.

  • Kevin Brown (bass & vocals)
  • Jake Ferris (guitar & vocals)
  • Herman Gallegos (drums)

Stereo Type Writers faced a diminished crowd since by then the burlesque troupe had left. It was also their first real gig; each member earned a dollar. They deserved that $3, though, since they persevered bravely despite minor equipment problems and overall venue exhaustion. Their straightforward music was at its best when their enthusiasm took off. Kevin Brown’s confidence on his fuzzily distorted bass drew my attention. It’d work well for this group to find an exciting singer who could move into the crowd.

The weekend was also the 28th birthday of Stay Wired!’s leader, John Campbell. His birthday and his role as host earned him plenty of applause, which he totally deserves.

Birthday Boy John Campbell

Stay Wired! holds an open-mic night every Thursday; arrive at 8:30 p.m. to sign up for a slot; it ends at midnight or so. Events such as the Oct 15th party happen on many weekends. Awesome, right?

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Party at Stay Wired!, Oct 15 2011 by Douglas Lucas is licensed under a Creative Commons Attribution 3.0 Unported License. Based on a work at www.douglaslucas.com. Attribute to “Douglas Lucas” or “www.DouglasLucas.com” or preferably both. Permissions beyond the scope of this license might be available: contact me (email).

Intro to Ear Training, Fear Training, Ear Straining

Too many drastically overestimate their skill at discerning details of audio such as music. Listen to this basic A major guitar chord:

Can your ears “reach into” the chord and pick out all three notes? (Test yourself by singing or humming each one individually.) Or do you just hear the chord as a composite? It’s easier when someone plays the notes together and then separately, as above. If you want a real challenge, go mash down a bunch of random piano keys (a “tone cluster”); then, without releasing the keys, try to sing or hum each note separately.

Do you hear a few huge, blocky piano chords, or do you hear hundreds of individual notes also? Serious music students have a hard time distinguishing all the different notes, too, so much so that they sometimes refer to ear-training courses as “fear-training” or “ear-straining.”

My understanding — and this might be wrong — is that, with chords, the mind (on some level at least) hears both composite sounds and individual tones at once, always. So maybe in your subconscious you’re hearing it all. I’m still leaving out overtones and features such as vibrato.

This is my brain. Not joking; the MRI people copied me a DVD.

I’m also unsure of whether the conscious mind, hearing chordal music, rapidly switches its focus from one individual note to another (and the composite waveform) or if it’s truly capable of hearing multiple tracks at once. (If I had to guess, I don’t think the conscious mind attends to much of anything with perfect simultaneity, when you drill down to individual instants, simply due to latency limitations of the physical nervous system.) For whatever it’s worth, computers can only complete one task at a time — they just switch between them so quickly we imagine they’re “multi-tasking.”

Even when people don’t have good ears for music (by which I don’t mean they’re literally tone-deaf, just that they aren’t highly skilled at perceiving details of audio), we typically say they can identify for themselves whether a piece of music is “good” or not. Of course it’s really their subjective experience of the music that they’re labeling as good or bad.

We don’t extend the same leeway to people evaluating visual art, however. We don’t expect someone with bad vision (and no corrective lenses) to make astute judgments about a painting they can’t see well. (A good way to train the eyes, by the way, is field-guiding.)

Who?

Why the double standard? I think because most of us are more familiar with sight; most of us live our entire lives without wondering about our ability to discern pitches in the audio we take in.

Once, a long time ago, my friend Bryan told me he only heard heavy metal as a kind of static-y noise. He couldn’t identify its pitches; later, after repeated listening, he could hear them. Try it yourself: here’s an instrumental Metallica song, Orion, as originally recorded. Skip ahead to :56 if you want to cut to the chase and get past the quiet intro.

Do you hear the bass guitar and the multiple notes of the multiple guitars? Or is it just one moving block of sound with drums banging away? People do in fact hear it quite differently. Now try the same (well, practically the same) music played on piano (by the fantastic Vika Yermolyeva). Generally people hear pianos more clearly than other instruments.

I think current research says babies are pretty much always born with perfect pitch, also known as absolute pitch — the ability to distinguish and name notes. To someone with perfect pitch (who has also learned the Western musical alphabet), a guitar string vibrating at 440 hertz produces an A, not just a sound. (Perfect pitch doesn’t mean singing in tune; it might help someone sing in tune, but perfect pitch is a perceptual skill, not a skill involving the voice box, diaphragm, tongue, etc.) Growing up, children aren’t taught to associate the notes they hear with a musical alphabet, and so their perfect pitch fades away. Some adults can indeed learn it, though.

Basic ear-training makes music more enjoyable even for non-musicians. Now, go smush down some piano keys.

Creative Commons LicenseIntro to Ear Training, Fear Training, Ear Straining by Douglas Lucas is licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License. Based on a work at www.douglaslucas.com. Permissions beyond the scope of this license may be available at www.douglaslucas.com.