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Archive for the ‘Music’ Category

A speech to a punk rock show about the Occupy Movement.

Friday, December 30th, 2011

I was asked to give a speech before Colin of Arabia played the American Nightmare/Give up the Ghost Reunion show in Revere last night; the following was prepared, however a truncated version was offered to the crowd.

I spent two months down at Dewey square, sure sometimes dirty, and yeah even sometimes involved in some hippyesque scenarios,…

But, what I want to talk about tonight is what is happening moving forward.

Physical occupation is a tactic, not an end, to get too bogged down with tactics, as opposed to education, to me, seems to be asking for a system which solves all of the problems of society for us, furthering us from blame, but also, and perhaps more dangerously, furthering us from the personal responsibility for change as something reachable and within us ourselves.

What is happening in this country is that the dialog has changed, drastically. inequality issues are on the table across the country, the people have the mic; Just attend your local General Assmebly.

You see, when I sat down think about what I was going to say, I wasn’t wrong or lying when I laid out a speech gilded with my vision of things moving forward, of every abandoned building in this country being reclaimed, legally, by the neighborhood surrounding it, so that we, the people can spring forth centers providing the civic and social services we need and require in our communities in the shadows of the bloated and failing which have failed us, so that groups and individuals can thrive and fulfill their mutual and self interests.

That is the beauty of what is happening in this country wight now, because at its base, the occupy movement is a conversation, and a sort of festival which has sprung up around it, this concept of consensus, the process of making decisions in a group while allowing for all voices to be heard as equal, or, as it is being referred to in relation to the Occupy Movement, horizontal democracy.

When the people took public space, on september 17, in order to have an open dialog with each other, we found that across the world the entire spectrum of political, social, ecological, and economic idealism was cracked open.

The idea of consensus appears to be gaining momentum; Moving into small towns, able to sustain once or twice a week General Assemblies, as opposed to physical 24 hour encampments.

It may be a hard pill for some to swallow, that the idea is so easy we have already won if we realize this one truth, that no longer can only the few prosper to the detriment of almost the entire herd.

That we can no longer allow ourselves to live with the cruel hope that elected officials will buck the trend and course of history and enact policy in the interests of the people.

What is currently on the table is that we are currently seeking is a center for civic discourse, an organizing headquarters and base of operations, the scope of which is being discussed.

We have and are looking at a lot of buildings in and around the area,some we can rent and move right into, some we could maybe buy and completely renovate, others would have to build from the ground up.

With effort and diligence as well as the help and voluntary association of everyone who would like to see genuine change, who would like to be a part to of a re-engaged public, whose will and spirit has been renewed, whose confidence and abilities have been restored, we can lay down a blue print of how to reclaim some of the blight in this country.

Howard Zinn said something to the effect of,
“if you want to be truly dangerous, if you really want to make the power structures scared, make being a radical, a revolutionary cool.”

Without us getting lost in the aesthetics, let us take that, along with the DIY and root ethics of punk rock and hardcore, to help blur the line between this, the punk rock movement, which is innately limited in it’s abilities to effect real widespread societal change, and the activism movement, where the sky, and maybe prosperity and justice is the limit.

1619

Saturday, January 22nd, 2011

Sincere thanks to everyone who traveled out in the snow to watch or play with us at The Rock Bar last night; or Wednesday @ the BBC Upstairs. We have the green light for next Friday at the Rock Bar, as well as this Wednesday at the BBC.

It will be good to see another raw venue in this town; and Wednesdays show will also feature local acoustic talent, perhaps with a bit more organization, as talk is about for a super local stripped bare solo acoustic compilation to be set in the works.
The audio video for both shows is being gone over, so stay at us, stay on us.

The first review of our music. (From my uncle.)

Wednesday, December 30th, 2009

you need a producer

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Bill Ford
to me

show details Aug 5

John,

I listened all the way through two f your CD’s today while working on things on the computer.

I don’t mean to bust your balls, and I know you have all the best intentions with your stuff, but…

I have to say, it was virtually unlistenable.

Take this with a grain of salt if you will, but I hope constructive criticism will result in the next CD you send to me being more “polished”….

Notes…..

Mic technique is bad, wandering back in forth and around the mic. At times I felt like I was on some wierd ride where the sound comes at you from different directions. This can be used to good effect when it is intended (i.e. Brian Eno, John Cage, Frank Zappa, Pink Floyd) but when it is obviously not……it just reeks of bad production.

Levels are SEVERELY distorted in some tunes. You need to learn how to monitor your outputs, and pay attention to what they sound like.

Levels are up and down and all over the place. This has nothing to do with the dynamics of particular songs, but you need to get a compressor.

you need to EDIT !!!! This is where I would start, for sure, definitely, no doubts……

If you are going to have songs, edit them so that there is a head and then an ending. if you are going to have spoken word segments, make the conversation or spoken portion have some meaning or relevance. If I (or anyone else) wanted to listen to a meaningless conversation in the background, I’d call my girlfriend or walk into my bosses office to hear that…. The Japanese have a saying for it that I can’t recall right now, but the gist of it revolves around “respecting one anothers’ time”….. make each moment count for something.

Think about it….In this modern world, with everyone being short on time, and everyone being bombarded by different media (that is highly produced, from commercials, music, movies, multimedia, etc.), the LAST thing anyone wants to hear is a bunch of conversations in the background, side notes from you to Lauren/back and forth, etc….. If I were to send you a bunch of recordings of me singing off key at times, with bad mic technique and bad levels, you’d probably toss it in a drawer after one listen-if you could get through it all. That is EXACTLY what you are presenting to the people you give the CD’s to. I understand they are free, but put your best foot forward and learn from each one and pick up some new techniques each time to make each one better. That’s what recording artists do, that’s how they get better, and that’s how they eventually get discovered and are able to support themselves by doing their craft.

Understood that you might not really want to be a musician in the business that is a cesspool for sharks, and that may not even be the point about releasing these CD’s. If it is not the point, you should have a spoken word intro at the front of the CD to explain to people what you are trying to accomplish, so that they don’t get the wrong idea. When somebody hand s me a CD, I usually expect that there will be some melody, stuff that is refined (even if it is punk/thrash) and has been rehearsed over and over (unless it is hard core bop/jazz), and there will be some production value on it-even if it is a solo guitar with vocal. Listen to some Leo Kottke, John Prine, or Arlo Guthrie or Tom Rush. Hear the production, how they phrase, how they work the microphone and use dynamics.

Refine your stuff ~!!!!!
(including the writing on the web (you need an editor that can deal with the numerous grammatical errors to frame your stuff in a better light)

What you put forth becomes the lasting image of what people think of your efforts into your stuff. And…..first impressions count. When was the last time you heard some band and decided you never needed to spend time listening to that stuff again???? Or some writer??

I don’t mean to come of harsh. This is meant as constructive criticism, but I know sometimes when I get passionate about stuff it can feel like a sledgehammer bludgeoning those on the receiving end. And I’ve had that comment before from a few people.

But…….I DID win an award from Coda Magazine 20 years ago for “Best produced jazz album”……………and I spent 20 years in the audio business doing every kind of gig from the Willow in Somerville (capacity 20) to the 4th of July at Washington Monument for 235,000, to production help at FOH for The Wall gig with Roger Waters in Berlin…….so I feel confident that I have a grasp of the issues presented above.

I hope you don’t take offense to this, but just use some of the points I’ve made.

I’ve got to go listen to a Dire Straits record now.

If you want to hear good production, listen to Dire Straits-Brothers in Arms, Pink Floyd-The Wall, Sgt. Peppers-The Beatles (recorded on a pair of 4 tracks, bounced back and forth, or ANY Steely Dan record. I’m not a big fan of Steely Dan, but nothing is as clean as a Steely Dan record-maybe Brothers in Arms mentioned above is a close second.

Oh, and good production can be done anywhere. in a garage or the forest, as long as you are diligent, pay attention to technique, and Listen. But i did like the graphics………..

Bill

decomposition, the composition.

Tuesday, July 21st, 2009

A few clean, dry bones sunned themselves, but matted fur covered most of the skeleton, whose head was notably absent. The paws and tail, retaining an unsettling taxidermied quality, jutted out from the heap of hair. A large hole, perhaps originally from the killing bite, teemed with activity; diminuative ants were running in and out.

“What are those yellow pieces they’re carrying? Hwwrrrghhh!” John pointed, pretending to heave.

“Body fat?” I thought of coffin wax. “It’s been dead at least a week. You’d die if you stuck that whole thing in your mouth.”

“Hell no!” John exclaims, and heaves even louder.

We played delicately, fingers trying to be as light as the thousands of tiny tips of legs over the spoils of nature’s indifference, swaying between e minor and g major, mortality and sadness, acceptance and admiration, as death’s small ugly mess pulses once more with life before vanishing into the ceaseless elements, rubbed permanently from the world’s consciousness, if not for the experience we had and the video we made, which will also someday degrade, when the last backup fails and we ourselves have strayed far off the paper trails into the langoliering past; art isn’t life, but its epitaph.

our second fourth:

Sunday, July 5th, 2009

We sit in a tiny glade amongst the tall thin grass, wild blueberries, and dead scrub pines cryptically carved by tunneling insects, and still find it too difficult to feel free. The voices of weekend campers carry some indiscernable distance, a more-than-occassional plane or helicopter rips the sky overhead.

A couple and their dog trudge along a nearby path and return an unenthusiastic hello when we offer ours first, and the twinge in their faces reveals they wish they hadn’t seen us as much as we wish we hadn’t seen them.

“Everybody’s just trying to steal a piece of something majestic and dignified out here,” John says.

What could the whole landscape have looked like here, or in Europe where the majority of our respective ancestries lie, hundreds or thousands of years ago? Bigger, wiser trees, endless woods and tiny paths seemingly forever, until you heard music somewhere, and found a little village somewhere utterly remote.

“Don’t you just want to hear someone else drumming with us, way off in the distance?” I ask him.

“All the time. I want to hear music all around me, I want to play it and have it swirling around in the world with me, constantly, I want to feel it, and whenever it stops I’m like:” and hangs his head and shoulders.