Tuesday, October 3, 2017
i mean, this is why the ndp never gets anywhere.
at exactly the point where the planet is pushing back hard against liberal elitism, it runs an end-around it's own members to put a liberal elitist in charge, in order to better appeal to other liberal elitists.
they do this - not this exactly, but this level of cluelessness - over and over again.
and, what are the liberals doing? they're reacting to the information on the ground as best they can, and trying to create a political position out of taxing those same liberal elitists - because they can at least grasp what's happening around them.
at exactly the point where the planet is pushing back hard against liberal elitism, it runs an end-around it's own members to put a liberal elitist in charge, in order to better appeal to other liberal elitists.
they do this - not this exactly, but this level of cluelessness - over and over again.
and, what are the liberals doing? they're reacting to the information on the ground as best they can, and trying to create a political position out of taxing those same liberal elitists - because they can at least grasp what's happening around them.
she gets upset that people think that singh is a closet liberal, then
accuses the members of not being "tolerant and inclusive" - which is
boilerplate milquetoast neo-liberalism.
being progressive does not mean being "tolerant and inclusive", it means leaving the world of superstitions in the past. that's what the members have been getting across.
and, i'm not interested in being "tolerant and inclusive", because i'm not a liberal, i'm a socialist.
but, this whole debate is going to go over these peoples' heads. it's the end of history, after all.
people will vote in the end, and the liberal elite that currently runs the ndp will need to get the lesson the hard way - despite the fact that it could have learned the easy way by reading the news.
http://www.macleans.ca/opinion/its-time-for-the-ndp-to-end-its-ideological-loyalty-test/
being progressive does not mean being "tolerant and inclusive", it means leaving the world of superstitions in the past. that's what the members have been getting across.
and, i'm not interested in being "tolerant and inclusive", because i'm not a liberal, i'm a socialist.
but, this whole debate is going to go over these peoples' heads. it's the end of history, after all.
people will vote in the end, and the liberal elite that currently runs the ndp will need to get the lesson the hard way - despite the fact that it could have learned the easy way by reading the news.
http://www.macleans.ca/opinion/its-time-for-the-ndp-to-end-its-ideological-loyalty-test/
so, i was absolutely mortified of george w. bush considerably before it was cool.
clinton had some problems, and gore was, at the time, a cartoon character; if you want to blame it on something other than the rain (and the moon and the stars), you should blame it on low turnout - something that was largely probably spurred on by the assumption that bush couldn't possibly actually win. well, maybe it was a fitting way to end the 90s. here's your apathy, kids. served cold. ice cold. cold as the blood of a shape-shifting lizard person...and cold as the blood on it's hands.
of course, standing in the spring of 2000, i had no way of knowing what was about to be unleashed. i was mostly still just pissed at clinton for bombing medicine factories in the sudan. i mean, the level of assholery underlying it was just.....the threat of "terrorism" could hardly justify that kind of indiscriminate bombing....fucking medicine factories...
the way i interpreted it was something more along the lines of this half-evolved hominid of undisclosed type slowly riding into town on horseback (with cronies in tow, including one with a yellow hat). it felt like you could see him coming days in the distance. it was unclear what was going to happen when he got to town, but it felt ominous. there was nothing to do but just wait, maybe prepare a little and ultimately hope for the best, even while bracing for the worst.
so, i did what i do - i wrote a conceptual piece about it with the intent of raising awareness. even just amongst friends would help, if they'd talk. etc.
...or, well, i sort of did, anyways. see, i lost a hard drive around this period, and most of the song along with it. what is posted here is a 90% done version that i thought i had lost completely but stumbled upon a few months after the election, after i had moved. given the circumstances, i'm lucky that i found this at all. however, it's remained unreleased as a cohesive piece all of these years.
well, the election was over. it was no longer worthwhile to finish it. i suppose that if i was operating on a profit motive, or a desire for control, i would have finished it. instead, i just felt like i failed to warn people, and it actually put me into a pretty deep depression for a while. it was too late, i blew it, we're fucking doomed....finishing it wouldn't matter....nothing mattered anymore...
listening to it now, it could maybe use a bass part. all this was really missing, though, were the vocals - which were also lost on the hard drive. i have no recollection of them at all at this point and don't see the value in making new ones up.
i did have the first and second section put aside somewhere, on a cd-r. i was able to fill that up with samples and get it out just before the election, and it also ended up sequenced into deny everything. so, it wasn't a total loss.
as for this suite, though? i present it as i've recovered it, with no further comment than that it accurately represents the deep, foreboding fear of the future that was in the air around the period that bush was elected.
this is a song cycle.
recorded in spring, 2000. released, unmodified, in jan, 2014. release finalized on oct 3, 2017. as always, please use headphones.
this release also includes a printable jewel case insert and will also eventually include a comprehensive package of journal entries from all phases of production (1999, 2014, 2017).
credits
released May 10, 2000
j - guitar, effects, bass, synth, drums, drum programming, sequencing, sound design (sound raider, audiomulch, granular synthesis, noise generators), loops, digital wave editing, production
====
track 1...
i can date this well, and report that this was the initial idea of the track. if you read the books (and i'd advise against reading these to your kids), there's actually a fairly graphic section at the beginning where george is captured from the jungle by the man with the yellow hat.
the man with the yellow hat really comes off as a dick.
anyways, that's what's going on here with this.
the cd-r i found has an early version of acidosis followed by this suite. over time, i began to interpret the jungle sounds as being more connected to acidosis than to this suite and this did end up there, in modified form, as 'life goes on' (jasonparent.bandcamp.com/track/life-goes-on). that being said, the version attached to acidosis was reconstructed from the initial samples because i lost this collage when my hard drive crashed...
the source files (along with the files for part 2) are dated to the end of april, which seems roughly right.
what i did was get a bunch of jungle sounds together and let sound raider mess with them. i then created a file in audiomulch that produced some exotic drum effects and adds in some unusual noises.
it's an atmospheric track in either context.
credits
from the curious george suite, track released April 24, 2000
j - sound design: soundscaping with found sound (sound raider), drum programming & noise generation (audiomulch), digital wave editing, production.
===
track 2...
this section was augmented with samples:
jasonparent.bandcamp.com/album/curious-george-2
it was also released on deny everything:
jasonparent.bandcamp.com/album/deny-everything
musically, the track is a combination of an experiment with an idea. i should note that this suite together is maybe the first original track in the style that dominates my output over the next few years, even if it's incomplete (albeit hereby decreed complete). the idea was about creating "guitar symphonies" (and while i was aware of the work of oldfield and fripp, and of sonic youth and gybe!, branca was a black hole for me at the time) in a minimalist, electronic framework that most readily draws to mind the work of trent reznor. this is the first of many expressions and evolutions of that idea. the experiment was with a program called "leaf drums", which is a fairly basic drum machine except in it's ability to manipulate samples with effects in realtime (remember that this is the spring of 2000). once i had that loop running, i started playing some of the riffs i had put aside for the guitar symphony, mostly just to play around with them. it stuck far better than i expected....and that's really the extent of the track.
the bush sample at the beginning is a constructed loop rather than a direct quote. he was talking about gore - "this guy would say anything to get elected, i'd...". that was flipped around to "i'd say anything to get elected" and looped. well, at this point i don't think anybody is going to stand up for bush' honesty or credibility. regardless, the way i looped it purposefully pans it to make it obvious that it's not a direct quote.
the lost version was built up considerably further than this; this version has three guitar parts, the lost version had closer to ten. i was too focused on getting the samples together to worry about re-recording the guitar parts. i don't remember them at this point and will not make up new ones. to be honest, this is far easier to listen to, and, while i mourn the loss of the completed version, i'm actually happy that i kept a more stripped down one.
credits
from the curious george suite, track released April 24, 2000
j - guitars, effects, drum programming, digital wave editing
===
track 3....
if i could find a source for the "people who are going to commit crimes shouldn't have guns" quote, i could maybe date this better. unfortunately, i suspect google has done some scrubbing for the bush family, which is a scary thought. i think it was early may, but it may be a little later.
i can't remember if i finished most of this, put it aside for later, recorded acidosis and then lost the hard drive OR if i finished the very beginning of this, recorded acidosis, then recorded the second half of this and then lost the drive. meaning, this is either early may or it's mid-september.
there's a number of reasons to lean towards may, though. the drums, firstly. there are not live drum parts in any of the material recorded from mid-may forwards. that indicates that they weren't available to play. second, i remember the early summer sun hitting me when recording the fourth part - and specifically in the hilliard basement, rather than the lexington basement i'd move to over the fall. there's a kind of nausea attached to the mid -season sun that only occurs in april/may and sept/oct.
musically, this extends out of the previous experiment, but it's easy to hear that that is an introduction to this, that this was meant to be the song that that leads into. as the big, ridiculous arena-rock tune it is? it holds up well. note that the aim was to push a message, and the arena rock theme wasn't an accident. this was supposed to be the take-away, the radio play, the thing that got stuck in your head.
i never added a bass track and don't see a point in doing so now. however, what is actually lost is really solely a heavily vocoded vocal track. i won't re-do it. i'll explain it a little. the theme underlying the curious george analogy was one of seeing bush as a corporate puppet. wherever george went, the man in the yellow hat would follow - to oversee, influence and ultimately dominate. i wasn't taking the analogy very far, i was simply drawing it with the aim of hoping that people would educate themselves about the dangers that he posed.
===
track 4...
this was meant to be instrumental, and wouldn't have been modified in any way except maybe to embiggen the end part. i didn't expect to ever release this, so i raided the track for inclusion in ftaa:
jasonparent.bandcamp.com/track/through-the-looking-glass
credits
from the curious george suite, track released May 1, 2000
j - guitars, effects, drums, synthesizers, sequencers, granular synthesis, noise generators, digital wave editing
clinton had some problems, and gore was, at the time, a cartoon character; if you want to blame it on something other than the rain (and the moon and the stars), you should blame it on low turnout - something that was largely probably spurred on by the assumption that bush couldn't possibly actually win. well, maybe it was a fitting way to end the 90s. here's your apathy, kids. served cold. ice cold. cold as the blood of a shape-shifting lizard person...and cold as the blood on it's hands.
of course, standing in the spring of 2000, i had no way of knowing what was about to be unleashed. i was mostly still just pissed at clinton for bombing medicine factories in the sudan. i mean, the level of assholery underlying it was just.....the threat of "terrorism" could hardly justify that kind of indiscriminate bombing....fucking medicine factories...
the way i interpreted it was something more along the lines of this half-evolved hominid of undisclosed type slowly riding into town on horseback (with cronies in tow, including one with a yellow hat). it felt like you could see him coming days in the distance. it was unclear what was going to happen when he got to town, but it felt ominous. there was nothing to do but just wait, maybe prepare a little and ultimately hope for the best, even while bracing for the worst.
so, i did what i do - i wrote a conceptual piece about it with the intent of raising awareness. even just amongst friends would help, if they'd talk. etc.
...or, well, i sort of did, anyways. see, i lost a hard drive around this period, and most of the song along with it. what is posted here is a 90% done version that i thought i had lost completely but stumbled upon a few months after the election, after i had moved. given the circumstances, i'm lucky that i found this at all. however, it's remained unreleased as a cohesive piece all of these years.
well, the election was over. it was no longer worthwhile to finish it. i suppose that if i was operating on a profit motive, or a desire for control, i would have finished it. instead, i just felt like i failed to warn people, and it actually put me into a pretty deep depression for a while. it was too late, i blew it, we're fucking doomed....finishing it wouldn't matter....nothing mattered anymore...
listening to it now, it could maybe use a bass part. all this was really missing, though, were the vocals - which were also lost on the hard drive. i have no recollection of them at all at this point and don't see the value in making new ones up.
i did have the first and second section put aside somewhere, on a cd-r. i was able to fill that up with samples and get it out just before the election, and it also ended up sequenced into deny everything. so, it wasn't a total loss.
as for this suite, though? i present it as i've recovered it, with no further comment than that it accurately represents the deep, foreboding fear of the future that was in the air around the period that bush was elected.
this is a song cycle.
recorded in spring, 2000. released, unmodified, in jan, 2014. release finalized on oct 3, 2017. as always, please use headphones.
this release also includes a printable jewel case insert and will also eventually include a comprehensive package of journal entries from all phases of production (1999, 2014, 2017).
credits
released May 10, 2000
j - guitar, effects, bass, synth, drums, drum programming, sequencing, sound design (sound raider, audiomulch, granular synthesis, noise generators), loops, digital wave editing, production
====
track 1...
i can date this well, and report that this was the initial idea of the track. if you read the books (and i'd advise against reading these to your kids), there's actually a fairly graphic section at the beginning where george is captured from the jungle by the man with the yellow hat.
the man with the yellow hat really comes off as a dick.
anyways, that's what's going on here with this.
the cd-r i found has an early version of acidosis followed by this suite. over time, i began to interpret the jungle sounds as being more connected to acidosis than to this suite and this did end up there, in modified form, as 'life goes on' (jasonparent.bandcamp.com/track/life-goes-on). that being said, the version attached to acidosis was reconstructed from the initial samples because i lost this collage when my hard drive crashed...
the source files (along with the files for part 2) are dated to the end of april, which seems roughly right.
what i did was get a bunch of jungle sounds together and let sound raider mess with them. i then created a file in audiomulch that produced some exotic drum effects and adds in some unusual noises.
it's an atmospheric track in either context.
credits
from the curious george suite, track released April 24, 2000
j - sound design: soundscaping with found sound (sound raider), drum programming & noise generation (audiomulch), digital wave editing, production.
===
track 2...
this section was augmented with samples:
jasonparent.bandcamp.com/album/curious-george-2
it was also released on deny everything:
jasonparent.bandcamp.com/album/deny-everything
musically, the track is a combination of an experiment with an idea. i should note that this suite together is maybe the first original track in the style that dominates my output over the next few years, even if it's incomplete (albeit hereby decreed complete). the idea was about creating "guitar symphonies" (and while i was aware of the work of oldfield and fripp, and of sonic youth and gybe!, branca was a black hole for me at the time) in a minimalist, electronic framework that most readily draws to mind the work of trent reznor. this is the first of many expressions and evolutions of that idea. the experiment was with a program called "leaf drums", which is a fairly basic drum machine except in it's ability to manipulate samples with effects in realtime (remember that this is the spring of 2000). once i had that loop running, i started playing some of the riffs i had put aside for the guitar symphony, mostly just to play around with them. it stuck far better than i expected....and that's really the extent of the track.
the bush sample at the beginning is a constructed loop rather than a direct quote. he was talking about gore - "this guy would say anything to get elected, i'd...". that was flipped around to "i'd say anything to get elected" and looped. well, at this point i don't think anybody is going to stand up for bush' honesty or credibility. regardless, the way i looped it purposefully pans it to make it obvious that it's not a direct quote.
the lost version was built up considerably further than this; this version has three guitar parts, the lost version had closer to ten. i was too focused on getting the samples together to worry about re-recording the guitar parts. i don't remember them at this point and will not make up new ones. to be honest, this is far easier to listen to, and, while i mourn the loss of the completed version, i'm actually happy that i kept a more stripped down one.
credits
from the curious george suite, track released April 24, 2000
j - guitars, effects, drum programming, digital wave editing
===
track 3....
if i could find a source for the "people who are going to commit crimes shouldn't have guns" quote, i could maybe date this better. unfortunately, i suspect google has done some scrubbing for the bush family, which is a scary thought. i think it was early may, but it may be a little later.
i can't remember if i finished most of this, put it aside for later, recorded acidosis and then lost the hard drive OR if i finished the very beginning of this, recorded acidosis, then recorded the second half of this and then lost the drive. meaning, this is either early may or it's mid-september.
there's a number of reasons to lean towards may, though. the drums, firstly. there are not live drum parts in any of the material recorded from mid-may forwards. that indicates that they weren't available to play. second, i remember the early summer sun hitting me when recording the fourth part - and specifically in the hilliard basement, rather than the lexington basement i'd move to over the fall. there's a kind of nausea attached to the mid -season sun that only occurs in april/may and sept/oct.
musically, this extends out of the previous experiment, but it's easy to hear that that is an introduction to this, that this was meant to be the song that that leads into. as the big, ridiculous arena-rock tune it is? it holds up well. note that the aim was to push a message, and the arena rock theme wasn't an accident. this was supposed to be the take-away, the radio play, the thing that got stuck in your head.
i never added a bass track and don't see a point in doing so now. however, what is actually lost is really solely a heavily vocoded vocal track. i won't re-do it. i'll explain it a little. the theme underlying the curious george analogy was one of seeing bush as a corporate puppet. wherever george went, the man in the yellow hat would follow - to oversee, influence and ultimately dominate. i wasn't taking the analogy very far, i was simply drawing it with the aim of hoping that people would educate themselves about the dangers that he posed.
===
track 4...
this was meant to be instrumental, and wouldn't have been modified in any way except maybe to embiggen the end part. i didn't expect to ever release this, so i raided the track for inclusion in ftaa:
jasonparent.bandcamp.com/track/through-the-looking-glass
credits
from the curious george suite, track released May 1, 2000
j - guitars, effects, drums, synthesizers, sequencers, granular synthesis, noise generators, digital wave editing
republishing inri036
this is a collection of three tracks that were recorded in late '99 and early '00 with the intent of being included on record number three ('trinri') but were either discarded or stripped of samples on the way there. the purpose of this ep is not to be comprehensive, but to act as a transitional time capsule: this is the sound of exiting one project and entering another. as such, the narratives are scattered and better told separately.
trinri eventually became deny everything:
jasonparent.bandcamp.com/album/deny-everything
written and recorded in late 1999 and early 2000. these versions of these tracks were sequenced without further modification in jan, 2014. remainder of hummer added as a bonus track, and release finalized, on oct 3, 2017. as always, please use headphones.
this release also includes a printable jewel case insert and will also eventually include a comprehensive package of journal entries from all phases of production (1999, 2014, 2017).
credits
released January 25, 2000
j - guitar, effects, synth, drumkit, drum programming, sequencing, sampling, digital wave manipulation, treatments, production
===
track 1...
this was initially written to be the first track on my third record, which i was calling trinri as a working title. yet, it was written about the same time as i was finishing up my covers disc. i wanted to add at least one more track to the disc to make it a bit longer. for whatever reason, i ended up using it as an introduction to the hummer cover, rather than as it's own track.
record number three, deny everything, ended up with it's own introduction. however, i've pulled it out here, in instrumental form - and as an introduction to this ep.
the hummer cover is here:
jasonparent.bandcamp.com/track/05-hummer
written in the fall of 1999. isolated in jan, 2014.
===
track 2...
so, this is an interesting thing to have sitting on my shelf. it's the 'i have a dream' speech, orchestrated with some soaring guitars.
i should point out immediately that i got a lawsuit thrown at me by the king estate when i tried to upload this to mp3.com back in early '00. i thought that was really trite, but it's not really a legal battle i want to have. i would react more or less the same way should i be threatened a second time, except to point out this time that it's fair use so long as i remove the price tag and basically just do that.
the story behind the song is not very remarkable. the working title for the track was just 'progblues thing'. it was intended to be a structured instrumental guitar track that mixed the flair of hendrix with the minimalist structure of steve reich. the speech sort of came to it by accident.
it was also the result of my dad getting himself a drumkit for christmas that year, which my step-mother promptly placed in my bedroom as a disincentive for further use. score, i guess. but it didn't survive the move a few months later. in the mean time, i got some recordings out of it - as well as a few moderately crazy drunken weekend jam sessions.
i'll note that that christmas also produced a grand piano a few feet outside my door. it's intended recipient was my sister, but she wasn't around much. me? new pc, with a convenient recording interface, and some more functional microphones. despite talk of family jam spaces, one might suspect my father was actually conspiring in my favour. there is probably a great deal of truth in this suspicion. these conditions held for less than a year, but i made the most of them.
so, the idea of the track was initially about experimenting with the new reverb system built into my new soundcard interface, by triggering it with the drumkit that had recently magically appeared out of good fortune. it had been a few years since i'd played the kit much, and, unfortunately, it kind of does show. i had spent a little time practicing along with "nevermind" and "siamese dream" for a few weeks to get back in shape, but i wasn't really "there" yet at the time of this recording. i didn't want to program loops into the song, so i compensated by splicing the track up. of special interest in this wave editing is the backwards cymbals, and especially how they intersect with the soaring guitars.
and of those soaring guitars? a fairly simple blues pattern. sure is lovely, though, isn't it?
the speech became attached to the track when chance managed to have them playing simultaneously for me. i had cnn on in the corner. it was doing some kind of special on mlk, perhaps related to an anniversary that is related to a yearly holiday. placed together, it knocked me flat on my ass.
the idea in my mind from the start was integrationist, if not really consciously so. on the one hand, the guitar part is raw southern blues. on the other hand, the structure is sterile white minimalism. i didn't just realize this juxtaposition, i was trying to exploit it, even if the racial context hadn't occurred to me. when king's speech was played over it, though, the idea really exploded; the context became much deeper. it was an instant exponentiation in profundity.
i also thought it would work well as a foil to the doonesbury sample that is in the track that follows this one [entropy (original mix)].
in hindsight, there are some problems with this. i was a moderately wealthy white kid from canada. there was never much chance of me turning a profit on this, but if i did it would be a type of appropriation. this track does appear on the deny everything demo (jasonparent.bandcamp.com/track/a-commercial-break) but under the title of "a commercial break" - and without the dr. king samples. that's probably for the best.
that doesn't change the feeling i got when i first heard the two things together, or take away any of the power that the pairing produces.
i think this is worth sharing.
---
this was initially released as a download only ep. as of the fall of 2017, i have revisited this decision and reversed it: i need to have this release available in some capacity, and it follows that i'm being kind of silly in not offering the full range of options.
for example, if i were to offer the release as a download only, i'd have to offer it at $7, because it is original music, one way or the other. then, why wouldn't i offer it as a physical item? or, if i were to offer it as a $1 download and a normal physical offer, what am i doing besides punishing myself, really?
maybe i could say something about how it might have been better if i didn't create this, although i don't think that's really fair, either, as i do think it's worth sharing. but, i can't undo time. there's no "undo" button in reality. really. i've looked. strenuously.
i suppose that if i get sued i'll have to react, but i'm just going to treat this as any other release and carry on.
written and recorded in the winter of 1999/2000.
====
track 3...
this is an augmented experiment with a program called "sounder" that takes advantage of some obscure midi qualities to transport the act of triggering a note into the physical world. imagine a midi tennis ball that triggers at different intensities based on how hard the ball is thrown at a wall. now, imagine a frictionless space where that ball can bounce around indefinitely. sounder virtualizes this reality.
the experiment was augmented with synthesizer and guitar parts, and a sample of garry trudeau posing as a political candidate and being interviewed by larry king. i first interacted with that sample early in the morning in a deeply altered state and came to attach certain feelings to it that are difficult to describe. while it's clearly parody, it hit me as being frighteningly representative of reality. i suppose that all effective parody has this quality. perhaps my reaction speaks more of where i was at this point than anything else. i wasn't reacting well to the return of republicanism; i was very much dreading the future that i had no control in preventing. the absurd truth, here, cut me right down.
i was fucking baked.
eventually, i decided that the sample is just not worth listening to repeatedly and removed it from the track. an instrumental version is available on deny everything:
jasonparent.bandcamp.com/track/entropy
written and recorded at the very end of 1999.
credits
from let freedom ring, track released December 17, 1999
j - guitars, effects, synths, sampling, pythagorean sequencing (sounder), digital wave editing
====
track 4...
this is the second half of the instrumental version of the hummer cover, presented as a hidden track.
the hummer cover is here:
jasonparent.bandcamp.com/track/05-hummer
written in the fall of 1999. isolated in oct, 2017.
trinri eventually became deny everything:
jasonparent.bandcamp.com/album/deny-everything
written and recorded in late 1999 and early 2000. these versions of these tracks were sequenced without further modification in jan, 2014. remainder of hummer added as a bonus track, and release finalized, on oct 3, 2017. as always, please use headphones.
this release also includes a printable jewel case insert and will also eventually include a comprehensive package of journal entries from all phases of production (1999, 2014, 2017).
credits
released January 25, 2000
j - guitar, effects, synth, drumkit, drum programming, sequencing, sampling, digital wave manipulation, treatments, production
===
track 1...
this was initially written to be the first track on my third record, which i was calling trinri as a working title. yet, it was written about the same time as i was finishing up my covers disc. i wanted to add at least one more track to the disc to make it a bit longer. for whatever reason, i ended up using it as an introduction to the hummer cover, rather than as it's own track.
record number three, deny everything, ended up with it's own introduction. however, i've pulled it out here, in instrumental form - and as an introduction to this ep.
the hummer cover is here:
jasonparent.bandcamp.com/track/05-hummer
written in the fall of 1999. isolated in jan, 2014.
===
track 2...
so, this is an interesting thing to have sitting on my shelf. it's the 'i have a dream' speech, orchestrated with some soaring guitars.
i should point out immediately that i got a lawsuit thrown at me by the king estate when i tried to upload this to mp3.com back in early '00. i thought that was really trite, but it's not really a legal battle i want to have. i would react more or less the same way should i be threatened a second time, except to point out this time that it's fair use so long as i remove the price tag and basically just do that.
the story behind the song is not very remarkable. the working title for the track was just 'progblues thing'. it was intended to be a structured instrumental guitar track that mixed the flair of hendrix with the minimalist structure of steve reich. the speech sort of came to it by accident.
it was also the result of my dad getting himself a drumkit for christmas that year, which my step-mother promptly placed in my bedroom as a disincentive for further use. score, i guess. but it didn't survive the move a few months later. in the mean time, i got some recordings out of it - as well as a few moderately crazy drunken weekend jam sessions.
i'll note that that christmas also produced a grand piano a few feet outside my door. it's intended recipient was my sister, but she wasn't around much. me? new pc, with a convenient recording interface, and some more functional microphones. despite talk of family jam spaces, one might suspect my father was actually conspiring in my favour. there is probably a great deal of truth in this suspicion. these conditions held for less than a year, but i made the most of them.
so, the idea of the track was initially about experimenting with the new reverb system built into my new soundcard interface, by triggering it with the drumkit that had recently magically appeared out of good fortune. it had been a few years since i'd played the kit much, and, unfortunately, it kind of does show. i had spent a little time practicing along with "nevermind" and "siamese dream" for a few weeks to get back in shape, but i wasn't really "there" yet at the time of this recording. i didn't want to program loops into the song, so i compensated by splicing the track up. of special interest in this wave editing is the backwards cymbals, and especially how they intersect with the soaring guitars.
and of those soaring guitars? a fairly simple blues pattern. sure is lovely, though, isn't it?
the speech became attached to the track when chance managed to have them playing simultaneously for me. i had cnn on in the corner. it was doing some kind of special on mlk, perhaps related to an anniversary that is related to a yearly holiday. placed together, it knocked me flat on my ass.
the idea in my mind from the start was integrationist, if not really consciously so. on the one hand, the guitar part is raw southern blues. on the other hand, the structure is sterile white minimalism. i didn't just realize this juxtaposition, i was trying to exploit it, even if the racial context hadn't occurred to me. when king's speech was played over it, though, the idea really exploded; the context became much deeper. it was an instant exponentiation in profundity.
i also thought it would work well as a foil to the doonesbury sample that is in the track that follows this one [entropy (original mix)].
in hindsight, there are some problems with this. i was a moderately wealthy white kid from canada. there was never much chance of me turning a profit on this, but if i did it would be a type of appropriation. this track does appear on the deny everything demo (jasonparent.bandcamp.com/track/a-commercial-break) but under the title of "a commercial break" - and without the dr. king samples. that's probably for the best.
that doesn't change the feeling i got when i first heard the two things together, or take away any of the power that the pairing produces.
i think this is worth sharing.
---
this was initially released as a download only ep. as of the fall of 2017, i have revisited this decision and reversed it: i need to have this release available in some capacity, and it follows that i'm being kind of silly in not offering the full range of options.
for example, if i were to offer the release as a download only, i'd have to offer it at $7, because it is original music, one way or the other. then, why wouldn't i offer it as a physical item? or, if i were to offer it as a $1 download and a normal physical offer, what am i doing besides punishing myself, really?
maybe i could say something about how it might have been better if i didn't create this, although i don't think that's really fair, either, as i do think it's worth sharing. but, i can't undo time. there's no "undo" button in reality. really. i've looked. strenuously.
i suppose that if i get sued i'll have to react, but i'm just going to treat this as any other release and carry on.
written and recorded in the winter of 1999/2000.
====
track 3...
this is an augmented experiment with a program called "sounder" that takes advantage of some obscure midi qualities to transport the act of triggering a note into the physical world. imagine a midi tennis ball that triggers at different intensities based on how hard the ball is thrown at a wall. now, imagine a frictionless space where that ball can bounce around indefinitely. sounder virtualizes this reality.
the experiment was augmented with synthesizer and guitar parts, and a sample of garry trudeau posing as a political candidate and being interviewed by larry king. i first interacted with that sample early in the morning in a deeply altered state and came to attach certain feelings to it that are difficult to describe. while it's clearly parody, it hit me as being frighteningly representative of reality. i suppose that all effective parody has this quality. perhaps my reaction speaks more of where i was at this point than anything else. i wasn't reacting well to the return of republicanism; i was very much dreading the future that i had no control in preventing. the absurd truth, here, cut me right down.
i was fucking baked.
eventually, i decided that the sample is just not worth listening to repeatedly and removed it from the track. an instrumental version is available on deny everything:
jasonparent.bandcamp.com/track/entropy
written and recorded at the very end of 1999.
credits
from let freedom ring, track released December 17, 1999
j - guitars, effects, synths, sampling, pythagorean sequencing (sounder), digital wave editing
====
track 4...
this is the second half of the instrumental version of the hummer cover, presented as a hidden track.
the hummer cover is here:
jasonparent.bandcamp.com/track/05-hummer
written in the fall of 1999. isolated in oct, 2017.
for the record, and i guess this is directed at younger people that don't remember, but trump is not as bad as bush - neither on policy nor on...
bush was just completely clueless, most of the time. trump is often lost, or relying on scripted help, but it's just not on the same level. bush had difficulty following and answering questions, or even making it across the room a lot of time. he legitimately often did not know what his own officials were doing. and, he was frequently obviously fucked up on something.
i've posted here more than once that i'm still not sure which is the lesser evil: trump or clinton.
bush was in his own category. it was just impossible. surreal.
bush was just completely clueless, most of the time. trump is often lost, or relying on scripted help, but it's just not on the same level. bush had difficulty following and answering questions, or even making it across the room a lot of time. he legitimately often did not know what his own officials were doing. and, he was frequently obviously fucked up on something.
i've posted here more than once that i'm still not sure which is the lesser evil: trump or clinton.
bush was in his own category. it was just impossible. surreal.
i'm procrastinating; i don't want to make a choice about this.
i think the closest precedent i have is to inri003, the inrisampled disc. that was transitional, and a self-contained ep, but it was used in the upcoming lp.
one thing i'm deciding upon: this is not an ep single, but an ep. that gives me the freedom to avoid making it comprehensive.
let me list my options:
1) download $1 + no physical, like inri032.
- this isn't consistent, because there is original music on this disc. only the hidden track is truly a cover.
2) download $1 + regular physical. hybrid. unique.
- i liked this at first, but it's kind of a cop-out: i'm just punishing myself, really. it's sort of silly.
3) download only at $7, like inri022. this was the initial choice.
but, i i'm going to put it up as a download, why not manufacture it?
4) download & physical at normal price, like any other ep.
yeah. after all.
i'm not 100% comfortable with this.
and i'll finish my write-up carefully.
but i'll do it.....
i think the closest precedent i have is to inri003, the inrisampled disc. that was transitional, and a self-contained ep, but it was used in the upcoming lp.
one thing i'm deciding upon: this is not an ep single, but an ep. that gives me the freedom to avoid making it comprehensive.
let me list my options:
1) download $1 + no physical, like inri032.
- this isn't consistent, because there is original music on this disc. only the hidden track is truly a cover.
2) download $1 + regular physical. hybrid. unique.
- i liked this at first, but it's kind of a cop-out: i'm just punishing myself, really. it's sort of silly.
3) download only at $7, like inri022. this was the initial choice.
but, i i'm going to put it up as a download, why not manufacture it?
4) download & physical at normal price, like any other ep.
yeah. after all.
i'm not 100% comfortable with this.
and i'll finish my write-up carefully.
but i'll do it.....
His followers say
that after about 3 years, uncut hair follicles develop an antenna at
the end that collects cosmic energy, thus a haircut condemns one to a
3-year drought of magnetism.
i know you think this is completely wrong.
but, it's not even.
i know you think this is completely wrong.
but, it's not even.
i'd actually love to be in the room.
"you need to shave your beard."
"i can't shave my beard, man."
"you think it's magic."
"i don't think i have a magic beard."
"then why won't you shave it?"
"because i can't."
"...because..."
".........because....."
"....because you think it's magic."
"i...i don't..."
"then, why won't you.."
hopeful response:
"alright. alright. i'll shave the beard."
likely response:
"fine. i think it's magic. what happens next?"
"god help us all."
"you need to shave your beard."
"i can't shave my beard, man."
"you think it's magic."
"i don't think i have a magic beard."
"then why won't you shave it?"
"because i can't."
"...because..."
".........because....."
"....because you think it's magic."
"i...i don't..."
"then, why won't you.."
hopeful response:
"alright. alright. i'll shave the beard."
likely response:
"fine. i think it's magic. what happens next?"
"god help us all."
this hasn't happened in canada for a few decades.
but, we have a parliamentary system. what that means is that sitting ndp mps could theoretically leave the party and start a new one, or perhaps join the greens.
the party got hijacked, and this guy...i don't know, give him some time, maybe, but i don't think he's workable: outside of parliament, not certain to get in and probably more likely to become a long term joke than prime minister.
the ndp might not have a serious future, after this, anyways.
it should be contemplated.
but, we have a parliamentary system. what that means is that sitting ndp mps could theoretically leave the party and start a new one, or perhaps join the greens.
the party got hijacked, and this guy...i don't know, give him some time, maybe, but i don't think he's workable: outside of parliament, not certain to get in and probably more likely to become a long term joke than prime minister.
the ndp might not have a serious future, after this, anyways.
it should be contemplated.
i guess there's actually a story in the hebrew bible about this guy samson, that had superhuman strength because of his hair.
no - it's not a dc comic, it's in the bible.
and, the philistines captured him and cut his hair off, as he was holding the temple up, which led to it crashing - which i believe was a stolen greek story.
now, is it not true that any self-respecting leftist would hoot and guffaw if they heard a conservative start talking about the story of samson?
i'm not going to uphold a double standard, here. i'm going to treat him exactly the same way i'd treat a christian - same disdain, some dismissiveness.
in fact, i'm about to lose interest...
i'm just kind of flabbergasted that this has happened.
maybe his magic hair will give him the energy to overcome.
no - it's not a dc comic, it's in the bible.
and, the philistines captured him and cut his hair off, as he was holding the temple up, which led to it crashing - which i believe was a stolen greek story.
now, is it not true that any self-respecting leftist would hoot and guffaw if they heard a conservative start talking about the story of samson?
i'm not going to uphold a double standard, here. i'm going to treat him exactly the same way i'd treat a christian - same disdain, some dismissiveness.
in fact, i'm about to lose interest...
i'm just kind of flabbergasted that this has happened.
maybe his magic hair will give him the energy to overcome.
again: what exactly do you expect that i'm going to say to you after you've looked me in the eye, with a straight face, and claimed that your facial hair is "sacred" because it's "natural"?
do you expect me to respect that opinion?
because i'm more likely to laugh at you.
if you want to win this thing, you need to shave.
do you expect me to respect that opinion?
because i'm more likely to laugh at you.
if you want to win this thing, you need to shave.
the particular problem was when you parked him next to trudeau. it really exaggerated the contrast.
trudeau is a good looking guy anyways, but he's far better looking when he's standing beside mulcair - and he will be even that much better looking when he's standing besides jagmeet singh, unless he mows that thing down, somehow.
http://www.huffingtonpost.ca/2013/09/14/tom-mulcair-beard-shave-image_n_3922175.html
trudeau is a good looking guy anyways, but he's far better looking when he's standing beside mulcair - and he will be even that much better looking when he's standing besides jagmeet singh, unless he mows that thing down, somehow.
http://www.huffingtonpost.ca/2013/09/14/tom-mulcair-beard-shave-image_n_3922175.html
step three: i know you like your beard, and i know the ndp is trying
to cultivate some kind of beardo counter-culture, but....if mulcair had
just gotten rid of it, he'd at least still have a job, right now.
yes: mulcair's beard was a major factor in his inability to connect with voters.
it's gotta go. if you're serious, that is.
the last canadian prime minister with facial hair was robert borden, and he was a complete asshole.
the turban is probably not a serious problem, but the beard must go.
yes: mulcair's beard was a major factor in his inability to connect with voters.
it's gotta go. if you're serious, that is.
the last canadian prime minister with facial hair was robert borden, and he was a complete asshole.
the turban is probably not a serious problem, but the beard must go.
it's probably the single most important thing you have to be able to do for the job.
https://www.google.ca/search?q=jack+layton+beer&num=100&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjPtqG1g9TWAhXJ24MKHUWbBlUQ_AUICygC&biw=1366&bih=650
https://www.google.ca/search?q=jack+layton+beer&num=100&source=lnms&tbm=isch&sa=X&ved=0ahUKEwjPtqG1g9TWAhXJ24MKHUWbBlUQ_AUICygC&biw=1366&bih=650
listen.
if jagmeet singh were trying to represent the liberals or conservatives, we could have a discussion about whether an accusation of being 'full of hubris' is something like calling him 'uppity', although i'd deny that it actually is.
but, he's trying to represent the party of the working class - drawn largely from a combination of union members and low-income students. and, he's walking around in $5000 suits and $3000 watches, while showing no interest in connecting with constituents.
even if he was running for the liberals, that would be a bit much. as a dipper? he's a fish out of water, and he's just not going to connect with the base.
he's a snob.
i bet he drinks fucking perrier, right?
i've actually read some interviews where they get across the idea that he only puts the suits on for the camera, and he dresses like a normal person when there aren't cameras around.
step one, jagmeet: ditch your gq bullshit and start dressing like a member of the working class.
if jagmeet singh were trying to represent the liberals or conservatives, we could have a discussion about whether an accusation of being 'full of hubris' is something like calling him 'uppity', although i'd deny that it actually is.
but, he's trying to represent the party of the working class - drawn largely from a combination of union members and low-income students. and, he's walking around in $5000 suits and $3000 watches, while showing no interest in connecting with constituents.
even if he was running for the liberals, that would be a bit much. as a dipper? he's a fish out of water, and he's just not going to connect with the base.
he's a snob.
i bet he drinks fucking perrier, right?
i've actually read some interviews where they get across the idea that he only puts the suits on for the camera, and he dresses like a normal person when there aren't cameras around.
step one, jagmeet: ditch your gq bullshit and start dressing like a member of the working class.
i think everybody is missing the point.
which constituents does mr. singh intend to represent? because he's already indicated that he's looking right past them.
do you know the last time we had a party leader with that kind of arrogance and hubris? michael ignatieff.
http://www.huffingtonpost.ca/2017/10/02/elizabeth-may-tells-jagmeet-singh-that-prime-ministers-in-canada-arent-elected_a_23229963/
which constituents does mr. singh intend to represent? because he's already indicated that he's looking right past them.
do you know the last time we had a party leader with that kind of arrogance and hubris? michael ignatieff.
http://www.huffingtonpost.ca/2017/10/02/elizabeth-may-tells-jagmeet-singh-that-prime-ministers-in-canada-arent-elected_a_23229963/
see, they think that their grassroots movement is being hijacked.
they don't realize the extent of it, or what the real point of the whole thing actually is.
to be clear: the cops are there. that's not up for debate. what i've claimed repeatedly for years is that they're not just there, but actually in charge.
http://www.huffingtonpost.ca/entry/surveillance-black-lives-matter-cointelpro_us_55d49dc6e4b055a6dab24008
they don't realize the extent of it, or what the real point of the whole thing actually is.
to be clear: the cops are there. that's not up for debate. what i've claimed repeatedly for years is that they're not just there, but actually in charge.
http://www.huffingtonpost.ca/entry/surveillance-black-lives-matter-cointelpro_us_55d49dc6e4b055a6dab24008
i disagree with this; they've been taking responsibility for things they didn't do for years, but the media didn't see fit to question them.
i don't think they did the paris attacks, for example. i actually think that was the russians.
http://www.slate.com/blogs/the_slatest/2017/10/02/isis_s_claims_of_responsibility_are_getting_more_dubious.html
i don't think they did the paris attacks, for example. i actually think that was the russians.
http://www.slate.com/blogs/the_slatest/2017/10/02/isis_s_claims_of_responsibility_are_getting_more_dubious.html
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